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"title": "How One Brutal Children's Book From 1845 Left Permanent Marks on Pop Culture",
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"content": "\u003cp>It’s a collection of children’s stories so brutal, it almost outdoes the Brothers Grimm.\u003c/p>\n\u003cp>The tales of \u003cem>Der Struwwelpeter\u003c/em> by Heinrich Hoffman are short, sharp, shocking, and they’ve left a surprisingly deep mark on culture, even though most living Americans have never read them. Today, the astonishing content of \u003cem>Der Struwwelpeter\u003c/em> hasn’t only irreversibly impacted children’s literature—its influence can still be seen in movies, cartoons, TV shows, and a wealth of parodies.\u003c/p>\n\u003cfigure id=\"attachment_13863801\" class=\"wp-caption alignright\" style=\"max-width: 132px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863801\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/harriet.three_.thm_.jpg\" alt='\"The Dreadful Story of Harriet and the Matches.\"' width=\"132\" height=\"186\">\u003cfigcaption class=\"wp-caption-text\">‘The Dreadful Story of Harriet and the Matches.’\u003c/figcaption>\u003c/figure>\n\u003cp>To give you some idea of the savagery of the 10 stories in the 1845 collection, consider “The Dreadful Story of Harriet and the Matches,” about a little girl who accidentally sets herself on fire and burns to death while her pet cats watch. Then there’s “The Story of Little Suck-a-Thumb,” about a boy named Conrad who refuses to stop sucking his thumbs and subsequently watches them both severed by a creepy, long-legged home-invader.\u003c/p>\n\u003cp>In between are tales of comeuppance for characters committing surprisingly graphic animal cruelty (“Cruel Frederick”), racist harassment (“The Story of the Inky Boys” is definitely not woke by 2019 standards, but was considered progressive at the time), and the apparent dastardly sin of not watching where you’re going (“The Story of Johnny Head-in-Air”). In others, one little boy refuses to eat soup for a few days and subsequently starves to death, and another insists on going out for a walk in the rain and flies away in a storm, never to be seen again.\u003c/p>\n\u003cp>Despite the smörgåsbord of searing imagery in the book, the one that seems to stick most with people is that of “Shock-Headed Peter”—the \u003cem>Der Struwwelpeter\u003c/em> of the book’s title. Peter is a little boy publicly humiliated by his own slovenliness. He is depicted as crying and alone “with his nasty hair and hands.” Peter, especially out of context, is pretty damn scary.\u003c/p>\n\u003cfigure id=\"attachment_13863713\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg\" alt=\"Shock-Headed Peter, of 'Der Struwwelpeter'.\" width=\"450\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4-160x167.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Shock-Headed Peter, of ‘Der Struwwelpeter’.\u003c/figcaption>\u003c/figure>\n\u003cp>My introduction to\u003cem> Der Struwwelpeter\u003c/em> occurred purely because of this image, which I recently encountered on the sixth floor of the San Francisco Public Library, hanging in the SF History room. The panel featuring Peter’s image was created for the library’s 100th anniversary last year, and still regularly causes a stir. One librarian informed me that a woman recently walked into the room, saw Peter, screamed, then shouted “Get that thing out of here!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a response that might have appalled Heinrich Hoffman. Not only did the German physician originally write the collection for his 3-year-old son, he did so because he wanted his child to have something more light-hearted and humorous than anything else that was available at the time. (Hoffman originally titled the book \u003cem>Funny Stories and Droll Pictures… For Children Ages 3–6\u003c/em>.)\u003c/p>\n\u003cp>In the book \u003ca href=\"https://www.amazon.com/Struwwelpeter-Humor-Horror-Years-Later/dp/0739116649\" target=\"_blank\" rel=\"noopener\">\u003cem>Struwwelpeter: Humor or Horror?\u003c/em>\u003c/a> Barbara Smith Chalou explains:\u003c/p>\n\u003cblockquote>\u003cp>“Prior to the 1866 publication of Lewis Carroll’s landmark ‘\u003cem>Alice in Wonderland’ \u003c/em>… most Western children’s books were limited to instruction manuals, Bible passages, moral fables or cautionary tales … In ‘\u003cem>Der Struwwelpeter\u003c/em>,’ we find an intriguing mix of traditional elements with … certain components that were dramatically different than anything previously seen in children’s books. For example, [Hoffman’s] … brightly colored pictures… Nothing resembling this had existed on the market prior to 1845, the date of publication.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Der Struwwelpeter, \u003c/em>then, was one of the world’s first picture books, which is why it quickly warranted \u003ca href=\"https://www.nypl.org/blog/2013/05/15/influence-struwwelpeter\">35 translations\u003c/a>—one of which was done \u003ca href=\"https://germanstories.vcu.edu/struwwel/twpete.html\" target=\"_blank\" rel=\"noopener\">by Mark Twain\u003c/a> in 1891—and helped to permanently transform how children’s entertainment was presented and enjoyed. What’s more, despite the inherent horror, its visuals have proved timeless. Without \u003cem>Der Struwwelpeter’\u003c/em>s “The Story of the Man That Went Out Shooting,” in which a hapless hunter has his gun turned on him by a wily hare, there is a good chance that Looney Toons might never have thought to give us a war between Elmer Fudd and Bugs Bunny.\u003c/p>\n\u003cp>It’s impossible not to see the parallels:\u003c/p>\n\u003cfigure id=\"attachment_13863825\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/014-1.jpg\" alt=\""The Story of the Man That Went Out Shooting" from 'Der Struwwelpeter.'\" width=\"400\" height=\"311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1-160x124.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“The Story of the Man That Went Out Shooting” from ‘Der Struwwelpeter.’\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863826\" class=\"wp-caption aligncenter\" style=\"max-width: 374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg\" alt=\"Elmer Fudd and Bugs Bunny in a battle of wits.\" width=\"374\" height=\"282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg 374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny-160x121.jpg 160w\" sizes=\"(max-width: 374px) 100vw, 374px\">\u003cfigcaption class=\"wp-caption-text\">Elmer Fudd and Bugs Bunny in a battle of wits. \u003ccite>(Looney Tunes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dark humor inherent in \u003cem>Der Struwwelpeter\u003c/em> is also credited with directly influencing the work of beloved children’s authors including Roald Dahl, Lemony Snicket and Maurice Sendak—who once called \u003cem>Der Struwwelpeter\u003c/em> “one of the most beautiful books in the world.” When illustrator Bob Staake\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\"> created his own version\u003c/a> in 2006, he said: “When I was given the book as a kid, I didn’t know if it was a joke or not, but my German parents weren’t laughing. The illustrations and stories just \u003ca href=\"https://bobstaake.com/struwwelpeter/artist.shtml\" target=\"_blank\" rel=\"noopener\">creeped me out\u003c/a> beyond words.”\u003c/p>\n\u003cp>Staake isn’t the only one—gothic artists Edward Gorey and Tim Burton are said to be heavily influenced too\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\">.\u003c/a> When The Tiger Lillies toured their \u003ca href=\"https://observer.com/1999/11/your-thumbs-during-shockheaded-peter/\" target=\"_blank\" rel=\"noopener\">“junk opera,” \u003cem>Shockheaded Peter,\u003c/em>\u003c/a> in the ’90s, it was the aesthetics of Tim Burton that critics most commonly referenced in order to paint a picture for readers. Is it any wonder when Burton’s Edward Scissorhands bears such a striking resemblance to Shock-Headed Peter?\u003c/p>\n\u003cfigure id=\"attachment_13863857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863857 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg\" alt=\"Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\u003c/figcaption>\u003c/figure>\n\u003cp>The macabre elements of the book have also been repeatedly referenced in both music—Rammstein’s \u003ca href=\"https://www.youtube.com/watch?v=-ButQO2fi4I\">“Hilf Mir”\u003c/a> is based on “Harriet and the Matches,” and the XTC track \u003ca href=\"https://www.youtube.com/watch?v=oqA28wFRvHA\">“Scissor Man”\u003c/a> is a direct reference to the thumb-severer—and in TV comedy, most notably with references to “The Story of Little Suck-a-Thumb” showing up \u003cem>Doctor Who\u003c/em>, \u003ca href=\"https://www.youtube.com/watch?v=OeIi4ni1LvY\">\u003cem>The Office\u003c/em>\u003c/a> and, most hilariously, \u003cem>Family Guy\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=khOIOHcw4PI\u003c/p>\n\u003cp>\u003cem>Der Struwwelpeter\u003c/em>‘s historical influence runs even deeper. During World War II, the allies used the book to make fun of the Third Reich repeatedly, with one \u003ca href=\"http://parridigit.istitutoparri.eu/public/multimediale/1/Monografie/multimedia_source/STR/UW/STRUWWELHITLER.pdf\" target=\"_blank\" rel=\"noopener\">version by Robert and Peter Spence\u003c/a> transforming “Struwwelpeter” into “Struwwelhitler,” and “Cruel Frederick” into “Cruel Adolph.”\u003c/p>\n\u003cp>Another piece of historical satire came in 1975 with \u003ca href=\"https://www.amazon.com/Tricky-Dick-his-pals-Struwwelpeter/dp/0812904451\" target=\"_blank\" rel=\"noopener\">\u003cem>Tricky Dick and His Pals\u003c/em>\u003c/a>, designed to pointedly make a mockery of the Nixon administration. It opens with the lines “Look at this child, so clean and slick. He’s called Obnoxious Tricky Dick! He’d lie and cheat and hit and steal, and wouldn’t care how bad you’d feel,” and stories within the collection see Nixon getting bitten by a dog and shooting himself with his own gun.\u003c/p>\n\u003cfigure id=\"attachment_13863813\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863813 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg\" alt=\"L: Robert and Philip Spence's war-time parody. R: 1974's 'Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann's Der Struwwelpeter' by Joseph Wortis.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L: Robert and Philip Spence’s war-time parody. R: 1974’s ‘Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann’s Der Struwwelpeter’ by Joseph Wortis.\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Der Struwwelpeter\u003c/em> is still incredibly easy to find today, whether that be in the form of the original book, updated \u003ca href=\"https://www.youtube.com/watch?v=p3QyMA-Pmk4\">animations\u003c/a> that tell the traditional stories, or in the influence it has left behind on other people’s creations. Whether or not it remains appropriate reading for modern-day children remains to be seen, but those that grew up with it are left with vivid memories. “My grandparents had a copy when I was a kid,” KQED’s Senior Social Media Strategist, Carly Severn, recently told me, smile quickly turning to a grimace. “It scared the everloving \u003cem>scheisse\u003c/em> out of me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a collection of children’s stories so brutal, it almost outdoes the Brothers Grimm.\u003c/p>\n\u003cp>The tales of \u003cem>Der Struwwelpeter\u003c/em> by Heinrich Hoffman are short, sharp, shocking, and they’ve left a surprisingly deep mark on culture, even though most living Americans have never read them. Today, the astonishing content of \u003cem>Der Struwwelpeter\u003c/em> hasn’t only irreversibly impacted children’s literature—its influence can still be seen in movies, cartoons, TV shows, and a wealth of parodies.\u003c/p>\n\u003cfigure id=\"attachment_13863801\" class=\"wp-caption alignright\" style=\"max-width: 132px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863801\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/harriet.three_.thm_.jpg\" alt='\"The Dreadful Story of Harriet and the Matches.\"' width=\"132\" height=\"186\">\u003cfigcaption class=\"wp-caption-text\">‘The Dreadful Story of Harriet and the Matches.’\u003c/figcaption>\u003c/figure>\n\u003cp>To give you some idea of the savagery of the 10 stories in the 1845 collection, consider “The Dreadful Story of Harriet and the Matches,” about a little girl who accidentally sets herself on fire and burns to death while her pet cats watch. Then there’s “The Story of Little Suck-a-Thumb,” about a boy named Conrad who refuses to stop sucking his thumbs and subsequently watches them both severed by a creepy, long-legged home-invader.\u003c/p>\n\u003cp>In between are tales of comeuppance for characters committing surprisingly graphic animal cruelty (“Cruel Frederick”), racist harassment (“The Story of the Inky Boys” is definitely not woke by 2019 standards, but was considered progressive at the time), and the apparent dastardly sin of not watching where you’re going (“The Story of Johnny Head-in-Air”). In others, one little boy refuses to eat soup for a few days and subsequently starves to death, and another insists on going out for a walk in the rain and flies away in a storm, never to be seen again.\u003c/p>\n\u003cp>Despite the smörgåsbord of searing imagery in the book, the one that seems to stick most with people is that of “Shock-Headed Peter”—the \u003cem>Der Struwwelpeter\u003c/em> of the book’s title. Peter is a little boy publicly humiliated by his own slovenliness. He is depicted as crying and alone “with his nasty hair and hands.” Peter, especially out of context, is pretty damn scary.\u003c/p>\n\u003cfigure id=\"attachment_13863713\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg\" alt=\"Shock-Headed Peter, of 'Der Struwwelpeter'.\" width=\"450\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cf153154-d80c-11e6-8f8f-b8b9aedb36b4-160x167.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Shock-Headed Peter, of ‘Der Struwwelpeter’.\u003c/figcaption>\u003c/figure>\n\u003cp>My introduction to\u003cem> Der Struwwelpeter\u003c/em> occurred purely because of this image, which I recently encountered on the sixth floor of the San Francisco Public Library, hanging in the SF History room. The panel featuring Peter’s image was created for the library’s 100th anniversary last year, and still regularly causes a stir. One librarian informed me that a woman recently walked into the room, saw Peter, screamed, then shouted “Get that thing out of here!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a response that might have appalled Heinrich Hoffman. Not only did the German physician originally write the collection for his 3-year-old son, he did so because he wanted his child to have something more light-hearted and humorous than anything else that was available at the time. (Hoffman originally titled the book \u003cem>Funny Stories and Droll Pictures… For Children Ages 3–6\u003c/em>.)\u003c/p>\n\u003cp>In the book \u003ca href=\"https://www.amazon.com/Struwwelpeter-Humor-Horror-Years-Later/dp/0739116649\" target=\"_blank\" rel=\"noopener\">\u003cem>Struwwelpeter: Humor or Horror?\u003c/em>\u003c/a> Barbara Smith Chalou explains:\u003c/p>\n\u003cblockquote>\u003cp>“Prior to the 1866 publication of Lewis Carroll’s landmark ‘\u003cem>Alice in Wonderland’ \u003c/em>… most Western children’s books were limited to instruction manuals, Bible passages, moral fables or cautionary tales … In ‘\u003cem>Der Struwwelpeter\u003c/em>,’ we find an intriguing mix of traditional elements with … certain components that were dramatically different than anything previously seen in children’s books. For example, [Hoffman’s] … brightly colored pictures… Nothing resembling this had existed on the market prior to 1845, the date of publication.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Der Struwwelpeter, \u003c/em>then, was one of the world’s first picture books, which is why it quickly warranted \u003ca href=\"https://www.nypl.org/blog/2013/05/15/influence-struwwelpeter\">35 translations\u003c/a>—one of which was done \u003ca href=\"https://germanstories.vcu.edu/struwwel/twpete.html\" target=\"_blank\" rel=\"noopener\">by Mark Twain\u003c/a> in 1891—and helped to permanently transform how children’s entertainment was presented and enjoyed. What’s more, despite the inherent horror, its visuals have proved timeless. Without \u003cem>Der Struwwelpeter’\u003c/em>s “The Story of the Man That Went Out Shooting,” in which a hapless hunter has his gun turned on him by a wily hare, there is a good chance that Looney Toons might never have thought to give us a war between Elmer Fudd and Bugs Bunny.\u003c/p>\n\u003cp>It’s impossible not to see the parallels:\u003c/p>\n\u003cfigure id=\"attachment_13863825\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/014-1.jpg\" alt=\""The Story of the Man That Went Out Shooting" from 'Der Struwwelpeter.'\" width=\"400\" height=\"311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/014-1-160x124.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“The Story of the Man That Went Out Shooting” from ‘Der Struwwelpeter.’\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863826\" class=\"wp-caption aligncenter\" style=\"max-width: 374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg\" alt=\"Elmer Fudd and Bugs Bunny in a battle of wits.\" width=\"374\" height=\"282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny.jpg 374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elmer_fudd_bugs_bunny-160x121.jpg 160w\" sizes=\"(max-width: 374px) 100vw, 374px\">\u003cfigcaption class=\"wp-caption-text\">Elmer Fudd and Bugs Bunny in a battle of wits. \u003ccite>(Looney Tunes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dark humor inherent in \u003cem>Der Struwwelpeter\u003c/em> is also credited with directly influencing the work of beloved children’s authors including Roald Dahl, Lemony Snicket and Maurice Sendak—who once called \u003cem>Der Struwwelpeter\u003c/em> “one of the most beautiful books in the world.” When illustrator Bob Staake\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\"> created his own version\u003c/a> in 2006, he said: “When I was given the book as a kid, I didn’t know if it was a joke or not, but my German parents weren’t laughing. The illustrations and stories just \u003ca href=\"https://bobstaake.com/struwwelpeter/artist.shtml\" target=\"_blank\" rel=\"noopener\">creeped me out\u003c/a> beyond words.”\u003c/p>\n\u003cp>Staake isn’t the only one—gothic artists Edward Gorey and Tim Burton are said to be heavily influenced too\u003ca href=\"https://www.npr.org/books/authors/138353746/bob-staake\" target=\"_blank\" rel=\"noopener\">.\u003c/a> When The Tiger Lillies toured their \u003ca href=\"https://observer.com/1999/11/your-thumbs-during-shockheaded-peter/\" target=\"_blank\" rel=\"noopener\">“junk opera,” \u003cem>Shockheaded Peter,\u003c/em>\u003c/a> in the ’90s, it was the aesthetics of Tim Burton that critics most commonly referenced in order to paint a picture for readers. Is it any wonder when Burton’s Edward Scissorhands bears such a striking resemblance to Shock-Headed Peter?\u003c/p>\n\u003cfigure id=\"attachment_13863857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863857 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg\" alt=\"Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scissorhands.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Scissorhands bears a striking resemblance to Shock-Headed Peter.\u003c/figcaption>\u003c/figure>\n\u003cp>The macabre elements of the book have also been repeatedly referenced in both music—Rammstein’s \u003ca href=\"https://www.youtube.com/watch?v=-ButQO2fi4I\">“Hilf Mir”\u003c/a> is based on “Harriet and the Matches,” and the XTC track \u003ca href=\"https://www.youtube.com/watch?v=oqA28wFRvHA\">“Scissor Man”\u003c/a> is a direct reference to the thumb-severer—and in TV comedy, most notably with references to “The Story of Little Suck-a-Thumb” showing up \u003cem>Doctor Who\u003c/em>, \u003ca href=\"https://www.youtube.com/watch?v=OeIi4ni1LvY\">\u003cem>The Office\u003c/em>\u003c/a> and, most hilariously, \u003cem>Family Guy\u003c/em>.\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/khOIOHcw4PI'\n title='//www.youtube.com/embed/khOIOHcw4PI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Der Struwwelpeter\u003c/em>‘s historical influence runs even deeper. During World War II, the allies used the book to make fun of the Third Reich repeatedly, with one \u003ca href=\"http://parridigit.istitutoparri.eu/public/multimediale/1/Monografie/multimedia_source/STR/UW/STRUWWELHITLER.pdf\" target=\"_blank\" rel=\"noopener\">version by Robert and Peter Spence\u003c/a> transforming “Struwwelpeter” into “Struwwelhitler,” and “Cruel Frederick” into “Cruel Adolph.”\u003c/p>\n\u003cp>Another piece of historical satire came in 1975 with \u003ca href=\"https://www.amazon.com/Tricky-Dick-his-pals-Struwwelpeter/dp/0812904451\" target=\"_blank\" rel=\"noopener\">\u003cem>Tricky Dick and His Pals\u003c/em>\u003c/a>, designed to pointedly make a mockery of the Nixon administration. It opens with the lines “Look at this child, so clean and slick. He’s called Obnoxious Tricky Dick! He’d lie and cheat and hit and steal, and wouldn’t care how bad you’d feel,” and stories within the collection see Nixon getting bitten by a dog and shooting himself with his own gun.\u003c/p>\n\u003cfigure id=\"attachment_13863813\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863813 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg\" alt=\"L: Robert and Philip Spence's war-time parody. R: 1974's 'Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann's Der Struwwelpeter' by Joseph Wortis.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/hitler-dick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L: Robert and Philip Spence’s war-time parody. R: 1974’s ‘Tricky Dick and his pals: Comical stories, all in the manner of Dr. Heinrich Hoffmann’s Der Struwwelpeter’ by Joseph Wortis.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Der Struwwelpeter\u003c/em> is still incredibly easy to find today, whether that be in the form of the original book, updated \u003ca href=\"https://www.youtube.com/watch?v=p3QyMA-Pmk4\">animations\u003c/a> that tell the traditional stories, or in the influence it has left behind on other people’s creations. Whether or not it remains appropriate reading for modern-day children remains to be seen, but those that grew up with it are left with vivid memories. “My grandparents had a copy when I was a kid,” KQED’s Senior Social Media Strategist, Carly Severn, recently told me, smile quickly turning to a grimace. “It scared the everloving \u003cem>scheisse\u003c/em> out of me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Season 3 of 'Legion' Ends With Less Telepathy, More Empathy",
"headTitle": "Season 3 of ‘Legion’ Ends With Less Telepathy, More Empathy | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Warning: This piece discusses events in the series finale of \u003c/strong>\u003c/em>\u003cstrong>Legion\u003c/strong>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When it began, three seasons ago, \u003cem>Legion \u003c/em>was a show about a man who possessed the power of telepathy.\u003c/p>\n\u003cp>By the time it ended last night, \u003cem>Legion \u003c/em>had become a show about the power of empathy.\u003c/p>\n\u003cp>The three-season journey that took not-quite-a-superhero David Haller (Dan Stevens) from reading others’ thoughts to feeling others’ emotions was one that proved wildly discursive, often frustrating, frequently funny and never less than deeply, deeply weird.\u003c/p>\n\u003cp>Even when the narrative stumbled (or, more precisely, languished), \u003cem>Legion \u003c/em>wasn’t the kind of show you could easily tear your eyes away from. Creator Noah Hawley roped off a quiet corner of the Marvel Universe and proceeded to fill the screen with visuals so striking, so surreal and so \u003cem>determinedly \u003c/em>odd that it often took a moment to drink in just what the show was attempting to convey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some critics, especially in the early going, dinged the show’s tendency to indulge in eye-popping spectacle as just that—indulgent. And back in that first season, when David’s storyline seemed set to follow a familiar “hero learns his true nature and masters his powers” arc, those bits of visual flair did call attention to themselves.\u003c/p>\n\u003cp>But gradually, it became clear what Hawley and his team were up to: nudging the standard superhero narrative, which usually operates on an implicit, metaphorical level, over into the show’s explicit, physical reality.\u003c/p>\n\u003cp>Film and television are lousy with psychic characters who demonstrate their powers by scrunching up their faces and holding their arms out rigidly before them. And certainly, \u003cem>Legion\u003c/em>‘s Stevens did his fair share of mutant-miming. But the show took things further, using sound design, makeup, lighting, set design and cinematography to show us—to make us feel—how the world would seem to someone with the power to alter reality itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6zblbNYyv0A\u003c/p>\n\u003cp>Thus, David’s psychological trauma got transmuted into a literal monster living inside him. Delusions were rendered as black, virulent goo-creatures that took up residence in the brain and spread from person to person. In lieu of standard hero-vs.-villain slugfests, conflict took place on the Astral Plane, in the form of trippy musical numbers, dance-offs and/or rap battles.\u003c/p>\n\u003cp>But even when \u003cem>Legion\u003c/em>‘s visual design went to the furthest extremes, producing some of the most unsettling images TV’s produced in recent memory (The Devil With the Yellow Eyes, roomfuls of people standing stock-still in the near dark, chattering their teeth, and this season’s grinning, unstoppable, perpetually-encroaching Time-Eaters) they were all in service of something. It just took a while for the show to understand, or at least to reveal to viewers, what it was really about. It finally did so at the end of its second season, by turning the show’s ostensible hero into its villain, albeit one who vehemently insisted that the damage he was doing was for the greater good.\u003c/p>\n\u003cp>That’s when we learned that while David’s psychic parasite, Amahl Farouk, (Navid Negahban) may be capital-e Evil monster, it was David’s desperate zeal to prove himself a good person that drove him to actions that were \u003cem>truly \u003c/em>monstrous. In the final season, which saw the addition of Lauren Tsai as the time-traveling mutant Switch, that zeal turned to megalomania as he casually disregarded the pain of others in his quest to press a temporal reset button.\u003c/p>\n\u003cp>In the end, that button got pressed, and the world was saved—not by David’s mutant powers, but by the very human thing those powers gained him unique access to: empathy.\u003c/p>\n\u003cp>The last half-hour served up plenty of the kind of thrills other superhero shows dole out all the time, with a sword-wielding Kerry (Amber Midthunder, the show’s not-so-secret weapon) and Syd (Rachel Keller) making a last stand against those creepy Time Eaters. But the climax of David’s storyline was weirder, warmer and—in keeping with the show’s tradition—more abstract, and more satisfying.\u003c/p>\n\u003cp>On the Astral Plane, it was all hugs and tears and hard-won forgiveness as David’s father Charles (Harry Lloyd) apologized for abandoning him. Meanwhile, an older, wiser Farouk showed his younger, evil self all the damage they’d done to David over the years. And it was that act of empathy—of Farouk truly \u003cem>feeling \u003c/em>David’s life as a whole—that defeated the villain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Selfless compassion revealed as the greatest mutant ability? It’s not where I would have bet the series would end up—but then, ever since that one dude showed up with the basket on his head and started speaking through those androgynous androids that looked like Sonny Bono in leotards, I’ve been content to let this show take me wherever it wanted to go.\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=%27Legion%27+Ends+Its+Three-Season-Long+Strange+Trip&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "FX's surreal, gorgeous, not-quite-a-superhero-show concluded with neither a bang nor a whimper, but instead with time travel, Pink Floyd, forgiveness and an outpouring of empathy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Warning: This piece discusses events in the series finale of \u003c/strong>\u003c/em>\u003cstrong>Legion\u003c/strong>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When it began, three seasons ago, \u003cem>Legion \u003c/em>was a show about a man who possessed the power of telepathy.\u003c/p>\n\u003cp>By the time it ended last night, \u003cem>Legion \u003c/em>had become a show about the power of empathy.\u003c/p>\n\u003cp>The three-season journey that took not-quite-a-superhero David Haller (Dan Stevens) from reading others’ thoughts to feeling others’ emotions was one that proved wildly discursive, often frustrating, frequently funny and never less than deeply, deeply weird.\u003c/p>\n\u003cp>Even when the narrative stumbled (or, more precisely, languished), \u003cem>Legion \u003c/em>wasn’t the kind of show you could easily tear your eyes away from. Creator Noah Hawley roped off a quiet corner of the Marvel Universe and proceeded to fill the screen with visuals so striking, so surreal and so \u003cem>determinedly \u003c/em>odd that it often took a moment to drink in just what the show was attempting to convey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some critics, especially in the early going, dinged the show’s tendency to indulge in eye-popping spectacle as just that—indulgent. And back in that first season, when David’s storyline seemed set to follow a familiar “hero learns his true nature and masters his powers” arc, those bits of visual flair did call attention to themselves.\u003c/p>\n\u003cp>But gradually, it became clear what Hawley and his team were up to: nudging the standard superhero narrative, which usually operates on an implicit, metaphorical level, over into the show’s explicit, physical reality.\u003c/p>\n\u003cp>Film and television are lousy with psychic characters who demonstrate their powers by scrunching up their faces and holding their arms out rigidly before them. And certainly, \u003cem>Legion\u003c/em>‘s Stevens did his fair share of mutant-miming. But the show took things further, using sound design, makeup, lighting, set design and cinematography to show us—to make us feel—how the world would seem to someone with the power to alter reality itself.\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/6zblbNYyv0A'\n title='//www.youtube.com/embed/6zblbNYyv0A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thus, David’s psychological trauma got transmuted into a literal monster living inside him. Delusions were rendered as black, virulent goo-creatures that took up residence in the brain and spread from person to person. In lieu of standard hero-vs.-villain slugfests, conflict took place on the Astral Plane, in the form of trippy musical numbers, dance-offs and/or rap battles.\u003c/p>\n\u003cp>But even when \u003cem>Legion\u003c/em>‘s visual design went to the furthest extremes, producing some of the most unsettling images TV’s produced in recent memory (The Devil With the Yellow Eyes, roomfuls of people standing stock-still in the near dark, chattering their teeth, and this season’s grinning, unstoppable, perpetually-encroaching Time-Eaters) they were all in service of something. It just took a while for the show to understand, or at least to reveal to viewers, what it was really about. It finally did so at the end of its second season, by turning the show’s ostensible hero into its villain, albeit one who vehemently insisted that the damage he was doing was for the greater good.\u003c/p>\n\u003cp>That’s when we learned that while David’s psychic parasite, Amahl Farouk, (Navid Negahban) may be capital-e Evil monster, it was David’s desperate zeal to prove himself a good person that drove him to actions that were \u003cem>truly \u003c/em>monstrous. In the final season, which saw the addition of Lauren Tsai as the time-traveling mutant Switch, that zeal turned to megalomania as he casually disregarded the pain of others in his quest to press a temporal reset button.\u003c/p>\n\u003cp>In the end, that button got pressed, and the world was saved—not by David’s mutant powers, but by the very human thing those powers gained him unique access to: empathy.\u003c/p>\n\u003cp>The last half-hour served up plenty of the kind of thrills other superhero shows dole out all the time, with a sword-wielding Kerry (Amber Midthunder, the show’s not-so-secret weapon) and Syd (Rachel Keller) making a last stand against those creepy Time Eaters. But the climax of David’s storyline was weirder, warmer and—in keeping with the show’s tradition—more abstract, and more satisfying.\u003c/p>\n\u003cp>On the Astral Plane, it was all hugs and tears and hard-won forgiveness as David’s father Charles (Harry Lloyd) apologized for abandoning him. Meanwhile, an older, wiser Farouk showed his younger, evil self all the damage they’d done to David over the years. And it was that act of empathy—of Farouk truly \u003cem>feeling \u003c/em>David’s life as a whole—that defeated the villain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Selfless compassion revealed as the greatest mutant ability? It’s not where I would have bet the series would end up—but then, ever since that one dude showed up with the basket on his head and started speaking through those androgynous androids that looked like Sonny Bono in leotards, I’ve been content to let this show take me wherever it wanted to go.\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=%27Legion%27+Ends+Its+Three-Season-Long+Strange+Trip&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just about the only thing that united America during 2019’s Super Bowl Halftime Show was the collective yawn it prompted.\u003c/p>\n\u003cp>After Rihanna and Pink, in solidarity with Colin Kaepernick, both turned down the chance to headline, the nation got stuck with a Maroon 5/Travis Scott/Big Boi snooze-fest—all of whom were \u003ca href=\"https://twitter.com/nessnitty/status/1085552587552837632?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1085552587552837632&ref_url=https%3A%2F%2Fvariety.com%2F2019%2Fbiz%2Fnews%2Ftravis-scott-colin-kaepernick-super-bowl-1203109159%2F\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> for taking part. Maroon 5 apparently \u003ca href=\"https://variety.com/2018/music/news/maroon-5-super-bowl-halftime-show-1203089706/\">struggled to find anyone\u003c/a> willing to fill the guest spots, with reports that Nicki Minaj, Usher, Cardi B, Mary J. Blige, Lauryn Hill and Andre 3000 all said no.\u003c/p>\n\u003cp>Probably fearing a similar outcome in 2020, the NFL has taken the bold step of collaborating with one of its fiercest critics: Jay-Z. Despite spitting \u003cem>“I said no to the Super Bowl, you need me, I don’t need you”\u003c/em> on last year’s \u003ca href=\"https://www.youtube.com/watch?v=kbMqWXnpXcA\">“APESHIT,”\u003c/a> and also reportedly trying to \u003ca href=\"https://variety.com/2019/biz/news/travis-scott-colin-kaepernick-super-bowl-1203109159/\" target=\"_blank\" rel=\"noopener\">talk Travis Scott out\u003c/a> of appearing at the halftime show, the rapper’s Roc Nation company has just signed on to be the NFL’s “live music entertainment strategist.” Moving forward, not only will Jay-Z co-produce the Super Bowl Halftime Show, he’ll also advise the NFL on musicians to be featured in the football season’s televised promos.\u003c/p>\n\u003cp>NFL Commissioner Roger Goodell has been careful to emphasize that this does not mean Jay-Z will be performing for them any time soon. “He was very quick to say that he does not want this to be about him performing,” \u003ca href=\"https://www.washingtonpost.com/sports/2019/08/13/nfl-is-partnering-with-jay-z-entertainment-social-justice-initiatives/\" target=\"_blank\" rel=\"noopener\">Goodell told the \u003cem>Washington Post\u003c/em>\u003c/a>, “that it was broader than that. It quickly went beyond that.” Goodell also noted that Jay-Z will also be involved in shaping programs at the NFL’s social justice organization, \u003ca href=\"https://operations.nfl.com/football-ops/economic-social-impact/inspire-change/\">Inspire Change\u003c/a>.\u003c/p>\n\u003cp>Jay-Z told the \u003cem>Washington Post\u003c/em> that while he had some Kaepernick-related hesitations before making the deal, “You can either go home, you can pack your bag and sit in the house, or you can choose to take it head-on. And that’s pretty much how we operate at Roc Nation. We seek to identify things that we want to be a part of and things that we believe that we can add value to, and we step in and we come with these ideas. And to their credit, the NFL agreed to these ideas.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>News of Jay-Z’s flip-flop regarding the NFL has been viewed with widespread cynicism on social media:\u003c/p>\n\u003cp>https://twitter.com/Kembo_Slice/status/1161336248071524353\u003c/p>\n\u003cp>https://twitter.com/MrErnestOwens/status/1161392218193592320\u003c/p>\n\u003cp>https://twitter.com/Hunitproof/status/1161360060313997312\u003c/p>\n\u003cp>https://twitter.com/BrianKnockin/status/1161339331467829250\u003c/p>\n\u003cp>Though some supporters are viewing the new partnership as positive progress:\u003c/p>\n\u003cp>https://twitter.com/jorgexluis__/status/1161355178739720193\u003c/p>\n\u003cp>https://twitter.com/AlecJRock/status/1161327794363744257\u003c/p>\n\u003cp>For his part, Jay-Z is sticking with the narrative that this business deal was intended to promote progress within the NFL. “We think at the end of the day,” he told the \u003cem>Washington Post\u003c/em>, “a lot of people will benefit from the NFL’s platform and the things that we brought to the table. We think it could help a lot of people.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether it helps or hurts Jay-Z’s credibility in the long run remains to be seen.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just about the only thing that united America during 2019’s Super Bowl Halftime Show was the collective yawn it prompted.\u003c/p>\n\u003cp>After Rihanna and Pink, in solidarity with Colin Kaepernick, both turned down the chance to headline, the nation got stuck with a Maroon 5/Travis Scott/Big Boi snooze-fest—all of whom were \u003ca href=\"https://twitter.com/nessnitty/status/1085552587552837632?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1085552587552837632&ref_url=https%3A%2F%2Fvariety.com%2F2019%2Fbiz%2Fnews%2Ftravis-scott-colin-kaepernick-super-bowl-1203109159%2F\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> for taking part. Maroon 5 apparently \u003ca href=\"https://variety.com/2018/music/news/maroon-5-super-bowl-halftime-show-1203089706/\">struggled to find anyone\u003c/a> willing to fill the guest spots, with reports that Nicki Minaj, Usher, Cardi B, Mary J. Blige, Lauryn Hill and Andre 3000 all said no.\u003c/p>\n\u003cp>Probably fearing a similar outcome in 2020, the NFL has taken the bold step of collaborating with one of its fiercest critics: Jay-Z. Despite spitting \u003cem>“I said no to the Super Bowl, you need me, I don’t need you”\u003c/em> on last year’s \u003ca href=\"https://www.youtube.com/watch?v=kbMqWXnpXcA\">“APESHIT,”\u003c/a> and also reportedly trying to \u003ca href=\"https://variety.com/2019/biz/news/travis-scott-colin-kaepernick-super-bowl-1203109159/\" target=\"_blank\" rel=\"noopener\">talk Travis Scott out\u003c/a> of appearing at the halftime show, the rapper’s Roc Nation company has just signed on to be the NFL’s “live music entertainment strategist.” Moving forward, not only will Jay-Z co-produce the Super Bowl Halftime Show, he’ll also advise the NFL on musicians to be featured in the football season’s televised promos.\u003c/p>\n\u003cp>NFL Commissioner Roger Goodell has been careful to emphasize that this does not mean Jay-Z will be performing for them any time soon. “He was very quick to say that he does not want this to be about him performing,” \u003ca href=\"https://www.washingtonpost.com/sports/2019/08/13/nfl-is-partnering-with-jay-z-entertainment-social-justice-initiatives/\" target=\"_blank\" rel=\"noopener\">Goodell told the \u003cem>Washington Post\u003c/em>\u003c/a>, “that it was broader than that. It quickly went beyond that.” Goodell also noted that Jay-Z will also be involved in shaping programs at the NFL’s social justice organization, \u003ca href=\"https://operations.nfl.com/football-ops/economic-social-impact/inspire-change/\">Inspire Change\u003c/a>.\u003c/p>\n\u003cp>Jay-Z told the \u003cem>Washington Post\u003c/em> that while he had some Kaepernick-related hesitations before making the deal, “You can either go home, you can pack your bag and sit in the house, or you can choose to take it head-on. And that’s pretty much how we operate at Roc Nation. We seek to identify things that we want to be a part of and things that we believe that we can add value to, and we step in and we come with these ideas. And to their credit, the NFL agreed to these ideas.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The first time that Simone Biles performed a triple-double at the U.S. Gymnastics Championships in Kansas City, she wasn’t pleased. After soaring through the air to complete two flips and three full twists on Friday, she stumbled.\u003c/p>\n\u003cp>On Sunday, the 22-year-old did it again—and stuck the landing. It’s the first time a woman has done so in competition.\u003c/p>\n\u003cp>https://twitter.com/NBCSports/status/1160719410576986112?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1160719410576986112&ref_url=https%3A%2F%2Fwww.npr.org%2F2019%2F08%2F12%2F750434716%2Fsimone-biles-lands-historic-triple-double-earns-6th-u-s-all-around-gymnastics-ti\u003c/p>\n\u003cp>The reigning world champion finished the competition on Sunday with the U.S. all-around title. It’s her sixth.\u003c/p>\n\u003cp>Previously the only woman to win six U.S. all-around gold medals was Clara Schroth-Lomady, who won her titles between 1945 and 1952.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2fdp8SVOSF4\u003c/p>\n\u003cp>Biles also made history by performing a double-double dismount—two twists and two somersaults—off the balance beam on Friday.\u003c/p>\n\u003cp>Before competing last week, Biles criticized USA Gymnastics, the national governing body of the sport, for failing to protect its athletes against abuse. \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/16/578300699/gymnastics-doctors-victims-speak-as-simone-biles-says-she-was-also-abused\">Biles revealed in 2018\u003c/a> that she was one of the many gymnasts abused by former national team doctor Larry Nassar.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You had one job. You literally had one job and you couldn’t protect us,” Biles \u003ca href=\"https://www.cnn.com/2019/08/08/us/simone-biles-usa-gymnastics-one-job/index.html\">told reporters\u003c/a> on Wednesday.\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=Simone+Biles+Earns+6th+U.S.+All-Around+Gymnastics+Title+With+Historic+Triple-Double&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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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/2fdp8SVOSF4'\n title='//www.youtube.com/embed/2fdp8SVOSF4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Biles also made history by performing a double-double dismount—two twists and two somersaults—off the balance beam on Friday.\u003c/p>\n\u003cp>Before competing last week, Biles criticized USA Gymnastics, the national governing body of the sport, for failing to protect its athletes against abuse. \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/16/578300699/gymnastics-doctors-victims-speak-as-simone-biles-says-she-was-also-abused\">Biles revealed in 2018\u003c/a> that she was one of the many gymnasts abused by former national team doctor Larry Nassar.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You had one job. You literally had one job and you couldn’t protect us,” Biles \u003ca href=\"https://www.cnn.com/2019/08/08/us/simone-biles-usa-gymnastics-one-job/index.html\">told reporters\u003c/a> on Wednesday.\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=Simone+Biles+Earns+6th+U.S.+All-Around+Gymnastics+Title+With+Historic+Triple-Double&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "fascination-friendship-and-desire-kathleen-hanna-on-the-reign-of-rebel-girl",
"title": "Fascination, Friendship And Desire: Kathleen Hanna On The Reign Of 'Rebel Girl'",
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"headTitle": "Fascination, Friendship And Desire: Kathleen Hanna On The Reign Of ‘Rebel Girl’ | KQED",
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"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The radio version of this story includes conversations with campers and counselors at girls’ rock camps, where “Rebel Girl” has become essential listening. Hear the piece at the audio link. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>There’s something contradictory about the very idea of a punk rock anthem. From original snotheads the Sex Pistols to contemporary insurgents Pussy Riot, punk bands kick down norms to make space for new ideas; their music smashes through the rhetoric that often gets people singing choruses en masse. Punk is meant to clear the head, not fill it with sentimental feelings. So it’s notable when a punk song survives its own explosion to become a uniting force for generations beyond its bloody birth. This is the story of “\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">Rebel Girl\u003c/a>,” the 1993 song by the feminist punk band \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> that still echoes through the hearts of girls and women today.\u003c/p>\n\u003cp>Bikini Kill was the emblematic band in the early-1990s riot grrrl movement, which sought to prove that feminism could become a central element within punk and fundamentally change the music in the process. Hanna, with her alarm bell of a voice and kinetic, funny, sometimes cutting presence, became riot grrrl’s most visible torch-bearer. The band stayed together for seven years, releasing a small discography full of nonstop attacks on sexism and celebrations of independence and self-love. Its breakup in 1997 and the eventual waning of riot grrrl felt to many like the inevitable demise of a dream too brilliant to last.\u003c/p>\n\u003cp>https://youtu.be/jfCqCKY5nUc\u003c/p>\n\u003cp>Twenty-plus years after riot grrrl peaked, however, its influence runs even more strongly through punk and the larger independent music world, and “Rebel Girl” is the song that most often signals its continued relevance. As younger artists from \u003ca href=\"https://www.npr.org/artists/465284166/lucy-dacus\">Lucy Dacus\u003c/a> to \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> carry riot grrrl’s messages forward into the new millennium, even younger girls around the world learn Bikini Kill’s anthem — often as part of the introduction to both music and feminism they receive at rock and roll camp.\u003c/p>\n\u003cp>Since the first rock camp for girls was founded by women directly inspired by riot grrrl nearly 20 years ago, these summer enclaves have multiplied around the world; the \u003ca href=\"https://www.girlsrockcampalliance.org/\">Girls’ Rock Camp Alliance\u003c/a> includes members from Buenos Aires to Pittsburgh to Tokyo. Thousands of kids aged 8 to 18 — mostly girls, though a few coed sessions aim to educate boys and welcome non-binary children — form their own bands, write their own songs and encounter riot grrrl’s feminist, anti-racist, LGBTQI-positive principles. And they yell out the inspiring, secretly deep lyrics to “Rebel Girl” in instrument classes and at camp showcases, to instructors and parents who loved it back when and hear it reborn in the voices of the girls they love.\u003c/p>\n\u003cp>Bikini Kill’s members found other ways to do the work they pursued in that band. Kathleen Hanna founded two influential groups, the electronic-based \u003ca href=\"https://www.npr.org/artists/15183638/le-tigre\">Le Tigre\u003c/a> and pop-punkers \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>, finding new ways to explore the intersection of politics and her own subjectivity. She’s proud of riot grrrl’s enduring legacy, especially as it’s flourished at rock camps; in fact, she’s served as a counselor at the Willie Mae Rock Camp in New York.\u003c/p>\n\u003cp>As part of NPR’s \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">American Anthem\u003c/a> series, I spoke with Hanna about the song’s origins and continued resonance. (You can hear the full radio piece, including interviews with girls’ rock campers and counselors, at the audio link on this page.) The story of the song, it turns out, can serve as a pocket history of riot grrrl, a movement that was always as full of love and constructive confusion as it was grounded in revolutionary ideas. Bikini Kill reunited this year for a handful of tour dates in the U.S. and England; “Rebel Girl” became a huge singalong on every date. “It feels great,” Hanna says of singing the song now, to crowds of 5,000 people instead of basements of 10 or 20. “It kind of feels like coming home, but somebody fixed your house up really nice. You know what I mean? Like, we’re not sleeping in the van anymore.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ann Powers: Tell me how the writing of “Rebel Girl” came about. I heard it was inspired by a friend. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kathleen Hanna:\u003c/strong> It was inspired by a bunch of friends. Bikini Kill was living in D.C., in this punk house called the Embassy. There was no air conditioning, and we were in the basement just writing songs. Me and Allison Wolfe [of the band Bratmobile] had started doing this group that later became riot grrrl, and it was a bunch of girls talking about starting bands and zines and how we could be feminist in the scene, including doing benefits for other groups that weren’t directly, you know, feminist with a capital “F.” I was also being mentored at the time by the spoken-word artist Juliana Luecking, who has always given me great advice and shown me the ropes as a feminist artist.\u003c/p>\n\u003cp>All of those girls were totally inspiring me, and the riot grrrl thing was inspiring me, and it was really like I just stuck my hand up in the air and there it was. I don’t really feel like I can take credit for writing it — I feel like it just kind of wrote itself.\u003c/p>\n\u003cp>\u003cstrong>I can definitely feel that in how the lyrics shift between various stances. It’s directed at one person narratively, but it is also an embrace that directs itself to anyone it touches. You wrote it as a young adult, but it could be the voice of a young girl — the rhetoric of it, the language of it. Did you feel like you were blending more than one voice in the song?\u003c/strong>\u003c/p>\n\u003cp>I mean, that was like my whole shtick in the ’90s. We were all talking about not being binary, not having a single narrator, all that kind of postmodernist stuff. And so of course, I was really influenced by the idea that identity is fluid. [But] it’s also that childhood, sexy feeling of having a crush on someone, where you don’t really understand what’s happening. … I always liked the older, kind of bitchy girls in my neighborhood, who used to leave me out of things. I wanted to be them, or be like them, or make out with them — I didn’t really know. [With “Rebel Girl”] I was kind of like, “All of the above.”\u003c/p>\n\u003cp>\u003cstrong>To me, the key line is in the chorus, when you sing: “I think wanna take you home / I wanna try on your clothes.” Because “I want to take you home” is a line that’s in every dude rock song, as a come-on. But then, surprise — I’m going to try on your clothes. Tell me about that line.\u003c/strong>\u003c/p>\n\u003cp>We had a thing in Bikini Kill where whoever looked best in an outfit got to keep it. The bad thing about that was, if my suitcase was open, I would come in and find Tobi and Kathi trying on all my clothes. And they looked better in a lot of my clothes than I did! Even if you’d just bought a dress, if someone else put it on and they looked just so great in it, you had to give it to them.\u003c/p>\n\u003cp>[aside postID=pop_111468,arts_13855938,arts_13808185;arts_13808185 label='Read More Bikini Kill Stories']\u003c/p>\n\u003cp>\u003cstrong>When my daughter was in her punk band, they did that. I never knew whose clothes I was washing. \u003c/strong>\u003c/p>\n\u003cp>But actually, when we wrote that song, the band was not getting along very well. And I think that’s really interesting, because there’s this total myth — especially when you have more than one woman in a band — that our friendship being really great is so important for us to be artistically productive. Sometimes our friendship was really bad: We weren’t communicating great, people weren’t adjusting to D.C. very well, I was working a lot. But we still wrote the song that everybody likes the best during that time period.\u003c/p>\n\u003cp>\u003cstrong>I think this correlates really well to what rock camps try to teach girls. At rock camp you have to form a band, and by the end of the week, write a song and perform it on stage. You aren’t necessarily going to get along with the girls in your band — and all those emotions happen in hyperdrive at camp. Twelve-year-old girls are expected to have girl power and be friends and support each other at all times, but then there’s the dark side of that, right? There’s something about “Rebel Girl” that acknowledges that tension and hostility, even within the performance of desire and connection.\u003c/strong>\u003c/p>\n\u003cp>I’m glad to hear that. I mean, the fact I wished things were better with me and Tobi and me and Kathi at that time — I’m sure there was a certain longing that came out in that song, because I missed being super close with them.\u003c/p>\n\u003cp>\u003cstrong>So let’s talk about recording the song, which the band did three times\u003c/strong>: \u003ca href=\"https://youtu.be/nrWYO2ylUFo?t=566\">\u003cstrong>once for a split record\u003c/strong>\u003c/a>\u003cstrong> with the British band Huggy Bear, \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=8yhk7f0ydq4\">\u003cstrong>once for your album\u003c/strong>\u003c/a> \u003cem>\u003cstrong>Pussy Whipped\u003c/strong>\u003c/em>\u003cstrong>, and a \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">\u003cstrong>single version\u003c/strong>\u003c/a>\u003cstrong> that Joan Jett produced, which is the version that’s most often heard now.\u003c/strong>\u003c/p>\n\u003cp>Third time’s the charm.\u003c/p>\n\u003cp>\u003cstrong>I read an interview where you talked about working with Jett, who of course is an icon of punk and of women in rock, but also her producer Kenny Laguna, who had done a lot of studio and pop work — I think he worked with The Archies. Did that pop side infuse that version of “Rebel Girl”?\u003c/strong>\u003c/p>\n\u003cp>Oh, definitely. I mean, he was in Tommy James and the Shondells. He was in The Shangri-Las for a while. He worked in the Brill Building doing bubblegum songs, like Fruitgum Company-type stuff. And I think that’s what works about the single that doesn’t work about anything else.\u003c/p>\n\u003cp>The song has this raw kind of emotional power. That sounds really cheesy if I’m saying it about my own song, but I’m just going to say it, because who cares. And if you take this song that’s kind of raw and put this bubblegum veneer over it, it creates this tension that is, to me, really electrifying and satisfying. It’s like I’m trying to scream myself out of this beautiful bubble. It needed to be produced like that because it provided a contrast to how raw the material was.\u003c/p>\n\u003cp>\u003cstrong>That also might be one reason why it works so well when a when a 12- to 15-year-old girl gets a hold of it. When you’re 12 you can feel that intense raw feeling about lots of things — about makeup, or about glitter, or about hamburgers. That is a beautiful state of humanity, to be able to feel out of control about something that seems mundane. “Rebel Girl” is about very deep things, but it’s also mixing in those elements of the pop world. It seems to work for that age. \u003c/strong>\u003c/p>\n\u003cp>Well, also, it’s a song about not having to decide. Like, I had a huge crush on my best friend in junior high — I hope she doesn’t hear this — and when she got married, I had a nervous breakdown. Because I realized that in my childhood head I had set out this thing that someday we’d be on a, you know, rocking chair porch together or something. She was my best friend, and I had a super-big crush on her, and I didn’t know how to tell her. And then I just was like, “Well, I can be friends with her \u003cem>and\u003c/em> have a crush on her. It’s fine.”\u003c/p>\n\u003cp>You don’t have to only have a song be about desire, or only be about politics, or only be about a certain kind of love. It can be about a friendship love that also has a sexy element to it. Or if you want to read it a different way, like I’m singing to my girlfriend, fine. I just really like to write songs [with] the idea that you can be a lot of different things at once.\u003c/p>\n\u003cp>\u003cstrong>You’ve told a story about Bikini Kill being in the U.K. with Huggy Bear, where you heard people singing “Rebel Girl” through the wall from backstage. Do you remember this?\u003c/strong>\u003c/p>\n\u003cp>Oh my God, yes. I think there was, like, a bomb threat on the club — because of us, ostensibly. And there were a lot of guys there who were yelling stuff already at the opening band. We were in the dressing room, and we kind of just kept putting more and more makeup on, trying to avoid going downstairs, because we were scared: “Wait, should we cancel? What do we do?”\u003c/p>\n\u003cp>And then the girls in the crowd started singing “Rebel Girl” — like, chanting and clapping. And we just knew exactly what to do: We walked down the stairs and Tobi started playing that beat, and we sang with them. That was the only night that we ever started a show with “Rebel Girl.” And it was [still] a very aggressive, hostile show: There were guys screaming “Show us your t***” and calling us the c-word. I don’t know if we would have come down the stairs without those girls. It was one of those moments that happened in that band once or twice a year where you’re like, “We’re all together in this.” They were saying, “We want you, and we’re going to protect you.”\u003c/p>\n\u003cp>\u003cstrong>I love that you say that they wanted you. But I wonder if you felt in that moment that the song was an instrument of power for these girls, too. It wasn’t just about wanting you — it was about them protecting themselves via the song, in a way. \u003c/strong>\u003c/p>\n\u003cp>It’s a really different song when it’s chanted with no music: It was so much more beautiful, the way that they employed it, than I could ever sing it myself. They were letting us know that they were there, like a kind of Morse code, so we could hear through the floor that they wanted us to come down. Like, the song’s not about that: It’s not about, “Hey, band, please come downstairs and play a show for us.” But that’s what they communicated by the way they sang the song.\u003c/p>\n\u003cfigure id=\"attachment_13863823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863823\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg\" alt=\"Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c.jpg 1487w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s. \u003ccite>(Tammy Rae Carland/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You licensed “Rebel Girl” to the video game \u003c/strong>\u003cem>\u003cstrong>Rock Band\u003c/strong>\u003c/em>\u003cstrong> in 2008. In reporting on this song I’ve found it’s used in music education programs all over, not just at girls’ rock camps. I wonder if you think putting the song in that game expanded its reach, where it’s maybe reached girls that wouldn’t have otherwise had a chance to hear it. \u003c/strong>\u003c/p>\n\u003cp>Yes, and that’s exactly why I pushed for it. I just heard a podcast two days ago where the woman — I think she’s in her 20s — started off saying, “The first time I heard Bikini Kill was at my friend’s party, playing \u003cem>Rock Band\u003c/em>.” That was her first foray into the feminism mixing with punk thing, and now she has a podcast about women in music. It worked! Even just that one person.\u003c/p>\n\u003cp>You know what the really big thing is? \u003cem>10 Things I Hate About You\u003c/em>. Heath Ledger’s trying to impress Julia Stiles about his musical taste, and he says “Oh, I’m really into Bikini Kill,” or something like that. That was the sound of girls going onto the internet and checking it out; we got so many fans from that. I mean, I didn’t grow up with parents who listened to alternative or indie music or punk music or anything: We listened to a lot of Lynyrd Skynyrd and Molly Hatchet, me and my sister. So I learned about punk on television.\u003c/p>\n\u003cp>\u003cstrong>What does it feel like to perform the song now, at Bikini Kill’s reunion shows? The song has its own life, and you’ve gone through a lot of changes, done many different musical projects. Can you describe the feeling of playing “Rebel Girl” in 2019?\u003c/strong>\u003c/p>\n\u003cp>It kind of feels like coming home, but somebody fixed your house up really nice. Like, we’re not sleeping in the van anymore. Five thousand people are coming to see us a night, and that wasn’t what it was like for us in the ’90s. And the material feels very fresh, because we just started doing it again.\u003c/p>\n\u003cp>I’ll admit it: By the end of the band I was like, “God, if I have to play ‘Rebel Girl’ one more time … .” We could rotate everything else out, but you start feeling obligated to play the anthemic one, and it can get annoying. Now, 22 years later, it feels totally fresh again. Sometimes it’s about the people in the front row: I’m literally singing it to them, \u003cem>about \u003c/em>them, even though I don’t know them. Because I’m just psyched that they’re there.\u003c/p>\n\u003cp>\u003cstrong>We’re in an interesting turn of the wheel right now on the level of grassroots feminism and the youngest generations: There is this vitality and activism, and the #MeToo movement, and the gender fluidity of teens today that really fulfills and returns to what was happening in the ’90s. But then, of course, it’s also a very rough time politically. Can you talk about what the song might mean in this moment?\u003c/strong>\u003c/p>\n\u003cp>I almost feel like it was more of a dare in the ’90s, like diving off a high dive. Not because you needed a particular prowess to play that song, but because our shows were scary: There were confrontations, things thrown at us, stuff like that. So doing that song always felt like putting my superhero cape on at the end of the show and being like, “See, I showed you. We did it.”\u003c/p>\n\u003cp>Now, it feels more like a celebration. It feels like people are with us. Things really suck in a lot of ways, and we all know what’s going on. But things are also really changing culturally, and that’s a good thing. When we play the song live, a lot of people who do not like how things are going are all in the same room, dancing and celebrating — just having that moment of possibility in such a bad time period. It’s really important to celebrate how quickly things can change.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The radio version of this story includes conversations with campers and counselors at girls’ rock camps, where “Rebel Girl” has become essential listening. Hear the piece at the audio link. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>There’s something contradictory about the very idea of a punk rock anthem. From original snotheads the Sex Pistols to contemporary insurgents Pussy Riot, punk bands kick down norms to make space for new ideas; their music smashes through the rhetoric that often gets people singing choruses en masse. Punk is meant to clear the head, not fill it with sentimental feelings. So it’s notable when a punk song survives its own explosion to become a uniting force for generations beyond its bloody birth. This is the story of “\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">Rebel Girl\u003c/a>,” the 1993 song by the feminist punk band \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> that still echoes through the hearts of girls and women today.\u003c/p>\n\u003cp>Bikini Kill was the emblematic band in the early-1990s riot grrrl movement, which sought to prove that feminism could become a central element within punk and fundamentally change the music in the process. Hanna, with her alarm bell of a voice and kinetic, funny, sometimes cutting presence, became riot grrrl’s most visible torch-bearer. The band stayed together for seven years, releasing a small discography full of nonstop attacks on sexism and celebrations of independence and self-love. Its breakup in 1997 and the eventual waning of riot grrrl felt to many like the inevitable demise of a dream too brilliant to last.\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/jfCqCKY5nUc'\n title='//www.youtube.com/embed/jfCqCKY5nUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Twenty-plus years after riot grrrl peaked, however, its influence runs even more strongly through punk and the larger independent music world, and “Rebel Girl” is the song that most often signals its continued relevance. As younger artists from \u003ca href=\"https://www.npr.org/artists/465284166/lucy-dacus\">Lucy Dacus\u003c/a> to \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> carry riot grrrl’s messages forward into the new millennium, even younger girls around the world learn Bikini Kill’s anthem — often as part of the introduction to both music and feminism they receive at rock and roll camp.\u003c/p>\n\u003cp>Since the first rock camp for girls was founded by women directly inspired by riot grrrl nearly 20 years ago, these summer enclaves have multiplied around the world; the \u003ca href=\"https://www.girlsrockcampalliance.org/\">Girls’ Rock Camp Alliance\u003c/a> includes members from Buenos Aires to Pittsburgh to Tokyo. Thousands of kids aged 8 to 18 — mostly girls, though a few coed sessions aim to educate boys and welcome non-binary children — form their own bands, write their own songs and encounter riot grrrl’s feminist, anti-racist, LGBTQI-positive principles. And they yell out the inspiring, secretly deep lyrics to “Rebel Girl” in instrument classes and at camp showcases, to instructors and parents who loved it back when and hear it reborn in the voices of the girls they love.\u003c/p>\n\u003cp>Bikini Kill’s members found other ways to do the work they pursued in that band. Kathleen Hanna founded two influential groups, the electronic-based \u003ca href=\"https://www.npr.org/artists/15183638/le-tigre\">Le Tigre\u003c/a> and pop-punkers \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>, finding new ways to explore the intersection of politics and her own subjectivity. She’s proud of riot grrrl’s enduring legacy, especially as it’s flourished at rock camps; in fact, she’s served as a counselor at the Willie Mae Rock Camp in New York.\u003c/p>\n\u003cp>As part of NPR’s \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">American Anthem\u003c/a> series, I spoke with Hanna about the song’s origins and continued resonance. (You can hear the full radio piece, including interviews with girls’ rock campers and counselors, at the audio link on this page.) The story of the song, it turns out, can serve as a pocket history of riot grrrl, a movement that was always as full of love and constructive confusion as it was grounded in revolutionary ideas. Bikini Kill reunited this year for a handful of tour dates in the U.S. and England; “Rebel Girl” became a huge singalong on every date. “It feels great,” Hanna says of singing the song now, to crowds of 5,000 people instead of basements of 10 or 20. “It kind of feels like coming home, but somebody fixed your house up really nice. You know what I mean? Like, we’re not sleeping in the van anymore.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ann Powers: Tell me how the writing of “Rebel Girl” came about. I heard it was inspired by a friend. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kathleen Hanna:\u003c/strong> It was inspired by a bunch of friends. Bikini Kill was living in D.C., in this punk house called the Embassy. There was no air conditioning, and we were in the basement just writing songs. Me and Allison Wolfe [of the band Bratmobile] had started doing this group that later became riot grrrl, and it was a bunch of girls talking about starting bands and zines and how we could be feminist in the scene, including doing benefits for other groups that weren’t directly, you know, feminist with a capital “F.” I was also being mentored at the time by the spoken-word artist Juliana Luecking, who has always given me great advice and shown me the ropes as a feminist artist.\u003c/p>\n\u003cp>All of those girls were totally inspiring me, and the riot grrrl thing was inspiring me, and it was really like I just stuck my hand up in the air and there it was. I don’t really feel like I can take credit for writing it — I feel like it just kind of wrote itself.\u003c/p>\n\u003cp>\u003cstrong>I can definitely feel that in how the lyrics shift between various stances. It’s directed at one person narratively, but it is also an embrace that directs itself to anyone it touches. You wrote it as a young adult, but it could be the voice of a young girl — the rhetoric of it, the language of it. Did you feel like you were blending more than one voice in the song?\u003c/strong>\u003c/p>\n\u003cp>I mean, that was like my whole shtick in the ’90s. We were all talking about not being binary, not having a single narrator, all that kind of postmodernist stuff. And so of course, I was really influenced by the idea that identity is fluid. [But] it’s also that childhood, sexy feeling of having a crush on someone, where you don’t really understand what’s happening. … I always liked the older, kind of bitchy girls in my neighborhood, who used to leave me out of things. I wanted to be them, or be like them, or make out with them — I didn’t really know. [With “Rebel Girl”] I was kind of like, “All of the above.”\u003c/p>\n\u003cp>\u003cstrong>To me, the key line is in the chorus, when you sing: “I think wanna take you home / I wanna try on your clothes.” Because “I want to take you home” is a line that’s in every dude rock song, as a come-on. But then, surprise — I’m going to try on your clothes. Tell me about that line.\u003c/strong>\u003c/p>\n\u003cp>We had a thing in Bikini Kill where whoever looked best in an outfit got to keep it. The bad thing about that was, if my suitcase was open, I would come in and find Tobi and Kathi trying on all my clothes. And they looked better in a lot of my clothes than I did! Even if you’d just bought a dress, if someone else put it on and they looked just so great in it, you had to give it to them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>When my daughter was in her punk band, they did that. I never knew whose clothes I was washing. \u003c/strong>\u003c/p>\n\u003cp>But actually, when we wrote that song, the band was not getting along very well. And I think that’s really interesting, because there’s this total myth — especially when you have more than one woman in a band — that our friendship being really great is so important for us to be artistically productive. Sometimes our friendship was really bad: We weren’t communicating great, people weren’t adjusting to D.C. very well, I was working a lot. But we still wrote the song that everybody likes the best during that time period.\u003c/p>\n\u003cp>\u003cstrong>I think this correlates really well to what rock camps try to teach girls. At rock camp you have to form a band, and by the end of the week, write a song and perform it on stage. You aren’t necessarily going to get along with the girls in your band — and all those emotions happen in hyperdrive at camp. Twelve-year-old girls are expected to have girl power and be friends and support each other at all times, but then there’s the dark side of that, right? There’s something about “Rebel Girl” that acknowledges that tension and hostility, even within the performance of desire and connection.\u003c/strong>\u003c/p>\n\u003cp>I’m glad to hear that. I mean, the fact I wished things were better with me and Tobi and me and Kathi at that time — I’m sure there was a certain longing that came out in that song, because I missed being super close with them.\u003c/p>\n\u003cp>\u003cstrong>So let’s talk about recording the song, which the band did three times\u003c/strong>: \u003ca href=\"https://youtu.be/nrWYO2ylUFo?t=566\">\u003cstrong>once for a split record\u003c/strong>\u003c/a>\u003cstrong> with the British band Huggy Bear, \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=8yhk7f0ydq4\">\u003cstrong>once for your album\u003c/strong>\u003c/a> \u003cem>\u003cstrong>Pussy Whipped\u003c/strong>\u003c/em>\u003cstrong>, and a \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">\u003cstrong>single version\u003c/strong>\u003c/a>\u003cstrong> that Joan Jett produced, which is the version that’s most often heard now.\u003c/strong>\u003c/p>\n\u003cp>Third time’s the charm.\u003c/p>\n\u003cp>\u003cstrong>I read an interview where you talked about working with Jett, who of course is an icon of punk and of women in rock, but also her producer Kenny Laguna, who had done a lot of studio and pop work — I think he worked with The Archies. Did that pop side infuse that version of “Rebel Girl”?\u003c/strong>\u003c/p>\n\u003cp>Oh, definitely. I mean, he was in Tommy James and the Shondells. He was in The Shangri-Las for a while. He worked in the Brill Building doing bubblegum songs, like Fruitgum Company-type stuff. And I think that’s what works about the single that doesn’t work about anything else.\u003c/p>\n\u003cp>The song has this raw kind of emotional power. That sounds really cheesy if I’m saying it about my own song, but I’m just going to say it, because who cares. And if you take this song that’s kind of raw and put this bubblegum veneer over it, it creates this tension that is, to me, really electrifying and satisfying. It’s like I’m trying to scream myself out of this beautiful bubble. It needed to be produced like that because it provided a contrast to how raw the material was.\u003c/p>\n\u003cp>\u003cstrong>That also might be one reason why it works so well when a when a 12- to 15-year-old girl gets a hold of it. When you’re 12 you can feel that intense raw feeling about lots of things — about makeup, or about glitter, or about hamburgers. That is a beautiful state of humanity, to be able to feel out of control about something that seems mundane. “Rebel Girl” is about very deep things, but it’s also mixing in those elements of the pop world. It seems to work for that age. \u003c/strong>\u003c/p>\n\u003cp>Well, also, it’s a song about not having to decide. Like, I had a huge crush on my best friend in junior high — I hope she doesn’t hear this — and when she got married, I had a nervous breakdown. Because I realized that in my childhood head I had set out this thing that someday we’d be on a, you know, rocking chair porch together or something. She was my best friend, and I had a super-big crush on her, and I didn’t know how to tell her. And then I just was like, “Well, I can be friends with her \u003cem>and\u003c/em> have a crush on her. It’s fine.”\u003c/p>\n\u003cp>You don’t have to only have a song be about desire, or only be about politics, or only be about a certain kind of love. It can be about a friendship love that also has a sexy element to it. Or if you want to read it a different way, like I’m singing to my girlfriend, fine. I just really like to write songs [with] the idea that you can be a lot of different things at once.\u003c/p>\n\u003cp>\u003cstrong>You’ve told a story about Bikini Kill being in the U.K. with Huggy Bear, where you heard people singing “Rebel Girl” through the wall from backstage. Do you remember this?\u003c/strong>\u003c/p>\n\u003cp>Oh my God, yes. I think there was, like, a bomb threat on the club — because of us, ostensibly. And there were a lot of guys there who were yelling stuff already at the opening band. We were in the dressing room, and we kind of just kept putting more and more makeup on, trying to avoid going downstairs, because we were scared: “Wait, should we cancel? What do we do?”\u003c/p>\n\u003cp>And then the girls in the crowd started singing “Rebel Girl” — like, chanting and clapping. And we just knew exactly what to do: We walked down the stairs and Tobi started playing that beat, and we sang with them. That was the only night that we ever started a show with “Rebel Girl.” And it was [still] a very aggressive, hostile show: There were guys screaming “Show us your t***” and calling us the c-word. I don’t know if we would have come down the stairs without those girls. It was one of those moments that happened in that band once or twice a year where you’re like, “We’re all together in this.” They were saying, “We want you, and we’re going to protect you.”\u003c/p>\n\u003cp>\u003cstrong>I love that you say that they wanted you. But I wonder if you felt in that moment that the song was an instrument of power for these girls, too. It wasn’t just about wanting you — it was about them protecting themselves via the song, in a way. \u003c/strong>\u003c/p>\n\u003cp>It’s a really different song when it’s chanted with no music: It was so much more beautiful, the way that they employed it, than I could ever sing it myself. They were letting us know that they were there, like a kind of Morse code, so we could hear through the floor that they wanted us to come down. Like, the song’s not about that: It’s not about, “Hey, band, please come downstairs and play a show for us.” But that’s what they communicated by the way they sang the song.\u003c/p>\n\u003cfigure id=\"attachment_13863823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863823\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg\" alt=\"Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c.jpg 1487w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s. \u003ccite>(Tammy Rae Carland/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You licensed “Rebel Girl” to the video game \u003c/strong>\u003cem>\u003cstrong>Rock Band\u003c/strong>\u003c/em>\u003cstrong> in 2008. In reporting on this song I’ve found it’s used in music education programs all over, not just at girls’ rock camps. I wonder if you think putting the song in that game expanded its reach, where it’s maybe reached girls that wouldn’t have otherwise had a chance to hear it. \u003c/strong>\u003c/p>\n\u003cp>Yes, and that’s exactly why I pushed for it. I just heard a podcast two days ago where the woman — I think she’s in her 20s — started off saying, “The first time I heard Bikini Kill was at my friend’s party, playing \u003cem>Rock Band\u003c/em>.” That was her first foray into the feminism mixing with punk thing, and now she has a podcast about women in music. It worked! Even just that one person.\u003c/p>\n\u003cp>You know what the really big thing is? \u003cem>10 Things I Hate About You\u003c/em>. Heath Ledger’s trying to impress Julia Stiles about his musical taste, and he says “Oh, I’m really into Bikini Kill,” or something like that. That was the sound of girls going onto the internet and checking it out; we got so many fans from that. I mean, I didn’t grow up with parents who listened to alternative or indie music or punk music or anything: We listened to a lot of Lynyrd Skynyrd and Molly Hatchet, me and my sister. So I learned about punk on television.\u003c/p>\n\u003cp>\u003cstrong>What does it feel like to perform the song now, at Bikini Kill’s reunion shows? The song has its own life, and you’ve gone through a lot of changes, done many different musical projects. Can you describe the feeling of playing “Rebel Girl” in 2019?\u003c/strong>\u003c/p>\n\u003cp>It kind of feels like coming home, but somebody fixed your house up really nice. Like, we’re not sleeping in the van anymore. Five thousand people are coming to see us a night, and that wasn’t what it was like for us in the ’90s. And the material feels very fresh, because we just started doing it again.\u003c/p>\n\u003cp>I’ll admit it: By the end of the band I was like, “God, if I have to play ‘Rebel Girl’ one more time … .” We could rotate everything else out, but you start feeling obligated to play the anthemic one, and it can get annoying. Now, 22 years later, it feels totally fresh again. Sometimes it’s about the people in the front row: I’m literally singing it to them, \u003cem>about \u003c/em>them, even though I don’t know them. Because I’m just psyched that they’re there.\u003c/p>\n\u003cp>\u003cstrong>We’re in an interesting turn of the wheel right now on the level of grassroots feminism and the youngest generations: There is this vitality and activism, and the #MeToo movement, and the gender fluidity of teens today that really fulfills and returns to what was happening in the ’90s. But then, of course, it’s also a very rough time politically. Can you talk about what the song might mean in this moment?\u003c/strong>\u003c/p>\n\u003cp>I almost feel like it was more of a dare in the ’90s, like diving off a high dive. Not because you needed a particular prowess to play that song, but because our shows were scary: There were confrontations, things thrown at us, stuff like that. So doing that song always felt like putting my superhero cape on at the end of the show and being like, “See, I showed you. We did it.”\u003c/p>\n\u003cp>Now, it feels more like a celebration. It feels like people are with us. Things really suck in a lot of ways, and we all know what’s going on. But things are also really changing culturally, and that’s a good thing. When we play the song live, a lot of people who do not like how things are going are all in the same room, dancing and celebrating — just having that moment of possibility in such a bad time period. It’s really important to celebrate how quickly things can change.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Michelle Williams On Equal Pay, 'After the Wedding' and Being a Single Mom",
"headTitle": "Michelle Williams On Equal Pay, ‘After the Wedding’ and Being a Single Mom | KQED",
"content": "\u003cp>\u003cem>After the Wedding\u003c/em> is a movie full of transformative secrets.\u003c/p>\n\u003cp>It’s a gender-swapped remake of a 2006 Danish film, and when we first meet the main character—Isabel, played by Michelle Williams—she’s living a modest, humble life running an orphanage in India. Then one day she’s asked to go to New York City to clinch a deal for a life-changing donation to the orphanage. The money would come from a media mogul, Theresa, played by Julianne Moore.\u003c/p>\n\u003cp>That transaction lands Isabel in a world of wealth and power tied too closely to her past—when she was a very different person.\u003c/p>\n\u003cp>“I thought of her as somebody who used to burn very hot, and whose fire had to be extinguished,” Williams says in an interview. “And that only a place like India, with all of its sights and smells and sounds, can calm a person like this.”\u003c/p>\n\u003cp>Michelle Williams spoke with NPR about her role in \u003cem>After the Wedding\u003c/em>, the effect of pay inequality on her own career and filming in India.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a place that I’ve been drawn to for its religious heritage, its fervor, the way that it overwhelms your senses,” Williams says. “But what was most unusual about it was shooting in a Third World country. I don’t think that I’ve ever shot a film in those circumstances. And the sentiment that I was left with, when we departed India, was: It’s such a luxury to have problems. And it was one of the things that I wanted to address in making this film, was to play someone whose tolerance for petty grievances or opulent displays of wealth was shattered because of the life she had lived for the last two decades.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RJ4QxPjU2Lk\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character Isabel, who is visibly uncomfortable with wealth\u003c/strong>\u003c/p>\n\u003cp>She was a New Yorker, and she had a life in New York, and she fled it — and she recreated herself in India as somebody whose life was devoted to making other people’s lives better. And whether that’s selfish or selfless, up to you. But as a New Yorker, I think a lot about how these economic situations abut each other, and about what my family’s response is to that, what my daughter and I talk about as it relates to that. And so it was something that I wanted to put on screen and hopefully send out to a larger conversation. How do we see what we see … how does that change how we live? …\u003c/p>\n\u003cp>What my character finds herself in is a situation with a woman who thinks that there’s a price on people, and that what she’s offering will appeal to my character—that isn’t it what everyone wants, money and power? And what my character is saying by resisting the offer is that more than anything, she wants freedom and autonomy and to live a life of her own making. But the ultimate question comes toward the end, when what she’s made to realize is that this money that’s being dangled in front of her will affect other peoples’ lives.\u003c/p>\n\u003cp>\u003cstrong>On the aftermath of the \u003c/strong>\u003ca href=\"https://www.npr.org/2018/01/10/577163183/how-a-massive-pay-gap-occurred-in-the-all-the-money-in-the-world-reshoot\">\u003cstrong>All the Money in the World\u003c/strong> \u003cstrong>controversy\u003c/strong>\u003c/a>\u003cstrong>, where she received a tiny fraction of the money her male co-star was paid\u003c/strong>\u003c/p>\n\u003cp>It is a sort of private humiliation that became the greatest public platform of my life—much more so than talking about my film and stage work. Because, as I said in a speech on Capitol Hill: If it’s like this for me, how bad is it for other women? And I have started to see a shift, certainly in the way that people treat me—and from what I hear from women coming up to me, that my example has been really useful for them. …\u003c/p>\n\u003cp>It has changed the way that I try and think about money—because it’s tied into our self-worth. And I didn’t really think to ask for it because I didn’t think to value myself in that kind of way. And when I started to think about what would I use money for if I had it, and I started to think about freedom of choice or freedom of time, then I started to be able to open myself up to the idea that I could put a value on myself, and ask for it in my workplace.\u003c/p>\n\u003cp>\u003cstrong>On what she’s said to her daughter about the experience\u003c/strong>\u003c/p>\n\u003cp>Well, what’s so great with single parenting is that you live in extreme intimacy with each another. So everything that I go through, she’s very well aware of it. And for the better, really—so, she was along for the ride of all of this in the last couple of years, in terms of this issue of fair pay. So she’s seen me struggle, and then she’s seen this almost fairy-tale happy ending, which is the job that I most recently finished—a TV series called \u003cem>Fosse/Verdon\u003c/em>. I was paid the same as my male co-star [Sam Rockwell]. …\u003c/p>\n\u003cp>And unfortunately, that’s really the only way to move forward, is that it has to start at the top. And that’s what I experienced when I did this TV show with FX, was: They wanted to make the workplace fair. They wanted me to feel valued. So, what it means we talk about when supporting women—it doesn’t just mean holding our hands. It means supporting us economically.\u003c/p>\n\u003cp>\u003cstrong>On if roles for women are improving \u003c/strong>\u003c/p>\n\u003cp>I can say for me personally, my opportunities have gotten better and better. I’m more and more excited about the kind of work that I’m allowed to do—and that periods where I’m not working or not getting the kind of parts that I want to play, I can work on myself in those times. I can fill myself up in other ways so I’m ready and prepared when the role that I’ve been dreaming of does come my way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Cindy Johnston produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michelle+Williams+On+Economic+Inequality+In+Her+New+Movie+%E2%80%94+And+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>After the Wedding\u003c/em> is a movie full of transformative secrets.\u003c/p>\n\u003cp>It’s a gender-swapped remake of a 2006 Danish film, and when we first meet the main character—Isabel, played by Michelle Williams—she’s living a modest, humble life running an orphanage in India. Then one day she’s asked to go to New York City to clinch a deal for a life-changing donation to the orphanage. The money would come from a media mogul, Theresa, played by Julianne Moore.\u003c/p>\n\u003cp>That transaction lands Isabel in a world of wealth and power tied too closely to her past—when she was a very different person.\u003c/p>\n\u003cp>“I thought of her as somebody who used to burn very hot, and whose fire had to be extinguished,” Williams says in an interview. “And that only a place like India, with all of its sights and smells and sounds, can calm a person like this.”\u003c/p>\n\u003cp>Michelle Williams spoke with NPR about her role in \u003cem>After the Wedding\u003c/em>, the effect of pay inequality on her own career and filming in India.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a place that I’ve been drawn to for its religious heritage, its fervor, the way that it overwhelms your senses,” Williams says. “But what was most unusual about it was shooting in a Third World country. I don’t think that I’ve ever shot a film in those circumstances. And the sentiment that I was left with, when we departed India, was: It’s such a luxury to have problems. And it was one of the things that I wanted to address in making this film, was to play someone whose tolerance for petty grievances or opulent displays of wealth was shattered because of the life she had lived for the last two decades.”\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/RJ4QxPjU2Lk'\n title='//www.youtube.com/embed/RJ4QxPjU2Lk'\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 her character Isabel, who is visibly uncomfortable with wealth\u003c/strong>\u003c/p>\n\u003cp>She was a New Yorker, and she had a life in New York, and she fled it — and she recreated herself in India as somebody whose life was devoted to making other people’s lives better. And whether that’s selfish or selfless, up to you. But as a New Yorker, I think a lot about how these economic situations abut each other, and about what my family’s response is to that, what my daughter and I talk about as it relates to that. And so it was something that I wanted to put on screen and hopefully send out to a larger conversation. How do we see what we see … how does that change how we live? …\u003c/p>\n\u003cp>What my character finds herself in is a situation with a woman who thinks that there’s a price on people, and that what she’s offering will appeal to my character—that isn’t it what everyone wants, money and power? And what my character is saying by resisting the offer is that more than anything, she wants freedom and autonomy and to live a life of her own making. But the ultimate question comes toward the end, when what she’s made to realize is that this money that’s being dangled in front of her will affect other peoples’ lives.\u003c/p>\n\u003cp>\u003cstrong>On the aftermath of the \u003c/strong>\u003ca href=\"https://www.npr.org/2018/01/10/577163183/how-a-massive-pay-gap-occurred-in-the-all-the-money-in-the-world-reshoot\">\u003cstrong>All the Money in the World\u003c/strong> \u003cstrong>controversy\u003c/strong>\u003c/a>\u003cstrong>, where she received a tiny fraction of the money her male co-star was paid\u003c/strong>\u003c/p>\n\u003cp>It is a sort of private humiliation that became the greatest public platform of my life—much more so than talking about my film and stage work. Because, as I said in a speech on Capitol Hill: If it’s like this for me, how bad is it for other women? And I have started to see a shift, certainly in the way that people treat me—and from what I hear from women coming up to me, that my example has been really useful for them. …\u003c/p>\n\u003cp>It has changed the way that I try and think about money—because it’s tied into our self-worth. And I didn’t really think to ask for it because I didn’t think to value myself in that kind of way. And when I started to think about what would I use money for if I had it, and I started to think about freedom of choice or freedom of time, then I started to be able to open myself up to the idea that I could put a value on myself, and ask for it in my workplace.\u003c/p>\n\u003cp>\u003cstrong>On what she’s said to her daughter about the experience\u003c/strong>\u003c/p>\n\u003cp>Well, what’s so great with single parenting is that you live in extreme intimacy with each another. So everything that I go through, she’s very well aware of it. And for the better, really—so, she was along for the ride of all of this in the last couple of years, in terms of this issue of fair pay. So she’s seen me struggle, and then she’s seen this almost fairy-tale happy ending, which is the job that I most recently finished—a TV series called \u003cem>Fosse/Verdon\u003c/em>. I was paid the same as my male co-star [Sam Rockwell]. …\u003c/p>\n\u003cp>And unfortunately, that’s really the only way to move forward, is that it has to start at the top. And that’s what I experienced when I did this TV show with FX, was: They wanted to make the workplace fair. They wanted me to feel valued. So, what it means we talk about when supporting women—it doesn’t just mean holding our hands. It means supporting us economically.\u003c/p>\n\u003cp>\u003cstrong>On if roles for women are improving \u003c/strong>\u003c/p>\n\u003cp>I can say for me personally, my opportunities have gotten better and better. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Cindy Johnston produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michelle+Williams+On+Economic+Inequality+In+Her+New+Movie+%E2%80%94+And+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Jaws' Shark Gets His Bite Back: A Love Story",
"headTitle": "‘Jaws’ Shark Gets His Bite Back: A Love Story | KQED",
"content": "\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The last replica shark from the 1975 classic blockbuster, 'Jaws', has gotten a facelift on his way to a new museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Kitchen,' Mob Wives Are Doin' it For Themselves",
"headTitle": "In ‘The Kitchen,’ Mob Wives Are Doin’ it For Themselves | KQED",
"content": "\u003cp>In \u003cem>The Kitchen\u003c/em>, Tiffany Haddish snatches a revolver from her just-out-of-jail gangster husband, gets up in his face, and snarls, “It’s \u003cem>my \u003c/em>business now.”\u003c/p>\n\u003cp>It’s a strong moment—one that gets at something deeper than the surface pleasures and platitudes of a mob movie led by women; it intimates just how caustic and corrosive running a business can be. How are the consequences of the American Dream—the ruthless ambitions that drive capitalism—gendered?\u003c/p>\n\u003cp>That’s the question at the center of Andrea Berloff’s film, based on the comic book miniseries by Ollie Masters and illustrated by Ming Doyle. Yet so much of what’s promising about \u003cem>The Kitchen, \u003c/em>including its ability to explore that question meaningfully, is hampered by its need to justify its own existence—to keep convincing you that it’s sufficiently woke.\u003c/p>\n\u003cp>The film follows three women (Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss) whose Irish gangster husbands (Brian d’Arcy James, Kevin O’Carroll, and Jeremy Bobb, respectively) are sent to jail, leaving the three to pick up the pieces in 1970s-era Hell’s Kitchen. As we watch them assert power and claim turf for themselves,\u003cem>The Kitchen\u003c/em> does give Haddish and Moss room to flex their genre muscles, but it habitually second-guesses its own decision to tell its story in the first place.\u003c/p>\n\u003cp>The palpable, hesitant self-doubt the film exudes is ironic, given the trajectory of its characters’ ascension in the mob world. Kathy (McCarthy), Ruby (Haddish), and Claire (Moss) have to prove to the family that anything male mobsters can do, they can do better. It feels like the film, too, keeps trying to say this. In several scenes, characters explicate and underline that women can be gangsters, too, and that the world is misogynistic, patriarchal and racist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The character of Little Jackie (Myt Watford), for example—who runs things while Ruby’s husband is behind bars—is written as a stingy, foul, \u003cem>cartoonishly \u003c/em>misogynistic jerk. By showing him shorting the women the money they now need to support themselves and their families, the script tells us everything we need to know about how women are undervalued in that system. But the film relentlessly asserts and overexplains this point, stripping it of any human nuance. Writer-director Andrea Berloff’s script similarly telegraphs what it means when the women take things into their own hands, employing clunky dialogue about how meaningful it is that these characters can do this.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlcyEDZVYkw\u003c/p>\n\u003cp>Those moments when the film makes its points about gender and power dynamics using little to no dialogue are its most effective. It’s a lot more interesting, for instance, to watch Tiffany Haddish strut down a crosswalk, hand held out at cars, evoking Pam Grier as she \u003cem>literally \u003c/em>stops traffic, than it is to listen to her intone that they need to remind the family “what the word \u003cem>family \u003c/em>even \u003cem>means\u003c/em>.”\u003c/p>\n\u003cp>It’s also more exciting to watch Elisabeth Moss, whose character is heavily shaped by the marital abuse she’s experienced, wield a Magnum at a street harasser than it is to watch her chew her way through ham-fisted speeches about the action she just took, or is about to take.\u003c/p>\n\u003cp>Once the film settles down and stops trying to rationalize itself, \u003cem>The Kitchen\u003c/em> can be thrilling. Soon enough, things get appropriately pulpy and nasty, leaning into genre conventions and then inflecting them with female power. As Margo Channing might opine, “Funny business, a woman’s career.” Berloff lets her leads walk the streets like they own them, because they do, adding ghoulish details that drive this home: the body in the alleyway, the bloodstains on the wall, the cross hanging on a wall behind someone as they hack away at a corpse.\u003c/p>\n\u003cp>When it’s actively exploring ambiguities of power and alliance, transaction and labor, leadership and territory, the film raises intriguing questions about capitalism, gender and race. And it manages to do so while supplying a steady stream of entertaining plot twists. As the relationships among these three women fluctuate and evolve, they emerge as clear, individualized characters, as opposed to mouthpieces delivering talking points about gender politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It takes roughly a third of the film’s running time for it to stop insisting on itself long enough to dig deeper, beyond the surface optics of its story. In the end, Berloff \u003cem>is\u003c/em> invested in showing us that in the mob—as in the world of “legitimate” business—empires are built on the blood of others. I just wish the film didn’t feel it needed to tell us to buckle our seatbelts; we already knew it was going to be a bumpy night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Overwritten%2C+Undercooked+%27The+Kitchen%2C%27+Mob+Wives+Are+Doin%27+It+For+Themselves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>The Kitchen\u003c/em>, Tiffany Haddish snatches a revolver from her just-out-of-jail gangster husband, gets up in his face, and snarls, “It’s \u003cem>my \u003c/em>business now.”\u003c/p>\n\u003cp>It’s a strong moment—one that gets at something deeper than the surface pleasures and platitudes of a mob movie led by women; it intimates just how caustic and corrosive running a business can be. How are the consequences of the American Dream—the ruthless ambitions that drive capitalism—gendered?\u003c/p>\n\u003cp>That’s the question at the center of Andrea Berloff’s film, based on the comic book miniseries by Ollie Masters and illustrated by Ming Doyle. Yet so much of what’s promising about \u003cem>The Kitchen, \u003c/em>including its ability to explore that question meaningfully, is hampered by its need to justify its own existence—to keep convincing you that it’s sufficiently woke.\u003c/p>\n\u003cp>The film follows three women (Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss) whose Irish gangster husbands (Brian d’Arcy James, Kevin O’Carroll, and Jeremy Bobb, respectively) are sent to jail, leaving the three to pick up the pieces in 1970s-era Hell’s Kitchen. As we watch them assert power and claim turf for themselves,\u003cem>The Kitchen\u003c/em> does give Haddish and Moss room to flex their genre muscles, but it habitually second-guesses its own decision to tell its story in the first place.\u003c/p>\n\u003cp>The palpable, hesitant self-doubt the film exudes is ironic, given the trajectory of its characters’ ascension in the mob world. Kathy (McCarthy), Ruby (Haddish), and Claire (Moss) have to prove to the family that anything male mobsters can do, they can do better. It feels like the film, too, keeps trying to say this. In several scenes, characters explicate and underline that women can be gangsters, too, and that the world is misogynistic, patriarchal and racist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The character of Little Jackie (Myt Watford), for example—who runs things while Ruby’s husband is behind bars—is written as a stingy, foul, \u003cem>cartoonishly \u003c/em>misogynistic jerk. By showing him shorting the women the money they now need to support themselves and their families, the script tells us everything we need to know about how women are undervalued in that system. But the film relentlessly asserts and overexplains this point, stripping it of any human nuance. Writer-director Andrea Berloff’s script similarly telegraphs what it means when the women take things into their own hands, employing clunky dialogue about how meaningful it is that these characters can do this.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YlcyEDZVYkw'\n title='//www.youtube.com/embed/YlcyEDZVYkw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those moments when the film makes its points about gender and power dynamics using little to no dialogue are its most effective. It’s a lot more interesting, for instance, to watch Tiffany Haddish strut down a crosswalk, hand held out at cars, evoking Pam Grier as she \u003cem>literally \u003c/em>stops traffic, than it is to listen to her intone that they need to remind the family “what the word \u003cem>family \u003c/em>even \u003cem>means\u003c/em>.”\u003c/p>\n\u003cp>It’s also more exciting to watch Elisabeth Moss, whose character is heavily shaped by the marital abuse she’s experienced, wield a Magnum at a street harasser than it is to watch her chew her way through ham-fisted speeches about the action she just took, or is about to take.\u003c/p>\n\u003cp>Once the film settles down and stops trying to rationalize itself, \u003cem>The Kitchen\u003c/em> can be thrilling. Soon enough, things get appropriately pulpy and nasty, leaning into genre conventions and then inflecting them with female power. As Margo Channing might opine, “Funny business, a woman’s career.” Berloff lets her leads walk the streets like they own them, because they do, adding ghoulish details that drive this home: the body in the alleyway, the bloodstains on the wall, the cross hanging on a wall behind someone as they hack away at a corpse.\u003c/p>\n\u003cp>When it’s actively exploring ambiguities of power and alliance, transaction and labor, leadership and territory, the film raises intriguing questions about capitalism, gender and race. And it manages to do so while supplying a steady stream of entertaining plot twists. As the relationships among these three women fluctuate and evolve, they emerge as clear, individualized characters, as opposed to mouthpieces delivering talking points about gender politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It takes roughly a third of the film’s running time for it to stop insisting on itself long enough to dig deeper, beyond the surface optics of its story. In the end, Berloff \u003cem>is\u003c/em> invested in showing us that in the mob—as in the world of “legitimate” business—empires are built on the blood of others. I just wish the film didn’t feel it needed to tell us to buckle our seatbelts; we already knew it was going to be a bumpy night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Overwritten%2C+Undercooked+%27The+Kitchen%2C%27+Mob+Wives+Are+Doin%27+It+For+Themselves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why America Needs #GreenShirtGuy and #30-50FeralHogs Right Now",
"headTitle": "Why America Needs #GreenShirtGuy and #30-50FeralHogs Right Now | KQED",
"content": "\u003cp>It’s happened twice in the last few days: ridiculous trending topics on social media prompted by otherwise inescapably dark moments in the United States of America. Despite the tragedies behind #30-50FeralHogs and the anti-immigrant rhetoric on display in #GreenShirtGuy’s point of genesis, these memes have provided surprising and much-needed points of levity in an otherwise exhaustingly heavy landscape—and modern though they appear, they’re actually rooted in evolutionary survival methods.\u003c/p>\n\u003cp>On Monday we learned of #30-50FeralHogs, a phrase that emerged from gun control discussions that were taking place online, prompted by the mass shootings in Gilroy, El Paso and Dayton, as well as so many simultaneous shootings in Chicago that Mount Sinai Hospital was forced to \u003ca href=\"https://www.cnn.com/2019/08/04/us/chicago-mount-sinai-hospital/index.html\" target=\"_blank\" rel=\"noopener\">temporarily close its doors\u003c/a>.\u003c/p>\n\u003cp>It all started with a libertarian in Arkansas named \u003ca href=\"https://twitter.com/WillieMcNabb\" target=\"_blank\" rel=\"noopener\">William McNabb\u003c/a>:\u003c/p>\n\u003cp>https://twitter.com/WillieMcNabb/status/1158045307562856448?s=20\u003c/p>\n\u003cp>While \u003ca href=\"https://www.theguardian.com/us-news/2019/aug/05/feral-hogs-memes-twitter-30-50-running-into-my-yard-small-kids\" target=\"_blank\" rel=\"noopener\">\u003cem>The Guardian\u003c/em> was quick to note\u003c/a> the legitimacy of McNabb’s tweet—explaining that in “rural part[s] of the American south … large groups of feral hogs are, according to one expert … ‘actually a huge problem'”—the meme response was swift and, frankly, a welcome relief after a weekend of horrifying news.\u003c/p>\n\u003cp>https://twitter.com/Walpvrgia/status/1159086448395599872\u003c/p>\n\u003cp>https://twitter.com/MegLegbird/status/1158589851412754432\u003c/p>\n\u003cp>https://twitter.com/Jamieno_/status/1158694890362028032\u003c/p>\n\u003cp>Then Wednesday, the country was introduced to #GreenShirtGuy (a man \u003ca href=\"https://twitter.com/pattonoswalt/status/1159159192852127744\" target=\"_blank\" rel=\"noopener\">quickly identified\u003c/a> by comedian Patton Oswalt as a Washington, D.C. resident named \u003ca href=\"https://twitter.com/Alex_Kack\" target=\"_blank\" rel=\"noopener\">Alex Kack\u003c/a>) who somehow managed to heartily laugh his way through a tense situation during a city council meeting about sanctuary cities. Kack was quickly embraced by a nation palpably sick of in-fighting and partisanship.\u003c/p>\n\u003cp>https://twitter.com/pattonoswalt/status/1159159192852127744\u003c/p>\n\u003cp>https://twitter.com/DaveErnesto/status/1159183931440336898\u003c/p>\n\u003cp>https://twitter.com/JoeMill73489060/status/1159140102221832192\u003c/p>\n\u003cp>Because, yes, #PlaidShirtGuy—a Billings high school student—proved similarly popular on social media last year after attending a Trump rally in Montana and letting his face do the talking.\u003c/p>\n\u003cp>https://twitter.com/AmoneyResists/status/1038046557818499072\u003c/p>\n\u003cp>Almost a year on, the joy #PlaidShirtGuy brought people has not been forgotten.\u003c/p>\n\u003cp>https://twitter.com/ink_lotus/status/1159151773426298886\u003c/p>\n\u003cp>While #GreenShirtGuy ended up being the star of the town council clip, adoration has also been directed to the gentleman behind him holding a banjo (#BanjoGuy) and another man shouting the phrase “You are in direct violation of being a jackass!” (#RedShirtGuy)\u003c/p>\n\u003cp>https://twitter.com/DannyDeraney/status/1159168926112083970\u003c/p>\n\u003cp>https://twitter.com/crveljvan/status/1159206448582156290\u003c/p>\n\u003cp>The hyperfocus applied to almost everyone in this video \u003cem>other\u003c/em> than the woman angrily shouting is a demonstration of just how desperate the country currently is for comic relief. Laughing in the face of tragedy and/or volatility may often feel unnatural to our rational brains, but using humor to cope is something hardwired into humanity.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://www.amazon.com/Brief-Tour-Human-Consciousness-Impostor/dp/0131872788\" target=\"_blank\" rel=\"noopener\">A Brief Tour of Human Consciousness\u003c/a>\u003c/em>, neurologist V. S. Ramachandran explains that laughing in circumstances that are surface-level scary originally developed as a way to let other members of the community know when not to “waste your precious resources on this situation.” In 2019, laughing at one man’s problem with feral hogs, or with someone who’s cracking up because of an angry protester, allows us to briefly forget about the bigger, more important issues at stake, and find temporary respite in the related, but inconsequential ones.\u003c/p>\n\u003cp>Beyond those evolutionary roots, finding shared humor in single events also acts as a community builder. Author of \u003cem>Laughter: A Scientific Investigation\u003c/em>, neuroscientist \u003ca href=\"https://www.psychologytoday.com/us/articles/200011/the-science-laughter\" target=\"_blank\" rel=\"noopener\">Robert Provine notes\u003c/a>, “Laughter is primarily a social vocalization that binds people together. It is a hidden language that we all speak. It is not a learned group reaction but an instinctive behavior programmed by our genes.”\u003c/p>\n\u003cp>On Sep. 13, 2001, author, comedy coach and funny person Judy Carter started a promotional tour for her book, \u003ca href=\"https://www.amazon.com/Comedy-Bible-Stand-up-Sitcom-Ultimate/dp/0743201256\" target=\"_blank\" rel=\"noopener\">\u003cem>The Comedy Bible\u003c/em>\u003c/a>, in New York. Her friends told her to cancel, that nobody wanted to laugh two days after 9/11—but she went anyway. \u003ca href=\"https://www.psychologytoday.com/us/blog/stress-is-laughing-matter/201710/how-do-we-laugh-in-times-tragedy\" target=\"_blank\" rel=\"noopener\">Writing for \u003cem>Psychology Today\u003c/em>\u003c/a> 16 years later, Carter explained:\u003c/p>\n\u003cblockquote>\u003cp>“In front of 200 people at a show at the Gotham Comedy Club, we had a moment of silence and then I went into my material. There was that moment that all comics know about; the silence before the joke hits the audience. That night, the gap seemed excruciatingly long. And then, people laughed. They didn’t just laugh, they erupted. It was loud and deafening as acts of rebellion usually are. It was as if the audience was saying, ‘Terrorists have taken away a part of our city, our community, and our sense of security, but we will be damned if they take away our sense of humor.’ … Humor is healing.”\u003c/p>\u003c/blockquote>\n\u003cp>While taking the biggest issues our country currently faces and boiling them down to their most frivolous edges can feel inappropriate—tasteless, even—it’s actually (as so many Twitter users have specifically noted) giving us life. It’s granting us respite from social stress; and reminding us that, in moments much bigger than our individual selves, we can find community in humor, and regain some sense of control over how we filter distressing information.\u003c/p>\n\u003cp>“I think this should be our new collective wave of civil disobedience,” Kathy Griffin \u003ca href=\"https://twitter.com/kathygriffin/status/1159171452639182848\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> about #GreenShirtGuy. “I’m serious. Giant groups of us, at every event, our LOUD, laughing voices will be heard joyously … #GreenShirtGuy I think you’ve given us the answer we have been looking for!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Finding joy in frivolous hashtags related to larger, much darker events isn't just comic relief, its an evolutionary form of community building. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s happened twice in the last few days: ridiculous trending topics on social media prompted by otherwise inescapably dark moments in the United States of America. Despite the tragedies behind #30-50FeralHogs and the anti-immigrant rhetoric on display in #GreenShirtGuy’s point of genesis, these memes have provided surprising and much-needed points of levity in an otherwise exhaustingly heavy landscape—and modern though they appear, they’re actually rooted in evolutionary survival methods.\u003c/p>\n\u003cp>On Monday we learned of #30-50FeralHogs, a phrase that emerged from gun control discussions that were taking place online, prompted by the mass shootings in Gilroy, El Paso and Dayton, as well as so many simultaneous shootings in Chicago that Mount Sinai Hospital was forced to \u003ca href=\"https://www.cnn.com/2019/08/04/us/chicago-mount-sinai-hospital/index.html\" target=\"_blank\" rel=\"noopener\">temporarily close its doors\u003c/a>.\u003c/p>\n\u003cp>It all started with a libertarian in Arkansas named \u003ca href=\"https://twitter.com/WillieMcNabb\" target=\"_blank\" rel=\"noopener\">William McNabb\u003c/a>:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>While \u003ca href=\"https://www.theguardian.com/us-news/2019/aug/05/feral-hogs-memes-twitter-30-50-running-into-my-yard-small-kids\" target=\"_blank\" rel=\"noopener\">\u003cem>The Guardian\u003c/em> was quick to note\u003c/a> the legitimacy of McNabb’s tweet—explaining that in “rural part[s] of the American south … large groups of feral hogs are, according to one expert … ‘actually a huge problem'”—the meme response was swift and, frankly, a welcome relief after a weekend of horrifying news.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then Wednesday, the country was introduced to #GreenShirtGuy (a man \u003ca href=\"https://twitter.com/pattonoswalt/status/1159159192852127744\" target=\"_blank\" rel=\"noopener\">quickly identified\u003c/a> by comedian Patton Oswalt as a Washington, D.C. resident named \u003ca href=\"https://twitter.com/Alex_Kack\" target=\"_blank\" rel=\"noopener\">Alex Kack\u003c/a>) who somehow managed to heartily laugh his way through a tense situation during a city council meeting about sanctuary cities. Kack was quickly embraced by a nation palpably sick of in-fighting and partisanship.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Because, yes, #PlaidShirtGuy—a Billings high school student—proved similarly popular on social media last year after attending a Trump rally in Montana and letting his face do the talking.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Almost a year on, the joy #PlaidShirtGuy brought people has not been forgotten.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>While #GreenShirtGuy ended up being the star of the town council clip, adoration has also been directed to the gentleman behind him holding a banjo (#BanjoGuy) and another man shouting the phrase “You are in direct violation of being a jackass!” (#RedShirtGuy)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The hyperfocus applied to almost everyone in this video \u003cem>other\u003c/em> than the woman angrily shouting is a demonstration of just how desperate the country currently is for comic relief. Laughing in the face of tragedy and/or volatility may often feel unnatural to our rational brains, but using humor to cope is something hardwired into humanity.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://www.amazon.com/Brief-Tour-Human-Consciousness-Impostor/dp/0131872788\" target=\"_blank\" rel=\"noopener\">A Brief Tour of Human Consciousness\u003c/a>\u003c/em>, neurologist V. S. Ramachandran explains that laughing in circumstances that are surface-level scary originally developed as a way to let other members of the community know when not to “waste your precious resources on this situation.” In 2019, laughing at one man’s problem with feral hogs, or with someone who’s cracking up because of an angry protester, allows us to briefly forget about the bigger, more important issues at stake, and find temporary respite in the related, but inconsequential ones.\u003c/p>\n\u003cp>Beyond those evolutionary roots, finding shared humor in single events also acts as a community builder. Author of \u003cem>Laughter: A Scientific Investigation\u003c/em>, neuroscientist \u003ca href=\"https://www.psychologytoday.com/us/articles/200011/the-science-laughter\" target=\"_blank\" rel=\"noopener\">Robert Provine notes\u003c/a>, “Laughter is primarily a social vocalization that binds people together. It is a hidden language that we all speak. It is not a learned group reaction but an instinctive behavior programmed by our genes.”\u003c/p>\n\u003cp>On Sep. 13, 2001, author, comedy coach and funny person Judy Carter started a promotional tour for her book, \u003ca href=\"https://www.amazon.com/Comedy-Bible-Stand-up-Sitcom-Ultimate/dp/0743201256\" target=\"_blank\" rel=\"noopener\">\u003cem>The Comedy Bible\u003c/em>\u003c/a>, in New York. Her friends told her to cancel, that nobody wanted to laugh two days after 9/11—but she went anyway. \u003ca href=\"https://www.psychologytoday.com/us/blog/stress-is-laughing-matter/201710/how-do-we-laugh-in-times-tragedy\" target=\"_blank\" rel=\"noopener\">Writing for \u003cem>Psychology Today\u003c/em>\u003c/a> 16 years later, Carter explained:\u003c/p>\n\u003cblockquote>\u003cp>“In front of 200 people at a show at the Gotham Comedy Club, we had a moment of silence and then I went into my material. There was that moment that all comics know about; the silence before the joke hits the audience. That night, the gap seemed excruciatingly long. And then, people laughed. They didn’t just laugh, they erupted. It was loud and deafening as acts of rebellion usually are. It was as if the audience was saying, ‘Terrorists have taken away a part of our city, our community, and our sense of security, but we will be damned if they take away our sense of humor.’ … Humor is healing.”\u003c/p>\u003c/blockquote>\n\u003cp>While taking the biggest issues our country currently faces and boiling them down to their most frivolous edges can feel inappropriate—tasteless, even—it’s actually (as so many Twitter users have specifically noted) giving us life. It’s granting us respite from social stress; and reminding us that, in moments much bigger than our individual selves, we can find community in humor, and regain some sense of control over how we filter distressing information.\u003c/p>\n\u003cp>“I think this should be our new collective wave of civil disobedience,” Kathy Griffin \u003ca href=\"https://twitter.com/kathygriffin/status/1159171452639182848\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> about #GreenShirtGuy. “I’m serious. Giant groups of us, at every event, our LOUD, laughing voices will be heard joyously … #GreenShirtGuy I think you’ve given us the answer we have been looking for!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Leave it up to Steph Curry to fix a run-down community basketball court in East Oakland—and to do it in style.\u003c/p>\n\u003cp>On Tuesday afternoon at Concordia Park, a large crowd of children cheered loudly as the Warriors guard tossed alley-oops to a squad of young hoopers. While parents watched from the bleachers, Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\n\u003cp>The occasion? A renovation of Concordia Park’s run-down basketball court, made possible by Curry’s philanthropy after just one tweet about the court’s condition, sent from an account with about 80 followers.\u003c/p>\n\u003cp>https://twitter.com/nimfromthaeast/status/1144369613448175616\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13849948/lo-fiction-chases-that-bag-through-east-oakland\" target=\"_blank\" rel=\"noopener\">Nimsins\u003c/a>, an educator, MC and resident of East Oakland, says that it was just after the Warriors lost the finals that he got up the nerve to ask for help.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nimsins is a hooper who uses the court regularly, and had noticed its dilapidated conditions for some time. “One of the backboards went down last year, so we were all sharing one court,” he told me.\u003c/p>\n\u003cp>He initially tried contacting the city about the court’s condition. “I called 311 so many times. I was just on hold,” Nimsins said. “I got the number for a claim, and then they told me they have a backboard. Then they told me it was going to be a process. And then, the third time I called, they acted like they didn’t know what I was talking about.”\u003c/p>\n\u003cfigure id=\"attachment_13863298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg\" alt=\"Conditions at Concordia Park's basketball court in June.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conditions at Concordia Park’s basketball court \u003ccite>(@nimsfromtheeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, with less than 100 followers at the time, he hoisted his metaphorical half-court shot. He sent out \u003ca href=\"https://twitter.com/nimfromthaeast/status/1144369613448175616?s=20\" target=\"_blank\" rel=\"noopener\">a tweet\u003c/a> asking for someone to come and fix the court, tagging the Warriors organization, as well as Kevon Looney, Draymond Green, Alfonzo McKinnie, Jordan Bell.\u003c/p>\n\u003cp>People noticed.\u003c/p>\n\u003cp>Nimsins said he was directly contacted by a number of people, from other concerned residents to Oakland’s own NBA superstar Damian Lillard. But \u003ca href=\"https://twitter.com/bryantabarr\" target=\"_blank\" rel=\"noopener\">Bryant Barr,\u003c/a> who leads Steph Curry’s philanthropy group SC30 Inc., had already began the process of finding a way to help.\u003c/p>\n\u003cp>“He asked me to open my DMs, but I’m new to Twitter, so I didn’t know what that meant!” Nimsins laughed. “For a minute I wasn’t responding, because I didn’t believe him.”\u003c/p>\n\u003cp>After getting in contact, the two discussed design and aesthetic of the forthcoming remodel. “He sent me a pic of the artwork model, and was like, ‘I have some artists in mind.’ I said ‘Cool, I have some artists in mind too.’ ”\u003c/p>\n\u003cp>It turned out that they were both thinking about \u003ca href=\"http://www.illuminaries.net/\" target=\"_blank\" rel=\"noopener\">The Illuminaries\u003c/a>, a Bay Area-based collective of artists composed of Tim Hon, Steve Ha, and Romali Licudan, who’ve painted a number of courts around the US, including one last year in West Oakland \u003ca href=\"https://www.kqed.org/arts/13842893/stars-come-out-for-a-freshly-painted-basketball-court-in-west-oakland\" target=\"_blank\" rel=\"noopener\">at DeFremery Park\u003c/a>. They worked with another well-known Bay Area-based artist, Kufue.\u003c/p>\n\u003cp>“Kufue taught me nine years ago at Fremont High School,” said Nimsins, happy that the artists were local.\u003c/p>\n\u003cfigure id=\"attachment_13863299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg\" alt=\"Steph Curry signs autographs for kids on the completed Concordia Park basketball court.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steph Curry signs autographs for kids on the completed Concordia Park basketball court. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within weeks, with Chase and Under Armour as sponsors, the project was done. In early August, Nimsins got a call to come down and see the court. He lives two minutes away, so it didn’t take him long to see the results of his tweet.\u003c/p>\n\u003cp>On Tuesday, the court opened to the public, with a star-studded grand opening that included the presence of Steph Curry, Dell Curry, and the newest Curry, Canon. Photographer Devin Allen, known for his work in Baltimore during the Freddie Gray uprising, snapped photos. Community activist and former East Oakland kingpin Darryl “Lil D” Reed watched from the bleachers. Steph Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\n\u003cp>https://twitter.com/UAbasketball/status/1159146516998582272\u003c/p>\n\u003cp>“I used to work at Frick Middle School,” said Nimsins of the school right next to the court. “All the people who pulled up, I know them personally.”\u003c/p>\n\u003cp>And then he met Steph. “He’s a nice dude!” Nimsins said. “I didn’t feel a pressure to meet him. He has a very welcoming energy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the park still needs some work—the grass isn’t well-maintained like other parks in Oakland, and the play structure isn’t somewhere Nimsins lets his young daughter play—he says once his daughter learns to walk, she’ll definitely be on that court.\u003c/p>\n\n",
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"headline": "Steph Curry Helps Renovate Run-Down Basketball Court in East Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it up to Steph Curry to fix a run-down community basketball court in East Oakland—and to do it in style.\u003c/p>\n\u003cp>On Tuesday afternoon at Concordia Park, a large crowd of children cheered loudly as the Warriors guard tossed alley-oops to a squad of young hoopers. While parents watched from the bleachers, Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\n\u003cp>The occasion? A renovation of Concordia Park’s run-down basketball court, made possible by Curry’s philanthropy after just one tweet about the court’s condition, sent from an account with about 80 followers.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13849948/lo-fiction-chases-that-bag-through-east-oakland\" target=\"_blank\" rel=\"noopener\">Nimsins\u003c/a>, an educator, MC and resident of East Oakland, says that it was just after the Warriors lost the finals that he got up the nerve to ask for help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nimsins is a hooper who uses the court regularly, and had noticed its dilapidated conditions for some time. “One of the backboards went down last year, so we were all sharing one court,” he told me.\u003c/p>\n\u003cp>He initially tried contacting the city about the court’s condition. “I called 311 so many times. I was just on hold,” Nimsins said. “I got the number for a claim, and then they told me they have a backboard. Then they told me it was going to be a process. And then, the third time I called, they acted like they didn’t know what I was talking about.”\u003c/p>\n\u003cfigure id=\"attachment_13863298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg\" alt=\"Conditions at Concordia Park's basketball court in June.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conditions at Concordia Park’s basketball court \u003ccite>(@nimsfromtheeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, with less than 100 followers at the time, he hoisted his metaphorical half-court shot. He sent out \u003ca href=\"https://twitter.com/nimfromthaeast/status/1144369613448175616?s=20\" target=\"_blank\" rel=\"noopener\">a tweet\u003c/a> asking for someone to come and fix the court, tagging the Warriors organization, as well as Kevon Looney, Draymond Green, Alfonzo McKinnie, Jordan Bell.\u003c/p>\n\u003cp>People noticed.\u003c/p>\n\u003cp>Nimsins said he was directly contacted by a number of people, from other concerned residents to Oakland’s own NBA superstar Damian Lillard. But \u003ca href=\"https://twitter.com/bryantabarr\" target=\"_blank\" rel=\"noopener\">Bryant Barr,\u003c/a> who leads Steph Curry’s philanthropy group SC30 Inc., had already began the process of finding a way to help.\u003c/p>\n\u003cp>“He asked me to open my DMs, but I’m new to Twitter, so I didn’t know what that meant!” Nimsins laughed. “For a minute I wasn’t responding, because I didn’t believe him.”\u003c/p>\n\u003cp>After getting in contact, the two discussed design and aesthetic of the forthcoming remodel. “He sent me a pic of the artwork model, and was like, ‘I have some artists in mind.’ I said ‘Cool, I have some artists in mind too.’ ”\u003c/p>\n\u003cp>It turned out that they were both thinking about \u003ca href=\"http://www.illuminaries.net/\" target=\"_blank\" rel=\"noopener\">The Illuminaries\u003c/a>, a Bay Area-based collective of artists composed of Tim Hon, Steve Ha, and Romali Licudan, who’ve painted a number of courts around the US, including one last year in West Oakland \u003ca href=\"https://www.kqed.org/arts/13842893/stars-come-out-for-a-freshly-painted-basketball-court-in-west-oakland\" target=\"_blank\" rel=\"noopener\">at DeFremery Park\u003c/a>. They worked with another well-known Bay Area-based artist, Kufue.\u003c/p>\n\u003cp>“Kufue taught me nine years ago at Fremont High School,” said Nimsins, happy that the artists were local.\u003c/p>\n\u003cfigure id=\"attachment_13863299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg\" alt=\"Steph Curry signs autographs for kids on the completed Concordia Park basketball court.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steph Curry signs autographs for kids on the completed Concordia Park basketball court. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within weeks, with Chase and Under Armour as sponsors, the project was done. In early August, Nimsins got a call to come down and see the court. He lives two minutes away, so it didn’t take him long to see the results of his tweet.\u003c/p>\n\u003cp>On Tuesday, the court opened to the public, with a star-studded grand opening that included the presence of Steph Curry, Dell Curry, and the newest Curry, Canon. Photographer Devin Allen, known for his work in Baltimore during the Freddie Gray uprising, snapped photos. Community activist and former East Oakland kingpin Darryl “Lil D” Reed watched from the bleachers. Steph Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I used to work at Frick Middle School,” said Nimsins of the school right next to the court. “All the people who pulled up, I know them personally.”\u003c/p>\n\u003cp>And then he met Steph. “He’s a nice dude!” Nimsins said. “I didn’t feel a pressure to meet him. He has a very welcoming energy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the park still needs some work—the grass isn’t well-maintained like other parks in Oakland, and the play structure isn’t somewhere Nimsins lets his young daughter play—he says once his daughter learns to walk, she’ll definitely be on that court.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Opinion: Even a Grammar Geezer Like Me Can Get Used to Gender Neutral Pronouns",
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"content": "\u003cp>Letter-for-letter, no part of speech gets people more worked up than pronouns do. Linguistic history is dotted with eruptions of pronoun rage. Right now, the provocation is the gender-neutral pronouns that some nonbinary people have asked to be called by, so that they won’t have to be identified as “he” or “she.”\u003c/p>\n\u003cp>There are several of these in circulation. Some are new words, like “ze” and “co,” but some go back a ways—in fact, people have been proposing new gender-neutral pronouns for \u003ca href=\"https://www.english.illinois.edu/-people-/faculty/debaron/essays/epicene.htm\">150 years\u003c/a>, though none has ever caught on. But the most popular choice, and probably the most controversial one, is the familiar pronoun that people describe as the singular “they.”\u003c/p>\n\u003cp>You can see why people would pick “they.” In everyday speech we often use that pronoun for a single person, though only when the word or phrase it substitutes for—its antecedent, as it’s called—doesn’t refer to a specific individual. So we say, “Somebody lost their wallet,” or, “If a student fails, they have to retake the course.” Or the person we’re referring to may be simply unknown. Your daughter’s cell phone rings at the dinner table; you say, “Tell them you’ll call them back.” Male or female, one caller or several? The pronoun “they” is like, “whatever.”\u003c/p>\n\u003cp>That singular “they” goes back hundreds of years. \u003ca href=\"http://www.pemberley.com/janeinfo/austhlis.html#X2\">Jane Austen’s\u003c/a> novels are bristling with sentences like “No one can ever be in love more than once in their life.” But that use of the pronoun fell into disrepute in the 19\u003csup>th\u003c/sup> century, when grammarians condemned it as incorrect and proclaimed that the so-called generic “he” should be used instead. The idea is that when you write, “Every singer has his range,” the pronoun “his” refers to both men and women—or as they sometimes put it, “the \u003ca href=\"https://blogs.illinois.edu/view/25/300287\">masculine embraces the feminine\u003c/a>.”\u003c/p>\n\u003cp>When second-wave feminists protested in the 1970s that the generic “he” was sexist, they roused a storm of indignation. They were accused of \u003ca href=\"https://www.latimes.com/archives/la-xpm-1985-07-09-vw-8305-story.html\">emasculating\u003c/a> and \u003ca href=\"https://www.nytimes.com/1986/08/10/magazine/on-language-gender-benders.html\">neutering\u003c/a> the language. The chairman of the Harvard Linguistics Department charged that they were suffering from “\u003ca href=\"http://www.newyorker.com/magazine/2014/02/10/pronoun-envy\">pronoun envy\u003c/a>.” \u003ca href=\"https://www.nytimes.com/1995/10/29/magazine/on-language-proximity-talks.html\">William Safire\u003c/a> warned that to accept the use of “they” in place of “he” would be to “cave in to the radic-lib forces of usage permissiveness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In retrospect, those reactions betrayed the obtuseness that the psychologist Cordelia Fine calls “\u003ca href=\"https://wwnorton.com/books/Delusions-of-Gender\">delusions of gender\u003c/a>.” The fact is that the pronoun “he” is never gender-neutral. If Sting had sung, “If you love somebody, set him free,” it would have brought only a male to mind. What the language required was “set them free.”\u003c/p>\n\u003cp>The gender-neutral singular “they” has history, English grammar and gender equity on its side, and it’s gradually been \u003ca href=\"https://www.baltimoresun.com/opinion/columnists/mcintyre/87915039-132.html\">restored\u003c/a> to the written language. Schoolroom crotchets can be hard to let go of. But we’ve largely leveled the linguistic playing field—at least, “he” no longer takes precedence over “she.”\u003c/p>\n\u003cp>But that didn’t make any provision for the rainbow of nonbinary and nonconforming \u003ca href=\"https://www.nytimes.com/interactive/2019/06/28/us/pride-identity.html?searchResultPosition=1\">gender identities\u003c/a> that have risen into public awareness in recent years. The language still required us to choose between “he” and “she” to refer to a specific individual. The singular “they” initially sounded awkward here. We can say, “Somebody named Sandy was brushing their hair” where the pronoun replaces the nonspecific “somebody”—that’s been standard colloquial English for centuries. But when someone says just, “Sandy was brushing their hair,” you’re brought up short. Your first thought is that “they” must refer to some group of people whose hair Sandy was brushing.\u003c/p>\n\u003cp>But you can make this work if you tweak your internal grammar so that the pronoun “they” can refer to a specific individual. It takes some practice to get the hang of it, but the human language processing capacity is more adaptable than people realize, even for geezers like me. As I read through an \u003ca href=\"https://www.nytimes.com/2019/06/04/magazine/gender-nonbinary.html\">article\u003c/a> about a nonbinary person who uses “they,” “them” and “their,” the pronouns ultimately sort themselves out. In context, they’re rarely ambiguous, no more than any other pronoun: “Tracy should take better care of themself”; “Pat hasn’t made up their mind.”\u003c/p>\n\u003cp>That new use of “they” has passed muster with the AP’s \u003ca href=\"https://www.poynter.org/reporting-editing/2017/ap-style-change-singular-they-is-acceptable-in-limited-cases/\">style guide\u003c/a> and the \u003ca href=\"https://ahdictionary.com/word/search.html?q=they\">American Heritage Dictionary\u003c/a>. In theory, anyone can adopt it, whatever their gender identity. But we’ll still be using “he” and “she” to refer to most individuals who identify as male and female. You can introduce new gender-neutral terms without driving out the gendered ones. “Sibling” has been part of the everyday language for more than 50 years, but we can still talk about brothers and sisters. When someone says, “Taylor has a lot going for them,” it’s a fair bet that that’s the pronoun that Taylor prefers to be called by.\u003c/p>\n\u003cp>It’s not a lot to ask—just a small courtesy and sign of respect. In fact, the accommodations we’re being asked to make to nonbinary individuals are much less far-reaching than the \u003ca href=\"https://www.npr.org/books/titles/745283921/the-handbook-of-nonsexist-writing\">linguistic changes\u003c/a> that \u003ca href=\"https://public.oed.com/blog/resistance-fertile-language-borne-feminist-movement/\">feminists\u003c/a> called for 50 years ago. Yet the reactions this time have been even more vehement than they were back then.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fifth-grade teacher in \u003ca href=\"https://wapo.st/2YKHqyV\">Florida\u003c/a> whose preferred pronouns are “they,” “them” and “their” was removed from the classroom when some parents complained about exposing their children to the transgender lifestyle. When the diversity and inclusion office at the University of Tennessee at Knoxville published a guide to alternative pronouns in 2015, the state \u003ca href=\"https://www.mic.com/articles/142080/tennessee-budget-bill-bans-gender-neutral-pronouns-tramples-on-free-speech\">legislature\u003c/a> promptly defunded the center and barred the university from promoting the use of gender-neutral pronouns in the future. Like the classic episodes of pronoun rage in earlier eras, these aren’t about pronouns at all.\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=Opinion%3A+Even+A+Grammar+Geezer+Like+Me+Can+Get+Used+To+Gender+Neutral+Pronouns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Letter-for-letter, no part of speech gets people more worked up than pronouns do. Linguistic history is dotted with eruptions of pronoun rage. Right now, the provocation is the gender-neutral pronouns that some nonbinary people have asked to be called by, so that they won’t have to be identified as “he” or “she.”\u003c/p>\n\u003cp>There are several of these in circulation. Some are new words, like “ze” and “co,” but some go back a ways—in fact, people have been proposing new gender-neutral pronouns for \u003ca href=\"https://www.english.illinois.edu/-people-/faculty/debaron/essays/epicene.htm\">150 years\u003c/a>, though none has ever caught on. But the most popular choice, and probably the most controversial one, is the familiar pronoun that people describe as the singular “they.”\u003c/p>\n\u003cp>You can see why people would pick “they.” In everyday speech we often use that pronoun for a single person, though only when the word or phrase it substitutes for—its antecedent, as it’s called—doesn’t refer to a specific individual. So we say, “Somebody lost their wallet,” or, “If a student fails, they have to retake the course.” Or the person we’re referring to may be simply unknown. Your daughter’s cell phone rings at the dinner table; you say, “Tell them you’ll call them back.” Male or female, one caller or several? The pronoun “they” is like, “whatever.”\u003c/p>\n\u003cp>That singular “they” goes back hundreds of years. \u003ca href=\"http://www.pemberley.com/janeinfo/austhlis.html#X2\">Jane Austen’s\u003c/a> novels are bristling with sentences like “No one can ever be in love more than once in their life.” But that use of the pronoun fell into disrepute in the 19\u003csup>th\u003c/sup> century, when grammarians condemned it as incorrect and proclaimed that the so-called generic “he” should be used instead. The idea is that when you write, “Every singer has his range,” the pronoun “his” refers to both men and women—or as they sometimes put it, “the \u003ca href=\"https://blogs.illinois.edu/view/25/300287\">masculine embraces the feminine\u003c/a>.”\u003c/p>\n\u003cp>When second-wave feminists protested in the 1970s that the generic “he” was sexist, they roused a storm of indignation. They were accused of \u003ca href=\"https://www.latimes.com/archives/la-xpm-1985-07-09-vw-8305-story.html\">emasculating\u003c/a> and \u003ca href=\"https://www.nytimes.com/1986/08/10/magazine/on-language-gender-benders.html\">neutering\u003c/a> the language. The chairman of the Harvard Linguistics Department charged that they were suffering from “\u003ca href=\"http://www.newyorker.com/magazine/2014/02/10/pronoun-envy\">pronoun envy\u003c/a>.” \u003ca href=\"https://www.nytimes.com/1995/10/29/magazine/on-language-proximity-talks.html\">William Safire\u003c/a> warned that to accept the use of “they” in place of “he” would be to “cave in to the radic-lib forces of usage permissiveness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In retrospect, those reactions betrayed the obtuseness that the psychologist Cordelia Fine calls “\u003ca href=\"https://wwnorton.com/books/Delusions-of-Gender\">delusions of gender\u003c/a>.” The fact is that the pronoun “he” is never gender-neutral. If Sting had sung, “If you love somebody, set him free,” it would have brought only a male to mind. What the language required was “set them free.”\u003c/p>\n\u003cp>The gender-neutral singular “they” has history, English grammar and gender equity on its side, and it’s gradually been \u003ca href=\"https://www.baltimoresun.com/opinion/columnists/mcintyre/87915039-132.html\">restored\u003c/a> to the written language. Schoolroom crotchets can be hard to let go of. But we’ve largely leveled the linguistic playing field—at least, “he” no longer takes precedence over “she.”\u003c/p>\n\u003cp>But that didn’t make any provision for the rainbow of nonbinary and nonconforming \u003ca href=\"https://www.nytimes.com/interactive/2019/06/28/us/pride-identity.html?searchResultPosition=1\">gender identities\u003c/a> that have risen into public awareness in recent years. The language still required us to choose between “he” and “she” to refer to a specific individual. The singular “they” initially sounded awkward here. We can say, “Somebody named Sandy was brushing their hair” where the pronoun replaces the nonspecific “somebody”—that’s been standard colloquial English for centuries. But when someone says just, “Sandy was brushing their hair,” you’re brought up short. Your first thought is that “they” must refer to some group of people whose hair Sandy was brushing.\u003c/p>\n\u003cp>But you can make this work if you tweak your internal grammar so that the pronoun “they” can refer to a specific individual. It takes some practice to get the hang of it, but the human language processing capacity is more adaptable than people realize, even for geezers like me. As I read through an \u003ca href=\"https://www.nytimes.com/2019/06/04/magazine/gender-nonbinary.html\">article\u003c/a> about a nonbinary person who uses “they,” “them” and “their,” the pronouns ultimately sort themselves out. In context, they’re rarely ambiguous, no more than any other pronoun: “Tracy should take better care of themself”; “Pat hasn’t made up their mind.”\u003c/p>\n\u003cp>That new use of “they” has passed muster with the AP’s \u003ca href=\"https://www.poynter.org/reporting-editing/2017/ap-style-change-singular-they-is-acceptable-in-limited-cases/\">style guide\u003c/a> and the \u003ca href=\"https://ahdictionary.com/word/search.html?q=they\">American Heritage Dictionary\u003c/a>. In theory, anyone can adopt it, whatever their gender identity. But we’ll still be using “he” and “she” to refer to most individuals who identify as male and female. You can introduce new gender-neutral terms without driving out the gendered ones. “Sibling” has been part of the everyday language for more than 50 years, but we can still talk about brothers and sisters. When someone says, “Taylor has a lot going for them,” it’s a fair bet that that’s the pronoun that Taylor prefers to be called by.\u003c/p>\n\u003cp>It’s not a lot to ask—just a small courtesy and sign of respect. In fact, the accommodations we’re being asked to make to nonbinary individuals are much less far-reaching than the \u003ca href=\"https://www.npr.org/books/titles/745283921/the-handbook-of-nonsexist-writing\">linguistic changes\u003c/a> that \u003ca href=\"https://public.oed.com/blog/resistance-fertile-language-borne-feminist-movement/\">feminists\u003c/a> called for 50 years ago. Yet the reactions this time have been even more vehement than they were back then.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fifth-grade teacher in \u003ca href=\"https://wapo.st/2YKHqyV\">Florida\u003c/a> whose preferred pronouns are “they,” “them” and “their” was removed from the classroom when some parents complained about exposing their children to the transgender lifestyle. When the diversity and inclusion office at the University of Tennessee at Knoxville published a guide to alternative pronouns in 2015, the state \u003ca href=\"https://www.mic.com/articles/142080/tennessee-budget-bill-bans-gender-neutral-pronouns-tramples-on-free-speech\">legislature\u003c/a> promptly defunded the center and barred the university from promoting the use of gender-neutral pronouns in the future. Like the classic episodes of pronoun rage in earlier eras, these aren’t about pronouns at all.\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=Opinion%3A+Even+A+Grammar+Geezer+Like+Me+Can+Get+Used+To+Gender+Neutral+Pronouns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sick of Bay Area Rents? Why Not Move Next Door to Prince William and Kate?",
"headTitle": "Sick of Bay Area Rents? Why Not Move Next Door to Prince William and Kate? | KQED",
"content": "\u003cp>Bay Area prices getting you down? Sick of companies offering you a \u003ca href=\"https://www.mercurynews.com/2019/06/07/rent-a-bunk-bed-for-1200-a-month-idea-sparks-pushback-from-sf-officials/\" target=\"_blank\" rel=\"noopener\">bunk bed for $1200\u003c/a> and acting like they’re doing you a favor? Been \u003ca href=\"https://www.kqed.org/pop/112469/bay-bye-breaking-up-with-san-francisco\" target=\"_blank\" rel=\"noopener\">thinking about leaving\u003c/a> for a while, but just haven’t taken the plunge yet? If the answer is yes to all of the above, and you fancy living in Norfolk, England, the British royal family may just have the place for you. That’s right! The 2-bedroom house opposite Prince William and Duchess Kate’s place is up for rent—and it’s only $850 (£700) a month.\u003c/p>\n\u003cp>Here’s the deal. The royal family has a 20,000-acre estate on the southeast coast of England called \u003ca href=\"https://sandringhamestate.co.uk/\" target=\"_blank\" rel=\"noopener\">Sandringham\u003c/a>. The Queen hangs out in the manor there on and off throughout the year, and, for their 2011 wedding, she gifted Will and Kate a ten-bedroom Georgian house on the property, known as \u003ca href=\"https://en.wikipedia.org/wiki/Anmer_Hall\">Anmer Hall\u003c/a>. Interestingly, there are a bunch of other rentals available on the estate, including (for the non-committal among you) self-catering vacation spots, \u003ca href=\"https://sandringhamestate.co.uk/stay/garden-house\" target=\"_blank\" rel=\"noopener\">Garden House\u003c/a> and \u003ca href=\"https://sandringhamestate.co.uk/stay/the-granary\" target=\"_blank\" rel=\"noopener\">The Granary.\u003c/a>\u003c/p>\n\u003cp>The home currently for rent at 20 Cherry Tree is a bit special though, because it happens to offer a perfect view of Will and Kate’s country abode. (Their primary residence is at London’s \u003ca href=\"https://www.getyourguide.com/-l2716/\" target=\"_blank\" rel=\"noopener\">Kensington Palace\u003c/a>.) The rental listing describes the “newly refurbished, end of terrace two bedroom” as having a “large garden and off-road parking,” but warns of “steep stairs” and a “strict no cats policy” that applies to the entire Sandringham estate. (Presumably because cats kill birds and the royal family \u003ca href=\"https://www.express.co.uk/news/royal/1078292/the-queen-news-sandringham-hunt-royal-family-news\" target=\"_blank\" rel=\"noopener\">like to do that themselves\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13863070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg\" alt=\"The gang hanging out at Sandringham's St Mary Magdalene Church on Christmas Day, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gang hanging out at Sandringham’s St Mary Magdalene Church on Christmas Day, 2018. \u003ccite>(PAUL ELLIS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the first time Prince William has been willing to slum it with what his family refers to as “commoners.” He and his wife Kate Middleton (also technically born a commoner, FYI) used to live on the Welsh island of Anglesey, where they frequented the local pub. Kate was also regularly spotted doing \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a19684172/does-royal-family-go-grocery-shopping/\" target=\"_blank\" rel=\"noopener\">her own grocery shopping\u003c/a> in Tesco, a local plebeian supermarket.\u003c/p>\n\u003cp>All of which means Will and Kate’s new neighbors will probably see the future king and his fam fairly regularly, as well as guests like Harry, Meghan or whichever royal happens to be hanging out at Sandringham’s \u003ca href=\"https://en.wikipedia.org/wiki/St_Mary_Magdalene_Church,_Sandringham\" target=\"_blank\" rel=\"noopener\">St Mary Magdalene Church\u003c/a> that week. (Fun fact: that’s where Princess Diana was baptized!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Should you fail in your quest to move in directly opposite Will and Kate, there are a number of other backups on the royal estate currently available to rent: a two-bedroom semi-detached house for $880; two three-bedroom terraced cottages (one for $911 a month, the other for $1,002); and, if you’re feeling fancy, the gigantic $3,340 Heath Farm House. All of the above appear to offer far more bang for your buck than anywhere in the Bay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sandringham’s website says that potential renters should “live and work locally” and be using the home “as a primary residence,” but that new people moving to the area will also be considered. While the Sandringham properties “are not let on a first come, first served basis, but rather on which prospective tenant is best suited” to the place, it’s possible that the property manager will have softened to the idea of transatlantic guests since Prince Harry put a ring on Meghan Markle’s \u003ca href=\"https://twitter.com/LuminaryBakery/status/1157212584849870848?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed&ref_url=https%3A%2F%2Fwww.newidea.com.au%2Fmeghan-markle-perfect-handwriting-photo\" target=\"_blank\" rel=\"noopener\">calligraphy-loving\u003c/a> finger last year. At this price, it’s worth at least applying.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area prices getting you down? Sick of companies offering you a \u003ca href=\"https://www.mercurynews.com/2019/06/07/rent-a-bunk-bed-for-1200-a-month-idea-sparks-pushback-from-sf-officials/\" target=\"_blank\" rel=\"noopener\">bunk bed for $1200\u003c/a> and acting like they’re doing you a favor? Been \u003ca href=\"https://www.kqed.org/pop/112469/bay-bye-breaking-up-with-san-francisco\" target=\"_blank\" rel=\"noopener\">thinking about leaving\u003c/a> for a while, but just haven’t taken the plunge yet? If the answer is yes to all of the above, and you fancy living in Norfolk, England, the British royal family may just have the place for you. That’s right! The 2-bedroom house opposite Prince William and Duchess Kate’s place is up for rent—and it’s only $850 (£700) a month.\u003c/p>\n\u003cp>Here’s the deal. The royal family has a 20,000-acre estate on the southeast coast of England called \u003ca href=\"https://sandringhamestate.co.uk/\" target=\"_blank\" rel=\"noopener\">Sandringham\u003c/a>. The Queen hangs out in the manor there on and off throughout the year, and, for their 2011 wedding, she gifted Will and Kate a ten-bedroom Georgian house on the property, known as \u003ca href=\"https://en.wikipedia.org/wiki/Anmer_Hall\">Anmer Hall\u003c/a>. Interestingly, there are a bunch of other rentals available on the estate, including (for the non-committal among you) self-catering vacation spots, \u003ca href=\"https://sandringhamestate.co.uk/stay/garden-house\" target=\"_blank\" rel=\"noopener\">Garden House\u003c/a> and \u003ca href=\"https://sandringhamestate.co.uk/stay/the-granary\" target=\"_blank\" rel=\"noopener\">The Granary.\u003c/a>\u003c/p>\n\u003cp>The home currently for rent at 20 Cherry Tree is a bit special though, because it happens to offer a perfect view of Will and Kate’s country abode. (Their primary residence is at London’s \u003ca href=\"https://www.getyourguide.com/-l2716/\" target=\"_blank\" rel=\"noopener\">Kensington Palace\u003c/a>.) The rental listing describes the “newly refurbished, end of terrace two bedroom” as having a “large garden and off-road parking,” but warns of “steep stairs” and a “strict no cats policy” that applies to the entire Sandringham estate. (Presumably because cats kill birds and the royal family \u003ca href=\"https://www.express.co.uk/news/royal/1078292/the-queen-news-sandringham-hunt-royal-family-news\" target=\"_blank\" rel=\"noopener\">like to do that themselves\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13863070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg\" alt=\"The gang hanging out at Sandringham's St Mary Magdalene Church on Christmas Day, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gang hanging out at Sandringham’s St Mary Magdalene Church on Christmas Day, 2018. \u003ccite>(PAUL ELLIS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the first time Prince William has been willing to slum it with what his family refers to as “commoners.” He and his wife Kate Middleton (also technically born a commoner, FYI) used to live on the Welsh island of Anglesey, where they frequented the local pub. Kate was also regularly spotted doing \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a19684172/does-royal-family-go-grocery-shopping/\" target=\"_blank\" rel=\"noopener\">her own grocery shopping\u003c/a> in Tesco, a local plebeian supermarket.\u003c/p>\n\u003cp>All of which means Will and Kate’s new neighbors will probably see the future king and his fam fairly regularly, as well as guests like Harry, Meghan or whichever royal happens to be hanging out at Sandringham’s \u003ca href=\"https://en.wikipedia.org/wiki/St_Mary_Magdalene_Church,_Sandringham\" target=\"_blank\" rel=\"noopener\">St Mary Magdalene Church\u003c/a> that week. (Fun fact: that’s where Princess Diana was baptized!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Should you fail in your quest to move in directly opposite Will and Kate, there are a number of other backups on the royal estate currently available to rent: a two-bedroom semi-detached house for $880; two three-bedroom terraced cottages (one for $911 a month, the other for $1,002); and, if you’re feeling fancy, the gigantic $3,340 Heath Farm House. All of the above appear to offer far more bang for your buck than anywhere in the Bay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sandringham’s website says that potential renters should “live and work locally” and be using the home “as a primary residence,” but that new people moving to the area will also be considered. While the Sandringham properties “are not let on a first come, first served basis, but rather on which prospective tenant is best suited” to the place, it’s possible that the property manager will have softened to the idea of transatlantic guests since Prince Harry put a ring on Meghan Markle’s \u003ca href=\"https://twitter.com/LuminaryBakery/status/1157212584849870848?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed&ref_url=https%3A%2F%2Fwww.newidea.com.au%2Fmeghan-markle-perfect-handwriting-photo\" target=\"_blank\" rel=\"noopener\">calligraphy-loving\u003c/a> finger last year. At this price, it’s worth at least applying.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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