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"content": "\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LiEQF2aXoY4\u003c/p>\n\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. 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Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. 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"content": "\u003cp>Though Lil Nas X has broken chart records and become a streaming juggernaut with his breakout country rap hit “Old Town Road” with Billy Ray Cyrus, the song faces an uphill challenge to get a nomination for a CMA award.\u003c/p>\n\u003cp>Ballots have gone out for nominations for the Country Music Association Awards, but some voters are struggling to decide how to recognize the musical phenomenon of the year, which has become the longest-running No. 1 song in the history of Billboard’s Hot 100.\u003c/p>\n\u003cp>Billboard decided “Old Town Road” wasn’t a country song and pulled it off country charts early on, but the song made enough of an impact anyway that it became eligible for a number of CMA categories this year, including single of the year and song of the year. CMA voters, which include musicians, producers, songwriters, touring professionals, country radio employees and others, vote in three ballots with the final nominations typically being announced in late August or early September. The award show will air Nov. 13.\u003c/p>\n\u003cp>But there are already signs that the song isn’t getting wide support. It failed to get enough votes in the major song categories. The song only earned enough votes to be considered in the musical event category on the second ballot, which went out to voters Monday.\u003c/p>\n\u003cp>Shane McAnally, one of country’s biggest hit-makers who has written for Sam Hunt, Kacey Musgraves, Kenny Chesney and more, said he’s been impressed with the way the song has resonated with fans, but it never felt country to him.\u003c/p>\n\u003cp>[aside postID='arts_13862433,arts_13854359,arts_13859988' label='Read More on Lil Nas X']\u003c/p>\n\u003cp>“I just think country people do not see that as a country song,” said McAnally, who is co-president of Monument Records and one of three producers on NBC’s song competition series, “Songland.” ″Pop listeners think it’s a country song.”\u003c/p>\n\u003cp>The song’s genreless approach by mixing trap beats with a Nine Inch Nails sample and Western-themed lyrics appealed to millennials on TikTok but took Nashville’s music industry by surprise. While pop, rap and rock artists have gotten CMA nominations before, it’s a lot harder to earn a nomination without broad support among Nashville’s labels and country radio.\u003c/p>\n\u003cp>Nelly was nominated for a musical event in 2013 with Florida Georgia Line for “Cruise,” but that was a country song with a rapper added to the remix. Nelly’s earlier collaboration with Tim McGraw on “Over and Over” in 2004, which was primarily promoted as a rap song, did not earn any nominations from the CMAs.\u003c/p>\n\u003cp>“I will be shocked if it makes the final ballot,” McAnally said of “Old Town Road.”\u003c/p>\n\u003cp>Still, McAnally pointed out that non-country acts can still surprise at the CMA Awards, such as when John Denver, largely considered a pop-folk artist, won entertainer of the year in 1975, prompting Charlie Rich to set fire to the card with Denver’s name during the broadcast.\u003c/p>\n\u003cp>David Macias, president of Nashville-based entertainment company Thirty Tigers, which works with Americana artists like Jason Isbell and John Prine, said Billboard’s decision to not classify the song as country probably just reinforced CMA voters who weren’t inclined to vote for it anyway.\u003c/p>\n\u003cp>“I haven’t really decided what I am going to do where that’s concerned,” Macias said. “There’s no doubt it’s the musical cultural phenomenon of the year. I am on the fence on whether or not it sits in there. It deserves some recognition, and frankly no matter what happens on the voting part, it will be interesting to see what the CMA does.”\u003c/p>\n\u003cp>[aside tag='hip-hop' label='Music Coverage You Might Like']\u003c/p>\n\u003cp>Hunter Kelly, a veteran country music journalist, was surprised that the song didn’t get enough early votes for single of the year, but he said its qualifications for the musical event category seemed undeniable.\u003c/p>\n\u003cp>“If you talk about a musical event, it’s still 19 weeks at No. 1,” Kelly said. “It’s the all-time No. 1 on the Hot 100, so as a musical event, it totally deserves a nomination.”\u003c/p>\n\u003cp>During the voting period, labels or management agencies often engage in lobbying efforts that include advertisements in music industry publications. Representatives for Lil Nas X’s label, Columbia Records, did not respond to the AP for comment about the CMA voting.\u003c/p>\n\u003cp>Kelly said that since “Old Town Road” didn’t originate in Nashville and Lil Nas X is not signed to a Nashville label, there are fewer voters emotionally or financially invested in seeing it nominated.\u003c/p>\n\u003cp>At the very least, “Old Town Road” has proved that lightning can strike twice in the same place with the re-introduction of Billy Ray Cyrus to a new generation, McAnally said. The mullet-wearing Cyrus was last nominated for a CMA in 1992 when he won single of the year for his own ubiquitous, danceable hit “Achy Breaky Heart.”\u003c/p>\n\u003cp>“That’s pretty crazy,” McAnally mused. “He wasn’t going away. You can’t discount that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though Lil Nas X has broken chart records and become a streaming juggernaut with his breakout country rap hit “Old Town Road” with Billy Ray Cyrus, the song faces an uphill challenge to get a nomination for a CMA award.\u003c/p>\n\u003cp>Ballots have gone out for nominations for the Country Music Association Awards, but some voters are struggling to decide how to recognize the musical phenomenon of the year, which has become the longest-running No. 1 song in the history of Billboard’s Hot 100.\u003c/p>\n\u003cp>Billboard decided “Old Town Road” wasn’t a country song and pulled it off country charts early on, but the song made enough of an impact anyway that it became eligible for a number of CMA categories this year, including single of the year and song of the year. CMA voters, which include musicians, producers, songwriters, touring professionals, country radio employees and others, vote in three ballots with the final nominations typically being announced in late August or early September. The award show will air Nov. 13.\u003c/p>\n\u003cp>But there are already signs that the song isn’t getting wide support. It failed to get enough votes in the major song categories. The song only earned enough votes to be considered in the musical event category on the second ballot, which went out to voters Monday.\u003c/p>\n\u003cp>Shane McAnally, one of country’s biggest hit-makers who has written for Sam Hunt, Kacey Musgraves, Kenny Chesney and more, said he’s been impressed with the way the song has resonated with fans, but it never felt country to him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I just think country people do not see that as a country song,” said McAnally, who is co-president of Monument Records and one of three producers on NBC’s song competition series, “Songland.” ″Pop listeners think it’s a country song.”\u003c/p>\n\u003cp>The song’s genreless approach by mixing trap beats with a Nine Inch Nails sample and Western-themed lyrics appealed to millennials on TikTok but took Nashville’s music industry by surprise. While pop, rap and rock artists have gotten CMA nominations before, it’s a lot harder to earn a nomination without broad support among Nashville’s labels and country radio.\u003c/p>\n\u003cp>Nelly was nominated for a musical event in 2013 with Florida Georgia Line for “Cruise,” but that was a country song with a rapper added to the remix. Nelly’s earlier collaboration with Tim McGraw on “Over and Over” in 2004, which was primarily promoted as a rap song, did not earn any nominations from the CMAs.\u003c/p>\n\u003cp>“I will be shocked if it makes the final ballot,” McAnally said of “Old Town Road.”\u003c/p>\n\u003cp>Still, McAnally pointed out that non-country acts can still surprise at the CMA Awards, such as when John Denver, largely considered a pop-folk artist, won entertainer of the year in 1975, prompting Charlie Rich to set fire to the card with Denver’s name during the broadcast.\u003c/p>\n\u003cp>David Macias, president of Nashville-based entertainment company Thirty Tigers, which works with Americana artists like Jason Isbell and John Prine, said Billboard’s decision to not classify the song as country probably just reinforced CMA voters who weren’t inclined to vote for it anyway.\u003c/p>\n\u003cp>“I haven’t really decided what I am going to do where that’s concerned,” Macias said. “There’s no doubt it’s the musical cultural phenomenon of the year. I am on the fence on whether or not it sits in there. It deserves some recognition, and frankly no matter what happens on the voting part, it will be interesting to see what the CMA does.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hunter Kelly, a veteran country music journalist, was surprised that the song didn’t get enough early votes for single of the year, but he said its qualifications for the musical event category seemed undeniable.\u003c/p>\n\u003cp>“If you talk about a musical event, it’s still 19 weeks at No. 1,” Kelly said. “It’s the all-time No. 1 on the Hot 100, so as a musical event, it totally deserves a nomination.”\u003c/p>\n\u003cp>During the voting period, labels or management agencies often engage in lobbying efforts that include advertisements in music industry publications. Representatives for Lil Nas X’s label, Columbia Records, did not respond to the AP for comment about the CMA voting.\u003c/p>\n\u003cp>Kelly said that since “Old Town Road” didn’t originate in Nashville and Lil Nas X is not signed to a Nashville label, there are fewer voters emotionally or financially invested in seeing it nominated.\u003c/p>\n\u003cp>At the very least, “Old Town Road” has proved that lightning can strike twice in the same place with the re-introduction of Billy Ray Cyrus to a new generation, McAnally said. The mullet-wearing Cyrus was last nominated for a CMA in 1992 when he won single of the year for his own ubiquitous, danceable hit “Achy Breaky Heart.”\u003c/p>\n\u003cp>“That’s pretty crazy,” McAnally mused. “He wasn’t going away. You can’t discount that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The creators behind Dora set out to empower Latinx kids and normalize bilingualism. But they were all white. So they brought in consultants like Carlos Cortes, a professor from the University of California, Riverside. Cortes helped with cultural sensitivity and answered big questions, like where Dora should be from.\u003c/p>\n\u003cp>“Someone came up with the idea we should make her very embedded in one culture — Mexican or Puerto Rican or Cuban or what have you,” says Cortes. But they couldn’t agree which culture. “I said look, I think it’s important that kids of different Latino backgrounds be able to identify with Dora.” So they decided to move forward with a pan-Latina character, not from anywhere in particular.\u003c/p>\n\u003cp>And so finally, Dora the Explorer, with her signature bob and pink shirt, aired on television screens for the first time on Aug. 14, 2000. Within less than a year, the show became the top commercial hit for preschoolers ages 2 to 5.\u003c/p>\n\u003cp>Almost 20 years after her creation, Dora is now being re-imagined as a teenager (played by Isabela Moner) in a live action film. In it, she sets off to find treasure in a fictional lost Inca city called Parapata.\u003c/p>\n\u003cp>“Parapata is a name in Quechua, which means ‘the rainy hill,’ ” says Americo Mendoza-Mori, a consultant on the film, who teaches Quechua at the University of Pennsylvania.\u003c/p>\n\u003cp>While Dora, the character, continues to be pan-Latina, the film grounds her in an actual geographical location: the Amazon rainforest. “We also want to use the movie as an opportunity to incorporate many aspects of this Andean knowledge,” says Mendoza-Mori.\u003c/p>\n\u003cp>Mexican actor Eugenio Derbez, who also served as an executive producer on the film, says, “I think Dora is an icon for kids, especially now that Latinos are being so, let’s say, harassed by this administration.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The original team members behind Dora say they never expected anti-immigrant rhetoric to become so central to the American political discourse. “We hope that we had an impact on little kids who saw a character who spoke a different language or had a different skin color than they did,” says Gifford. “So hopefully we made a little impact in that way.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dora+The+Explorer%27s+Lasting+Impact+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The creators behind Dora set out to empower Latinx kids and normalize bilingualism. But they were all white. So they brought in consultants like Carlos Cortes, a professor from the University of California, Riverside. Cortes helped with cultural sensitivity and answered big questions, like where Dora should be from.\u003c/p>\n\u003cp>“Someone came up with the idea we should make her very embedded in one culture — Mexican or Puerto Rican or Cuban or what have you,” says Cortes. But they couldn’t agree which culture. “I said look, I think it’s important that kids of different Latino backgrounds be able to identify with Dora.” So they decided to move forward with a pan-Latina character, not from anywhere in particular.\u003c/p>\n\u003cp>And so finally, Dora the Explorer, with her signature bob and pink shirt, aired on television screens for the first time on Aug. 14, 2000. Within less than a year, the show became the top commercial hit for preschoolers ages 2 to 5.\u003c/p>\n\u003cp>Almost 20 years after her creation, Dora is now being re-imagined as a teenager (played by Isabela Moner) in a live action film. In it, she sets off to find treasure in a fictional lost Inca city called Parapata.\u003c/p>\n\u003cp>“Parapata is a name in Quechua, which means ‘the rainy hill,’ ” says Americo Mendoza-Mori, a consultant on the film, who teaches Quechua at the University of Pennsylvania.\u003c/p>\n\u003cp>While Dora, the character, continues to be pan-Latina, the film grounds her in an actual geographical location: the Amazon rainforest. “We also want to use the movie as an opportunity to incorporate many aspects of this Andean knowledge,” says Mendoza-Mori.\u003c/p>\n\u003cp>Mexican actor Eugenio Derbez, who also served as an executive producer on the film, says, “I think Dora is an icon for kids, especially now that Latinos are being so, let’s say, harassed by this administration.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The original team members behind Dora say they never expected anti-immigrant rhetoric to become so central to the American political discourse. “We hope that we had an impact on little kids who saw a character who spoke a different language or had a different skin color than they did,” says Gifford. “So hopefully we made a little impact in that way.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dora+The+Explorer%27s+Lasting+Impact+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What it Means to Listen to Sleater-Kinney Now (Without Janet Weiss)",
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"content": "\u003cp>Consistency and longevity are the two parents of expectation, which can hang immovably over the corners of fandom. In music, when a band is very good for a very long time, it becomes impossible to imagine it being anything else. It must be said that \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has been so good for so long, it is unfair. The band has been playing for a collective 17 years, excluding an eight-year hiatus; its most fruitful and furious years, roughly 1996 to 2005, curved around the back end of an era of indie rock and kicked in the door to a new one. If, like me, you discovered Sleater-Kinney near the end of this period and worked your way backwards and then forwards again, to fall in love with the band meant frustratedly but joyfully sprinting from track to track, wondering if there would ever be a bad song.\u003c/p>\n\u003cp>For me, during that stretch, the group was at its best in the confines of a chorus or a crescendo, where the voices of singer-guitarists \u003ca href=\"https://www.npr.org/artists/130041775/corin-tucker\">Corin Tucker\u003c/a> and \u003ca href=\"https://www.npr.org/people/101950929/carrie-brownstein\">Carrie Brownstein\u003c/a> would fight to claim their own space—as in the closing moments of 1996’s “\u003ca href=\"https://www.youtube.com/watch?v=m3cWY4fliPM\">Call the Doctor\u003c/a>,” in which Tucker’s siren voice belts out the titular command, and Brownstein’s growl of “\u003cem>you\u003c/em> / \u003cem>are\u003c/em> / \u003cem>not\u003c/em> / \u003cem>me\u003c/em>” paces the outskirts of the noise before charging directly into the fray. It was good to hear a band fully against negotiating its own rage, no matter if that rage arrived by bombast or by ballad. And it seemed impossible that they’d ever be anything but great in the very specific way they had come to be great—especially in 2015, when they returned from hiatus with \u003cem>No Cities to Love. \u003c/em>That album reflected that the band was different now: grown, with new concerns and new lenses to see those concerns through. But the sound remained familiar, due in part to the unmistakable sonic spine of drummer and backing vocalist Janet Weiss.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_37YRkp4hIQ\u003c/p>\n\u003cp>Weiss joined on 1997’s \u003cem>Dig Me Out\u003c/em>, solidifying a lineup that had cycled through drummers until then and setting a course for the future. Her drumming is best signified by its malleability: She is as adept at a rapidly accumulating fill as she is laying down heavy and plodding bursts of percussion that make a listener feel they’re being led to the gates of somewhere dark and unsavory. When a band is endowed with one of the greatest drummers there has ever been, the music follows whatever path that drummer takes the band on.\u003c/p>\n\u003cp>Now, for the first time in two decades, Sleater-Kinney finds itself without Weiss. In a surprise move less than two months before the release of its new album, the Annie Clark-helmed \u003cem>The Center Won’t Hold\u003c/em>, the drummer \u003ca href=\"https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney\">announced her departure\u003c/a> in July, saying, “The band is heading in a new direction and it is time for me to move on.” Brownstein and Tucker released a brief statement thanking Weiss for their years together; when pressed by a fan on Instagram for further information, \u003ca href=\"https://uproxx.com/indie/carrie-brownstein-sleater-kinney-janet-weiss-leave-stay/\">Brownstein replied\u003c/a>, “What am I supposed to say? She left. We asked her to stay. We tried. It’s hard and sad.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Near the end of June, the trio had appeared on \u003cem>The Tonight Show\u003c/em>, performing the single “Hurry On Home”—a collision of distorted but bouncy sounds that certainly felt like a new direction sonically. The song had debuted in April as an \u003ca href=\"https://www.youtube.com/watch?v=E5uAH0vNn2s\">innovative music video\u003c/a> that unfurled its lyrics through text exchanges on the screen of an iPhone, a uniquely charming presentation that may have alleviated the musical sticker shock some fans expressed at the music. On Fallon, the band looked more tentative than rejuvenated by its new sound and look, which included matching black gowns and jagged animations on video displays. Weiss in particular seemed to plod through her duties at the kit, while a halo of spreading fingers opened and sharp teeth rose in the mouths of dueling animals behind her. In the moment it was easy to chalk the mood up to a band turning a corner, playing a new song live for the first time and feeling out a version of themselves they’d never explored before. But when Weiss left a week and a half later, her concerns at a shifting direction seemed to also speak to the distance present onstage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E5uAH0vNn2s\u003c/p>\n\u003cp>Out Aug. 16, \u003cem>The Center Won’t Hold\u003c/em> is both Sleater-Kinney album and Annie Clark vehicle, often gently sparse and hauntingly, beautifully electronic. As long demonstrated in her own work as \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>, Clark’s productions are magic tricks, so cleanly worked that one might miss the delightful chaos of her wall of sound. Her arrangements are masterful at swelling in intensity without (always) swelling in volume. In that way she is perfect for Sleater-Kinney, a group of musicians who have figured out how to mask and modulate their many intensities, sonic and lyrical, depending on what a song demands. The \u003ca href=\"https://www.youtube.com/watch?v=_xfPoLEJpgY\">album-opening title track\u003c/a> illustrates those visions side by side, shifting abruptly from a meditative and hypnotic pace to a breakneck run through its finale, with Tucker singing the title repeatedly, the words gathering as they did in “Call the Doctor,” growing more urgent and accusatory as Weiss’ drums rattle off every portion of the background. For fans who had been anxious and divided over a new sound, leading the album with a song that struts the new sound out for a few minutes before diving headfirst back into the band’s old comforts is quite the delightful trick.\u003c/p>\n\u003cp>There are songs here—good, varied songs. “Restless” has a sweet churn at its center, unlocking the feel of driving with the windows down at night when the heat of the daytime has finally made its departure. “LOVE” sounds like an ’80s TV or video game theme that doesn’t exactly work on the first listen, but becomes irresistible halfway through the second. The album closes with “Broken,” a ballad whose sparse piano instrumentation serves mainly as a container for vivid and vulnerable lyrics sung by Tucker, addressing a #MeToo-like story with empathy and thoughtfulness. The song is a reminder that Tucker, though known for her distinct and earth-shaking voice, could sing anything and make it hers. Lyrically, it is also a reminder that Sleater-Kinney’s political concerns remain and are becoming more personal, more retrospective as the members age. The world has changed since the last time the band released an album, and they have changed with it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xfPoLEJpgY\u003c/p>\n\u003cp>Still, it is hard to not notice the lack of interplay between Tucker and Brownstein on the album, which seems at times like a work made in small, separate pieces and stitched together. The true excitement of hearing Sleater-Kinney’s singers always rested in their visceral vocal tug-of-war, and in understanding that dynamic not as a product of ego but a matter of serving the song. On \u003cem>The Center Won’t Hold\u003c/em>, it feels as if there are Carrie songs, and there are Corin songs, and the two are at times an ocean apart.\u003c/p>\n\u003cp>This is one of many reminders that the members, as public figures, are also not who they were. In the band’s prime era, Carrie Brownstein was often an aesthetic focal point: She’s charismatic, she’s funny, she’s great in front of a camera, and with her instrument in hand, she plays the role of guitar hero extremely well. But her star power grew even more apparent during the hiatus, as she became a sometime \u003ca href=\"https://www.npr.org/sections/monitormix/\">NPR contributor\u003c/a>, wrote and starred in an \u003ca href=\"https://www.npr.org/2012/01/05/144319988/brownstein-and-armisens-comedic-take-on-portland\">acclaimed TV series\u003c/a> and penned a \u003ca href=\"https://www.npr.org/2015/10/27/452204158/modern-girl-carrie-brownstein-describes-finding-and-hiding-herself-in-music\">critically adored memoir\u003c/a>. By the time Sleater-Kinney reunited, she seemed equipped to grow into a leading role in a group that had most often worked as three equal parts of the same machine. There are moments on \u003cem>The Center Won’t Hold \u003c/em>that feel committed to the expanding of Carrie Brownstein within the public imagination. This isn’t all bad: In some ways, Brownstein’s vision and talent are a logical match for those of Clark, who sees the boundary beyond the boundary everyone else sees.\u003c/p>\n\u003cp>But with uncertainty looming over Weiss’ departure, which naturally leads to uncertainty about the band’s future, the question may become: At what cost? Listening now, it feels evident that the shape of this album forced Weiss to adapt, and fair to say that change often doesn’t suit the ferociousness she’s brought to her role in the past. In the sound Sleater-Kinney established beginning with \u003cem>Dig Me Out\u003c/em>, her drumming is singular and indescribable, refusing to shrink against the walls of howling din her bandmates produce. On \u003cem>The Center Won’t Hold\u003c/em>, there are some drum parts that could be performed by anyone with a decent understanding of the instrument. At moments the drumming feels robotically engineered; at others it is engulfed by the complex arrangements of its producer.\u003c/p>\n\u003cp>This isn’t an indictment, necessarily. When a band undertakes the worthwhile work of evolution, sometimes the divide that follows extends past the fanbase and into to the interior structure of the band itself. I believe most attempts to evolve are worth it, but there is sometimes a cost. Here, the cost to Sleater-Kinney appears to be its sonic anchor, the album’s brilliant and many-layered title fulfilling at least one prophecy.\u003c/p>\n\u003cp>By my third listen to \u003cem>The Center Won’t Hold\u003c/em>, I found my concerns shifting. I don’t think Sleater-Kinney owes us anything, and if they ever did, they’ve surely more than paid it off. This may read like I am making excuses for a band I love, who made an album I’m still figuring out. But I am thinking, as always, about the responsibility of the fan and the responsibility of the musician within the faulty but wonderful exchange of music being made and music being consumed. Artists certainly do not owe their fans stagnation. In the moments when I have groaned at a change in sound, it’s often because I am reaching for a comfort stored in my own nostalgia — which is not only an empty pursuit, but unfair to both myself as a listener and to the full potential of my favorite musicians. (\u003ca href=\"#Jay-Z\">Jay-Z\u003c/a> isn’t always right, but I do nod slowly now when thinking of how he told the people clamoring for his old s*** to \u003ca href=\"https://genius.com/Jay-z-on-to-the-next-one-lyrics\">buy his old albums\u003c/a>. )\u003c/p>\n\u003cp>And even in the music that brought Sleater-Kinney to this point, the promise for evolution was there. It is there on 2002’s \u003cem>One Beat, \u003c/em>with “\u003ca href=\"https://www.youtube.com/watch?v=xhf8Ssp6Ff4\">Funeral Song\u003c/a>” shifting rapidly between gentle dirge and fire, fire, fire. It is there on 2005’s \u003cem>The Woods\u003c/em>, in the meditative and meandering “\u003ca href=\"https://www.youtube.com/watch?v=Ptk7DEYY6LA\">Modern Girl\u003c/a>,” or in the bending ache of Brownstein’s elongated guitar solo on “\u003ca href=\"https://www.youtube.com/watch?v=KM9boCav7HA\">What’s Mine Is Yours\u003c/a>,” an animal trying to claw its way out of the cage the song has built. It is present all through \u003cem>No Cities To Love\u003c/em>, whose lyrical bite and musical playfulness read much clearer now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cj2k3QsHmyM\u003c/p>\n\u003cp>I get that this obscures the greater question: Even if we’ve made our peace with a band’s evolution, it doesn’t mean much if the songs aren’t good. Your mileage may vary with \u003cem>The Center Won’t Hold\u003c/em>. I think some of the songs are good, and some I’ve struggled to fall in love with. I think that Annie Clark is gifted beyond any language I have to describe her gifts, and so it is possible that all of our expectations for this project were too high. I think it will age well, and I say that with no metric to confirm that thought, beyond the fact that the elements of risk and departure tend to age well once the shock has worn off. I don’t know \u003ca href=\"https://www.billboard.com/articles/columns/rock/8518963/sleater-kinney-tour-2019-album-janet-weiss\">what a tour will look like\u003c/a> without Janet Weiss, a truly heroic drummer and one of the best of this or any era, but I know I’ll be there, excited as ever. And I don’t know what becomes of the trio after this—if this is the end, or if Weiss comes back once more. But if this is it for the classic lineup of one of the most important rock bands of all time, I’m glad they took a big swing, and I’m glad we got to witness it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.abdurraqib.com/\">\u003cem>Hanif Abdurraqib\u003c/em>\u003c/a>\u003cem> is a writer and poet from Columbus, Ohio. His latest books are \u003c/em>Go Ahead in the Rain: Notes to A Tribe Called Quest\u003cem> and the forthcoming\u003c/em> A Fortune for Your Disaster.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+It+Means+To+Listen+To+Sleater-Kinney+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "What happens when an artist you count on to be one way suddenly isn't? For writer Hanif Abdurraquib, appreciating the left-turn album 'The Center Won't Hold' has meant letting go of years of nostalgia.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consistency and longevity are the two parents of expectation, which can hang immovably over the corners of fandom. In music, when a band is very good for a very long time, it becomes impossible to imagine it being anything else. It must be said that \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has been so good for so long, it is unfair. The band has been playing for a collective 17 years, excluding an eight-year hiatus; its most fruitful and furious years, roughly 1996 to 2005, curved around the back end of an era of indie rock and kicked in the door to a new one. If, like me, you discovered Sleater-Kinney near the end of this period and worked your way backwards and then forwards again, to fall in love with the band meant frustratedly but joyfully sprinting from track to track, wondering if there would ever be a bad song.\u003c/p>\n\u003cp>For me, during that stretch, the group was at its best in the confines of a chorus or a crescendo, where the voices of singer-guitarists \u003ca href=\"https://www.npr.org/artists/130041775/corin-tucker\">Corin Tucker\u003c/a> and \u003ca href=\"https://www.npr.org/people/101950929/carrie-brownstein\">Carrie Brownstein\u003c/a> would fight to claim their own space—as in the closing moments of 1996’s “\u003ca href=\"https://www.youtube.com/watch?v=m3cWY4fliPM\">Call the Doctor\u003c/a>,” in which Tucker’s siren voice belts out the titular command, and Brownstein’s growl of “\u003cem>you\u003c/em> / \u003cem>are\u003c/em> / \u003cem>not\u003c/em> / \u003cem>me\u003c/em>” paces the outskirts of the noise before charging directly into the fray. It was good to hear a band fully against negotiating its own rage, no matter if that rage arrived by bombast or by ballad. And it seemed impossible that they’d ever be anything but great in the very specific way they had come to be great—especially in 2015, when they returned from hiatus with \u003cem>No Cities to Love. \u003c/em>That album reflected that the band was different now: grown, with new concerns and new lenses to see those concerns through. But the sound remained familiar, due in part to the unmistakable sonic spine of drummer and backing vocalist Janet Weiss.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_37YRkp4hIQ'\n title='//www.youtube.com/embed/_37YRkp4hIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Weiss joined on 1997’s \u003cem>Dig Me Out\u003c/em>, solidifying a lineup that had cycled through drummers until then and setting a course for the future. Her drumming is best signified by its malleability: She is as adept at a rapidly accumulating fill as she is laying down heavy and plodding bursts of percussion that make a listener feel they’re being led to the gates of somewhere dark and unsavory. When a band is endowed with one of the greatest drummers there has ever been, the music follows whatever path that drummer takes the band on.\u003c/p>\n\u003cp>Now, for the first time in two decades, Sleater-Kinney finds itself without Weiss. In a surprise move less than two months before the release of its new album, the Annie Clark-helmed \u003cem>The Center Won’t Hold\u003c/em>, the drummer \u003ca href=\"https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney\">announced her departure\u003c/a> in July, saying, “The band is heading in a new direction and it is time for me to move on.” Brownstein and Tucker released a brief statement thanking Weiss for their years together; when pressed by a fan on Instagram for further information, \u003ca href=\"https://uproxx.com/indie/carrie-brownstein-sleater-kinney-janet-weiss-leave-stay/\">Brownstein replied\u003c/a>, “What am I supposed to say? She left. We asked her to stay. We tried. It’s hard and sad.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Near the end of June, the trio had appeared on \u003cem>The Tonight Show\u003c/em>, performing the single “Hurry On Home”—a collision of distorted but bouncy sounds that certainly felt like a new direction sonically. The song had debuted in April as an \u003ca href=\"https://www.youtube.com/watch?v=E5uAH0vNn2s\">innovative music video\u003c/a> that unfurled its lyrics through text exchanges on the screen of an iPhone, a uniquely charming presentation that may have alleviated the musical sticker shock some fans expressed at the music. On Fallon, the band looked more tentative than rejuvenated by its new sound and look, which included matching black gowns and jagged animations on video displays. Weiss in particular seemed to plod through her duties at the kit, while a halo of spreading fingers opened and sharp teeth rose in the mouths of dueling animals behind her. In the moment it was easy to chalk the mood up to a band turning a corner, playing a new song live for the first time and feeling out a version of themselves they’d never explored before. But when Weiss left a week and a half later, her concerns at a shifting direction seemed to also speak to the distance present onstage.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E5uAH0vNn2s'\n title='//www.youtube.com/embed/E5uAH0vNn2s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Out Aug. 16, \u003cem>The Center Won’t Hold\u003c/em> is both Sleater-Kinney album and Annie Clark vehicle, often gently sparse and hauntingly, beautifully electronic. As long demonstrated in her own work as \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>, Clark’s productions are magic tricks, so cleanly worked that one might miss the delightful chaos of her wall of sound. Her arrangements are masterful at swelling in intensity without (always) swelling in volume. In that way she is perfect for Sleater-Kinney, a group of musicians who have figured out how to mask and modulate their many intensities, sonic and lyrical, depending on what a song demands. The \u003ca href=\"https://www.youtube.com/watch?v=_xfPoLEJpgY\">album-opening title track\u003c/a> illustrates those visions side by side, shifting abruptly from a meditative and hypnotic pace to a breakneck run through its finale, with Tucker singing the title repeatedly, the words gathering as they did in “Call the Doctor,” growing more urgent and accusatory as Weiss’ drums rattle off every portion of the background. For fans who had been anxious and divided over a new sound, leading the album with a song that struts the new sound out for a few minutes before diving headfirst back into the band’s old comforts is quite the delightful trick.\u003c/p>\n\u003cp>There are songs here—good, varied songs. “Restless” has a sweet churn at its center, unlocking the feel of driving with the windows down at night when the heat of the daytime has finally made its departure. “LOVE” sounds like an ’80s TV or video game theme that doesn’t exactly work on the first listen, but becomes irresistible halfway through the second. The album closes with “Broken,” a ballad whose sparse piano instrumentation serves mainly as a container for vivid and vulnerable lyrics sung by Tucker, addressing a #MeToo-like story with empathy and thoughtfulness. The song is a reminder that Tucker, though known for her distinct and earth-shaking voice, could sing anything and make it hers. Lyrically, it is also a reminder that Sleater-Kinney’s political concerns remain and are becoming more personal, more retrospective as the members age. The world has changed since the last time the band released an album, and they have changed with it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_xfPoLEJpgY'\n title='//www.youtube.com/embed/_xfPoLEJpgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, it is hard to not notice the lack of interplay between Tucker and Brownstein on the album, which seems at times like a work made in small, separate pieces and stitched together. The true excitement of hearing Sleater-Kinney’s singers always rested in their visceral vocal tug-of-war, and in understanding that dynamic not as a product of ego but a matter of serving the song. On \u003cem>The Center Won’t Hold\u003c/em>, it feels as if there are Carrie songs, and there are Corin songs, and the two are at times an ocean apart.\u003c/p>\n\u003cp>This is one of many reminders that the members, as public figures, are also not who they were. In the band’s prime era, Carrie Brownstein was often an aesthetic focal point: She’s charismatic, she’s funny, she’s great in front of a camera, and with her instrument in hand, she plays the role of guitar hero extremely well. But her star power grew even more apparent during the hiatus, as she became a sometime \u003ca href=\"https://www.npr.org/sections/monitormix/\">NPR contributor\u003c/a>, wrote and starred in an \u003ca href=\"https://www.npr.org/2012/01/05/144319988/brownstein-and-armisens-comedic-take-on-portland\">acclaimed TV series\u003c/a> and penned a \u003ca href=\"https://www.npr.org/2015/10/27/452204158/modern-girl-carrie-brownstein-describes-finding-and-hiding-herself-in-music\">critically adored memoir\u003c/a>. By the time Sleater-Kinney reunited, she seemed equipped to grow into a leading role in a group that had most often worked as three equal parts of the same machine. There are moments on \u003cem>The Center Won’t Hold \u003c/em>that feel committed to the expanding of Carrie Brownstein within the public imagination. This isn’t all bad: In some ways, Brownstein’s vision and talent are a logical match for those of Clark, who sees the boundary beyond the boundary everyone else sees.\u003c/p>\n\u003cp>But with uncertainty looming over Weiss’ departure, which naturally leads to uncertainty about the band’s future, the question may become: At what cost? Listening now, it feels evident that the shape of this album forced Weiss to adapt, and fair to say that change often doesn’t suit the ferociousness she’s brought to her role in the past. In the sound Sleater-Kinney established beginning with \u003cem>Dig Me Out\u003c/em>, her drumming is singular and indescribable, refusing to shrink against the walls of howling din her bandmates produce. On \u003cem>The Center Won’t Hold\u003c/em>, there are some drum parts that could be performed by anyone with a decent understanding of the instrument. At moments the drumming feels robotically engineered; at others it is engulfed by the complex arrangements of its producer.\u003c/p>\n\u003cp>This isn’t an indictment, necessarily. When a band undertakes the worthwhile work of evolution, sometimes the divide that follows extends past the fanbase and into to the interior structure of the band itself. I believe most attempts to evolve are worth it, but there is sometimes a cost. Here, the cost to Sleater-Kinney appears to be its sonic anchor, the album’s brilliant and many-layered title fulfilling at least one prophecy.\u003c/p>\n\u003cp>By my third listen to \u003cem>The Center Won’t Hold\u003c/em>, I found my concerns shifting. I don’t think Sleater-Kinney owes us anything, and if they ever did, they’ve surely more than paid it off. This may read like I am making excuses for a band I love, who made an album I’m still figuring out. But I am thinking, as always, about the responsibility of the fan and the responsibility of the musician within the faulty but wonderful exchange of music being made and music being consumed. Artists certainly do not owe their fans stagnation. In the moments when I have groaned at a change in sound, it’s often because I am reaching for a comfort stored in my own nostalgia — which is not only an empty pursuit, but unfair to both myself as a listener and to the full potential of my favorite musicians. (\u003ca href=\"#Jay-Z\">Jay-Z\u003c/a> isn’t always right, but I do nod slowly now when thinking of how he told the people clamoring for his old s*** to \u003ca href=\"https://genius.com/Jay-z-on-to-the-next-one-lyrics\">buy his old albums\u003c/a>. )\u003c/p>\n\u003cp>And even in the music that brought Sleater-Kinney to this point, the promise for evolution was there. It is there on 2002’s \u003cem>One Beat, \u003c/em>with “\u003ca href=\"https://www.youtube.com/watch?v=xhf8Ssp6Ff4\">Funeral Song\u003c/a>” shifting rapidly between gentle dirge and fire, fire, fire. It is there on 2005’s \u003cem>The Woods\u003c/em>, in the meditative and meandering “\u003ca href=\"https://www.youtube.com/watch?v=Ptk7DEYY6LA\">Modern Girl\u003c/a>,” or in the bending ache of Brownstein’s elongated guitar solo on “\u003ca href=\"https://www.youtube.com/watch?v=KM9boCav7HA\">What’s Mine Is Yours\u003c/a>,” an animal trying to claw its way out of the cage the song has built. It is present all through \u003cem>No Cities To Love\u003c/em>, whose lyrical bite and musical playfulness read much clearer now.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Cj2k3QsHmyM'\n title='//www.youtube.com/embed/Cj2k3QsHmyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I get that this obscures the greater question: Even if we’ve made our peace with a band’s evolution, it doesn’t mean much if the songs aren’t good. Your mileage may vary with \u003cem>The Center Won’t Hold\u003c/em>. I think some of the songs are good, and some I’ve struggled to fall in love with. I think that Annie Clark is gifted beyond any language I have to describe her gifts, and so it is possible that all of our expectations for this project were too high. I think it will age well, and I say that with no metric to confirm that thought, beyond the fact that the elements of risk and departure tend to age well once the shock has worn off. I don’t know \u003ca href=\"https://www.billboard.com/articles/columns/rock/8518963/sleater-kinney-tour-2019-album-janet-weiss\">what a tour will look like\u003c/a> without Janet Weiss, a truly heroic drummer and one of the best of this or any era, but I know I’ll be there, excited as ever. And I don’t know what becomes of the trio after this—if this is the end, or if Weiss comes back once more. But if this is it for the classic lineup of one of the most important rock bands of all time, I’m glad they took a big swing, and I’m glad we got to witness it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.abdurraqib.com/\">\u003cem>Hanif Abdurraqib\u003c/em>\u003c/a>\u003cem> is a writer and poet from Columbus, Ohio. His latest books are \u003c/em>Go Ahead in the Rain: Notes to A Tribe Called Quest\u003cem> and the forthcoming\u003c/em> A Fortune for Your Disaster.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+It+Means+To+Listen+To+Sleater-Kinney+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "janet-mock-on-pose-decriminalizing-sex-work-and-her-life-as-a-trans-teen",
"title": "Janet Mock on 'Pose,' Decriminalizing Sex Work, and Her Life as a Trans Teen",
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"content": "\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o47CwiJLpes\u003c/p>\n\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2hhcoUnzMZw\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o47CwiJLpes'\n title='//www.youtube.com/embed/o47CwiJLpes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2hhcoUnzMZw'\n title='//www.youtube.com/embed/2hhcoUnzMZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Friendship is Still Magic, But After 9 Years, BronyCon Has Called it Quits",
"headTitle": "Friendship is Still Magic, But After 9 Years, BronyCon Has Called it Quits | KQED",
"content": "\u003cp>On a sweltering Saturday in Baltimore, 11,000 bronies have claimed downtown. These are the fans of the TV show \u003cem>My Little Pony: Friendship is Magic\u003c/em>, their name a mashup of “bro” and “pony” because many of the show’s earliest—and unanticipated—adherents were young men.\u003c/p>\n\u003cp>For nine years they’ve evangelized the show, and for nine years they’ve been targets of scorn. But they’ve come here for BronyCon—the biggest \u003cem>My Little Pony \u003c/em>convention in the world—heedless of what that world may think of them.\u003c/p>\n\u003cp>That’s what brought me here, too. I’ve dodged the brony label for years, but I can’t deny my love for the show. It’s helped me out in dark times, and I wasn’t about to pass up my last chance to join fans at BronyCon. Friendship may be magic, but the magic is fading; the show has entered its ninth and final season, and after several years of dwindling attendance, the convention’s organizers decided it was time for a last hurrah.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZcBNxuKZyN4\u003c/p>\n\u003cp>The promise of a final party drew record crowds much as it attracted me. “Honestly, I’m shocked that we got to this point. We were not expecting to have such a banner year,” says current convention chair Shir Goldberg. “We were expecting the fandom to be excited and maybe we would double our attendance from last year, clocking at the seven- or eight-thousand range, but we did not expect 11,000 people to show up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>People of all genders and ages—many colorfully costumed—parade down broad convention center halls. They gather for sprawling fan-illustrated card games, spontaneous singalongs to music from the show, and choreographed dance numbers. Everyone I spoke with waxed reflective, sharing stories of what first hooked them about\u003cem> My Little Pony\u003c/em>. Eliana Summers, BronyCon’s vice chair, says she first approached the show with skepticism, but it won her over with a moment of self-aware comedy. “It’s the same way you watch \u003cem>Toy Stor\u003c/em>y, and even as an adult it’s an incredibly enjoyable film because the humor works with children and adults. \u003cem>Pony \u003c/em>has always been that kind of clever, and that’s why we have about 10,000 people here to celebrate with us.”\u003c/p>\n\u003cfigure id=\"attachment_13864080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg\" alt=\"Many fans identify with the earnest, slightly neurotic Twilight Sparkle.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many fans identify with the earnest, slightly neurotic Twilight Sparkle. \u003ccite>(Discovery Family/Hasbro Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans say they see themselves reflected in the shows’ sensibility, or in a particular character. T.J. Carson, who runs fan websites under the moniker PirateDash, relates to Rainbow Dash—the high-flying athlete. “She’s kind of a sporty, brash person and I’m kind of sporty—and I try not to be so brash.” For the record, the character who always resonated with me was Twilight Sparkle, a bookish nerd who panics when she’s unable to finish a task to her satisfaction and who regularly reports on lessons she has learned about friendship.\u003c/p>\n\u003cp>It’s telling that I’m not alone in this. Daniel Chadborn, a psychologist on a team that has studied the phenomenon for nearly a decade, said fans list Twilight Sparkle as the show’s most likable character. In addition to her neurotic but endearing personality, Twilight Sparkle’s sincere focus on friendship might appeal to viewers who are socially marginalized—and also provide a model of pro-social behavior. \u003ca href=\"https://sites.google.com/view/bronystudyresearch\">According to Chadborn’s study\u003c/a>, bronies are more likely to donate to charity, less likely to accept gender stereotyping, and have five to 10 times higher LGBTQ representation than the average U.S. population. “Bronies tend to show that the No. 1 reason that they like the show is the story and characterizations,” he says. “Very early on there was the phrase ‘what would pony do’,” he added, meaning “how would this character react to this? How should I behave in that matter?”\u003c/p>\n\u003cfigure id=\"attachment_13864087\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg\" alt=\"A man shows off his 'My Little Pony' tattoo during BronyCon 2019. \" width=\"594\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983-160x110.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">A man shows off his ‘My Little Pony’ tattoo during BronyCon 2019. \u003ccite>(ANDREW CABALLERO-REYNOLDS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many people flocked to the fandom because it provides a creative outlet, not to mention a ready market for their artwork. Claire Revell says she has slipped away from \u003cem>My Little Pony \u003c/em>in recent years, but came all the way from England with new pony art for the last BronyCon. “I met a lot of people through it. I met my current boyfriend through it,” she says, “and it’s really quite changed my life, more than I realize.”\u003c/p>\n\u003cp>Revell isn’t the only person who met a life partner through pony fandom. Jayson Thiessen, chief director for many seasons of the show and for \u003cem>My Little Pony: The Movie\u003c/em>, says that’s part of its lasting impact: “People have come together and formed relationships and got married and had kids during the course of the show, because of the show … and we were wondering, how many kids owe their existence to this show? And it’s just kind of amazing.”\u003c/p>\n\u003cp>Children may be the most lasting consequence of the fandom, but show writer M.A. Larson is thinking about what else its legacy may be. “I wonder how the show’s going to live on, and will the new generations get the same lessons out of it,” he says. Many bronies I’ve talked to compare their plight to that of \u003cem>Star Trek \u003c/em>and \u003cem>Doctor Who\u003c/em> fans, who had to persist for years without new content. While Hasbro, the owner of \u003cem>My Little Pony\u003c/em>, will doubtless manufacture equine toys and spinoffs for years, they may never catch fire the way \u003cem>Friendship is Magic\u003c/em> did. So many fans are moving on, even though they’ve come back to the last BronyCon to see old friends and relive some of the old magic.\u003c/p>\n\u003cp>That old magic was heady stuff for me. My hours at BronyCon threw me back to an earlier self, when the show hit me like a bolt from the blue. I was studying at Brigham Young University, returned from a Mormon proselytizing mission cut short by a diagnosis of bipolar disorder. Shattered and lonely, I felt bereft of a life I thought I had figured out: no longer the ambitious student, the unshakable older brother, the model Latter-day Saint. Then came a show about candy-colored ponies learning to accept themselves and each other—one song and smile at a time. I hadn’t watched an episode in years, but BronyCon reminded me how much I needed \u003cem>My Little Pony \u003c/em>back then, and how it strikes a chord in me still. In fact, until I sat down to write this essay I didn’t realize how much of my current life I owe to the show—it even, indirectly, led to me meeting my own wife.\u003c/p>\n\u003cp>So while this year’s BronyCon was the biggest, it was never more bittersweet. As convention chair Shir Goldberg says: “Friendship\u003cem> is \u003c/em>magic, you know. It’s cliché, but the reason the fans stay in the fandom is the people. It’s not for the content or the merch, it’s for all of the people that created that stuff.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino is a producer for NPR and WBUR’s \u003c/em>Here & Now\u003cem>, an obsessive board gamer, and lover of all things magical.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Friends+We+Made+Along+The+Way%3A+After+9+Years%2C+BronyCon+Calls+It+Quits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "For the past nine years, bronies—fans of the show 'My Little Pony: Friendship is Magic'—have gathered in Baltimore for BronyCon. This year's convention was the biggest ever, but also the last.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sweltering Saturday in Baltimore, 11,000 bronies have claimed downtown. These are the fans of the TV show \u003cem>My Little Pony: Friendship is Magic\u003c/em>, their name a mashup of “bro” and “pony” because many of the show’s earliest—and unanticipated—adherents were young men.\u003c/p>\n\u003cp>For nine years they’ve evangelized the show, and for nine years they’ve been targets of scorn. But they’ve come here for BronyCon—the biggest \u003cem>My Little Pony \u003c/em>convention in the world—heedless of what that world may think of them.\u003c/p>\n\u003cp>That’s what brought me here, too. I’ve dodged the brony label for years, but I can’t deny my love for the show. It’s helped me out in dark times, and I wasn’t about to pass up my last chance to join fans at BronyCon. Friendship may be magic, but the magic is fading; the show has entered its ninth and final season, and after several years of dwindling attendance, the convention’s organizers decided it was time for a last hurrah.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZcBNxuKZyN4'\n title='//www.youtube.com/embed/ZcBNxuKZyN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The promise of a final party drew record crowds much as it attracted me. “Honestly, I’m shocked that we got to this point. We were not expecting to have such a banner year,” says current convention chair Shir Goldberg. “We were expecting the fandom to be excited and maybe we would double our attendance from last year, clocking at the seven- or eight-thousand range, but we did not expect 11,000 people to show up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People of all genders and ages—many colorfully costumed—parade down broad convention center halls. They gather for sprawling fan-illustrated card games, spontaneous singalongs to music from the show, and choreographed dance numbers. Everyone I spoke with waxed reflective, sharing stories of what first hooked them about\u003cem> My Little Pony\u003c/em>. Eliana Summers, BronyCon’s vice chair, says she first approached the show with skepticism, but it won her over with a moment of self-aware comedy. “It’s the same way you watch \u003cem>Toy Stor\u003c/em>y, and even as an adult it’s an incredibly enjoyable film because the humor works with children and adults. \u003cem>Pony \u003c/em>has always been that kind of clever, and that’s why we have about 10,000 people here to celebrate with us.”\u003c/p>\n\u003cfigure id=\"attachment_13864080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg\" alt=\"Many fans identify with the earnest, slightly neurotic Twilight Sparkle.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many fans identify with the earnest, slightly neurotic Twilight Sparkle. \u003ccite>(Discovery Family/Hasbro Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans say they see themselves reflected in the shows’ sensibility, or in a particular character. T.J. Carson, who runs fan websites under the moniker PirateDash, relates to Rainbow Dash—the high-flying athlete. “She’s kind of a sporty, brash person and I’m kind of sporty—and I try not to be so brash.” For the record, the character who always resonated with me was Twilight Sparkle, a bookish nerd who panics when she’s unable to finish a task to her satisfaction and who regularly reports on lessons she has learned about friendship.\u003c/p>\n\u003cp>It’s telling that I’m not alone in this. Daniel Chadborn, a psychologist on a team that has studied the phenomenon for nearly a decade, said fans list Twilight Sparkle as the show’s most likable character. In addition to her neurotic but endearing personality, Twilight Sparkle’s sincere focus on friendship might appeal to viewers who are socially marginalized—and also provide a model of pro-social behavior. \u003ca href=\"https://sites.google.com/view/bronystudyresearch\">According to Chadborn’s study\u003c/a>, bronies are more likely to donate to charity, less likely to accept gender stereotyping, and have five to 10 times higher LGBTQ representation than the average U.S. population. “Bronies tend to show that the No. 1 reason that they like the show is the story and characterizations,” he says. “Very early on there was the phrase ‘what would pony do’,” he added, meaning “how would this character react to this? How should I behave in that matter?”\u003c/p>\n\u003cfigure id=\"attachment_13864087\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg\" alt=\"A man shows off his 'My Little Pony' tattoo during BronyCon 2019. \" width=\"594\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983-160x110.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">A man shows off his ‘My Little Pony’ tattoo during BronyCon 2019. \u003ccite>(ANDREW CABALLERO-REYNOLDS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many people flocked to the fandom because it provides a creative outlet, not to mention a ready market for their artwork. Claire Revell says she has slipped away from \u003cem>My Little Pony \u003c/em>in recent years, but came all the way from England with new pony art for the last BronyCon. “I met a lot of people through it. I met my current boyfriend through it,” she says, “and it’s really quite changed my life, more than I realize.”\u003c/p>\n\u003cp>Revell isn’t the only person who met a life partner through pony fandom. Jayson Thiessen, chief director for many seasons of the show and for \u003cem>My Little Pony: The Movie\u003c/em>, says that’s part of its lasting impact: “People have come together and formed relationships and got married and had kids during the course of the show, because of the show … and we were wondering, how many kids owe their existence to this show? And it’s just kind of amazing.”\u003c/p>\n\u003cp>Children may be the most lasting consequence of the fandom, but show writer M.A. Larson is thinking about what else its legacy may be. “I wonder how the show’s going to live on, and will the new generations get the same lessons out of it,” he says. Many bronies I’ve talked to compare their plight to that of \u003cem>Star Trek \u003c/em>and \u003cem>Doctor Who\u003c/em> fans, who had to persist for years without new content. While Hasbro, the owner of \u003cem>My Little Pony\u003c/em>, will doubtless manufacture equine toys and spinoffs for years, they may never catch fire the way \u003cem>Friendship is Magic\u003c/em> did. So many fans are moving on, even though they’ve come back to the last BronyCon to see old friends and relive some of the old magic.\u003c/p>\n\u003cp>That old magic was heady stuff for me. My hours at BronyCon threw me back to an earlier self, when the show hit me like a bolt from the blue. I was studying at Brigham Young University, returned from a Mormon proselytizing mission cut short by a diagnosis of bipolar disorder. Shattered and lonely, I felt bereft of a life I thought I had figured out: no longer the ambitious student, the unshakable older brother, the model Latter-day Saint. Then came a show about candy-colored ponies learning to accept themselves and each other—one song and smile at a time. I hadn’t watched an episode in years, but BronyCon reminded me how much I needed \u003cem>My Little Pony \u003c/em>back then, and how it strikes a chord in me still. In fact, until I sat down to write this essay I didn’t realize how much of my current life I owe to the show—it even, indirectly, led to me meeting my own wife.\u003c/p>\n\u003cp>So while this year’s BronyCon was the biggest, it was never more bittersweet. As convention chair Shir Goldberg says: “Friendship\u003cem> is \u003c/em>magic, you know. It’s cliché, but the reason the fans stay in the fandom is the people. It’s not for the content or the merch, it’s for all of the people that created that stuff.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino is a producer for NPR and WBUR’s \u003c/em>Here & Now\u003cem>, an obsessive board gamer, and lover of all things magical.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Friends+We+Made+Along+The+Way%3A+After+9+Years%2C+BronyCon+Calls+It+Quits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How One Brutal Children's Book From 1845 Left Permanent Marks on Pop Culture",
"headTitle": "How One Brutal Children’s Book From 1845 Left Permanent Marks on Pop Culture | KQED",
"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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"excerpt": "Despite 1845's 'Der Struwwelpeter' being full of short, sharp shocks, there are still elements of it left behind in today's entertainment for children—and adults.",
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"description": "Despite 1845's 'Der Struwwelpeter' being full of short, sharp shocks, there are still elements of it left behind in today's entertainment for children—and adults.",
"title": "How One Brutal Children's Book From 1845 Left Permanent Marks on Pop Culture | KQED",
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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",
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"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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"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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"title": "Fans Feeling Cynical After Jay-Z Flip-Flops on the NFL",
"headTitle": "Fans Feeling Cynical After Jay-Z Flip-Flops on the NFL | KQED",
"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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"excerpt": "Despite criticizing the NFL and discouraging artists from performing at the Super Bowl, Jay-Z is now in partnership with the National Football League.",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"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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"excerpt": "Bikini Kill's instant anthem for the '90s riot grrrl movement found new purpose at rock camps, where young girls learn to express themselves through music. Hanna breaks it down with NPR's Ann Powers.",
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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": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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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": {
"site": "news",
"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"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",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"id": "here-and-now",
"title": "Here & Now",
"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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"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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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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