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"content": "\u003cp>\u003cem>After the Wedding\u003c/em> is a movie full of transformative secrets.\u003c/p>\n\u003cp>It’s a gender-swapped remake of a 2006 Danish film, and when we first meet the main character—Isabel, played by Michelle Williams—she’s living a modest, humble life running an orphanage in India. Then one day she’s asked to go to New York City to clinch a deal for a life-changing donation to the orphanage. The money would come from a media mogul, Theresa, played by Julianne Moore.\u003c/p>\n\u003cp>That transaction lands Isabel in a world of wealth and power tied too closely to her past—when she was a very different person.\u003c/p>\n\u003cp>“I thought of her as somebody who used to burn very hot, and whose fire had to be extinguished,” Williams says in an interview. “And that only a place like India, with all of its sights and smells and sounds, can calm a person like this.”\u003c/p>\n\u003cp>Michelle Williams spoke with NPR about her role in \u003cem>After the Wedding\u003c/em>, the effect of pay inequality on her own career and filming in India.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a place that I’ve been drawn to for its religious heritage, its fervor, the way that it overwhelms your senses,” Williams says. “But what was most unusual about it was shooting in a Third World country. I don’t think that I’ve ever shot a film in those circumstances. And the sentiment that I was left with, when we departed India, was: It’s such a luxury to have problems. And it was one of the things that I wanted to address in making this film, was to play someone whose tolerance for petty grievances or opulent displays of wealth was shattered because of the life she had lived for the last two decades.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RJ4QxPjU2Lk\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character Isabel, who is visibly uncomfortable with wealth\u003c/strong>\u003c/p>\n\u003cp>She was a New Yorker, and she had a life in New York, and she fled it — and she recreated herself in India as somebody whose life was devoted to making other people’s lives better. And whether that’s selfish or selfless, up to you. But as a New Yorker, I think a lot about how these economic situations abut each other, and about what my family’s response is to that, what my daughter and I talk about as it relates to that. And so it was something that I wanted to put on screen and hopefully send out to a larger conversation. How do we see what we see … how does that change how we live? …\u003c/p>\n\u003cp>What my character finds herself in is a situation with a woman who thinks that there’s a price on people, and that what she’s offering will appeal to my character—that isn’t it what everyone wants, money and power? And what my character is saying by resisting the offer is that more than anything, she wants freedom and autonomy and to live a life of her own making. But the ultimate question comes toward the end, when what she’s made to realize is that this money that’s being dangled in front of her will affect other peoples’ lives.\u003c/p>\n\u003cp>\u003cstrong>On the aftermath of the \u003c/strong>\u003ca href=\"https://www.npr.org/2018/01/10/577163183/how-a-massive-pay-gap-occurred-in-the-all-the-money-in-the-world-reshoot\">\u003cstrong>All the Money in the World\u003c/strong> \u003cstrong>controversy\u003c/strong>\u003c/a>\u003cstrong>, where she received a tiny fraction of the money her male co-star was paid\u003c/strong>\u003c/p>\n\u003cp>It is a sort of private humiliation that became the greatest public platform of my life—much more so than talking about my film and stage work. Because, as I said in a speech on Capitol Hill: If it’s like this for me, how bad is it for other women? And I have started to see a shift, certainly in the way that people treat me—and from what I hear from women coming up to me, that my example has been really useful for them. …\u003c/p>\n\u003cp>It has changed the way that I try and think about money—because it’s tied into our self-worth. And I didn’t really think to ask for it because I didn’t think to value myself in that kind of way. And when I started to think about what would I use money for if I had it, and I started to think about freedom of choice or freedom of time, then I started to be able to open myself up to the idea that I could put a value on myself, and ask for it in my workplace.\u003c/p>\n\u003cp>\u003cstrong>On what she’s said to her daughter about the experience\u003c/strong>\u003c/p>\n\u003cp>Well, what’s so great with single parenting is that you live in extreme intimacy with each another. So everything that I go through, she’s very well aware of it. And for the better, really—so, she was along for the ride of all of this in the last couple of years, in terms of this issue of fair pay. So she’s seen me struggle, and then she’s seen this almost fairy-tale happy ending, which is the job that I most recently finished—a TV series called \u003cem>Fosse/Verdon\u003c/em>. I was paid the same as my male co-star [Sam Rockwell]. …\u003c/p>\n\u003cp>And unfortunately, that’s really the only way to move forward, is that it has to start at the top. And that’s what I experienced when I did this TV show with FX, was: They wanted to make the workplace fair. They wanted me to feel valued. So, what it means we talk about when supporting women—it doesn’t just mean holding our hands. It means supporting us economically.\u003c/p>\n\u003cp>\u003cstrong>On if roles for women are improving \u003c/strong>\u003c/p>\n\u003cp>I can say for me personally, my opportunities have gotten better and better. I’m more and more excited about the kind of work that I’m allowed to do—and that periods where I’m not working or not getting the kind of parts that I want to play, I can work on myself in those times. I can fill myself up in other ways so I’m ready and prepared when the role that I’ve been dreaming of does come my way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Cindy Johnston produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michelle+Williams+On+Economic+Inequality+In+Her+New+Movie+%E2%80%94+And+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a place that I’ve been drawn to for its religious heritage, its fervor, the way that it overwhelms your senses,” Williams says. “But what was most unusual about it was shooting in a Third World country. I don’t think that I’ve ever shot a film in those circumstances. And the sentiment that I was left with, when we departed India, was: It’s such a luxury to have problems. And it was one of the things that I wanted to address in making this film, was to play someone whose tolerance for petty grievances or opulent displays of wealth was shattered because of the life she had lived for the last two decades.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RJ4QxPjU2Lk'\n title='//www.youtube.com/embed/RJ4QxPjU2Lk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character Isabel, who is visibly uncomfortable with wealth\u003c/strong>\u003c/p>\n\u003cp>She was a New Yorker, and she had a life in New York, and she fled it — and she recreated herself in India as somebody whose life was devoted to making other people’s lives better. 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"title": "'Jaws' Shark Gets His Bite Back: A Love Story",
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"content": "\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The last replica shark from the 1975 classic blockbuster, 'Jaws', has gotten a facelift on his way to a new museum.",
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"description": "The last replica shark from the 1975 classic blockbuster, 'Jaws', has gotten a facelift on his way to a new museum.",
"title": "'Jaws' Shark Gets His Bite Back: A Love Story | KQED",
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"headline": "'Jaws' Shark Gets His Bite Back: A Love Story",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Kitchen,' Mob Wives Are Doin' it For Themselves",
"headTitle": "In ‘The Kitchen,’ Mob Wives Are Doin’ it For Themselves | KQED",
"content": "\u003cp>In \u003cem>The Kitchen\u003c/em>, Tiffany Haddish snatches a revolver from her just-out-of-jail gangster husband, gets up in his face, and snarls, “It’s \u003cem>my \u003c/em>business now.”\u003c/p>\n\u003cp>It’s a strong moment—one that gets at something deeper than the surface pleasures and platitudes of a mob movie led by women; it intimates just how caustic and corrosive running a business can be. How are the consequences of the American Dream—the ruthless ambitions that drive capitalism—gendered?\u003c/p>\n\u003cp>That’s the question at the center of Andrea Berloff’s film, based on the comic book miniseries by Ollie Masters and illustrated by Ming Doyle. Yet so much of what’s promising about \u003cem>The Kitchen, \u003c/em>including its ability to explore that question meaningfully, is hampered by its need to justify its own existence—to keep convincing you that it’s sufficiently woke.\u003c/p>\n\u003cp>The film follows three women (Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss) whose Irish gangster husbands (Brian d’Arcy James, Kevin O’Carroll, and Jeremy Bobb, respectively) are sent to jail, leaving the three to pick up the pieces in 1970s-era Hell’s Kitchen. As we watch them assert power and claim turf for themselves,\u003cem>The Kitchen\u003c/em> does give Haddish and Moss room to flex their genre muscles, but it habitually second-guesses its own decision to tell its story in the first place.\u003c/p>\n\u003cp>The palpable, hesitant self-doubt the film exudes is ironic, given the trajectory of its characters’ ascension in the mob world. Kathy (McCarthy), Ruby (Haddish), and Claire (Moss) have to prove to the family that anything male mobsters can do, they can do better. It feels like the film, too, keeps trying to say this. In several scenes, characters explicate and underline that women can be gangsters, too, and that the world is misogynistic, patriarchal and racist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The character of Little Jackie (Myt Watford), for example—who runs things while Ruby’s husband is behind bars—is written as a stingy, foul, \u003cem>cartoonishly \u003c/em>misogynistic jerk. By showing him shorting the women the money they now need to support themselves and their families, the script tells us everything we need to know about how women are undervalued in that system. But the film relentlessly asserts and overexplains this point, stripping it of any human nuance. Writer-director Andrea Berloff’s script similarly telegraphs what it means when the women take things into their own hands, employing clunky dialogue about how meaningful it is that these characters can do this.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlcyEDZVYkw\u003c/p>\n\u003cp>Those moments when the film makes its points about gender and power dynamics using little to no dialogue are its most effective. It’s a lot more interesting, for instance, to watch Tiffany Haddish strut down a crosswalk, hand held out at cars, evoking Pam Grier as she \u003cem>literally \u003c/em>stops traffic, than it is to listen to her intone that they need to remind the family “what the word \u003cem>family \u003c/em>even \u003cem>means\u003c/em>.”\u003c/p>\n\u003cp>It’s also more exciting to watch Elisabeth Moss, whose character is heavily shaped by the marital abuse she’s experienced, wield a Magnum at a street harasser than it is to watch her chew her way through ham-fisted speeches about the action she just took, or is about to take.\u003c/p>\n\u003cp>Once the film settles down and stops trying to rationalize itself, \u003cem>The Kitchen\u003c/em> can be thrilling. Soon enough, things get appropriately pulpy and nasty, leaning into genre conventions and then inflecting them with female power. As Margo Channing might opine, “Funny business, a woman’s career.” Berloff lets her leads walk the streets like they own them, because they do, adding ghoulish details that drive this home: the body in the alleyway, the bloodstains on the wall, the cross hanging on a wall behind someone as they hack away at a corpse.\u003c/p>\n\u003cp>When it’s actively exploring ambiguities of power and alliance, transaction and labor, leadership and territory, the film raises intriguing questions about capitalism, gender and race. And it manages to do so while supplying a steady stream of entertaining plot twists. As the relationships among these three women fluctuate and evolve, they emerge as clear, individualized characters, as opposed to mouthpieces delivering talking points about gender politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It takes roughly a third of the film’s running time for it to stop insisting on itself long enough to dig deeper, beyond the surface optics of its story. In the end, Berloff \u003cem>is\u003c/em> invested in showing us that in the mob—as in the world of “legitimate” business—empires are built on the blood of others. I just wish the film didn’t feel it needed to tell us to buckle our seatbelts; we already knew it was going to be a bumpy night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Overwritten%2C+Undercooked+%27The+Kitchen%2C%27+Mob+Wives+Are+Doin%27+It+For+Themselves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>The Kitchen\u003c/em>, Tiffany Haddish snatches a revolver from her just-out-of-jail gangster husband, gets up in his face, and snarls, “It’s \u003cem>my \u003c/em>business now.”\u003c/p>\n\u003cp>It’s a strong moment—one that gets at something deeper than the surface pleasures and platitudes of a mob movie led by women; it intimates just how caustic and corrosive running a business can be. How are the consequences of the American Dream—the ruthless ambitions that drive capitalism—gendered?\u003c/p>\n\u003cp>That’s the question at the center of Andrea Berloff’s film, based on the comic book miniseries by Ollie Masters and illustrated by Ming Doyle. Yet so much of what’s promising about \u003cem>The Kitchen, \u003c/em>including its ability to explore that question meaningfully, is hampered by its need to justify its own existence—to keep convincing you that it’s sufficiently woke.\u003c/p>\n\u003cp>The film follows three women (Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss) whose Irish gangster husbands (Brian d’Arcy James, Kevin O’Carroll, and Jeremy Bobb, respectively) are sent to jail, leaving the three to pick up the pieces in 1970s-era Hell’s Kitchen. As we watch them assert power and claim turf for themselves,\u003cem>The Kitchen\u003c/em> does give Haddish and Moss room to flex their genre muscles, but it habitually second-guesses its own decision to tell its story in the first place.\u003c/p>\n\u003cp>The palpable, hesitant self-doubt the film exudes is ironic, given the trajectory of its characters’ ascension in the mob world. Kathy (McCarthy), Ruby (Haddish), and Claire (Moss) have to prove to the family that anything male mobsters can do, they can do better. It feels like the film, too, keeps trying to say this. In several scenes, characters explicate and underline that women can be gangsters, too, and that the world is misogynistic, patriarchal and racist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The character of Little Jackie (Myt Watford), for example—who runs things while Ruby’s husband is behind bars—is written as a stingy, foul, \u003cem>cartoonishly \u003c/em>misogynistic jerk. By showing him shorting the women the money they now need to support themselves and their families, the script tells us everything we need to know about how women are undervalued in that system. But the film relentlessly asserts and overexplains this point, stripping it of any human nuance. Writer-director Andrea Berloff’s script similarly telegraphs what it means when the women take things into their own hands, employing clunky dialogue about how meaningful it is that these characters can do this.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YlcyEDZVYkw'\n title='//www.youtube.com/embed/YlcyEDZVYkw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those moments when the film makes its points about gender and power dynamics using little to no dialogue are its most effective. It’s a lot more interesting, for instance, to watch Tiffany Haddish strut down a crosswalk, hand held out at cars, evoking Pam Grier as she \u003cem>literally \u003c/em>stops traffic, than it is to listen to her intone that they need to remind the family “what the word \u003cem>family \u003c/em>even \u003cem>means\u003c/em>.”\u003c/p>\n\u003cp>It’s also more exciting to watch Elisabeth Moss, whose character is heavily shaped by the marital abuse she’s experienced, wield a Magnum at a street harasser than it is to watch her chew her way through ham-fisted speeches about the action she just took, or is about to take.\u003c/p>\n\u003cp>Once the film settles down and stops trying to rationalize itself, \u003cem>The Kitchen\u003c/em> can be thrilling. Soon enough, things get appropriately pulpy and nasty, leaning into genre conventions and then inflecting them with female power. As Margo Channing might opine, “Funny business, a woman’s career.” Berloff lets her leads walk the streets like they own them, because they do, adding ghoulish details that drive this home: the body in the alleyway, the bloodstains on the wall, the cross hanging on a wall behind someone as they hack away at a corpse.\u003c/p>\n\u003cp>When it’s actively exploring ambiguities of power and alliance, transaction and labor, leadership and territory, the film raises intriguing questions about capitalism, gender and race. And it manages to do so while supplying a steady stream of entertaining plot twists. As the relationships among these three women fluctuate and evolve, they emerge as clear, individualized characters, as opposed to mouthpieces delivering talking points about gender politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It takes roughly a third of the film’s running time for it to stop insisting on itself long enough to dig deeper, beyond the surface optics of its story. In the end, Berloff \u003cem>is\u003c/em> invested in showing us that in the mob—as in the world of “legitimate” business—empires are built on the blood of others. I just wish the film didn’t feel it needed to tell us to buckle our seatbelts; we already knew it was going to be a bumpy night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Overwritten%2C+Undercooked+%27The+Kitchen%2C%27+Mob+Wives+Are+Doin%27+It+For+Themselves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why America Needs #GreenShirtGuy and #30-50FeralHogs Right Now",
"headTitle": "Why America Needs #GreenShirtGuy and #30-50FeralHogs Right Now | KQED",
"content": "\u003cp>It’s happened twice in the last few days: ridiculous trending topics on social media prompted by otherwise inescapably dark moments in the United States of America. Despite the tragedies behind #30-50FeralHogs and the anti-immigrant rhetoric on display in #GreenShirtGuy’s point of genesis, these memes have provided surprising and much-needed points of levity in an otherwise exhaustingly heavy landscape—and modern though they appear, they’re actually rooted in evolutionary survival methods.\u003c/p>\n\u003cp>On Monday we learned of #30-50FeralHogs, a phrase that emerged from gun control discussions that were taking place online, prompted by the mass shootings in Gilroy, El Paso and Dayton, as well as so many simultaneous shootings in Chicago that Mount Sinai Hospital was forced to \u003ca href=\"https://www.cnn.com/2019/08/04/us/chicago-mount-sinai-hospital/index.html\" target=\"_blank\" rel=\"noopener\">temporarily close its doors\u003c/a>.\u003c/p>\n\u003cp>It all started with a libertarian in Arkansas named \u003ca href=\"https://twitter.com/WillieMcNabb\" target=\"_blank\" rel=\"noopener\">William McNabb\u003c/a>:\u003c/p>\n\u003cp>https://twitter.com/WillieMcNabb/status/1158045307562856448?s=20\u003c/p>\n\u003cp>While \u003ca href=\"https://www.theguardian.com/us-news/2019/aug/05/feral-hogs-memes-twitter-30-50-running-into-my-yard-small-kids\" target=\"_blank\" rel=\"noopener\">\u003cem>The Guardian\u003c/em> was quick to note\u003c/a> the legitimacy of McNabb’s tweet—explaining that in “rural part[s] of the American south … large groups of feral hogs are, according to one expert … ‘actually a huge problem'”—the meme response was swift and, frankly, a welcome relief after a weekend of horrifying news.\u003c/p>\n\u003cp>https://twitter.com/Walpvrgia/status/1159086448395599872\u003c/p>\n\u003cp>https://twitter.com/MegLegbird/status/1158589851412754432\u003c/p>\n\u003cp>https://twitter.com/Jamieno_/status/1158694890362028032\u003c/p>\n\u003cp>Then Wednesday, the country was introduced to #GreenShirtGuy (a man \u003ca href=\"https://twitter.com/pattonoswalt/status/1159159192852127744\" target=\"_blank\" rel=\"noopener\">quickly identified\u003c/a> by comedian Patton Oswalt as a Washington, D.C. resident named \u003ca href=\"https://twitter.com/Alex_Kack\" target=\"_blank\" rel=\"noopener\">Alex Kack\u003c/a>) who somehow managed to heartily laugh his way through a tense situation during a city council meeting about sanctuary cities. Kack was quickly embraced by a nation palpably sick of in-fighting and partisanship.\u003c/p>\n\u003cp>https://twitter.com/pattonoswalt/status/1159159192852127744\u003c/p>\n\u003cp>https://twitter.com/DaveErnesto/status/1159183931440336898\u003c/p>\n\u003cp>https://twitter.com/JoeMill73489060/status/1159140102221832192\u003c/p>\n\u003cp>Because, yes, #PlaidShirtGuy—a Billings high school student—proved similarly popular on social media last year after attending a Trump rally in Montana and letting his face do the talking.\u003c/p>\n\u003cp>https://twitter.com/AmoneyResists/status/1038046557818499072\u003c/p>\n\u003cp>Almost a year on, the joy #PlaidShirtGuy brought people has not been forgotten.\u003c/p>\n\u003cp>https://twitter.com/ink_lotus/status/1159151773426298886\u003c/p>\n\u003cp>While #GreenShirtGuy ended up being the star of the town council clip, adoration has also been directed to the gentleman behind him holding a banjo (#BanjoGuy) and another man shouting the phrase “You are in direct violation of being a jackass!” (#RedShirtGuy)\u003c/p>\n\u003cp>https://twitter.com/DannyDeraney/status/1159168926112083970\u003c/p>\n\u003cp>https://twitter.com/crveljvan/status/1159206448582156290\u003c/p>\n\u003cp>The hyperfocus applied to almost everyone in this video \u003cem>other\u003c/em> than the woman angrily shouting is a demonstration of just how desperate the country currently is for comic relief. Laughing in the face of tragedy and/or volatility may often feel unnatural to our rational brains, but using humor to cope is something hardwired into humanity.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://www.amazon.com/Brief-Tour-Human-Consciousness-Impostor/dp/0131872788\" target=\"_blank\" rel=\"noopener\">A Brief Tour of Human Consciousness\u003c/a>\u003c/em>, neurologist V. S. Ramachandran explains that laughing in circumstances that are surface-level scary originally developed as a way to let other members of the community know when not to “waste your precious resources on this situation.” In 2019, laughing at one man’s problem with feral hogs, or with someone who’s cracking up because of an angry protester, allows us to briefly forget about the bigger, more important issues at stake, and find temporary respite in the related, but inconsequential ones.\u003c/p>\n\u003cp>Beyond those evolutionary roots, finding shared humor in single events also acts as a community builder. Author of \u003cem>Laughter: A Scientific Investigation\u003c/em>, neuroscientist \u003ca href=\"https://www.psychologytoday.com/us/articles/200011/the-science-laughter\" target=\"_blank\" rel=\"noopener\">Robert Provine notes\u003c/a>, “Laughter is primarily a social vocalization that binds people together. It is a hidden language that we all speak. It is not a learned group reaction but an instinctive behavior programmed by our genes.”\u003c/p>\n\u003cp>On Sep. 13, 2001, author, comedy coach and funny person Judy Carter started a promotional tour for her book, \u003ca href=\"https://www.amazon.com/Comedy-Bible-Stand-up-Sitcom-Ultimate/dp/0743201256\" target=\"_blank\" rel=\"noopener\">\u003cem>The Comedy Bible\u003c/em>\u003c/a>, in New York. Her friends told her to cancel, that nobody wanted to laugh two days after 9/11—but she went anyway. \u003ca href=\"https://www.psychologytoday.com/us/blog/stress-is-laughing-matter/201710/how-do-we-laugh-in-times-tragedy\" target=\"_blank\" rel=\"noopener\">Writing for \u003cem>Psychology Today\u003c/em>\u003c/a> 16 years later, Carter explained:\u003c/p>\n\u003cblockquote>\u003cp>“In front of 200 people at a show at the Gotham Comedy Club, we had a moment of silence and then I went into my material. There was that moment that all comics know about; the silence before the joke hits the audience. That night, the gap seemed excruciatingly long. And then, people laughed. They didn’t just laugh, they erupted. It was loud and deafening as acts of rebellion usually are. It was as if the audience was saying, ‘Terrorists have taken away a part of our city, our community, and our sense of security, but we will be damned if they take away our sense of humor.’ … Humor is healing.”\u003c/p>\u003c/blockquote>\n\u003cp>While taking the biggest issues our country currently faces and boiling them down to their most frivolous edges can feel inappropriate—tasteless, even—it’s actually (as so many Twitter users have specifically noted) giving us life. It’s granting us respite from social stress; and reminding us that, in moments much bigger than our individual selves, we can find community in humor, and regain some sense of control over how we filter distressing information.\u003c/p>\n\u003cp>“I think this should be our new collective wave of civil disobedience,” Kathy Griffin \u003ca href=\"https://twitter.com/kathygriffin/status/1159171452639182848\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> about #GreenShirtGuy. “I’m serious. Giant groups of us, at every event, our LOUD, laughing voices will be heard joyously … #GreenShirtGuy I think you’ve given us the answer we have been looking for!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>While \u003ca href=\"https://www.theguardian.com/us-news/2019/aug/05/feral-hogs-memes-twitter-30-50-running-into-my-yard-small-kids\" target=\"_blank\" rel=\"noopener\">\u003cem>The Guardian\u003c/em> was quick to note\u003c/a> the legitimacy of McNabb’s tweet—explaining that in “rural part[s] of the American south … large groups of feral hogs are, according to one expert … ‘actually a huge problem'”—the meme response was swift and, frankly, a welcome relief after a weekend of horrifying news.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then Wednesday, the country was introduced to #GreenShirtGuy (a man \u003ca href=\"https://twitter.com/pattonoswalt/status/1159159192852127744\" target=\"_blank\" rel=\"noopener\">quickly identified\u003c/a> by comedian Patton Oswalt as a Washington, D.C. resident named \u003ca href=\"https://twitter.com/Alex_Kack\" target=\"_blank\" rel=\"noopener\">Alex Kack\u003c/a>) who somehow managed to heartily laugh his way through a tense situation during a city council meeting about sanctuary cities. Kack was quickly embraced by a nation palpably sick of in-fighting and partisanship.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The hyperfocus applied to almost everyone in this video \u003cem>other\u003c/em> than the woman angrily shouting is a demonstration of just how desperate the country currently is for comic relief. Laughing in the face of tragedy and/or volatility may often feel unnatural to our rational brains, but using humor to cope is something hardwired into humanity.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://www.amazon.com/Brief-Tour-Human-Consciousness-Impostor/dp/0131872788\" target=\"_blank\" rel=\"noopener\">A Brief Tour of Human Consciousness\u003c/a>\u003c/em>, neurologist V. S. Ramachandran explains that laughing in circumstances that are surface-level scary originally developed as a way to let other members of the community know when not to “waste your precious resources on this situation.” In 2019, laughing at one man’s problem with feral hogs, or with someone who’s cracking up because of an angry protester, allows us to briefly forget about the bigger, more important issues at stake, and find temporary respite in the related, but inconsequential ones.\u003c/p>\n\u003cp>Beyond those evolutionary roots, finding shared humor in single events also acts as a community builder. Author of \u003cem>Laughter: A Scientific Investigation\u003c/em>, neuroscientist \u003ca href=\"https://www.psychologytoday.com/us/articles/200011/the-science-laughter\" target=\"_blank\" rel=\"noopener\">Robert Provine notes\u003c/a>, “Laughter is primarily a social vocalization that binds people together. It is a hidden language that we all speak. It is not a learned group reaction but an instinctive behavior programmed by our genes.”\u003c/p>\n\u003cp>On Sep. 13, 2001, author, comedy coach and funny person Judy Carter started a promotional tour for her book, \u003ca href=\"https://www.amazon.com/Comedy-Bible-Stand-up-Sitcom-Ultimate/dp/0743201256\" target=\"_blank\" rel=\"noopener\">\u003cem>The Comedy Bible\u003c/em>\u003c/a>, in New York. Her friends told her to cancel, that nobody wanted to laugh two days after 9/11—but she went anyway. \u003ca href=\"https://www.psychologytoday.com/us/blog/stress-is-laughing-matter/201710/how-do-we-laugh-in-times-tragedy\" target=\"_blank\" rel=\"noopener\">Writing for \u003cem>Psychology Today\u003c/em>\u003c/a> 16 years later, Carter explained:\u003c/p>\n\u003cblockquote>\u003cp>“In front of 200 people at a show at the Gotham Comedy Club, we had a moment of silence and then I went into my material. There was that moment that all comics know about; the silence before the joke hits the audience. That night, the gap seemed excruciatingly long. And then, people laughed. They didn’t just laugh, they erupted. It was loud and deafening as acts of rebellion usually are. It was as if the audience was saying, ‘Terrorists have taken away a part of our city, our community, and our sense of security, but we will be damned if they take away our sense of humor.’ … Humor is healing.”\u003c/p>\u003c/blockquote>\n\u003cp>While taking the biggest issues our country currently faces and boiling them down to their most frivolous edges can feel inappropriate—tasteless, even—it’s actually (as so many Twitter users have specifically noted) giving us life. It’s granting us respite from social stress; and reminding us that, in moments much bigger than our individual selves, we can find community in humor, and regain some sense of control over how we filter distressing information.\u003c/p>\n\u003cp>“I think this should be our new collective wave of civil disobedience,” Kathy Griffin \u003ca href=\"https://twitter.com/kathygriffin/status/1159171452639182848\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> about #GreenShirtGuy. “I’m serious. Giant groups of us, at every event, our LOUD, laughing voices will be heard joyously … #GreenShirtGuy I think you’ve given us the answer we have been looking for!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Steph Curry Helps Renovate Run-Down Basketball Court in East Oakland",
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"content": "\u003cp>Leave it up to Steph Curry to fix a run-down community basketball court in East Oakland—and to do it in style.\u003c/p>\n\u003cp>On Tuesday afternoon at Concordia Park, a large crowd of children cheered loudly as the Warriors guard tossed alley-oops to a squad of young hoopers. While parents watched from the bleachers, Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\n\u003cp>The occasion? A renovation of Concordia Park’s run-down basketball court, made possible by Curry’s philanthropy after just one tweet about the court’s condition, sent from an account with about 80 followers.\u003c/p>\n\u003cp>https://twitter.com/nimfromthaeast/status/1144369613448175616\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13849948/lo-fiction-chases-that-bag-through-east-oakland\" target=\"_blank\" rel=\"noopener\">Nimsins\u003c/a>, an educator, MC and resident of East Oakland, says that it was just after the Warriors lost the finals that he got up the nerve to ask for help.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nimsins is a hooper who uses the court regularly, and had noticed its dilapidated conditions for some time. “One of the backboards went down last year, so we were all sharing one court,” he told me.\u003c/p>\n\u003cp>He initially tried contacting the city about the court’s condition. “I called 311 so many times. I was just on hold,” Nimsins said. “I got the number for a claim, and then they told me they have a backboard. Then they told me it was going to be a process. And then, the third time I called, they acted like they didn’t know what I was talking about.”\u003c/p>\n\u003cfigure id=\"attachment_13863298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg\" alt=\"Conditions at Concordia Park's basketball court in June.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conditions at Concordia Park’s basketball court \u003ccite>(@nimsfromtheeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, with less than 100 followers at the time, he hoisted his metaphorical half-court shot. He sent out \u003ca href=\"https://twitter.com/nimfromthaeast/status/1144369613448175616?s=20\" target=\"_blank\" rel=\"noopener\">a tweet\u003c/a> asking for someone to come and fix the court, tagging the Warriors organization, as well as Kevon Looney, Draymond Green, Alfonzo McKinnie, Jordan Bell.\u003c/p>\n\u003cp>People noticed.\u003c/p>\n\u003cp>Nimsins said he was directly contacted by a number of people, from other concerned residents to Oakland’s own NBA superstar Damian Lillard. But \u003ca href=\"https://twitter.com/bryantabarr\" target=\"_blank\" rel=\"noopener\">Bryant Barr,\u003c/a> who leads Steph Curry’s philanthropy group SC30 Inc., had already began the process of finding a way to help.\u003c/p>\n\u003cp>“He asked me to open my DMs, but I’m new to Twitter, so I didn’t know what that meant!” Nimsins laughed. “For a minute I wasn’t responding, because I didn’t believe him.”\u003c/p>\n\u003cp>After getting in contact, the two discussed design and aesthetic of the forthcoming remodel. “He sent me a pic of the artwork model, and was like, ‘I have some artists in mind.’ I said ‘Cool, I have some artists in mind too.’ ”\u003c/p>\n\u003cp>It turned out that they were both thinking about \u003ca href=\"http://www.illuminaries.net/\" target=\"_blank\" rel=\"noopener\">The Illuminaries\u003c/a>, a Bay Area-based collective of artists composed of Tim Hon, Steve Ha, and Romali Licudan, who’ve painted a number of courts around the US, including one last year in West Oakland \u003ca href=\"https://www.kqed.org/arts/13842893/stars-come-out-for-a-freshly-painted-basketball-court-in-west-oakland\" target=\"_blank\" rel=\"noopener\">at DeFremery Park\u003c/a>. They worked with another well-known Bay Area-based artist, Kufue.\u003c/p>\n\u003cp>“Kufue taught me nine years ago at Fremont High School,” said Nimsins, happy that the artists were local.\u003c/p>\n\u003cfigure id=\"attachment_13863299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg\" alt=\"Steph Curry signs autographs for kids on the completed Concordia Park basketball court.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steph Curry signs autographs for kids on the completed Concordia Park basketball court. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within weeks, with Chase and Under Armour as sponsors, the project was done. In early August, Nimsins got a call to come down and see the court. He lives two minutes away, so it didn’t take him long to see the results of his tweet.\u003c/p>\n\u003cp>On Tuesday, the court opened to the public, with a star-studded grand opening that included the presence of Steph Curry, Dell Curry, and the newest Curry, Canon. Photographer Devin Allen, known for his work in Baltimore during the Freddie Gray uprising, snapped photos. Community activist and former East Oakland kingpin Darryl “Lil D” Reed watched from the bleachers. Steph Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\n\u003cp>https://twitter.com/UAbasketball/status/1159146516998582272\u003c/p>\n\u003cp>“I used to work at Frick Middle School,” said Nimsins of the school right next to the court. “All the people who pulled up, I know them personally.”\u003c/p>\n\u003cp>And then he met Steph. “He’s a nice dude!” Nimsins said. “I didn’t feel a pressure to meet him. He has a very welcoming energy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the park still needs some work—the grass isn’t well-maintained like other parks in Oakland, and the play structure isn’t somewhere Nimsins lets his young daughter play—he says once his daughter learns to walk, she’ll definitely be on that court.\u003c/p>\n\n",
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"excerpt": "The Warriors star showed up to unveil a new court and shoot hoops with kids at Concordia Park.",
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"title": "Steph Curry Helps Renovate Run-Down Basketball Court in East Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it up to Steph Curry to fix a run-down community basketball court in East Oakland—and to do it in style.\u003c/p>\n\u003cp>On Tuesday afternoon at Concordia Park, a large crowd of children cheered loudly as the Warriors guard tossed alley-oops to a squad of young hoopers. While parents watched from the bleachers, Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\n\u003cp>The occasion? A renovation of Concordia Park’s run-down basketball court, made possible by Curry’s philanthropy after just one tweet about the court’s condition, sent from an account with about 80 followers.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13849948/lo-fiction-chases-that-bag-through-east-oakland\" target=\"_blank\" rel=\"noopener\">Nimsins\u003c/a>, an educator, MC and resident of East Oakland, says that it was just after the Warriors lost the finals that he got up the nerve to ask for help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nimsins is a hooper who uses the court regularly, and had noticed its dilapidated conditions for some time. “One of the backboards went down last year, so we were all sharing one court,” he told me.\u003c/p>\n\u003cp>He initially tried contacting the city about the court’s condition. “I called 311 so many times. I was just on hold,” Nimsins said. “I got the number for a claim, and then they told me they have a backboard. Then they told me it was going to be a process. And then, the third time I called, they acted like they didn’t know what I was talking about.”\u003c/p>\n\u003cfigure id=\"attachment_13863298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg\" alt=\"Conditions at Concordia Park's basketball court in June.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conditions at Concordia Park’s basketball court \u003ccite>(@nimsfromtheeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, with less than 100 followers at the time, he hoisted his metaphorical half-court shot. He sent out \u003ca href=\"https://twitter.com/nimfromthaeast/status/1144369613448175616?s=20\" target=\"_blank\" rel=\"noopener\">a tweet\u003c/a> asking for someone to come and fix the court, tagging the Warriors organization, as well as Kevon Looney, Draymond Green, Alfonzo McKinnie, Jordan Bell.\u003c/p>\n\u003cp>People noticed.\u003c/p>\n\u003cp>Nimsins said he was directly contacted by a number of people, from other concerned residents to Oakland’s own NBA superstar Damian Lillard. But \u003ca href=\"https://twitter.com/bryantabarr\" target=\"_blank\" rel=\"noopener\">Bryant Barr,\u003c/a> who leads Steph Curry’s philanthropy group SC30 Inc., had already began the process of finding a way to help.\u003c/p>\n\u003cp>“He asked me to open my DMs, but I’m new to Twitter, so I didn’t know what that meant!” Nimsins laughed. “For a minute I wasn’t responding, because I didn’t believe him.”\u003c/p>\n\u003cp>After getting in contact, the two discussed design and aesthetic of the forthcoming remodel. “He sent me a pic of the artwork model, and was like, ‘I have some artists in mind.’ I said ‘Cool, I have some artists in mind too.’ ”\u003c/p>\n\u003cp>It turned out that they were both thinking about \u003ca href=\"http://www.illuminaries.net/\" target=\"_blank\" rel=\"noopener\">The Illuminaries\u003c/a>, a Bay Area-based collective of artists composed of Tim Hon, Steve Ha, and Romali Licudan, who’ve painted a number of courts around the US, including one last year in West Oakland \u003ca href=\"https://www.kqed.org/arts/13842893/stars-come-out-for-a-freshly-painted-basketball-court-in-west-oakland\" target=\"_blank\" rel=\"noopener\">at DeFremery Park\u003c/a>. They worked with another well-known Bay Area-based artist, Kufue.\u003c/p>\n\u003cp>“Kufue taught me nine years ago at Fremont High School,” said Nimsins, happy that the artists were local.\u003c/p>\n\u003cfigure id=\"attachment_13863299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg\" alt=\"Steph Curry signs autographs for kids on the completed Concordia Park basketball court.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steph Curry signs autographs for kids on the completed Concordia Park basketball court. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within weeks, with Chase and Under Armour as sponsors, the project was done. In early August, Nimsins got a call to come down and see the court. He lives two minutes away, so it didn’t take him long to see the results of his tweet.\u003c/p>\n\u003cp>On Tuesday, the court opened to the public, with a star-studded grand opening that included the presence of Steph Curry, Dell Curry, and the newest Curry, Canon. Photographer Devin Allen, known for his work in Baltimore during the Freddie Gray uprising, snapped photos. Community activist and former East Oakland kingpin Darryl “Lil D” Reed watched from the bleachers. Steph Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I used to work at Frick Middle School,” said Nimsins of the school right next to the court. “All the people who pulled up, I know them personally.”\u003c/p>\n\u003cp>And then he met Steph. “He’s a nice dude!” Nimsins said. “I didn’t feel a pressure to meet him. He has a very welcoming energy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the park still needs some work—the grass isn’t well-maintained like other parks in Oakland, and the play structure isn’t somewhere Nimsins lets his young daughter play—he says once his daughter learns to walk, she’ll definitely be on that court.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Opinion: Even a Grammar Geezer Like Me Can Get Used to Gender Neutral Pronouns",
"headTitle": "Opinion: Even a Grammar Geezer Like Me Can Get Used to Gender Neutral Pronouns | KQED",
"content": "\u003cp>Letter-for-letter, no part of speech gets people more worked up than pronouns do. Linguistic history is dotted with eruptions of pronoun rage. Right now, the provocation is the gender-neutral pronouns that some nonbinary people have asked to be called by, so that they won’t have to be identified as “he” or “she.”\u003c/p>\n\u003cp>There are several of these in circulation. Some are new words, like “ze” and “co,” but some go back a ways—in fact, people have been proposing new gender-neutral pronouns for \u003ca href=\"https://www.english.illinois.edu/-people-/faculty/debaron/essays/epicene.htm\">150 years\u003c/a>, though none has ever caught on. But the most popular choice, and probably the most controversial one, is the familiar pronoun that people describe as the singular “they.”\u003c/p>\n\u003cp>You can see why people would pick “they.” In everyday speech we often use that pronoun for a single person, though only when the word or phrase it substitutes for—its antecedent, as it’s called—doesn’t refer to a specific individual. So we say, “Somebody lost their wallet,” or, “If a student fails, they have to retake the course.” Or the person we’re referring to may be simply unknown. Your daughter’s cell phone rings at the dinner table; you say, “Tell them you’ll call them back.” Male or female, one caller or several? The pronoun “they” is like, “whatever.”\u003c/p>\n\u003cp>That singular “they” goes back hundreds of years. \u003ca href=\"http://www.pemberley.com/janeinfo/austhlis.html#X2\">Jane Austen’s\u003c/a> novels are bristling with sentences like “No one can ever be in love more than once in their life.” But that use of the pronoun fell into disrepute in the 19\u003csup>th\u003c/sup> century, when grammarians condemned it as incorrect and proclaimed that the so-called generic “he” should be used instead. The idea is that when you write, “Every singer has his range,” the pronoun “his” refers to both men and women—or as they sometimes put it, “the \u003ca href=\"https://blogs.illinois.edu/view/25/300287\">masculine embraces the feminine\u003c/a>.”\u003c/p>\n\u003cp>When second-wave feminists protested in the 1970s that the generic “he” was sexist, they roused a storm of indignation. They were accused of \u003ca href=\"https://www.latimes.com/archives/la-xpm-1985-07-09-vw-8305-story.html\">emasculating\u003c/a> and \u003ca href=\"https://www.nytimes.com/1986/08/10/magazine/on-language-gender-benders.html\">neutering\u003c/a> the language. The chairman of the Harvard Linguistics Department charged that they were suffering from “\u003ca href=\"http://www.newyorker.com/magazine/2014/02/10/pronoun-envy\">pronoun envy\u003c/a>.” \u003ca href=\"https://www.nytimes.com/1995/10/29/magazine/on-language-proximity-talks.html\">William Safire\u003c/a> warned that to accept the use of “they” in place of “he” would be to “cave in to the radic-lib forces of usage permissiveness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In retrospect, those reactions betrayed the obtuseness that the psychologist Cordelia Fine calls “\u003ca href=\"https://wwnorton.com/books/Delusions-of-Gender\">delusions of gender\u003c/a>.” The fact is that the pronoun “he” is never gender-neutral. If Sting had sung, “If you love somebody, set him free,” it would have brought only a male to mind. What the language required was “set them free.”\u003c/p>\n\u003cp>The gender-neutral singular “they” has history, English grammar and gender equity on its side, and it’s gradually been \u003ca href=\"https://www.baltimoresun.com/opinion/columnists/mcintyre/87915039-132.html\">restored\u003c/a> to the written language. Schoolroom crotchets can be hard to let go of. But we’ve largely leveled the linguistic playing field—at least, “he” no longer takes precedence over “she.”\u003c/p>\n\u003cp>But that didn’t make any provision for the rainbow of nonbinary and nonconforming \u003ca href=\"https://www.nytimes.com/interactive/2019/06/28/us/pride-identity.html?searchResultPosition=1\">gender identities\u003c/a> that have risen into public awareness in recent years. The language still required us to choose between “he” and “she” to refer to a specific individual. The singular “they” initially sounded awkward here. We can say, “Somebody named Sandy was brushing their hair” where the pronoun replaces the nonspecific “somebody”—that’s been standard colloquial English for centuries. But when someone says just, “Sandy was brushing their hair,” you’re brought up short. Your first thought is that “they” must refer to some group of people whose hair Sandy was brushing.\u003c/p>\n\u003cp>But you can make this work if you tweak your internal grammar so that the pronoun “they” can refer to a specific individual. It takes some practice to get the hang of it, but the human language processing capacity is more adaptable than people realize, even for geezers like me. As I read through an \u003ca href=\"https://www.nytimes.com/2019/06/04/magazine/gender-nonbinary.html\">article\u003c/a> about a nonbinary person who uses “they,” “them” and “their,” the pronouns ultimately sort themselves out. In context, they’re rarely ambiguous, no more than any other pronoun: “Tracy should take better care of themself”; “Pat hasn’t made up their mind.”\u003c/p>\n\u003cp>That new use of “they” has passed muster with the AP’s \u003ca href=\"https://www.poynter.org/reporting-editing/2017/ap-style-change-singular-they-is-acceptable-in-limited-cases/\">style guide\u003c/a> and the \u003ca href=\"https://ahdictionary.com/word/search.html?q=they\">American Heritage Dictionary\u003c/a>. In theory, anyone can adopt it, whatever their gender identity. But we’ll still be using “he” and “she” to refer to most individuals who identify as male and female. You can introduce new gender-neutral terms without driving out the gendered ones. “Sibling” has been part of the everyday language for more than 50 years, but we can still talk about brothers and sisters. When someone says, “Taylor has a lot going for them,” it’s a fair bet that that’s the pronoun that Taylor prefers to be called by.\u003c/p>\n\u003cp>It’s not a lot to ask—just a small courtesy and sign of respect. In fact, the accommodations we’re being asked to make to nonbinary individuals are much less far-reaching than the \u003ca href=\"https://www.npr.org/books/titles/745283921/the-handbook-of-nonsexist-writing\">linguistic changes\u003c/a> that \u003ca href=\"https://public.oed.com/blog/resistance-fertile-language-borne-feminist-movement/\">feminists\u003c/a> called for 50 years ago. Yet the reactions this time have been even more vehement than they were back then.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fifth-grade teacher in \u003ca href=\"https://wapo.st/2YKHqyV\">Florida\u003c/a> whose preferred pronouns are “they,” “them” and “their” was removed from the classroom when some parents complained about exposing their children to the transgender lifestyle. When the diversity and inclusion office at the University of Tennessee at Knoxville published a guide to alternative pronouns in 2015, the state \u003ca href=\"https://www.mic.com/articles/142080/tennessee-budget-bill-bans-gender-neutral-pronouns-tramples-on-free-speech\">legislature\u003c/a> promptly defunded the center and barred the university from promoting the use of gender-neutral pronouns in the future. Like the classic episodes of pronoun rage in earlier eras, these aren’t about pronouns at all.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Opinion%3A+Even+A+Grammar+Geezer+Like+Me+Can+Get+Used+To+Gender+Neutral+Pronouns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "For anyone struggling to use \"they\" as a singular pronoun, linguist Geoff Nunberg says: Just practice. He believes human language processing capacity is far more adaptable than people realize.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Letter-for-letter, no part of speech gets people more worked up than pronouns do. Linguistic history is dotted with eruptions of pronoun rage. Right now, the provocation is the gender-neutral pronouns that some nonbinary people have asked to be called by, so that they won’t have to be identified as “he” or “she.”\u003c/p>\n\u003cp>There are several of these in circulation. Some are new words, like “ze” and “co,” but some go back a ways—in fact, people have been proposing new gender-neutral pronouns for \u003ca href=\"https://www.english.illinois.edu/-people-/faculty/debaron/essays/epicene.htm\">150 years\u003c/a>, though none has ever caught on. But the most popular choice, and probably the most controversial one, is the familiar pronoun that people describe as the singular “they.”\u003c/p>\n\u003cp>You can see why people would pick “they.” In everyday speech we often use that pronoun for a single person, though only when the word or phrase it substitutes for—its antecedent, as it’s called—doesn’t refer to a specific individual. So we say, “Somebody lost their wallet,” or, “If a student fails, they have to retake the course.” Or the person we’re referring to may be simply unknown. Your daughter’s cell phone rings at the dinner table; you say, “Tell them you’ll call them back.” Male or female, one caller or several? The pronoun “they” is like, “whatever.”\u003c/p>\n\u003cp>That singular “they” goes back hundreds of years. \u003ca href=\"http://www.pemberley.com/janeinfo/austhlis.html#X2\">Jane Austen’s\u003c/a> novels are bristling with sentences like “No one can ever be in love more than once in their life.” But that use of the pronoun fell into disrepute in the 19\u003csup>th\u003c/sup> century, when grammarians condemned it as incorrect and proclaimed that the so-called generic “he” should be used instead. The idea is that when you write, “Every singer has his range,” the pronoun “his” refers to both men and women—or as they sometimes put it, “the \u003ca href=\"https://blogs.illinois.edu/view/25/300287\">masculine embraces the feminine\u003c/a>.”\u003c/p>\n\u003cp>When second-wave feminists protested in the 1970s that the generic “he” was sexist, they roused a storm of indignation. They were accused of \u003ca href=\"https://www.latimes.com/archives/la-xpm-1985-07-09-vw-8305-story.html\">emasculating\u003c/a> and \u003ca href=\"https://www.nytimes.com/1986/08/10/magazine/on-language-gender-benders.html\">neutering\u003c/a> the language. The chairman of the Harvard Linguistics Department charged that they were suffering from “\u003ca href=\"http://www.newyorker.com/magazine/2014/02/10/pronoun-envy\">pronoun envy\u003c/a>.” \u003ca href=\"https://www.nytimes.com/1995/10/29/magazine/on-language-proximity-talks.html\">William Safire\u003c/a> warned that to accept the use of “they” in place of “he” would be to “cave in to the radic-lib forces of usage permissiveness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In retrospect, those reactions betrayed the obtuseness that the psychologist Cordelia Fine calls “\u003ca href=\"https://wwnorton.com/books/Delusions-of-Gender\">delusions of gender\u003c/a>.” The fact is that the pronoun “he” is never gender-neutral. If Sting had sung, “If you love somebody, set him free,” it would have brought only a male to mind. What the language required was “set them free.”\u003c/p>\n\u003cp>The gender-neutral singular “they” has history, English grammar and gender equity on its side, and it’s gradually been \u003ca href=\"https://www.baltimoresun.com/opinion/columnists/mcintyre/87915039-132.html\">restored\u003c/a> to the written language. Schoolroom crotchets can be hard to let go of. But we’ve largely leveled the linguistic playing field—at least, “he” no longer takes precedence over “she.”\u003c/p>\n\u003cp>But that didn’t make any provision for the rainbow of nonbinary and nonconforming \u003ca href=\"https://www.nytimes.com/interactive/2019/06/28/us/pride-identity.html?searchResultPosition=1\">gender identities\u003c/a> that have risen into public awareness in recent years. The language still required us to choose between “he” and “she” to refer to a specific individual. The singular “they” initially sounded awkward here. We can say, “Somebody named Sandy was brushing their hair” where the pronoun replaces the nonspecific “somebody”—that’s been standard colloquial English for centuries. But when someone says just, “Sandy was brushing their hair,” you’re brought up short. Your first thought is that “they” must refer to some group of people whose hair Sandy was brushing.\u003c/p>\n\u003cp>But you can make this work if you tweak your internal grammar so that the pronoun “they” can refer to a specific individual. It takes some practice to get the hang of it, but the human language processing capacity is more adaptable than people realize, even for geezers like me. As I read through an \u003ca href=\"https://www.nytimes.com/2019/06/04/magazine/gender-nonbinary.html\">article\u003c/a> about a nonbinary person who uses “they,” “them” and “their,” the pronouns ultimately sort themselves out. In context, they’re rarely ambiguous, no more than any other pronoun: “Tracy should take better care of themself”; “Pat hasn’t made up their mind.”\u003c/p>\n\u003cp>That new use of “they” has passed muster with the AP’s \u003ca href=\"https://www.poynter.org/reporting-editing/2017/ap-style-change-singular-they-is-acceptable-in-limited-cases/\">style guide\u003c/a> and the \u003ca href=\"https://ahdictionary.com/word/search.html?q=they\">American Heritage Dictionary\u003c/a>. In theory, anyone can adopt it, whatever their gender identity. But we’ll still be using “he” and “she” to refer to most individuals who identify as male and female. You can introduce new gender-neutral terms without driving out the gendered ones. “Sibling” has been part of the everyday language for more than 50 years, but we can still talk about brothers and sisters. When someone says, “Taylor has a lot going for them,” it’s a fair bet that that’s the pronoun that Taylor prefers to be called by.\u003c/p>\n\u003cp>It’s not a lot to ask—just a small courtesy and sign of respect. In fact, the accommodations we’re being asked to make to nonbinary individuals are much less far-reaching than the \u003ca href=\"https://www.npr.org/books/titles/745283921/the-handbook-of-nonsexist-writing\">linguistic changes\u003c/a> that \u003ca href=\"https://public.oed.com/blog/resistance-fertile-language-borne-feminist-movement/\">feminists\u003c/a> called for 50 years ago. Yet the reactions this time have been even more vehement than they were back then.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fifth-grade teacher in \u003ca href=\"https://wapo.st/2YKHqyV\">Florida\u003c/a> whose preferred pronouns are “they,” “them” and “their” was removed from the classroom when some parents complained about exposing their children to the transgender lifestyle. When the diversity and inclusion office at the University of Tennessee at Knoxville published a guide to alternative pronouns in 2015, the state \u003ca href=\"https://www.mic.com/articles/142080/tennessee-budget-bill-bans-gender-neutral-pronouns-tramples-on-free-speech\">legislature\u003c/a> promptly defunded the center and barred the university from promoting the use of gender-neutral pronouns in the future. Like the classic episodes of pronoun rage in earlier eras, these aren’t about pronouns at all.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Opinion%3A+Even+A+Grammar+Geezer+Like+Me+Can+Get+Used+To+Gender+Neutral+Pronouns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sick of Bay Area Rents? Why Not Move Next Door to Prince William and Kate?",
"headTitle": "Sick of Bay Area Rents? Why Not Move Next Door to Prince William and Kate? | KQED",
"content": "\u003cp>Bay Area prices getting you down? Sick of companies offering you a \u003ca href=\"https://www.mercurynews.com/2019/06/07/rent-a-bunk-bed-for-1200-a-month-idea-sparks-pushback-from-sf-officials/\" target=\"_blank\" rel=\"noopener\">bunk bed for $1200\u003c/a> and acting like they’re doing you a favor? Been \u003ca href=\"https://www.kqed.org/pop/112469/bay-bye-breaking-up-with-san-francisco\" target=\"_blank\" rel=\"noopener\">thinking about leaving\u003c/a> for a while, but just haven’t taken the plunge yet? If the answer is yes to all of the above, and you fancy living in Norfolk, England, the British royal family may just have the place for you. That’s right! The 2-bedroom house opposite Prince William and Duchess Kate’s place is up for rent—and it’s only $850 (£700) a month.\u003c/p>\n\u003cp>Here’s the deal. The royal family has a 20,000-acre estate on the southeast coast of England called \u003ca href=\"https://sandringhamestate.co.uk/\" target=\"_blank\" rel=\"noopener\">Sandringham\u003c/a>. The Queen hangs out in the manor there on and off throughout the year, and, for their 2011 wedding, she gifted Will and Kate a ten-bedroom Georgian house on the property, known as \u003ca href=\"https://en.wikipedia.org/wiki/Anmer_Hall\">Anmer Hall\u003c/a>. Interestingly, there are a bunch of other rentals available on the estate, including (for the non-committal among you) self-catering vacation spots, \u003ca href=\"https://sandringhamestate.co.uk/stay/garden-house\" target=\"_blank\" rel=\"noopener\">Garden House\u003c/a> and \u003ca href=\"https://sandringhamestate.co.uk/stay/the-granary\" target=\"_blank\" rel=\"noopener\">The Granary.\u003c/a>\u003c/p>\n\u003cp>The home currently for rent at 20 Cherry Tree is a bit special though, because it happens to offer a perfect view of Will and Kate’s country abode. (Their primary residence is at London’s \u003ca href=\"https://www.getyourguide.com/-l2716/\" target=\"_blank\" rel=\"noopener\">Kensington Palace\u003c/a>.) The rental listing describes the “newly refurbished, end of terrace two bedroom” as having a “large garden and off-road parking,” but warns of “steep stairs” and a “strict no cats policy” that applies to the entire Sandringham estate. (Presumably because cats kill birds and the royal family \u003ca href=\"https://www.express.co.uk/news/royal/1078292/the-queen-news-sandringham-hunt-royal-family-news\" target=\"_blank\" rel=\"noopener\">like to do that themselves\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13863070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg\" alt=\"The gang hanging out at Sandringham's St Mary Magdalene Church on Christmas Day, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gang hanging out at Sandringham’s St Mary Magdalene Church on Christmas Day, 2018. \u003ccite>(PAUL ELLIS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the first time Prince William has been willing to slum it with what his family refers to as “commoners.” He and his wife Kate Middleton (also technically born a commoner, FYI) used to live on the Welsh island of Anglesey, where they frequented the local pub. Kate was also regularly spotted doing \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a19684172/does-royal-family-go-grocery-shopping/\" target=\"_blank\" rel=\"noopener\">her own grocery shopping\u003c/a> in Tesco, a local plebeian supermarket.\u003c/p>\n\u003cp>All of which means Will and Kate’s new neighbors will probably see the future king and his fam fairly regularly, as well as guests like Harry, Meghan or whichever royal happens to be hanging out at Sandringham’s \u003ca href=\"https://en.wikipedia.org/wiki/St_Mary_Magdalene_Church,_Sandringham\" target=\"_blank\" rel=\"noopener\">St Mary Magdalene Church\u003c/a> that week. (Fun fact: that’s where Princess Diana was baptized!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Should you fail in your quest to move in directly opposite Will and Kate, there are a number of other backups on the royal estate currently available to rent: a two-bedroom semi-detached house for $880; two three-bedroom terraced cottages (one for $911 a month, the other for $1,002); and, if you’re feeling fancy, the gigantic $3,340 Heath Farm House. All of the above appear to offer far more bang for your buck than anywhere in the Bay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sandringham’s website says that potential renters should “live and work locally” and be using the home “as a primary residence,” but that new people moving to the area will also be considered. While the Sandringham properties “are not let on a first come, first served basis, but rather on which prospective tenant is best suited” to the place, it’s possible that the property manager will have softened to the idea of transatlantic guests since Prince Harry put a ring on Meghan Markle’s \u003ca href=\"https://twitter.com/LuminaryBakery/status/1157212584849870848?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed&ref_url=https%3A%2F%2Fwww.newidea.com.au%2Fmeghan-markle-perfect-handwriting-photo\" target=\"_blank\" rel=\"noopener\">calligraphy-loving\u003c/a> finger last year. At this price, it’s worth at least applying.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area prices getting you down? Sick of companies offering you a \u003ca href=\"https://www.mercurynews.com/2019/06/07/rent-a-bunk-bed-for-1200-a-month-idea-sparks-pushback-from-sf-officials/\" target=\"_blank\" rel=\"noopener\">bunk bed for $1200\u003c/a> and acting like they’re doing you a favor? Been \u003ca href=\"https://www.kqed.org/pop/112469/bay-bye-breaking-up-with-san-francisco\" target=\"_blank\" rel=\"noopener\">thinking about leaving\u003c/a> for a while, but just haven’t taken the plunge yet? If the answer is yes to all of the above, and you fancy living in Norfolk, England, the British royal family may just have the place for you. That’s right! The 2-bedroom house opposite Prince William and Duchess Kate’s place is up for rent—and it’s only $850 (£700) a month.\u003c/p>\n\u003cp>Here’s the deal. The royal family has a 20,000-acre estate on the southeast coast of England called \u003ca href=\"https://sandringhamestate.co.uk/\" target=\"_blank\" rel=\"noopener\">Sandringham\u003c/a>. The Queen hangs out in the manor there on and off throughout the year, and, for their 2011 wedding, she gifted Will and Kate a ten-bedroom Georgian house on the property, known as \u003ca href=\"https://en.wikipedia.org/wiki/Anmer_Hall\">Anmer Hall\u003c/a>. Interestingly, there are a bunch of other rentals available on the estate, including (for the non-committal among you) self-catering vacation spots, \u003ca href=\"https://sandringhamestate.co.uk/stay/garden-house\" target=\"_blank\" rel=\"noopener\">Garden House\u003c/a> and \u003ca href=\"https://sandringhamestate.co.uk/stay/the-granary\" target=\"_blank\" rel=\"noopener\">The Granary.\u003c/a>\u003c/p>\n\u003cp>The home currently for rent at 20 Cherry Tree is a bit special though, because it happens to offer a perfect view of Will and Kate’s country abode. (Their primary residence is at London’s \u003ca href=\"https://www.getyourguide.com/-l2716/\" target=\"_blank\" rel=\"noopener\">Kensington Palace\u003c/a>.) The rental listing describes the “newly refurbished, end of terrace two bedroom” as having a “large garden and off-road parking,” but warns of “steep stairs” and a “strict no cats policy” that applies to the entire Sandringham estate. (Presumably because cats kill birds and the royal family \u003ca href=\"https://www.express.co.uk/news/royal/1078292/the-queen-news-sandringham-hunt-royal-family-news\" target=\"_blank\" rel=\"noopener\">like to do that themselves\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13863070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg\" alt=\"The gang hanging out at Sandringham's St Mary Magdalene Church on Christmas Day, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gang hanging out at Sandringham’s St Mary Magdalene Church on Christmas Day, 2018. \u003ccite>(PAUL ELLIS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the first time Prince William has been willing to slum it with what his family refers to as “commoners.” He and his wife Kate Middleton (also technically born a commoner, FYI) used to live on the Welsh island of Anglesey, where they frequented the local pub. Kate was also regularly spotted doing \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a19684172/does-royal-family-go-grocery-shopping/\" target=\"_blank\" rel=\"noopener\">her own grocery shopping\u003c/a> in Tesco, a local plebeian supermarket.\u003c/p>\n\u003cp>All of which means Will and Kate’s new neighbors will probably see the future king and his fam fairly regularly, as well as guests like Harry, Meghan or whichever royal happens to be hanging out at Sandringham’s \u003ca href=\"https://en.wikipedia.org/wiki/St_Mary_Magdalene_Church,_Sandringham\" target=\"_blank\" rel=\"noopener\">St Mary Magdalene Church\u003c/a> that week. (Fun fact: that’s where Princess Diana was baptized!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Should you fail in your quest to move in directly opposite Will and Kate, there are a number of other backups on the royal estate currently available to rent: a two-bedroom semi-detached house for $880; two three-bedroom terraced cottages (one for $911 a month, the other for $1,002); and, if you’re feeling fancy, the gigantic $3,340 Heath Farm House. All of the above appear to offer far more bang for your buck than anywhere in the Bay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sandringham’s website says that potential renters should “live and work locally” and be using the home “as a primary residence,” but that new people moving to the area will also be considered. While the Sandringham properties “are not let on a first come, first served basis, but rather on which prospective tenant is best suited” to the place, it’s possible that the property manager will have softened to the idea of transatlantic guests since Prince Harry put a ring on Meghan Markle’s \u003ca href=\"https://twitter.com/LuminaryBakery/status/1157212584849870848?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed&ref_url=https%3A%2F%2Fwww.newidea.com.au%2Fmeghan-markle-perfect-handwriting-photo\" target=\"_blank\" rel=\"noopener\">calligraphy-loving\u003c/a> finger last year. At this price, it’s worth at least applying.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why 'The Sixth Sense' Remains So Powerful, 20 Years After its Release",
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"content": "\u003cp>Twenty years ago this week, a strange little movie about a strange little boy hit movie theaters and promptly exploded in a way that no one could have predicted. Despite \u003cem>The Sixth Sense\u003c/em>‘s inherently dark subject matter—child is tortured by ghosts; recently traumatized psychologist tries to help—its appeal proved oddly universal, sitting at the top of the box office for five weeks, grossing $672.8 million in the U.S. alone.\u003c/p>\n\u003cp>Some of the reasons for the movie’s mass appeal were obvious. The jawdropping twist ending was water-cooler fodder for weeks after the movie’s release; Bruce Willis and Haley Joel Osment’s performances were both so authentic, their roles as Dr. Malcolm and Cole Sear became iconic overnight; and the grief-related side-plots (Cole’s mom and Dr. Malcolm’s wife both suffer from recent losses) brought a heart and soul to the proceedings that horror movies sometimes lack. The marks \u003cem>The Sixth Sense\u003c/em> left on pop culture weren’t just immediate, they’ve since proved impossible to erase.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lXO0he1WjYw\u003c/p>\n\u003cp>Against all the odds—and despite the \u003ca href=\"https://www.youtube.com/watch?v=-xKA27kJWmE\" target=\"_blank\" rel=\"noopener\">endless spoofs\u003c/a> it’s spawned over the last two decades—watching \u003cem>The Sixth Sense\u003c/em> today is just as affecting as it was in 1999. That timelessness is thanks in part to its universal themes around life and death, but ultimately the movie’s enduring watchability has far more to do with what Cole’s character really represents.\u003c/p>\n\u003cp>In the movie, Cole is a nine-year-old medium, isolated and bullied by peers because of a general inability to fit in. Cole isn’t picked on because other kids know he’s psychic, he’s picked on simply for being perceptibly different—a predicament painfully familiar to anyone who has suffered through a similarly miserable adolescence. Even when Cole tries his best—as when he recreates a magic trick shown to him by Dr. Malcolm for another child at a birthday party—he is out of step, through no fault of his own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its darkest moments, \u003cem>The Sixth Sense\u003c/em> allows Cole to represent not just misfits and minorities, but individuals in the process of surviving abuse. Though he has a loving mother (played stirringly by Toni Collette), Cole is dealing with abuse—both physical and mental—from disturbed spirits. Through his sixth sense he is also exposed to the horrors of domestic violence (\u003ca href=\"https://www.youtube.com/watch?v=7TLLJJllf_Q\" target=\"_blank\" rel=\"noopener\">the ghost\u003c/a> of a bruised and suicidal housewife appears in his kitchen), and the gory and tragic results of households that don’t keep their \u003ca href=\"https://www.youtube.com/watch?v=GK8CrMtyTdk\" target=\"_blank\" rel=\"noopener\">weapons and children separate\u003c/a>. Witnessing these scenes, Cole isn’t just one single kind of abuse survivor—he embodies all of them.\u003c/p>\n\u003cp>Forced to bear witness to these traumas, it’s impossible for him to interact on the same level as his unencumbered peers, and he suffers in silence, as so many real-life survivors do. In his second session with Dr. Malcolm, Cole confesses that after he drew a picture of a man attacking another man, his school held a meeting about it. “Mom started crying,” he says. “I don’t draw like that anymore … They don’t have meetings about rainbows.”\u003c/p>\n\u003cp>While Cole stays quiet to save his mother from getting hurt, to avoid causing disruption in school, and to prevent embarrassing personal scrutiny, he still has moments where the details can’t help but spill out. And he is often punished for this honesty. When he tells his mom he’s not the person who keeps moving a brooch that belonged to his grandmother, she shouts at him and sends him away from the dinner table. When he tells a teacher that their school, originally a courthouse, used to contain a gallows, his teacher tells him in no uncertain terms that it’s not true—despite the fact that Cole has seen otherwise with his own eyes.\u003c/p>\n\u003cp>In these scenes, \u003cem>The Sixth Sense\u003c/em> offers understanding to survivors who are hesitant to speak up, but much of the rest of the film is spent encouraging them to try anyway. Cole’s relationship with Dr. Malcolm—a symbol of rescue, redemption and recovery—is meticulously designed to demonstrate a specific message to abuse survivors: While not everyone will believe or understand what has happened to you, seeking assistance from outside sources remains worthwhile. One person who believes you, \u003cem>The Sixth Sense\u003c/em> tells us, is all it takes to get on the road to healing.\u003c/p>\n\u003cp>Remarkably, the movie also tells viewers, in explicit terms, to believe survivors—a concept that has only found mainstream, widespread acceptance in the age of #MeToo. (“How can you help me if you don’t believe me?” Cole asks at one point.) The tragic figure of Vincent Grey—the psychic man who shoots Dr. Malcolm and himself at the start of the movie—also acts as a stark warning about the damage wrought when survivors are not taken seriously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cem>The Sixth Sense\u003c/em> is about gaining control and ownership over whatever hand you have been dealt. Dr. Malcolm finds personal healing while helping Cole, which, in turn, enables Cole to pay it forward. By accepting assistance, and learning to trust another person with his secrets, Cole stops running away from the things that scare him the most, and figures out how to turn them into a force for good. In the end, \u003cem>The Sixth Sense\u003c/em> is a guidebook on how to transform darkness into light, pain into healing, and trauma into love. Its impact was seismic in 1999, but, 20 years on, we need its lessons more than ever.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty years ago this week, a strange little movie about a strange little boy hit movie theaters and promptly exploded in a way that no one could have predicted. Despite \u003cem>The Sixth Sense\u003c/em>‘s inherently dark subject matter—child is tortured by ghosts; recently traumatized psychologist tries to help—its appeal proved oddly universal, sitting at the top of the box office for five weeks, grossing $672.8 million in the U.S. alone.\u003c/p>\n\u003cp>Some of the reasons for the movie’s mass appeal were obvious. The jawdropping twist ending was water-cooler fodder for weeks after the movie’s release; Bruce Willis and Haley Joel Osment’s performances were both so authentic, their roles as Dr. Malcolm and Cole Sear became iconic overnight; and the grief-related side-plots (Cole’s mom and Dr. Malcolm’s wife both suffer from recent losses) brought a heart and soul to the proceedings that horror movies sometimes lack. The marks \u003cem>The Sixth Sense\u003c/em> left on pop culture weren’t just immediate, they’ve since proved impossible to erase.\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/lXO0he1WjYw'\n title='//www.youtube.com/embed/lXO0he1WjYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Against all the odds—and despite the \u003ca href=\"https://www.youtube.com/watch?v=-xKA27kJWmE\" target=\"_blank\" rel=\"noopener\">endless spoofs\u003c/a> it’s spawned over the last two decades—watching \u003cem>The Sixth Sense\u003c/em> today is just as affecting as it was in 1999. That timelessness is thanks in part to its universal themes around life and death, but ultimately the movie’s enduring watchability has far more to do with what Cole’s character really represents.\u003c/p>\n\u003cp>In the movie, Cole is a nine-year-old medium, isolated and bullied by peers because of a general inability to fit in. Cole isn’t picked on because other kids know he’s psychic, he’s picked on simply for being perceptibly different—a predicament painfully familiar to anyone who has suffered through a similarly miserable adolescence. Even when Cole tries his best—as when he recreates a magic trick shown to him by Dr. Malcolm for another child at a birthday party—he is out of step, through no fault of his own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its darkest moments, \u003cem>The Sixth Sense\u003c/em> allows Cole to represent not just misfits and minorities, but individuals in the process of surviving abuse. Though he has a loving mother (played stirringly by Toni Collette), Cole is dealing with abuse—both physical and mental—from disturbed spirits. Through his sixth sense he is also exposed to the horrors of domestic violence (\u003ca href=\"https://www.youtube.com/watch?v=7TLLJJllf_Q\" target=\"_blank\" rel=\"noopener\">the ghost\u003c/a> of a bruised and suicidal housewife appears in his kitchen), and the gory and tragic results of households that don’t keep their \u003ca href=\"https://www.youtube.com/watch?v=GK8CrMtyTdk\" target=\"_blank\" rel=\"noopener\">weapons and children separate\u003c/a>. Witnessing these scenes, Cole isn’t just one single kind of abuse survivor—he embodies all of them.\u003c/p>\n\u003cp>Forced to bear witness to these traumas, it’s impossible for him to interact on the same level as his unencumbered peers, and he suffers in silence, as so many real-life survivors do. In his second session with Dr. Malcolm, Cole confesses that after he drew a picture of a man attacking another man, his school held a meeting about it. “Mom started crying,” he says. “I don’t draw like that anymore … They don’t have meetings about rainbows.”\u003c/p>\n\u003cp>While Cole stays quiet to save his mother from getting hurt, to avoid causing disruption in school, and to prevent embarrassing personal scrutiny, he still has moments where the details can’t help but spill out. And he is often punished for this honesty. When he tells his mom he’s not the person who keeps moving a brooch that belonged to his grandmother, she shouts at him and sends him away from the dinner table. When he tells a teacher that their school, originally a courthouse, used to contain a gallows, his teacher tells him in no uncertain terms that it’s not true—despite the fact that Cole has seen otherwise with his own eyes.\u003c/p>\n\u003cp>In these scenes, \u003cem>The Sixth Sense\u003c/em> offers understanding to survivors who are hesitant to speak up, but much of the rest of the film is spent encouraging them to try anyway. Cole’s relationship with Dr. Malcolm—a symbol of rescue, redemption and recovery—is meticulously designed to demonstrate a specific message to abuse survivors: While not everyone will believe or understand what has happened to you, seeking assistance from outside sources remains worthwhile. One person who believes you, \u003cem>The Sixth Sense\u003c/em> tells us, is all it takes to get on the road to healing.\u003c/p>\n\u003cp>Remarkably, the movie also tells viewers, in explicit terms, to believe survivors—a concept that has only found mainstream, widespread acceptance in the age of #MeToo. (“How can you help me if you don’t believe me?” Cole asks at one point.) The tragic figure of Vincent Grey—the psychic man who shoots Dr. Malcolm and himself at the start of the movie—also acts as a stark warning about the damage wrought when survivors are not taken seriously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cem>The Sixth Sense\u003c/em> is about gaining control and ownership over whatever hand you have been dealt. Dr. Malcolm finds personal healing while helping Cole, which, in turn, enables Cole to pay it forward. By accepting assistance, and learning to trust another person with his secrets, Cole stops running away from the things that scare him the most, and figures out how to turn them into a force for good. In the end, \u003cem>The Sixth Sense\u003c/em> is a guidebook on how to transform darkness into light, pain into healing, and trauma into love. Its impact was seismic in 1999, but, 20 years on, we need its lessons more than ever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? What’s going on?” I’m looking around for the ally, and then she says, “Wanda Sykes.” I’m like, “Oh, no. I’m part of the family. I’m not the ally.” So I go up and it just happened and \u003ca href=\"https://www.youtube.com/watch?v=S6UdoCIYvIw\">I made the speech\u003c/a>. … When I got back to the hotel room, I’m looking at CNN and now I’m on the crawl, and I was like, “Oh boy.”\u003c/p>\n\u003cp>\u003cstrong>On having a white wife and white children and joking that she feels like a minority in her own house \u003c/strong>\u003c/p>\n\u003cp>It feels weird when I think about it, but [when] it’s just the four of us, then I don’t think I think of it then, but when her family is there or we have a bunch of friends over, I do kind of look around and I go, “Man, there’s a lot of white people in my house right now.” And it’s not like I don’t like it or it makes me uncomfortable. It’s just I noticed it. … Sometimes I’ll call a friend like, “Hey man, what you doing? Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">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=Wanda+Sykes+Loves+Stand-Up%3A+That%27s+Where+%27I+Can+Be+Free%2C%27+She+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? What’s going on?” I’m looking around for the ally, and then she says, “Wanda Sykes.” I’m like, “Oh, no. I’m part of the family. I’m not the ally.” So I go up and it just happened and \u003ca href=\"https://www.youtube.com/watch?v=S6UdoCIYvIw\">I made the speech\u003c/a>. … When I got back to the hotel room, I’m looking at CNN and now I’m on the crawl, and I was like, “Oh boy.”\u003c/p>\n\u003cp>\u003cstrong>On having a white wife and white children and joking that she feels like a minority in her own house \u003c/strong>\u003c/p>\n\u003cp>It feels weird when I think about it, but [when] it’s just the four of us, then I don’t think I think of it then, but when her family is there or we have a bunch of friends over, I do kind of look around and I go, “Man, there’s a lot of white people in my house right now.” And it’s not like I don’t like it or it makes me uncomfortable. It’s just I noticed it. … Sometimes I’ll call a friend like, “Hey man, what you doing? Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\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>\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. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">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=Wanda+Sykes+Loves+Stand-Up%3A+That%27s+Where+%27I+Can+Be+Free%2C%27+She+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Queue Up Your Preschool Playlist, 'Peppa Pig' Has Just Dropped 'My First Album'",
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"content": "\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qCrWdQb00rQ\u003c/p>\n\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=11&v=vJj3Ch79tNs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "we-need-these-two-strava-running-artists-to-collaborate-immediately",
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"content": "\u003cp>Remember when \u003ca href=\"https://www.strava.com/\" target=\"_blank\" rel=\"noopener\">Strava\u003c/a> art was mostly shakily-drawn crude finger gestures and alarming penis renditions? Well, in recent months, the GPS-fueled mapping app for fitness fans has run a long way, baby, and turned into a clash of artistic titans.\u003c/p>\n\u003cp>Competition heated up a few weeks ago when San Francisco running enthusiast, \u003ca href=\"https://www.strava.com/athletes/7019519\" target=\"_blank\" rel=\"noopener\">Lenny Maughan\u003c/a> drew Frida Kahlo’s face during a 29-mile run. The final result—complete with earrings and unibrow—wowed everyone who saw it.\u003c/p>\n\u003cfigure id=\"attachment_13862663\" class=\"wp-caption aligncenter\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862663\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png\" alt=\"Lenny's 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories.\" width=\"579\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM-160x155.png 160w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">Lenny’s 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories. \u003ccite>(Strava.com/Lenny Maughan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then this week, another masterful, art-inspired run emerged, in the form of a Strava rendition of 17th-century painting, \u003cem>Girl with a Pearl Earring\u003c/em>. When one fan saw it on Reddit and commented “Lenny! You are the man, the myth and the legend,” I decided it was time to track him down and talk inspiration.\u003c/p>\n\u003cp>Lenny, it turns out, is a technology analyst by day, and has been treating the city like a canvas since March 2015, when he first drew a hand in the shape of \u003ca href=\"https://www.mapmyrun.com/workout/917537449\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Trek\u003c/em>‘s “live long and prosper” salute\u003c/a>. (A solid lesson in how to draw hands on Strava without the inclusion of obscene gestures.) Since then, he’s tackled everything from impressive animals (including a \u003ca href=\"https://www.strava.com/activities/1725333642\" target=\"_blank\" rel=\"noopener\">whale\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2135296063\" target=\"_blank\" rel=\"noopener\">pig\u003c/a> and \u003ca href=\"https://www.mapmyrun.com/workout/1956491213\" target=\"_blank\" rel=\"noopener\">cat\u003c/a>); fun food items (\u003ca href=\"https://www.strava.com/activities/1891050233\" target=\"_blank\" rel=\"noopener\">avocado\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2437821552\" target=\"_blank\" rel=\"noopener\">taco\u003c/a> and \u003ca href=\"https://www.strava.com/activities/942400921\" target=\"_blank\" rel=\"noopener\">coffee\u003c/a>) and states (like \u003ca href=\"http://www.mapmyrun.com/workout/1582129694\" target=\"_blank\" rel=\"noopener\">California\u003c/a> and \u003ca href=\"https://www.strava.com/activities/1159169554\" target=\"_blank\" rel=\"noopener\">Texas\u003c/a>).\u003c/p>\n\u003cp>“I’ve been a runner all my adult life,” Lenny told me. “I just like to run. There’s so much diversity in the running paths and the scenic vistas [of San Francisco]. It’s not really about speed or distance. It’s not about the miles, or the elevation. Frida is my magnum opus!”\u003c/p>\n\u003cp>“But what about your most recent work? The \u003cem>Girl with a Pearl Earring\u003c/em>?” I asked.\u003c/p>\n\u003cp>“Wait. No,” Lenny replied, confused.\u003c/p>\n\u003cp>“This!” I insisted.\u003c/p>\n\u003cfigure id=\"attachment_13862667\" class=\"wp-caption aligncenter\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13862667 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png\" alt='\"The Girl With a Pearl Earring\" was 31 miles long and took 6 hours.' width=\"395\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM-160x170.png 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl with a Pearl Earring’ took 31 miles and just over 6 hours to complete. \u003ccite>(Reddit/runningfriar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s not me,” Lenny said, gazing upon the girl’s orange visage. “But I like his style!”\u003c/p>\n\u003cp>On closer inspection, and after a side-by-side with Lenny’s Frida, I realized the homage to the Johannes Vermeer classic was a totally different style—curvier and tighter in scale. (Lenny notes that he likes to “go big to make a shape fit the contours and constraints of the streets.”) I immediately needed to track down this \u003ci>second\u003c/i> human Etch A Sketch.\u003c/p>\n\u003cp>The artiste this time turned out to be 27-year-old Sunset resident \u003ca href=\"https://www.strava.com/athletes/3896184\" target=\"_blank\" rel=\"noopener\">Luke Rosenberger\u003c/a>, an elementary-school teacher who also serves and bartends “because it’s SF and I have rent to pay.” Does Luke ever sleep? Probably not, given that just a week before he spent 31 miles recreating \u003cem>Girl with a Pearl Earring\u003c/em>, he made a \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/cglim0/i_also_draw_in_sf_using_my_runs/\" target=\"_blank\" rel=\"noopener\">28-mile dragon\u003c/a>. Luke’s prior creations also include a de-corked champagne bottle in celebration of his girlfriend’s college graduation, and a massive teddy bear stretching from the Mission to the Presidio.\u003c/p>\n\u003cp>“My ability to run long distances gives me access to a special kind of pencil,” Luke told me. “I have always had a love for drawing and painting my whole life. Combining my creative outlet with the joy I get from running was a no-brainer. Moving to San Francisco four years ago turned my like of running into love. There are so many notable landmarks and great green spaces one can see during a single run.”\u003c/p>\n\u003cp>After speaking to both Lenny and Luke separately, I quickly realized just how much the two have in common. Not only do they share a similar skill-level when it comes to both art and running, they both named the Marin Headlands as a favorite running destination, and both confessed to enjoying the “hours” they spend planning their meticulous Strava maps.\u003c/p>\n\u003cfigure id=\"attachment_13862749\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg\" alt=\"Lenny (left) and Luke (right).\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lenny (left) and Luke (right). \u003ccite>(Courtesy of Lenny Maughan and Luke Rosenberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I shared this news with Lenny, he said, “I’d like to meet him! Maybe we could collaborate!” \u003c/p>\n\u003cp>Delightfully, Luke shared Lenny’s enthusiasm. “I would love to work on something with Lenny in the future!” he said. “I have a couple ideas that would combine San Francisco with the East Bay that could look pretty cool.”\u003c/p>\n\u003cp>Pretty cool, Luke? Epic, more like. Please make this happen, fellas. We’ll be right behind you! (Most likely in a car.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Lenny Maughan and Luke Rosenberger both use San Francisco as a canvas for their self-designed artistic marathons, and now we're rooting for them to do a massive project together.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember when \u003ca href=\"https://www.strava.com/\" target=\"_blank\" rel=\"noopener\">Strava\u003c/a> art was mostly shakily-drawn crude finger gestures and alarming penis renditions? Well, in recent months, the GPS-fueled mapping app for fitness fans has run a long way, baby, and turned into a clash of artistic titans.\u003c/p>\n\u003cp>Competition heated up a few weeks ago when San Francisco running enthusiast, \u003ca href=\"https://www.strava.com/athletes/7019519\" target=\"_blank\" rel=\"noopener\">Lenny Maughan\u003c/a> drew Frida Kahlo’s face during a 29-mile run. The final result—complete with earrings and unibrow—wowed everyone who saw it.\u003c/p>\n\u003cfigure id=\"attachment_13862663\" class=\"wp-caption aligncenter\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862663\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png\" alt=\"Lenny's 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories.\" width=\"579\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM-160x155.png 160w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">Lenny’s 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories. \u003ccite>(Strava.com/Lenny Maughan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then this week, another masterful, art-inspired run emerged, in the form of a Strava rendition of 17th-century painting, \u003cem>Girl with a Pearl Earring\u003c/em>. When one fan saw it on Reddit and commented “Lenny! You are the man, the myth and the legend,” I decided it was time to track him down and talk inspiration.\u003c/p>\n\u003cp>Lenny, it turns out, is a technology analyst by day, and has been treating the city like a canvas since March 2015, when he first drew a hand in the shape of \u003ca href=\"https://www.mapmyrun.com/workout/917537449\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Trek\u003c/em>‘s “live long and prosper” salute\u003c/a>. (A solid lesson in how to draw hands on Strava without the inclusion of obscene gestures.) Since then, he’s tackled everything from impressive animals (including a \u003ca href=\"https://www.strava.com/activities/1725333642\" target=\"_blank\" rel=\"noopener\">whale\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2135296063\" target=\"_blank\" rel=\"noopener\">pig\u003c/a> and \u003ca href=\"https://www.mapmyrun.com/workout/1956491213\" target=\"_blank\" rel=\"noopener\">cat\u003c/a>); fun food items (\u003ca href=\"https://www.strava.com/activities/1891050233\" target=\"_blank\" rel=\"noopener\">avocado\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2437821552\" target=\"_blank\" rel=\"noopener\">taco\u003c/a> and \u003ca href=\"https://www.strava.com/activities/942400921\" target=\"_blank\" rel=\"noopener\">coffee\u003c/a>) and states (like \u003ca href=\"http://www.mapmyrun.com/workout/1582129694\" target=\"_blank\" rel=\"noopener\">California\u003c/a> and \u003ca href=\"https://www.strava.com/activities/1159169554\" target=\"_blank\" rel=\"noopener\">Texas\u003c/a>).\u003c/p>\n\u003cp>“I’ve been a runner all my adult life,” Lenny told me. “I just like to run. There’s so much diversity in the running paths and the scenic vistas [of San Francisco]. It’s not really about speed or distance. It’s not about the miles, or the elevation. Frida is my magnum opus!”\u003c/p>\n\u003cp>“But what about your most recent work? The \u003cem>Girl with a Pearl Earring\u003c/em>?” I asked.\u003c/p>\n\u003cp>“Wait. No,” Lenny replied, confused.\u003c/p>\n\u003cp>“This!” I insisted.\u003c/p>\n\u003cfigure id=\"attachment_13862667\" class=\"wp-caption aligncenter\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13862667 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png\" alt='\"The Girl With a Pearl Earring\" was 31 miles long and took 6 hours.' width=\"395\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM-160x170.png 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl with a Pearl Earring’ took 31 miles and just over 6 hours to complete. \u003ccite>(Reddit/runningfriar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s not me,” Lenny said, gazing upon the girl’s orange visage. “But I like his style!”\u003c/p>\n\u003cp>On closer inspection, and after a side-by-side with Lenny’s Frida, I realized the homage to the Johannes Vermeer classic was a totally different style—curvier and tighter in scale. (Lenny notes that he likes to “go big to make a shape fit the contours and constraints of the streets.”) I immediately needed to track down this \u003ci>second\u003c/i> human Etch A Sketch.\u003c/p>\n\u003cp>The artiste this time turned out to be 27-year-old Sunset resident \u003ca href=\"https://www.strava.com/athletes/3896184\" target=\"_blank\" rel=\"noopener\">Luke Rosenberger\u003c/a>, an elementary-school teacher who also serves and bartends “because it’s SF and I have rent to pay.” Does Luke ever sleep? Probably not, given that just a week before he spent 31 miles recreating \u003cem>Girl with a Pearl Earring\u003c/em>, he made a \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/cglim0/i_also_draw_in_sf_using_my_runs/\" target=\"_blank\" rel=\"noopener\">28-mile dragon\u003c/a>. Luke’s prior creations also include a de-corked champagne bottle in celebration of his girlfriend’s college graduation, and a massive teddy bear stretching from the Mission to the Presidio.\u003c/p>\n\u003cp>“My ability to run long distances gives me access to a special kind of pencil,” Luke told me. “I have always had a love for drawing and painting my whole life. Combining my creative outlet with the joy I get from running was a no-brainer. Moving to San Francisco four years ago turned my like of running into love. There are so many notable landmarks and great green spaces one can see during a single run.”\u003c/p>\n\u003cp>After speaking to both Lenny and Luke separately, I quickly realized just how much the two have in common. Not only do they share a similar skill-level when it comes to both art and running, they both named the Marin Headlands as a favorite running destination, and both confessed to enjoying the “hours” they spend planning their meticulous Strava maps.\u003c/p>\n\u003cfigure id=\"attachment_13862749\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg\" alt=\"Lenny (left) and Luke (right).\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lenny (left) and Luke (right). \u003ccite>(Courtesy of Lenny Maughan and Luke Rosenberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I shared this news with Lenny, he said, “I’d like to meet him! Maybe we could collaborate!” \u003c/p>\n\u003cp>Delightfully, Luke shared Lenny’s enthusiasm. “I would love to work on something with Lenny in the future!” he said. “I have a couple ideas that would combine San Francisco with the East Bay that could look pretty cool.”\u003c/p>\n\u003cp>Pretty cool, Luke? Epic, more like. Please make this happen, fellas. We’ll be right behind you! (Most likely in a car.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Wanna Be Mine?': K.Flay Extends An Open Invitation Of Sisterhood With 'Solutions'",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/740695121/k-flay\">K.Flay\u003c/a> kicked off her musical career with experimental rap mixtapes like \u003cem>Suburban Rap Queen in 2003 \u003c/em>when she entered Stanford University. Since then, singer has dabbled in different styles, but retained a biting, rough-around-the-edges sound. She’s dropped such projects as \u003cem>I Stopped Caring in ’96 \u003c/em>and \u003cem>Life as a Dog \u003c/em>and her Grammy-nominated 2017 track “Blood In The Cut” is a raging strutter.\u003c/p>\n\u003cp>“I had this kind of peripatetic existence,” K.Flay says of her earlier music, much of it written right here in the Bay Area. “I didn’t live anywhere. I was on tour constantly. So, there was a real sense of displacement that I felt and I really was trying to reckon with in that period.”\u003c/p>\n\u003cp>But K.Flay’s latest album, \u003cem>Solutions\u003c/em>, has a different, somehow quieter, feel. A new softness colors one of the album’s lead singles, “Sister.”\u003c/p>\n\u003cp>“Sister,” unsurprisingly, talks about siblings. K.Flay explains that she has a brother and a sister, though they aren’t related by blood. Her parents split up when she was around 5 or 6, and her stepfather — her two siblings’ biological father — helped raise her and later adopted her.\u003c/p>\n\u003cp>https://youtu.be/7ZN5kYvuY6M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m super, super close with my family, and I think a lot about family, just because of the way my childhood played out,” K.Flay reflects. “I think it gave me time to consider, like — what is the role of blood and DNA? What is the role of nurture?”\u003c/p>\n\u003cp>On \u003cem>Every Where Is Some Where\u003c/em>, the 2017 predecessor to \u003cem>Solutions\u003c/em>, K.Flay also sang about family members in the song “Champagne” — but that album took a different approach to the subject.\u003c/p>\n\u003cp>“In a lot of ways, that record was about problems,” K.Flay says of \u003cem>Every Where Is Some Where\u003c/em>. “I think I wrote that in a space of heartbreak.”\u003c/p>\n\u003cp>In contrast, \u003cem>Solutions \u003c/em>reflects a more hopeful creative state. K.Flay describes how she worked on this album from a healthy, optimistic space. “I was falling in love; I was really taking care of myself for the first time in a long time. I think there’s an optimism, a cautious optimism, that’s inherent in a lot of those reckonings.”\u003c/p>\n\u003cp>“Sister” showcases that optimism and love in the form of sisterhood — which K.Flay describes as a gender-less concept to encapsulate compassionate connection and chosen family-building. Although the song originated from what K.Flay calls a feeling of “separateness” from her siblings, it grew into a vulnerable, inviting expression of warmth.\u003c/p>\n\u003cp>“This record, and the kind of lyrical challenge I gave to myself, was: Let me take these points of pain, these points of angst, these points of confusion and kind of, like, just pivot a little bit in the direction of optimism or hopefulness,” K.Flay says. “I got into the studio a couple months later and everything just sort of clicked, where I was like, ‘You know what? The thing I wanna say to my brother and sister, and the thing that I did say and I have said and it’s worked, is, ‘I wanna be your sister. Do you wanna be mine?'”\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>\u003c/p>\n\u003cp>\u003cem>Web intern Rosalind Faulkner contributed to the digital version of this story. Listen to the full aired conversation at the audio link\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "NPR's Audie Cornish talks with singer-songwriter K.Flay about her song \"Sister,\" her latest album \u003cem>Solutions,\u003c/em> and redefining sibling relationships.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m super, super close with my family, and I think a lot about family, just because of the way my childhood played out,” K.Flay reflects. “I think it gave me time to consider, like — what is the role of blood and DNA? What is the role of nurture?”\u003c/p>\n\u003cp>On \u003cem>Every Where Is Some Where\u003c/em>, the 2017 predecessor to \u003cem>Solutions\u003c/em>, K.Flay also sang about family members in the song “Champagne” — but that album took a different approach to the subject.\u003c/p>\n\u003cp>“In a lot of ways, that record was about problems,” K.Flay says of \u003cem>Every Where Is Some Where\u003c/em>. “I think I wrote that in a space of heartbreak.”\u003c/p>\n\u003cp>In contrast, \u003cem>Solutions \u003c/em>reflects a more hopeful creative state. K.Flay describes how she worked on this album from a healthy, optimistic space. “I was falling in love; I was really taking care of myself for the first time in a long time. I think there’s an optimism, a cautious optimism, that’s inherent in a lot of those reckonings.”\u003c/p>\n\u003cp>“Sister” showcases that optimism and love in the form of sisterhood — which K.Flay describes as a gender-less concept to encapsulate compassionate connection and chosen family-building. Although the song originated from what K.Flay calls a feeling of “separateness” from her siblings, it grew into a vulnerable, inviting expression of warmth.\u003c/p>\n\u003cp>“This record, and the kind of lyrical challenge I gave to myself, was: Let me take these points of pain, these points of angst, these points of confusion and kind of, like, just pivot a little bit in the direction of optimism or hopefulness,” K.Flay says. “I got into the studio a couple months later and everything just sort of clicked, where I was like, ‘You know what? The thing I wanna say to my brother and sister, and the thing that I did say and I have said and it’s worked, is, ‘I wanna be your sister. Do you wanna be mine?'”\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>\u003c/p>\n\u003cp>\u003cem>Web intern Rosalind Faulkner contributed to the digital version of this story. Listen to the full aired conversation at the audio link\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"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
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"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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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"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": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"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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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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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"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": {
"site": "news",
"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": {
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