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"slug": "cy-and-arianas-picks-a-punk-showcase-standing-with-immigrants-and-garden-dance",
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"content": "\u003cp>I’m glad to welcome my co-host this week, Ariana Proehl — KQED’s youth media manager who’s also an artist, media maker and music nerd in her own right. We couldn’t quite squeeze in two extras we both were excited about: the first is the \u003ca href=\"http://www.3dwebfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">3D Webfest\u003c/a> on Friday, June 30, at the Palace of Fine Arts, a chance to see what’s happening on the cutting edge of 3D video making. Details \u003ca href=\"http://codame.com/events/3d-web-fest-2017\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a> And I wanted to highlight the San Francisco Opera’s live simulcast of Mozart’s \u003cem>Don Giovanni\u003c/em>, streamed live from the War Memorial Opera House into AT&T Park. It’s \u003cstrong>free\u003c/strong>, but get your tickets online to avoid a wait as up to 30,000 people stream into the ballpark to get their garlic fries and Mozart. Details \u003ca href=\"https://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/simulcast-signup/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tjSnrDikc4M\u003c/p>\n\u003cp>\u003cstrong>July 1 & 2\u003c/strong>: Burger Boogaloo (organized by Total Trash Productions and Burger Records) is back with a bigger lineup than ever, celebrating punk greats from the distant and recent past like Iggy Pop, NoBunny, the Buzzcocks and X, as well as contemporary garage acts like La Luz and San Francisco’s Shannon and the Clams. John Waters is also back as host, because, he says, he’s just a huge fan of punk. Waters has also called Oakland the Baltimore of the Bay Area, which is high praise indeed for him. It’s a bit pricey, but then you never know for sure when or if you’ll get to see Iggy Pop again. Details for the two-day fest at Oakland’s Mosswood Park are \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZdcmC2UsamA\u003c/p>\n\u003cp>\u003cstrong>July 14\u003c/strong>: We’re giving \u003ca href=\"https://www.facebook.com/laluzusa/\" target=\"_blank\" rel=\"noopener noreferrer\">La Luz\u003c/a> a separate mention here, because we really like this psychedelic surf-punk band. They were born in rainy Seattle, but they’ve since moved to Los Angeles, a sunnier place, and as such their music veers from gloom to bubbly pop. They’re at The Ritz in San Jose on July 14, and details are \u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13546359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13546359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-800x266.jpg\" alt=\"The I am an Immigrant pop-up store is open in San Francisco June 30th with t-shirts to buy and free activities\" width=\"800\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-240x80.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-375x125.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-520x173.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The I Am An Immigrant pop-up store opens in San Francisco one day only, June 30, with T-shirts to buy and free activities. \u003ccite>(Photo: Courtesy of I am an Immigrant campaign)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 30\u003c/strong>: June is Immigrant Heritage Month, and a pop-up store has opened just in time in San Francisco called \u003ca href=\"https://www.iamanimmigrant.com/events/immigrant-san-francisco-pop\" target=\"_blank\" rel=\"noopener noreferrer\">I Am An Immigrant\u003c/a>. It’s part of a campaign celebrating the contributions immigrants have made to the U.S., and on some level, it’s an act of resistance to President Trump’s anti-immigrant policies. They sell “I am an Immigrant” and “I Stand With Immigrants” T-shirts, but there are free activities as well: photos of you in a T-shirt to post on social media, mural making for kids, and music in the evening. Details for the pop-up at the Laundry Gallery and Cafe on 26th Street in San Francisco — only there through June 30 — are\u003ca href=\"https://www.facebook.com/events/293894134387306/?acontext=%7B%22ref%22%3A%223%22%2C%22ref_newsfeed_story_type%22%3A%22regular%22%2C%22feed_story_type%22%3A%2217%22%2C%22action_history%22%3A%22null%22%7D\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13546784\" class=\"wp-caption aligncenter\" style=\"max-width: 299px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13546784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742.jpg\" alt=\"Fireworks over the Craneway Pavilion in Richmond, where the Oakland Symphony is playing a free show on July 3rd,\" width=\"299\" height=\"169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742.jpg 299w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742-240x136.jpg 240w\" sizes=\"(max-width: 299px) 100vw, 299px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks over the Craneway Pavilion in Richmond, where the Oakland Symphony plays a free show on July 3. \u003ccite>(Photo: Courtesy of Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4:\u003c/strong> Celebrating America’s immigrant heritage seems very patriotic to me, which brings us to a trio of symphonic Fourth of July events. You can beat the rush on July 3 with conductor Michael Morgan, when he leads the Oakland Symphony in its ninth annual free concert (note: parking is $20) at the Craneway Pavilion in Richmond. The San Francisco Symphony is at the Shoreline Amphitheatre with singer Storm Large, who has a voice as bright and powerful as the fireworks on display. And the Santa Rosa Symphony plays the Green Music Center at Sonoma State in Rohnert Park. Ariana calls the setting “divine” when the sliding doors at the back are opened, and people sit on the grass and enjoy craft beer (kids under 12 get in free, and are free to roam). The Santa Rosa Symphony is joined by Kathy Mattea, a country singer with a lot of presence and a big, pure voice out of West Virginia.\u003c/p>\n\u003cfigure id=\"attachment_13547110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13547110 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-800x450.jpg\" alt=\"Axis Dance in a rehearsal for 'Occupy' at Yerba Buena Gardens\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AXIS Dance in a rehearsal for ‘Occupy’ at Yerba Buena Gardens. \u003ccite>(Photo: Courtesy of Axis Dance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 1 & 2\u003c/strong>: AXIS Dance is the Oakland company, founded by Judith Smith, that features dancers with and without disabilities who show how nimbly and beautifully people can move in wheelchairs or with crutches. They’re performing a new piece this weekend choreographed by Stephen Koplowitz, who’s made his name in site-specific dance. \u003cem>Occupy\u003c/em> is about how people occupy their own bodies, a constant issue for a dancer with a disability, but also about the history of Yerba Buena Gardens, a major redevelopment project pushed through City Hall over objections by the poor residents of the neighborhood. With live music by electronic music pioneer Pamela Z, these performances are sure to be compelling. It’s free, but RSVPs are encouraged. \u003ca href=\"http://www.axisdance.org/occupy\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jryzEU7WAlg\u003c/p>\n\u003cp>\u003cstrong>July 1\u003c/strong>: \u003ca href=\"http://www.phantogram.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phantogram\u003c/a> is Sarah Barthel and Josh Carter, childhood friends who grew up to become the smartest and sexiest duo in synth-pop. Ariana’s been a fan for a while. She saw them at Coachella, and she says she got her sister hooked on their big wall of sound as well. Barthes has this delicate, high voice, but she’s a powerhouse performer on stage, looping a keyboard and working the crowd into an ecstatic mess. They play the Greek Theater in Berkeley on Saturday, and you’ll find\u003ca href=\"http://thegreekberkeley.com/events/miike-snow-phantogram/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13547112\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13547112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl.jpg\" alt=\"The Do List's Cy Musiker and Ariana Proehl\" width=\"719\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-520x391.jpg 520w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy Musiker with co-host Ariana Proehl. \u003ccite>(Photo: Zaldy Serrano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n",
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"excerpt": "On The Do List the week, we talk about standing up for immigrants, going nuts at Burger Boogaloo, and enjoying a symphonic Fourth of July.",
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"title": "Cy and Ariana's Picks: A Punk Showcase, Standing with Immigrants, and Garden Dance | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m glad to welcome my co-host this week, Ariana Proehl — KQED’s youth media manager who’s also an artist, media maker and music nerd in her own right. We couldn’t quite squeeze in two extras we both were excited about: the first is the \u003ca href=\"http://www.3dwebfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">3D Webfest\u003c/a> on Friday, June 30, at the Palace of Fine Arts, a chance to see what’s happening on the cutting edge of 3D video making. Details \u003ca href=\"http://codame.com/events/3d-web-fest-2017\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a> And I wanted to highlight the San Francisco Opera’s live simulcast of Mozart’s \u003cem>Don Giovanni\u003c/em>, streamed live from the War Memorial Opera House into AT&T Park. It’s \u003cstrong>free\u003c/strong>, but get your tickets online to avoid a wait as up to 30,000 people stream into the ballpark to get their garlic fries and Mozart. Details \u003ca href=\"https://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/simulcast-signup/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Now on with the show.\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/tjSnrDikc4M'\n title='//www.youtube.com/embed/tjSnrDikc4M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1 & 2\u003c/strong>: Burger Boogaloo (organized by Total Trash Productions and Burger Records) is back with a bigger lineup than ever, celebrating punk greats from the distant and recent past like Iggy Pop, NoBunny, the Buzzcocks and X, as well as contemporary garage acts like La Luz and San Francisco’s Shannon and the Clams. John Waters is also back as host, because, he says, he’s just a huge fan of punk. Waters has also called Oakland the Baltimore of the Bay Area, which is high praise indeed for him. It’s a bit pricey, but then you never know for sure when or if you’ll get to see Iggy Pop again. Details for the two-day fest at Oakland’s Mosswood Park are \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\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/ZdcmC2UsamA'\n title='//www.youtube.com/embed/ZdcmC2UsamA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 14\u003c/strong>: We’re giving \u003ca href=\"https://www.facebook.com/laluzusa/\" target=\"_blank\" rel=\"noopener noreferrer\">La Luz\u003c/a> a separate mention here, because we really like this psychedelic surf-punk band. They were born in rainy Seattle, but they’ve since moved to Los Angeles, a sunnier place, and as such their music veers from gloom to bubbly pop. They’re at The Ritz in San Jose on July 14, and details are \u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13546359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13546359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-800x266.jpg\" alt=\"The I am an Immigrant pop-up store is open in San Francisco June 30th with t-shirts to buy and free activities\" width=\"800\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-240x80.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-375x125.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-520x173.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The I Am An Immigrant pop-up store opens in San Francisco one day only, June 30, with T-shirts to buy and free activities. \u003ccite>(Photo: Courtesy of I am an Immigrant campaign)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 30\u003c/strong>: June is Immigrant Heritage Month, and a pop-up store has opened just in time in San Francisco called \u003ca href=\"https://www.iamanimmigrant.com/events/immigrant-san-francisco-pop\" target=\"_blank\" rel=\"noopener noreferrer\">I Am An Immigrant\u003c/a>. It’s part of a campaign celebrating the contributions immigrants have made to the U.S., and on some level, it’s an act of resistance to President Trump’s anti-immigrant policies. They sell “I am an Immigrant” and “I Stand With Immigrants” T-shirts, but there are free activities as well: photos of you in a T-shirt to post on social media, mural making for kids, and music in the evening. Details for the pop-up at the Laundry Gallery and Cafe on 26th Street in San Francisco — only there through June 30 — are\u003ca href=\"https://www.facebook.com/events/293894134387306/?acontext=%7B%22ref%22%3A%223%22%2C%22ref_newsfeed_story_type%22%3A%22regular%22%2C%22feed_story_type%22%3A%2217%22%2C%22action_history%22%3A%22null%22%7D\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13546784\" class=\"wp-caption aligncenter\" style=\"max-width: 299px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13546784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742.jpg\" alt=\"Fireworks over the Craneway Pavilion in Richmond, where the Oakland Symphony is playing a free show on July 3rd,\" width=\"299\" height=\"169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742.jpg 299w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742-240x136.jpg 240w\" sizes=\"(max-width: 299px) 100vw, 299px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks over the Craneway Pavilion in Richmond, where the Oakland Symphony plays a free show on July 3. \u003ccite>(Photo: Courtesy of Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4:\u003c/strong> Celebrating America’s immigrant heritage seems very patriotic to me, which brings us to a trio of symphonic Fourth of July events. You can beat the rush on July 3 with conductor Michael Morgan, when he leads the Oakland Symphony in its ninth annual free concert (note: parking is $20) at the Craneway Pavilion in Richmond. The San Francisco Symphony is at the Shoreline Amphitheatre with singer Storm Large, who has a voice as bright and powerful as the fireworks on display. And the Santa Rosa Symphony plays the Green Music Center at Sonoma State in Rohnert Park. Ariana calls the setting “divine” when the sliding doors at the back are opened, and people sit on the grass and enjoy craft beer (kids under 12 get in free, and are free to roam). The Santa Rosa Symphony is joined by Kathy Mattea, a country singer with a lot of presence and a big, pure voice out of West Virginia.\u003c/p>\n\u003cfigure id=\"attachment_13547110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13547110 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-800x450.jpg\" alt=\"Axis Dance in a rehearsal for 'Occupy' at Yerba Buena Gardens\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AXIS Dance in a rehearsal for ‘Occupy’ at Yerba Buena Gardens. \u003ccite>(Photo: Courtesy of Axis Dance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 1 & 2\u003c/strong>: AXIS Dance is the Oakland company, founded by Judith Smith, that features dancers with and without disabilities who show how nimbly and beautifully people can move in wheelchairs or with crutches. They’re performing a new piece this weekend choreographed by Stephen Koplowitz, who’s made his name in site-specific dance. \u003cem>Occupy\u003c/em> is about how people occupy their own bodies, a constant issue for a dancer with a disability, but also about the history of Yerba Buena Gardens, a major redevelopment project pushed through City Hall over objections by the poor residents of the neighborhood. With live music by electronic music pioneer Pamela Z, these performances are sure to be compelling. It’s free, but RSVPs are encouraged. \u003ca href=\"http://www.axisdance.org/occupy\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jryzEU7WAlg'\n title='//www.youtube.com/embed/jryzEU7WAlg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1\u003c/strong>: \u003ca href=\"http://www.phantogram.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phantogram\u003c/a> is Sarah Barthel and Josh Carter, childhood friends who grew up to become the smartest and sexiest duo in synth-pop. Ariana’s been a fan for a while. She saw them at Coachella, and she says she got her sister hooked on their big wall of sound as well. Barthes has this delicate, high voice, but she’s a powerhouse performer on stage, looping a keyboard and working the crowd into an ecstatic mess. They play the Greek Theater in Berkeley on Saturday, and you’ll find\u003ca href=\"http://thegreekberkeley.com/events/miike-snow-phantogram/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13547112\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13547112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl.jpg\" alt=\"The Do List's Cy Musiker and Ariana Proehl\" width=\"719\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-520x391.jpg 520w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy Musiker with co-host Ariana Proehl. \u003ccite>(Photo: Zaldy Serrano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We share the movies, music, and shows we can't wait for, revisit some of our favorite moments from the podcast, and praise the Lorde.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/06/Anticipation.mp3\" title=\"A Guide to the Most Anticipated Music, TV, and Movie Releases of Summer 2017\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>On our Summer '17 to-do lists: see all the Charlize Theron movies, watch all the HBO shows (\u003cem>Game of Thrones\u003c/em>! \u003cem>Insecure\u003c/em>!), light all the candles and be emo with Lana del Rey.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/d52803a4-787f-4401-8760-3305a366b821.gif\">\u003cimg class=\"aligncenter size-full wp-image-89000\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/d52803a4-787f-4401-8760-3305a366b821.gif\" alt=\"\" width=\"500\" height=\"269\">\u003c/a>\u003c/p>\n\u003cp>On your Summer '17 to-do list: Listen to all our old episodes and pretend like Obama is still President.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-89009\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/original.gif\" alt=\"\" width=\"700\" height=\"428\">\u003c/a>\u003c/p>\n\u003cp>It's official: Album of the Summer (maybe the Year, too): Lorde's \u003cem>Melodrama\u003c/em>. My favorite track changes day to day. Today, it's \"Homemade Dynamite.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KzgSetnFmoo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Cooler\u003c/em> is on hiatus until September. If you miss us, find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>! And do us a solid by \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\">subscribing and rating us in iTunes\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>On our Summer '17 to-do lists: see all the Charlize Theron movies, watch all the HBO shows (\u003cem>Game of Thrones\u003c/em>! \u003cem>Insecure\u003c/em>!), light all the candles and be emo with Lana del Rey.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/d52803a4-787f-4401-8760-3305a366b821.gif\">\u003cimg class=\"aligncenter size-full wp-image-89000\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/d52803a4-787f-4401-8760-3305a366b821.gif\" alt=\"\" width=\"500\" height=\"269\">\u003c/a>\u003c/p>\n\u003cp>On your Summer '17 to-do list: Listen to all our old episodes and pretend like Obama is still President.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-89009\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/original.gif\" alt=\"\" width=\"700\" height=\"428\">\u003c/a>\u003c/p>\n\u003cp>It's official: Album of the Summer (maybe the Year, too): Lorde's \u003cem>Melodrama\u003c/em>. My favorite track changes day to day. Today, it's \"Homemade Dynamite.\"\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/KzgSetnFmoo'\n title='//www.youtube.com/embed/KzgSetnFmoo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cem>The Cooler\u003c/em> is on hiatus until September. If you miss us, find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>! And do us a solid by \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\">subscribing and rating us in iTunes\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Demi Moore’s 1991 Photoshoot Changed the Game for Pregnant Celebrities",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>This week, Serena Williams graced the cover of \u003cem>\u003ca href=\"http://www.vanityfair.com/style/2017/06/serena-williams-cover-story\">Vanity Fair\u003c/a>’s\u003c/em>\u003cem> \u003c/em>August issue\u003cem>, \u003c/em>windswept, nearly nude, and in the late stages of pregnancy. The image is the epitome of beauty, made all the more powerful in its simple rendering of Williams’ strength and grace.\u003c/p>\n\u003cp>The cover arrives exactly 26 years after Demi Moore and Annie Leibovitz unapologetically tore up the rule book about pregnancy and sexuality, by having Demi pose in the nude while heavily pregnant. The image — probably the most famous in all of \u003cem>Vanity Fair\u003c/em>’s history — caused shock, awe, and not a little disgust when it was first released.\u003c/p>\n\u003cp>The August 1991 cover was a watercooler moment years before anyone even had a name for that. It was pored over, analyzed, dissected. \u003cem>Vanity Fair’\u003c/em>s editor Tina Brown may have \u003ca href=\"http://100photos.time.com/photos/annie-leibovitz-demi-moore\">described it\u003c/a> as “a new young movie star willing to say, ‘I look beautiful pregnant,’ and not ashamed of it,” but reactions across the country were visceral. Many people were simply unable to comprehend how this intersection of pregnancy and sexiness could be out there for the whole world to see. Some stores refused to stock the magazine; others hid Demi’s luminous form in the sorts of packaging usually reserved for pornography.\u003c/p>\n\u003cfigure id=\"attachment_88816\" class=\"wp-caption alignright\" style=\"max-width: 344px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88816 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM.png\" alt=\"\" width=\"344\" height=\"443\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM.png 344w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM-160x206.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM-240x309.png 240w\" sizes=\"(max-width: 344px) 100vw, 344px\">\u003cfigcaption class=\"wp-caption-text\">A page from Demi's 1991 Vanity Fair cover story.\u003c/figcaption>\u003c/figure>\n\u003cp>The controversy was widespread. An article for the \u003cem>\u003ca href=\"https://news.google.com/newspapers?nid=2457&dat=19910717&id=bqNJAAAAIBAJ&sjid=fA0NAAAAIBAJ&pg=2009,450468&hl=en\">Bangor Daily News\u003c/a> \u003c/em>(July 17, 1991) acts as a time capsule. In it, a 24-year-old woman asks, without a wisp of irony: “How are her kids going to feel about this when they get old enough to understand?” Another exclaims: “It’s disgusting. Women are most beautiful when they’re pregnant, but from the face up!” Another declares: “I think it’s in poor taste”.\u003c/p>\n\u003cp>Probably the most telling quote in the article though, comes from a well-meaning grandfather, who opines: “I think it’s very nice. Really very nice. This is nature at work. I get sick and tired of seeing sexy women on magazine covers. This is real.” For this particular grandpa, the image was rendered totally innocuous and asexual by the mere fact of Demi’s pregnancy. The only reason this man wasn’t offended by the image was because he entirely missed its point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things weren’t all bad though. \u003cem>Vanity Fair\u003c/em> acquired \u003ca href=\"https://books.google.com/books?id=x849DQAAQBAJ&pg=PT302&lpg=PT302&dq=demi+moore+grotesque+and+obscene&source=bl&ots=DNvtVFhyta&sig=Ty60YGGzOqcCfPkJGUK1lQuJA0k&hl=en&sa=X&sqi=2&ved=0ahUKEwiL35fW7d7UAhVC0mMKHXw4DCoQ6AEIPDAE#v=onepage&q=demi%20moore%20grotesque%20and%20obscene&f=false\">75,000 new subscribers\u003c/a>, and the issue sold 500,000 more than expected. Liebovitz remained unfazed by all the fuss, later \u003ca href=\"http://100photos.time.com/photos/annie-leibovitz-demi-moore\">noting\u003c/a>: “It’s a magazine cover. If it were a great portrait, she wouldn’t be covering her breasts.” In 1992, Demi Moore told the \u003cem>Houston Chronicle\u003c/em> the shoot made her “feel glamorous, beautiful, and more free about my body,” also noting, quite rightly: “I don’t know how much more family-oriented I could possibly have gotten.”\u003c/p>\n\u003cp>It may have just seemed like a controversial moment at the time — a daring one-off — but that single photoshoot literally changed the perception of what it means to be a pregnant woman, forever. Prior to the Moore-Leibovitz shoot, pregnant women were expected to cover up, be more demure, and sacrifice their own sexuality for the sake of their offspring. In the years that have followed, it’s a rarity for celebrities to \u003cem>not\u003c/em> do a revealing pregnancy shoot.\u003c/p>\n\u003cp>Here’s a reminder of just some of the famous people who’ve thought nothing of following Demi's example — and received zero backlash for doing so:\u003c/p>\n\u003cfigure id=\"attachment_88726\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88726 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Pregnancy-collage-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top: Britney Spears, Christina Aguilera, Kourtney Kardashian. Middle: Natalie Portman, Jessica Simpson, Mariah Carey. Bottom: Eva Herzigová, Kelly Rowland, Cindy Crawford.\u003c/figcaption>\u003c/figure>\n\u003cp>More recently, celebrities have been bypassing the magazines altogether to do their own pregnancy shoots for social media.\u003c/p>\n\u003cfigure id=\"attachment_88735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88735 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/alicia-bey-kim-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-800x494.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-768x475.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1020x630.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1920x1187.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1180x729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-960x593.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-240x148.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-375x232.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alicia Keys, Beyoncé, Kim Kardashian\u003c/figcaption>\u003c/figure>\n\u003cp>It seems absurd, looking back, that a beautiful famous woman and her unborn child could cause such a national uproar, but in the years before the internet, media was far more filtered and sensibilities infinitely more delicate. It took Moore an incredible amount of bravery to face the inevitable backlash and she did so with aplomb.\u003c/p>\n\u003cp>Demi Moore bit a metaphorical bullet to grant women more agency over their images during pregnancy. Today, bumps are to be celebrated and shown off; not hidden away under loose maternity wear. Moore’s example emboldened women to retain their sense of selves while on the road to motherhood in a way that had been taboo for generations before. She and Leibovitz also — for better or worse — accidentally spawned an entirely new industry: the world of “\u003ca href=\"https://www.pinterest.com/momm4of3/maternity-boudoir/?lp=true\">Maternity Boudoir\u003c/a>” photography.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What Demi Moore gave women, via the medium of that 1991 magazine cover, was a lot: inspiration, bravery, and a bolder outlook on what was possible for mothers. Given that the trend she set more than a quarter century ago has never actually died out, even some of her original critics might view the shoot as iconic by now. It’s almost impossible not to.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, Serena Williams graced the cover of \u003cem>\u003ca href=\"http://www.vanityfair.com/style/2017/06/serena-williams-cover-story\">Vanity Fair\u003c/a>’s\u003c/em>\u003cem> \u003c/em>August issue\u003cem>, \u003c/em>windswept, nearly nude, and in the late stages of pregnancy. The image is the epitome of beauty, made all the more powerful in its simple rendering of Williams’ strength and grace.\u003c/p>\n\u003cp>The cover arrives exactly 26 years after Demi Moore and Annie Leibovitz unapologetically tore up the rule book about pregnancy and sexuality, by having Demi pose in the nude while heavily pregnant. The image — probably the most famous in all of \u003cem>Vanity Fair\u003c/em>’s history — caused shock, awe, and not a little disgust when it was first released.\u003c/p>\n\u003cp>The August 1991 cover was a watercooler moment years before anyone even had a name for that. It was pored over, analyzed, dissected. \u003cem>Vanity Fair’\u003c/em>s editor Tina Brown may have \u003ca href=\"http://100photos.time.com/photos/annie-leibovitz-demi-moore\">described it\u003c/a> as “a new young movie star willing to say, ‘I look beautiful pregnant,’ and not ashamed of it,” but reactions across the country were visceral. Many people were simply unable to comprehend how this intersection of pregnancy and sexiness could be out there for the whole world to see. Some stores refused to stock the magazine; others hid Demi’s luminous form in the sorts of packaging usually reserved for pornography.\u003c/p>\n\u003cfigure id=\"attachment_88816\" class=\"wp-caption alignright\" style=\"max-width: 344px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88816 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM.png\" alt=\"\" width=\"344\" height=\"443\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM.png 344w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM-160x206.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM-240x309.png 240w\" sizes=\"(max-width: 344px) 100vw, 344px\">\u003cfigcaption class=\"wp-caption-text\">A page from Demi's 1991 Vanity Fair cover story.\u003c/figcaption>\u003c/figure>\n\u003cp>The controversy was widespread. An article for the \u003cem>\u003ca href=\"https://news.google.com/newspapers?nid=2457&dat=19910717&id=bqNJAAAAIBAJ&sjid=fA0NAAAAIBAJ&pg=2009,450468&hl=en\">Bangor Daily News\u003c/a> \u003c/em>(July 17, 1991) acts as a time capsule. In it, a 24-year-old woman asks, without a wisp of irony: “How are her kids going to feel about this when they get old enough to understand?” Another exclaims: “It’s disgusting. Women are most beautiful when they’re pregnant, but from the face up!” Another declares: “I think it’s in poor taste”.\u003c/p>\n\u003cp>Probably the most telling quote in the article though, comes from a well-meaning grandfather, who opines: “I think it’s very nice. Really very nice. This is nature at work. I get sick and tired of seeing sexy women on magazine covers. This is real.” For this particular grandpa, the image was rendered totally innocuous and asexual by the mere fact of Demi’s pregnancy. The only reason this man wasn’t offended by the image was because he entirely missed its point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things weren’t all bad though. \u003cem>Vanity Fair\u003c/em> acquired \u003ca href=\"https://books.google.com/books?id=x849DQAAQBAJ&pg=PT302&lpg=PT302&dq=demi+moore+grotesque+and+obscene&source=bl&ots=DNvtVFhyta&sig=Ty60YGGzOqcCfPkJGUK1lQuJA0k&hl=en&sa=X&sqi=2&ved=0ahUKEwiL35fW7d7UAhVC0mMKHXw4DCoQ6AEIPDAE#v=onepage&q=demi%20moore%20grotesque%20and%20obscene&f=false\">75,000 new subscribers\u003c/a>, and the issue sold 500,000 more than expected. Liebovitz remained unfazed by all the fuss, later \u003ca href=\"http://100photos.time.com/photos/annie-leibovitz-demi-moore\">noting\u003c/a>: “It’s a magazine cover. If it were a great portrait, she wouldn’t be covering her breasts.” In 1992, Demi Moore told the \u003cem>Houston Chronicle\u003c/em> the shoot made her “feel glamorous, beautiful, and more free about my body,” also noting, quite rightly: “I don’t know how much more family-oriented I could possibly have gotten.”\u003c/p>\n\u003cp>It may have just seemed like a controversial moment at the time — a daring one-off — but that single photoshoot literally changed the perception of what it means to be a pregnant woman, forever. Prior to the Moore-Leibovitz shoot, pregnant women were expected to cover up, be more demure, and sacrifice their own sexuality for the sake of their offspring. In the years that have followed, it’s a rarity for celebrities to \u003cem>not\u003c/em> do a revealing pregnancy shoot.\u003c/p>\n\u003cp>Here’s a reminder of just some of the famous people who’ve thought nothing of following Demi's example — and received zero backlash for doing so:\u003c/p>\n\u003cfigure id=\"attachment_88726\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88726 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Pregnancy-collage-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top: Britney Spears, Christina Aguilera, Kourtney Kardashian. Middle: Natalie Portman, Jessica Simpson, Mariah Carey. Bottom: Eva Herzigová, Kelly Rowland, Cindy Crawford.\u003c/figcaption>\u003c/figure>\n\u003cp>More recently, celebrities have been bypassing the magazines altogether to do their own pregnancy shoots for social media.\u003c/p>\n\u003cfigure id=\"attachment_88735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88735 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/alicia-bey-kim-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-800x494.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-768x475.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1020x630.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1920x1187.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1180x729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-960x593.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-240x148.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-375x232.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alicia Keys, Beyoncé, Kim Kardashian\u003c/figcaption>\u003c/figure>\n\u003cp>It seems absurd, looking back, that a beautiful famous woman and her unborn child could cause such a national uproar, but in the years before the internet, media was far more filtered and sensibilities infinitely more delicate. It took Moore an incredible amount of bravery to face the inevitable backlash and she did so with aplomb.\u003c/p>\n\u003cp>Demi Moore bit a metaphorical bullet to grant women more agency over their images during pregnancy. Today, bumps are to be celebrated and shown off; not hidden away under loose maternity wear. Moore’s example emboldened women to retain their sense of selves while on the road to motherhood in a way that had been taboo for generations before. She and Leibovitz also — for better or worse — accidentally spawned an entirely new industry: the world of “\u003ca href=\"https://www.pinterest.com/momm4of3/maternity-boudoir/?lp=true\">Maternity Boudoir\u003c/a>” photography.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What Demi Moore gave women, via the medium of that 1991 magazine cover, was a lot: inspiration, bravery, and a bolder outlook on what was possible for mothers. Given that the trend she set more than a quarter century ago has never actually died out, even some of her original critics might view the shoot as iconic by now. It’s almost impossible not to.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gchat (or \"Google Talk,\" as it was officially called and never known), the simple in-Gmail chat service, has been sunsetted. From all the \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/06/gchat-we-hardly-knew-ye/531612/\" target=\"_blank\" rel=\"noopener noreferrer\">eulogizing\u003c/a> on the \u003ca href=\"https://theringer.com/google-chat-messaging-service-ending-bce80fff5d9c\" target=\"_blank\" rel=\"noopener noreferrer\">internet\u003c/a>, you would imagine that in-email chat had been killed completely, another footnote in the march of obsolescence. It’s only been upgraded to Hangouts, a slicker, more flexible platform that can support things like animated gifs and group video calls, along with in-email chat. This wave of mourning for Gchat seems to be less about the service itself and more about the time when we could live our lives in its little windows, when our romances and comedies and dramas fit neatly into a two-inch text-box, when we had nothing to do but sit around and chat all day, even when we technically had other things to do.\u003c/p>\n\u003cp>We sent each other links. We fell in love. We talked frequently about Beyoncé, \u003ca href=\"http://mentalfloss.com/article/59967/13-unlikely-adorable-animal-friendships\">unlikely animal friends,\u003c/a> that weird guy in the breakroom, and really anything that wasn’t the task at hand. We couldn’t wait to share gossip. We chatted all day every day until one of us got a new job and went from always green to never green. We had a clever status message. We emailed the person we were interested in for no reason except to make them pop into our chat, and then never messaged them because what would we say? We obsessively reread saved conversations. We cultivated intimacies with unlikely people and revealed hopes and dreams late at night, alone together in the glow of our screens. We decided whether we were “hahaha” or “lol” people. We used emojis ironically and then earnestly. We chatted off the record when we thought bosses were watching, as though they weren’t recording every keystroke. We fell out of love, or suspected the other person’s lack of response meant they had. We were typing, but then we weren’t. We started texting.\u003c/p>\n\u003cp>Goodbye Gchat, and goodbye to our younger selves, those brave, beautiful idiots that we all still have inside of us somewhere. At some point this week, we may be tempted to revisit the archives and get a sense for who those people were and what they talked about, but let’s try to resist the urge to memorialize them with statistics about the who and where and what. The personal in this case is not the universal; it’s like hearing about someone else’s dreams. We each have our own stats, our own heavy accumulated chat history. We’re the sum total of it, an immense body of text remarkable only in its sweet mundanity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gchat (or \"Google Talk,\" as it was officially called and never known), the simple in-Gmail chat service, has been sunsetted. From all the \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/06/gchat-we-hardly-knew-ye/531612/\" target=\"_blank\" rel=\"noopener noreferrer\">eulogizing\u003c/a> on the \u003ca href=\"https://theringer.com/google-chat-messaging-service-ending-bce80fff5d9c\" target=\"_blank\" rel=\"noopener noreferrer\">internet\u003c/a>, you would imagine that in-email chat had been killed completely, another footnote in the march of obsolescence. It’s only been upgraded to Hangouts, a slicker, more flexible platform that can support things like animated gifs and group video calls, along with in-email chat. This wave of mourning for Gchat seems to be less about the service itself and more about the time when we could live our lives in its little windows, when our romances and comedies and dramas fit neatly into a two-inch text-box, when we had nothing to do but sit around and chat all day, even when we technically had other things to do.\u003c/p>\n\u003cp>We sent each other links. We fell in love. We talked frequently about Beyoncé, \u003ca href=\"http://mentalfloss.com/article/59967/13-unlikely-adorable-animal-friendships\">unlikely animal friends,\u003c/a> that weird guy in the breakroom, and really anything that wasn’t the task at hand. We couldn’t wait to share gossip. We chatted all day every day until one of us got a new job and went from always green to never green. We had a clever status message. We emailed the person we were interested in for no reason except to make them pop into our chat, and then never messaged them because what would we say? We obsessively reread saved conversations. We cultivated intimacies with unlikely people and revealed hopes and dreams late at night, alone together in the glow of our screens. We decided whether we were “hahaha” or “lol” people. We used emojis ironically and then earnestly. We chatted off the record when we thought bosses were watching, as though they weren’t recording every keystroke. We fell out of love, or suspected the other person’s lack of response meant they had. We were typing, but then we weren’t. We started texting.\u003c/p>\n\u003cp>Goodbye Gchat, and goodbye to our younger selves, those brave, beautiful idiots that we all still have inside of us somewhere. At some point this week, we may be tempted to revisit the archives and get a sense for who those people were and what they talked about, but let’s try to resist the urge to memorialize them with statistics about the who and where and what. The personal in this case is not the universal; it’s like hearing about someone else’s dreams. We each have our own stats, our own heavy accumulated chat history. We’re the sum total of it, an immense body of text remarkable only in its sweet mundanity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you didn’t watch the entirety of new Netflix series \u003ca href=\"http://www.imdb.com/title/tt5770786/episodes?season=1&ref_=tt_eps_sn_1\">\u003cem>GLOW\u003c/em>\u003c/a> over the weekend, chances are you were simply too busy doing a plethora of amazing Pride-related stuff. That’s okay. You can casually start watching this show about women’s wrestling next weekend, only to find that you can’t step away from your TV. Truly, this is the most addictive show to hit screens since \u003ca href=\"https://ww2.kqed.org/pop/tag/stranger-things/\">\u003cem>Stranger Things \u003c/em>\u003c/a>(the ’80s — and \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a> — is clearly having a moment right now).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wnKEoXbBTEw\u003c/p>\n\u003cp>Amidst all of the leotards, compelling drama, and genuinely heart-felt humor, it took me a couple of episodes to really notice Rhonda Richardson, a.k.a. Britannica (the smartest of all of the wrestling personas in the show, she clobbers her opponents with a text book).\u003c/p>\n\u003cp>Rhonda’s character has so far been noticed online for her \u003ca href=\"http://www.refinery29.com/2017/06/160673/kate-nash-glow-robyn-lively-teen-witch\">resemblance to Robyn Lively\u003c/a> in 1989’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098453/?ref_=nv_sr_1\">Teen Witch\u003c/a>, \u003c/em>and not much else. This is a reflection of how many amazing characters there are in this thing, rather than an indictment of her character. Rhonda is a beautiful and outspoken live wire with a sweet nature and unfiltered sexuality.\u003c/p>\n\u003cfigure id=\"attachment_88615\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-88615\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\" alt=\"\" width=\"700\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-520x357.jpg 520w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>It was in \u003cem>GLOW\u003c/em>‘s third episode (the hilariously titled “Wrath of Kuntar”) that it clicked.\u003cbr>\n“Hang on, that’s Kate Nash!” I said.\u003cbr>\n“Who the hell is Kate Nash?” my perplexed binge-watching companion asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I hit pause and put this on:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ryH5cga0yUI\u003c/p>\n\u003cp>Nash has been an indie music darling in the UK for a decade — something quite evident by the 13 million views the “Foundations” video has wracked up on YouTube thus far. Her first album, \u003ca href=\"https://en.wikipedia.org/wiki/Made_of_Bricks\">\u003cem>Made of Bricks\u003c/em>\u003c/a>, was full of jaunty piano-based tunes about unrequited crushes, bad relationships, and childhood friendships. Nash unselfconsciously sang the entire thing in her broad London accent. Legend has it, the album was only written to kill boredom, after the singer \u003ca href=\"http://www.bbc.co.uk/music/reviews/nbvr/\">broke her foot\u003c/a> in a panic induced by getting rejected from the theater school of her choice. On her home soil, the twist of fate catapulted her into actual, \u003ca href=\"https://www.youtube.com/watch?v=KBWudCTDKEI\">BRIT-Award-winning\u003c/a> stardom (she beat PJ Harvey and Bat For Lashes in the 2008 Best British Female category).\u003c/p>\n\u003cp>At the start of her music career, the then-20-year-old Nash combined wholesome, traditionally feminine aesthetics with a penchant for cursing and unfiltered opinion-giving. It was an intoxicating combination, but one that didn’t really speak to the more punk rock aspects of Nash’s character. On the side, away from all the adoration, she played bass part-time in a punk band called \u003ca href=\"https://www.youtube.com/watch?v=LJspXDQRdjk\">the Receeders\u003c/a>. She also fully embraced underground, DIY culture with her own fanzine and blog, \u003ca href=\"http://myignorantyouth.blogspot.com/\">\u003cem>My Ignorant Youth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nash’s second album, 2010’s \u003ca href=\"https://www.youtube.com/watch?v=GNPxAOQbIpM&list=PLeYteSIQR-Q--so3wG1DGoLmxHeTL8sEx\">\u003cem>My Best Friend is You\u003c/em>\u003c/a>, had elements of her earlier sweetness — even incorporating ’60s girl group vibes on lead single, \u003ca href=\"https://www.youtube.com/watch?v=OqV-embx_tA\">“Do-Wah-Doo”\u003c/a> — but her on-stage image got spikier and the album tracks were far dirtier and more caustic than anyone had expected. By the time 2013’s \u003ca href=\"https://www.youtube.com/watch?v=bfBoxX64d6I\">\u003cem>Girl Talk\u003c/em> \u003c/a>came out, it was widely noted that Nash had \u003ca href=\"https://consequenceofsound.net/2012/06/video-kate-nash-under-estimate-the-girl/\">“gone full riot grrrl.”\u003c/a> Reviews were a little mixed, but Nash doubled down, creating a YouTube channel called \u003ca href=\"https://www.youtube.com/watch?v=quNE_r79qMk\">Girl Gang TV\u003c/a>, that \u003ca href=\"https://www.theguardian.com/music/2015/feb/06/kate-nashs-girl-gang-the-online-community-for-todays-riot-grrrls\">\u003cem>The Guardian\u003c/em>\u003c/a> dubbed “a meeting place for a new generation of likeminded feminists.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=quNE_r79qMk\u003c/p>\n\u003cp>Suffice it to say, Kate Nash ending up on a show about sexism, female empowerment, community amongst women, and DIY determination shouldn’t be in the least bit surprising, especially since, before that pesky broken foot, she had been more interested in a career in acting than in music. (Fun fact: she attended the same London \u003ca href=\"https://en.wikipedia.org/wiki/BRIT_School\">school for performing arts\u003c/a> that Amy Winehouse and Adele did.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kate Nash’s fourth album is due out sometime before February 2018, but it’s hard to imagine \u003cem>GLOW\u003c/em> not taking over her life for the forseeable future. The cool thing is, this second leap into the limelight comes with its own in-built girl gang — something she’s been trying to cultivate on her own for years.\u003c/p>\n\n",
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"title": "The Not-So-Secret Real-Life of GLOW’s Rhonda Richardson | KQED",
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"headline": "The Not-So-Secret Real-Life of GLOW’s Rhonda Richardson",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you didn’t watch the entirety of new Netflix series \u003ca href=\"http://www.imdb.com/title/tt5770786/episodes?season=1&ref_=tt_eps_sn_1\">\u003cem>GLOW\u003c/em>\u003c/a> over the weekend, chances are you were simply too busy doing a plethora of amazing Pride-related stuff. That’s okay. You can casually start watching this show about women’s wrestling next weekend, only to find that you can’t step away from your TV. Truly, this is the most addictive show to hit screens since \u003ca href=\"https://ww2.kqed.org/pop/tag/stranger-things/\">\u003cem>Stranger Things \u003c/em>\u003c/a>(the ’80s — and \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a> — is clearly having a moment right now).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wnKEoXbBTEw'\n title='//www.youtube.com/embed/wnKEoXbBTEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Amidst all of the leotards, compelling drama, and genuinely heart-felt humor, it took me a couple of episodes to really notice Rhonda Richardson, a.k.a. Britannica (the smartest of all of the wrestling personas in the show, she clobbers her opponents with a text book).\u003c/p>\n\u003cp>Rhonda’s character has so far been noticed online for her \u003ca href=\"http://www.refinery29.com/2017/06/160673/kate-nash-glow-robyn-lively-teen-witch\">resemblance to Robyn Lively\u003c/a> in 1989’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098453/?ref_=nv_sr_1\">Teen Witch\u003c/a>, \u003c/em>and not much else. This is a reflection of how many amazing characters there are in this thing, rather than an indictment of her character. Rhonda is a beautiful and outspoken live wire with a sweet nature and unfiltered sexuality.\u003c/p>\n\u003cfigure id=\"attachment_88615\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-88615\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\" alt=\"\" width=\"700\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-520x357.jpg 520w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>It was in \u003cem>GLOW\u003c/em>‘s third episode (the hilariously titled “Wrath of Kuntar”) that it clicked.\u003cbr>\n“Hang on, that’s Kate Nash!” I said.\u003cbr>\n“Who the hell is Kate Nash?” my perplexed binge-watching companion asked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hit pause and put this on:\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/ryH5cga0yUI'\n title='//www.youtube.com/embed/ryH5cga0yUI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nash has been an indie music darling in the UK for a decade — something quite evident by the 13 million views the “Foundations” video has wracked up on YouTube thus far. Her first album, \u003ca href=\"https://en.wikipedia.org/wiki/Made_of_Bricks\">\u003cem>Made of Bricks\u003c/em>\u003c/a>, was full of jaunty piano-based tunes about unrequited crushes, bad relationships, and childhood friendships. Nash unselfconsciously sang the entire thing in her broad London accent. Legend has it, the album was only written to kill boredom, after the singer \u003ca href=\"http://www.bbc.co.uk/music/reviews/nbvr/\">broke her foot\u003c/a> in a panic induced by getting rejected from the theater school of her choice. On her home soil, the twist of fate catapulted her into actual, \u003ca href=\"https://www.youtube.com/watch?v=KBWudCTDKEI\">BRIT-Award-winning\u003c/a> stardom (she beat PJ Harvey and Bat For Lashes in the 2008 Best British Female category).\u003c/p>\n\u003cp>At the start of her music career, the then-20-year-old Nash combined wholesome, traditionally feminine aesthetics with a penchant for cursing and unfiltered opinion-giving. It was an intoxicating combination, but one that didn’t really speak to the more punk rock aspects of Nash’s character. On the side, away from all the adoration, she played bass part-time in a punk band called \u003ca href=\"https://www.youtube.com/watch?v=LJspXDQRdjk\">the Receeders\u003c/a>. She also fully embraced underground, DIY culture with her own fanzine and blog, \u003ca href=\"http://myignorantyouth.blogspot.com/\">\u003cem>My Ignorant Youth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nash’s second album, 2010’s \u003ca href=\"https://www.youtube.com/watch?v=GNPxAOQbIpM&list=PLeYteSIQR-Q--so3wG1DGoLmxHeTL8sEx\">\u003cem>My Best Friend is You\u003c/em>\u003c/a>, had elements of her earlier sweetness — even incorporating ’60s girl group vibes on lead single, \u003ca href=\"https://www.youtube.com/watch?v=OqV-embx_tA\">“Do-Wah-Doo”\u003c/a> — but her on-stage image got spikier and the album tracks were far dirtier and more caustic than anyone had expected. By the time 2013’s \u003ca href=\"https://www.youtube.com/watch?v=bfBoxX64d6I\">\u003cem>Girl Talk\u003c/em> \u003c/a>came out, it was widely noted that Nash had \u003ca href=\"https://consequenceofsound.net/2012/06/video-kate-nash-under-estimate-the-girl/\">“gone full riot grrrl.”\u003c/a> Reviews were a little mixed, but Nash doubled down, creating a YouTube channel called \u003ca href=\"https://www.youtube.com/watch?v=quNE_r79qMk\">Girl Gang TV\u003c/a>, that \u003ca href=\"https://www.theguardian.com/music/2015/feb/06/kate-nashs-girl-gang-the-online-community-for-todays-riot-grrrls\">\u003cem>The Guardian\u003c/em>\u003c/a> dubbed “a meeting place for a new generation of likeminded feminists.”\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/quNE_r79qMk'\n title='//www.youtube.com/embed/quNE_r79qMk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Suffice it to say, Kate Nash ending up on a show about sexism, female empowerment, community amongst women, and DIY determination shouldn’t be in the least bit surprising, especially since, before that pesky broken foot, she had been more interested in a career in acting than in music. (Fun fact: she attended the same London \u003ca href=\"https://en.wikipedia.org/wiki/BRIT_School\">school for performing arts\u003c/a> that Amy Winehouse and Adele did.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kate Nash’s fourth album is due out sometime before February 2018, but it’s hard to imagine \u003cem>GLOW\u003c/em> not taking over her life for the forseeable future. The cool thing is, this second leap into the limelight comes with its own in-built girl gang — something she’s been trying to cultivate on her own for years.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'RuPaul's Drag Race' Winner Sasha Velour Cut From A Different Fabric",
"title": "'RuPaul's Drag Race' Winner Sasha Velour Cut From A Different Fabric",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>On Friday night, a new American monarch rose to power beneath a cascade of rose petals, a cracked mask and the ballads of Whitney Houston.\u003c/p>\n\u003cp>But she didn't just use the glamour, comedy, acting and lip syncing prowess that fans of \u003ca href=\"http://www.npr.org/2016/08/25/491338249/shante-he-stays-rupaul-reflects-on-decades-of-drag-and-2-emmy-nominations\">RuPaul's Drag Race\u003c/a> have come to expect from America's Next Drag Superstar. Sasha Velour relies on brains.\u003c/p>\n\u003cp>\u003cstrong>An \"amateur drag historian\"\u003c/strong>\u003c/p>\n\u003cp>When the 30-year-old queen is at home in Brooklyn, N.Y., she produces and stars in a monthly drag cabaret event called Nightgowns. She co-founded \u003cem>Velour\u003c/em>, a magazine spotlighting lesser-known styles and issues in drag. She received an MFA from the Center for Cartoon Studies and studied political art as a Fulbright Scholar in Moscow.\u003c/p>\n\u003cp>She also considers herself an \"amateur drag historian,\" acknowledging there have always been different schools of drag — all competing, warring, pushing the art in new directions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for Velour, her style comes from simultaneously paying tribute to the queens who came before her and blocking out any voices that might try to dictate what her drag should be.\u003c/p>\n\u003cp>\"I want to do something that is not just a pastiche of drag that's come before, but is really authentically me,\" she said. \"I try to tune out all the drag that's out there and tap into the drag that I was doing when I was a little kid — when I didn't even know the word 'queer' or that gay people were out there. ... Tapping into the things I've always loved and building a drag that honors those.\"\u003c/p>\n\u003cp>And now that season nine is a wrap, Velour can officially add being the ninth queen crowned on \u003cem>RuPaul's Drag Race\u003c/em> to her resume — bringing her eclectic, academic and sometimes controversially intellectual brand of drag to the main stage of American queer culture.\u003c/p>\n\u003cfigure id=\"attachment_88504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-88504 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg\" alt=\"\" width=\"800\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-160x73.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-768x349.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1020x463.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1920x872.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1180x536.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-960x436.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-240x109.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-375x170.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-520x236.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Velour competed against 13 other drag queens in season nine of RuPaul's Drag Race to snatch the crown and a prize of $100,000.\u003cbr> (Courtesy of VH1)\u003c/figcaption>\u003c/figure>\n\u003cp>\"I mean, it's been one of the biggest things I've gotten pushback about, is being an intellectual and what that means,\" she said. \"I grew up in this house of intellectuals, and for me it wasn't like a negative thing. And what I've discovered is for a lot of people it is. But I think knowing history, liking to talk about ideas — like, I just genuinely like to geek out and go on these intellectual thought journeys. I want to show people it's not elitist to be a deep thinker.\"\u003c/p>\n\u003cp>\u003cstrong>Advancing an art form\u003c/strong>\u003c/p>\n\u003cp>As reigning queen of the \u003cem>Drag Race\u003c/em> empire, Velour said she plans to use her platform — and cash prize of $100,000 — to bring other LGBTQ artists across America into the spotlight. Over the next year, she hopes to take projects like Nightgowns and \u003cem>Velour\u003c/em> magazine across the country, showcasing and connecting drag communities from America's big cities and small towns.\u003c/p>\n\u003cp>\"I just want to be able to get kings and queens and nonbinary performers working together and having discussions about what drag is currently, what it has been and where we can move it to that is truly new,\" she said. \"I think if we work together and have a conversation, we can really advance the art form.\"\u003c/p>\n\u003cp>Velour also plans to follow in the footsteps of other notable \u003cem>Drag Race\u003c/em> alumni by dipping her toes into video production and music — albeit with an noticeably Velourian spin.\u003c/p>\n\u003cp>\"When I was on the show, I said I will never create drag queen music. There's too much of it and it's horrible,\" she said. \"But then they kind of tricked me into [doing] this weird, academic talk-rapping that's — it's not for everyone, but the people who love it are really into it.\"\u003c/p>\n\u003cp>The \"talk-rapping\" she's referring to, for the record, is in two collaborations with fellow season nine contestants — \"C.L.A.T.\" and RuPaul's \"Category Is...\" remix, which was produced as a challenge on the show.\u003c/p>\n\u003cp>In one verse, Velour opens with: \"Radical, magical, liberal art. Gender is a construct; tear it apart.\" Which, for her, is what the art of drag is all about — challenging gender and empowering people to follow their own paths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r0o0PK7AXFE\u003c/p>\n\u003cp>\"A lot of people still have the idea that drag goes from one end of the gender spectrum to the other end of the gender spectrum, and they expect drag queens to be masculine out of drag and hyper-feminine in drag,\" she said. \"I think that portrays a lot of binary thinking and ultimately a lot of misogyny. I hope people appreciate that drag always has been more about the blurriness of gender rather than these two extremes.\"\u003c/p>\n\u003cp>\u003cstrong>\"We make ourselves royals\"\u003c/strong>\u003c/p>\n\u003cp>As Velour watched her victory Friday night as the first queen ever to be crowned on VH1, she had a moment thinking back to her childhood — before she had other LGBTQ people in her life or understood the world of gay culture.\u003c/p>\n\u003cp>\"I imagined scrolling through channels and just discovering [\u003cem>Drag Race\u003c/em>] on VH1. This, like, giant theater full of people cheering for queer people in the most glamorous, fabulous costumes — just being emotional, being angry about politics, being truly themselves. And I thought about how powerful that would be, and it was really humbling,\" Velour said. \"That's really the message of drag in the end. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday night, a new American monarch rose to power beneath a cascade of rose petals, a cracked mask and the ballads of Whitney Houston.\u003c/p>\n\u003cp>But she didn't just use the glamour, comedy, acting and lip syncing prowess that fans of \u003ca href=\"http://www.npr.org/2016/08/25/491338249/shante-he-stays-rupaul-reflects-on-decades-of-drag-and-2-emmy-nominations\">RuPaul's Drag Race\u003c/a> have come to expect from America's Next Drag Superstar. Sasha Velour relies on brains.\u003c/p>\n\u003cp>\u003cstrong>An \"amateur drag historian\"\u003c/strong>\u003c/p>\n\u003cp>When the 30-year-old queen is at home in Brooklyn, N.Y., she produces and stars in a monthly drag cabaret event called Nightgowns. She co-founded \u003cem>Velour\u003c/em>, a magazine spotlighting lesser-known styles and issues in drag. She received an MFA from the Center for Cartoon Studies and studied political art as a Fulbright Scholar in Moscow.\u003c/p>\n\u003cp>She also considers herself an \"amateur drag historian,\" acknowledging there have always been different schools of drag — all competing, warring, pushing the art in new directions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for Velour, her style comes from simultaneously paying tribute to the queens who came before her and blocking out any voices that might try to dictate what her drag should be.\u003c/p>\n\u003cp>\"I want to do something that is not just a pastiche of drag that's come before, but is really authentically me,\" she said. \"I try to tune out all the drag that's out there and tap into the drag that I was doing when I was a little kid — when I didn't even know the word 'queer' or that gay people were out there. ... Tapping into the things I've always loved and building a drag that honors those.\"\u003c/p>\n\u003cp>And now that season nine is a wrap, Velour can officially add being the ninth queen crowned on \u003cem>RuPaul's Drag Race\u003c/em> to her resume — bringing her eclectic, academic and sometimes controversially intellectual brand of drag to the main stage of American queer culture.\u003c/p>\n\u003cfigure id=\"attachment_88504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-88504 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg\" alt=\"\" width=\"800\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-160x73.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-768x349.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1020x463.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1920x872.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1180x536.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-960x436.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-240x109.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-375x170.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-520x236.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Velour competed against 13 other drag queens in season nine of RuPaul's Drag Race to snatch the crown and a prize of $100,000.\u003cbr> (Courtesy of VH1)\u003c/figcaption>\u003c/figure>\n\u003cp>\"I mean, it's been one of the biggest things I've gotten pushback about, is being an intellectual and what that means,\" she said. \"I grew up in this house of intellectuals, and for me it wasn't like a negative thing. And what I've discovered is for a lot of people it is. But I think knowing history, liking to talk about ideas — like, I just genuinely like to geek out and go on these intellectual thought journeys. I want to show people it's not elitist to be a deep thinker.\"\u003c/p>\n\u003cp>\u003cstrong>Advancing an art form\u003c/strong>\u003c/p>\n\u003cp>As reigning queen of the \u003cem>Drag Race\u003c/em> empire, Velour said she plans to use her platform — and cash prize of $100,000 — to bring other LGBTQ artists across America into the spotlight. Over the next year, she hopes to take projects like Nightgowns and \u003cem>Velour\u003c/em> magazine across the country, showcasing and connecting drag communities from America's big cities and small towns.\u003c/p>\n\u003cp>\"I just want to be able to get kings and queens and nonbinary performers working together and having discussions about what drag is currently, what it has been and where we can move it to that is truly new,\" she said. \"I think if we work together and have a conversation, we can really advance the art form.\"\u003c/p>\n\u003cp>Velour also plans to follow in the footsteps of other notable \u003cem>Drag Race\u003c/em> alumni by dipping her toes into video production and music — albeit with an noticeably Velourian spin.\u003c/p>\n\u003cp>\"When I was on the show, I said I will never create drag queen music. There's too much of it and it's horrible,\" she said. \"But then they kind of tricked me into [doing] this weird, academic talk-rapping that's — it's not for everyone, but the people who love it are really into it.\"\u003c/p>\n\u003cp>The \"talk-rapping\" she's referring to, for the record, is in two collaborations with fellow season nine contestants — \"C.L.A.T.\" and RuPaul's \"Category Is...\" remix, which was produced as a challenge on the show.\u003c/p>\n\u003cp>In one verse, Velour opens with: \"Radical, magical, liberal art. Gender is a construct; tear it apart.\" Which, for her, is what the art of drag is all about — challenging gender and empowering people to follow their own paths.\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/r0o0PK7AXFE'\n title='//www.youtube.com/embed/r0o0PK7AXFE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"A lot of people still have the idea that drag goes from one end of the gender spectrum to the other end of the gender spectrum, and they expect drag queens to be masculine out of drag and hyper-feminine in drag,\" she said. \"I think that portrays a lot of binary thinking and ultimately a lot of misogyny. I hope people appreciate that drag always has been more about the blurriness of gender rather than these two extremes.\"\u003c/p>\n\u003cp>\u003cstrong>\"We make ourselves royals\"\u003c/strong>\u003c/p>\n\u003cp>As Velour watched her victory Friday night as the first queen ever to be crowned on VH1, she had a moment thinking back to her childhood — before she had other LGBTQ people in her life or understood the world of gay culture.\u003c/p>\n\u003cp>\"I imagined scrolling through channels and just discovering [\u003cem>Drag Race\u003c/em>] on VH1. This, like, giant theater full of people cheering for queer people in the most glamorous, fabulous costumes — just being emotional, being angry about politics, being truly themselves. And I thought about how powerful that would be, and it was really humbling,\" Velour said. \"That's really the message of drag in the end. 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"content": "\u003cp>Chances are you remember seeing a wonderfully bizarre YouTube video going around five years ago called '\u003ca href=\"https://www.youtube.com/watch?v=iRZ2Sh5-XuM\" target=\"_blank\">Going to the Store\u003c/a>,' starring a floppy nude body that looks like a mannequin made out of Silly Putty. Two years later, it was followed by '\u003ca href=\"https://www.youtube.com/watch?v=wBqM2ytqHY4\" target=\"_blank\">Late for Meeting\u003c/a>,' which upped the weirdness ante in the insane rubbery male figure department.\u003c/p>\n\u003cp>Now, finally, creator David Lewandowski has released the third in the series: 'Time for Sushi,' which finds our floppy hero reproducing asexually on the streets, trains, and beaches of Japan. Swallow your coffee before pressing play, 'cause it's a doozy:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bcXiwNjkhxU\u003c/p>\n\u003cp>If it takes Lewandowski another four years before his next rubber-guy masterpiece, that's fine with me. In the meantime, he's selling a \u003ca href=\"https://goingtothe.store/products/youtube-inbox\" target=\"_blank\">book of actual messages sent to his YouTube channel\u003c/a> from confused viewers. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chances are you remember seeing a wonderfully bizarre YouTube video going around five years ago called '\u003ca href=\"https://www.youtube.com/watch?v=iRZ2Sh5-XuM\" target=\"_blank\">Going to the Store\u003c/a>,' starring a floppy nude body that looks like a mannequin made out of Silly Putty. Two years later, it was followed by '\u003ca href=\"https://www.youtube.com/watch?v=wBqM2ytqHY4\" target=\"_blank\">Late for Meeting\u003c/a>,' which upped the weirdness ante in the insane rubbery male figure department.\u003c/p>\n\u003cp>Now, finally, creator David Lewandowski has released the third in the series: 'Time for Sushi,' which finds our floppy hero reproducing asexually on the streets, trains, and beaches of Japan. Swallow your coffee before pressing play, 'cause it's a doozy:\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/bcXiwNjkhxU'\n title='//www.youtube.com/embed/bcXiwNjkhxU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If it takes Lewandowski another four years before his next rubber-guy masterpiece, that's fine with me. In the meantime, he's selling a \u003ca href=\"https://goingtothe.store/products/youtube-inbox\" target=\"_blank\">book of actual messages sent to his YouTube channel\u003c/a> from confused viewers. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A look at hexes floating around Hollywood, a twisted tale from the 1700s, a warning about catacombs, and -- to lighten the mood -- an ode to onion rings and fries.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/06/Curses.mp3\" title=\"Chilling Pop Culture Curses, from Poltergeist to Drake\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Drake has a lot more in common with doomed horror movies than you'd think.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/1463576898-drake-scared.gif\">\u003cimg class=\"size-full wp-image-87682 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/1463576898-drake-scared.gif\" alt=\"\" width=\"550\" height=\"298\">\u003c/a>\u003c/p>\n\u003cp>The 18th century wasn't a great time to be a sex-positive woman. Just ask Margaret Dickson, who was hanged for some bullshit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/f6b9bf40f4356ec378d55439d83e1702.gif\">\u003cimg class=\"size-full wp-image-87683 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/f6b9bf40f4356ec378d55439d83e1702.gif\" alt=\"\" width=\"500\" height=\"219\">\u003c/a>\u003c/p>\n\u003cp>Two French teens recently learned that age-old maxim: it's all fun and games until you get lost in the Paris catacombs for THREE DAYS!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/3298361pdrgqpc3y5.gif\">\u003cimg class=\"size-full wp-image-87684 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/3298361pdrgqpc3y5.gif\" alt=\"\" width=\"500\" height=\"236\">\u003c/a>\u003c/p>\n\u003cp>Scientists claim that eating french fries will lead us all to early graves.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/oprah-won-t-accept-it.gif\">\u003cimg class=\"size-full wp-image-87685 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/oprah-won-t-accept-it.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on \"Don't Kill My Vibe\" by finger-dancing enthusiast Sigrid:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xzonQoON9eo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/f6b9bf40f4356ec378d55439d83e1702.gif\">\u003cimg class=\"size-full wp-image-87683 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/f6b9bf40f4356ec378d55439d83e1702.gif\" alt=\"\" width=\"500\" height=\"219\">\u003c/a>\u003c/p>\n\u003cp>Two French teens recently learned that age-old maxim: it's all fun and games until you get lost in the Paris catacombs for THREE DAYS!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/3298361pdrgqpc3y5.gif\">\u003cimg class=\"size-full wp-image-87684 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/3298361pdrgqpc3y5.gif\" alt=\"\" width=\"500\" height=\"236\">\u003c/a>\u003c/p>\n\u003cp>Scientists claim that eating french fries will lead us all to early graves.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/oprah-won-t-accept-it.gif\">\u003cimg class=\"size-full wp-image-87685 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/oprah-won-t-accept-it.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on \"Don't Kill My Vibe\" by finger-dancing enthusiast Sigrid:\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/xzonQoON9eo'\n title='//www.youtube.com/embed/xzonQoON9eo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-zahras-picks-guide-to-pride-no-mans-land-and-gang-of-seven",
"title": "Cy and Zahra's Picks: Guide to Pride, No Man's Land, and Gang of Seven",
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"content": "\u003cp>My co-host this week is comedian \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh,\u003c/a> co-host of the podcast \u003ca href=\"http://www.goodmuslimbadmuslim.com/\" target=\"_blank\" rel=\"noopener noreferrer\">#\u003cem>GoodMuslimBadMuslim\u003c/em>\u003c/a>, and \u003ca href=\"https://www.ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener noreferrer\">recently named\u003c/a> one of 100 people shaping the future of culture. We barely had time to cover all the shows that mattered to us this week. Left out was the \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Jazz Festival \u003c/a>opening this week, including singer Tiffany Austin, clarinetist Anat Cohen, Natalie and daughter Sandy Cressman and Ravi Coltrane.\u003c/p>\n\u003cp>We also couldn’t fit in the opening of the play \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An Octoroon\u003c/em> at Berkeley Rep\u003c/a> on Friday, an adaptation and critique of a 19th century play about race. Director Eric Ting is terrific at deconstructing plays like this, and challenging the audience. And don’t forget: with Pride celebrations, public transit is your friend if you’re coming into San Francisco this weekend. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9bbVGNY40N8\u003c/p>\n\u003cp>\u003cstrong>June 23–25\u003c/strong>: With its many stages, after-parties and the big parade, \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Pride\u003c/a> is simply too big to sum up in a couple of performers, events and shows, but we’ve tried. \u003ca href=\"http://www.thedykemarch.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Dyke March\u003c/a> is worth catching as it celebrates its 25th anniversary. And we’re both fans of \u003ca href=\"http://www.madamegandhi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Madame Gandhi\u003c/a> (video above), appearing on the main stage on Sunday, June 25, for her feminist, period-positive message and great dance beats.\u003c/p>\n\u003cp>\u003ca href=\"http://www.margagomez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marga Gomez\u003c/a>, the heart of Bay Area Comedy, is one of the emcees on the main stage, and we’re hoping for good things from \u003ca href=\"https://www.facebook.com/HellaGayComedyShow/\" target=\"_blank\" rel=\"noopener noreferrer\">#HellaGayComedy\u003c/a> on Friday, June 23, at Club OMG in San Francisco, with Omar Qureshi, Jesus U.Bettawork, Cassandra Gorgeous, and others. And don’t be surprised if you see people in top hats and claw-like hands at Pride in honor of the Australian horror-flick character \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">The Babadook\u003c/a>, a creature who is feared, but also somehow a part of the family. In a recent twist, he’s \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">become a gay icon\u003c/a> of sorts. Details for San Francisco Pride \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=91HRfJwOuWo&t=449s\u003c/p>\n\u003cp>\u003cstrong>July 9\u003c/strong>: Zahra looked ahead on her calendar to find this second-Sunday-of-the-month lesbian, trans, women comedy show at the Ivy Room in Albany. Ash Fisher and Irene Tu of Man Haters headline \u003cem>No Man’s Land\u003c/em> — Tu was one of \u003ca href=\"http://ww2.kqed.org/arts/2016/07/11/women-to-watch-irene-tu/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s Women to Watch\u003c/a> last year. Men, like me, are welcome, but as Zahra said, we may be the butt of a lot of jokes (or completely ignored). And it’s a bargain. With women making about 77 cents on the dollar to men, tickets are just $7.70 in advance, $10 at the door.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/215884295\u003cbr>\n\u003c/aside>\n\u003cp>\u003cstrong>June 24\u003c/strong>: \u003cem>Notes Against the Ban\u003c/em> is a protest of the Trump Administration’s proposed travel ban, in the form of music from the seven Muslim-majority countries on the list: Iraq, Libya, Somalia, Sudan, Syria, Yemen and Iran. The \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">Aswat Ensemble \u003c/a>has \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">staged this concert as a way to bridge cultural suspicions through music\u003c/a>. Aswat founder Nabila Mango said she wants to “celebrate the beauty of ‘the others.’” Among other highlights, look for Sudanese vocalist Salma Al Assal, profiled in a KQED video (posted above). And for non-Arab & non-Farsi speakers like me, translations of each song will be projected on a screen for the audience. \u003ca href=\"http://www.brownpapertickets.com/event/2933963\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the show at St. Cyprian’s in San Francisco are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gbAJp1YarfU\u003c/p>\n\u003cp>\u003cstrong>June 24 & 25\u003c/strong>: Ubernerd \u003ca href=\"http://nerdist.com/tag/chris-hardwick/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Hardwick\u003c/a> of Comedy Central and the Nerdist is curating a show, and calling it the\u003cem> ID10T Festival\u003c/em>. On some level, it appears as if Hardwick just said to himself, “What do millennials like? Let’s mash together music, gaming, tech, comic books and comedy.” Not a bad idea, when you’re featuring Demetri Martin, Michael Che, Nikki Glaser, Garfunkel & Oates (the musical-comedy duo comprised of Riki Lindhome and Kate Micucci, two of Zahra’s favorites), Michael Ian Black, plus Sacramento native Brian Posehn. The main stage features music from rather nerdy bands including Weezer and OK Go, and includes Tank and the Bangas out of New Orleans, who won the NPR \u003ca href=\"http://www.npr.org/event/music/519418207/tank-and-the-bangas-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Desk Contest \u003c/a>this year. By the way, the title of the show, ID10T, is itself a nerd’s inside joke — it’s a made-up code for user error. In other words, the bug in the program is the person at the keyboard. That must be me. \u003ca href=\"http://id10tfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_hIl1eYiVc8\u003c/p>\n\u003cp>\u003cstrong>July 23–25\u003c/strong>: American symphony orchestras rarely program a whole evening of modern American music. But this weekend the San Francisco Symphony finishes its season with the sort of American Mavericks concert that Michael Tilson Thomas has made his specialty — the program includes Charles Ives, George Antheil (“A Jazz Symphony”), Lou Harrison, and a West Coast premiere from Michael Tilson Thomas himself, plus videos and dance. These multimedia shows can be a real treat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks to Zahra Noorbaksh for being our co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast #GoodMuslim,BadMuslim’\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1920x1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh, co-host of the podcast #GoodMuslim,BadMuslim \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"headline": "Cy and Zahra's Picks: Guide to Pride, No Man's Land, and Gang of Seven",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is comedian \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh,\u003c/a> co-host of the podcast \u003ca href=\"http://www.goodmuslimbadmuslim.com/\" target=\"_blank\" rel=\"noopener noreferrer\">#\u003cem>GoodMuslimBadMuslim\u003c/em>\u003c/a>, and \u003ca href=\"https://www.ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener noreferrer\">recently named\u003c/a> one of 100 people shaping the future of culture. We barely had time to cover all the shows that mattered to us this week. Left out was the \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Jazz Festival \u003c/a>opening this week, including singer Tiffany Austin, clarinetist Anat Cohen, Natalie and daughter Sandy Cressman and Ravi Coltrane.\u003c/p>\n\u003cp>We also couldn’t fit in the opening of the play \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An Octoroon\u003c/em> at Berkeley Rep\u003c/a> on Friday, an adaptation and critique of a 19th century play about race. Director Eric Ting is terrific at deconstructing plays like this, and challenging the audience. And don’t forget: with Pride celebrations, public transit is your friend if you’re coming into San Francisco this weekend. Now here’s the show.\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/9bbVGNY40N8'\n title='//www.youtube.com/embed/9bbVGNY40N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 23–25\u003c/strong>: With its many stages, after-parties and the big parade, \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Pride\u003c/a> is simply too big to sum up in a couple of performers, events and shows, but we’ve tried. \u003ca href=\"http://www.thedykemarch.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Dyke March\u003c/a> is worth catching as it celebrates its 25th anniversary. And we’re both fans of \u003ca href=\"http://www.madamegandhi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Madame Gandhi\u003c/a> (video above), appearing on the main stage on Sunday, June 25, for her feminist, period-positive message and great dance beats.\u003c/p>\n\u003cp>\u003ca href=\"http://www.margagomez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marga Gomez\u003c/a>, the heart of Bay Area Comedy, is one of the emcees on the main stage, and we’re hoping for good things from \u003ca href=\"https://www.facebook.com/HellaGayComedyShow/\" target=\"_blank\" rel=\"noopener noreferrer\">#HellaGayComedy\u003c/a> on Friday, June 23, at Club OMG in San Francisco, with Omar Qureshi, Jesus U.Bettawork, Cassandra Gorgeous, and others. And don’t be surprised if you see people in top hats and claw-like hands at Pride in honor of the Australian horror-flick character \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">The Babadook\u003c/a>, a creature who is feared, but also somehow a part of the family. In a recent twist, he’s \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">become a gay icon\u003c/a> of sorts. Details for San Francisco Pride \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91HRfJwOuWo'\n title='//www.youtube.com/embed/91HRfJwOuWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 9\u003c/strong>: Zahra looked ahead on her calendar to find this second-Sunday-of-the-month lesbian, trans, women comedy show at the Ivy Room in Albany. Ash Fisher and Irene Tu of Man Haters headline \u003cem>No Man’s Land\u003c/em> — Tu was one of \u003ca href=\"http://ww2.kqed.org/arts/2016/07/11/women-to-watch-irene-tu/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s Women to Watch\u003c/a> last year. Men, like me, are welcome, but as Zahra said, we may be the butt of a lot of jokes (or completely ignored). And it’s a bargain. With women making about 77 cents on the dollar to men, tickets are just $7.70 in advance, $10 at the door.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/215884295\u003cbr>\n\u003c/aside>\n\u003cp>\u003cstrong>June 24\u003c/strong>: \u003cem>Notes Against the Ban\u003c/em> is a protest of the Trump Administration’s proposed travel ban, in the form of music from the seven Muslim-majority countries on the list: Iraq, Libya, Somalia, Sudan, Syria, Yemen and Iran. The \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">Aswat Ensemble \u003c/a>has \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">staged this concert as a way to bridge cultural suspicions through music\u003c/a>. Aswat founder Nabila Mango said she wants to “celebrate the beauty of ‘the others.’” Among other highlights, look for Sudanese vocalist Salma Al Assal, profiled in a KQED video (posted above). And for non-Arab & non-Farsi speakers like me, translations of each song will be projected on a screen for the audience. \u003ca href=\"http://www.brownpapertickets.com/event/2933963\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the show at St. Cyprian’s in San Francisco are here\u003c/a>.\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/gbAJp1YarfU'\n title='//www.youtube.com/embed/gbAJp1YarfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 24 & 25\u003c/strong>: Ubernerd \u003ca href=\"http://nerdist.com/tag/chris-hardwick/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Hardwick\u003c/a> of Comedy Central and the Nerdist is curating a show, and calling it the\u003cem> ID10T Festival\u003c/em>. On some level, it appears as if Hardwick just said to himself, “What do millennials like? Let’s mash together music, gaming, tech, comic books and comedy.” Not a bad idea, when you’re featuring Demetri Martin, Michael Che, Nikki Glaser, Garfunkel & Oates (the musical-comedy duo comprised of Riki Lindhome and Kate Micucci, two of Zahra’s favorites), Michael Ian Black, plus Sacramento native Brian Posehn. The main stage features music from rather nerdy bands including Weezer and OK Go, and includes Tank and the Bangas out of New Orleans, who won the NPR \u003ca href=\"http://www.npr.org/event/music/519418207/tank-and-the-bangas-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Desk Contest \u003c/a>this year. By the way, the title of the show, ID10T, is itself a nerd’s inside joke — it’s a made-up code for user error. In other words, the bug in the program is the person at the keyboard. That must be me. \u003ca href=\"http://id10tfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\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/_hIl1eYiVc8'\n title='//www.youtube.com/embed/_hIl1eYiVc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 23–25\u003c/strong>: American symphony orchestras rarely program a whole evening of modern American music. But this weekend the San Francisco Symphony finishes its season with the sort of American Mavericks concert that Michael Tilson Thomas has made his specialty — the program includes Charles Ives, George Antheil (“A Jazz Symphony”), Lou Harrison, and a West Coast premiere from Michael Tilson Thomas himself, plus videos and dance. These multimedia shows can be a real treat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks to Zahra Noorbaksh for being our co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast #GoodMuslim,BadMuslim’\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1920x1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh, co-host of the podcast #GoodMuslim,BadMuslim \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "In the Age of Trump, Escapist Entertainment Has Become an Impossibility",
"title": "In the Age of Trump, Escapist Entertainment Has Become an Impossibility",
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"content": "\u003cp>Back in February, David Frum, former speechwriter for President George W. Bush, jokingly likened the first few weeks of the Trump administration to my favorite show about Russian spies:\u003c/p>\n\u003cp>https://twitter.com/davidfrum/status/831355704690798592\u003c/p>\n\u003cp>I laughed, re-tweeted, and then stopped laughing. Wait, I \u003cem>do\u003c/em> sort of feel like an off-screen extra in an episode of \u003cem>The Americans!\u003c/em>\u003c/p>\n\u003cp>It has become uncanny to watch fictional stories in this age of post-truth, alternative facts, and daily melodrama. Nothing feels entirely fictional or entirely real; what used to be a respite of guilty pleasures and genuine entertainment is now an eerie reminder of the specific uncertainties, dangers, and horrors of this particular time.\u003c/p>\n\u003cp>My suspension of belief no longer exists, and even if it did, it doesn't seem smart or responsible to suspend it. Of course, fiction usually seeks to reveal something about our lives and our worlds, but this current intersection between fiction and reality is something different for me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Hulu's comment sections under episodes of \u003cem>The Handmaid's Tale\u003c/em>, people debate our current dystopia more than anything related to plot or character. In January, Orwell's \u003ca href=\"https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?mcubz=2\">\u003cem>1984\u003c/em> \u003c/a>had a 9,500 percent increase in sales, as readers no doubt wanted to brush up on doublethink. Even \u003cem>The Bachelorette\u003c/em>, which is usually quite willfully anachronistic, has the first black Bachelorette being courted by a man \u003ca href=\"http://people.com/tv/bachelorette-lee-garrett-alleged-offensive-tweets/\">who allegedly believes Black Lives Matter is a terrorist group and liberal woman aren't to be trusted\u003c/a>.\u003c/p>\n\u003cp>While I haven't re-read \u003cem>1984\u003c/em>, I have found myself drawn to watching \u003cem>Scandal\u003c/em> again, a particularly soapy show that I'd given up on years ago when it went off the rails. I was curious to see how the narrative would unfold, considering our reality seems more nail-biting and suspenseful than anything we could make up. I was not surprised that the gory, amoral roller coaster suddenly had the sickening gravitas of one of those true crime TV documentaries. None of the behind-the-scenes machinations felt that far-fetched. In fact, the murder, mayhem, and subterfuge is all quite symbolically rich, as if there is something meaningful to be gleaned from Elizabeth getting bashed with a baseball bat or the Electoral College being blackmailed. \u003cem>Scandal\u003c/em> has become an artsy exposé!\u003c/p>\n\u003cp>After speaking with writers from \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>Veep\u003c/em>, and \u003cem>Madam Secretary, The New York Times'\u003c/em> Jim Rutenberg discovered the new reality of what it's like to \u003ca href=\"https://www.nytimes.com/2017/04/12/arts/television/political-tv-in-age-of-trump-shonda-rhimes-scandal-veep-madame-secretary-house-of-cards-hbo.html?mcubz=2&_r=0\">write TV in the age of Trump\u003c/a>: \"Suddenly, the writers who work on political television shows were competing less with one another and more with real life, because of a president who transformed their seemingly escapist scripts into something resembling nonfiction — and scrambled the traditional notions of political cause and effect that they tended to base their drama upon.\"\u003c/p>\n\u003cp>That's at the heart of it for me, as a fiction writer and someone who loves stories: what role does fiction play when the truth is stranger than fiction, and when it's ever more essential that we value and uncover the truth?\u003c/p>\n\u003cp>Perhaps fiction, even the lighthearted television variety, has a responsibility to keep us alert to our reality rather than inspire us to escape it. Not everyone and everything has to be political all the time, and yet I have to admit that, lately, when I watch a show that doesn't at least \u003cem>somehow\u003c/em> engage with our current political and cultural climate, I find myself asking, \u003cem>What is the point of this? \u003c/em>Even comedy sitcoms like \u003cem>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/black-ishs-lemons-is-art-for-the-age-of-trump/512978/\">Black-ish \u003c/a>\u003c/em>and \u003cem>Kimmy Schmidt\u003c/em> find a way to get some commentary in.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\">\u003cimg class=\"size-full wp-image-86030 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>The Handmaid's Tale\u003c/em> has been discussed extensively (and very beautifully in \u003ca href=\"http://lithub.com/the-handmaids-tale-adapts-more-than-the-novel-here-is-america/\">Emily Temple's piece for Lit Hub\u003c/a>). I've had a lot of mixed emotions and assessments while watching, but the most unfamiliar sensation has been a too-real sense of doom, fear, and portent. Most things I watch, even disturbing things, don't stick with me for too long afterwards. I take them in, think about them, and let them go pretty easily. But \u003cem>The Handmaid's Tale\u003c/em> leaves this strange and unprecedented after-image that frightens me and inspires me to (among other things) stay updated on \u003ca href=\"https://medium.com/@Amy_Siskind\">Amy's Siskind's list of things that are subtly changing around us\u003c/a>. It's no surprise that women have been \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">showing up to protests in red cloaks and white bonnets\u003c/a>. It's really quite something to see images from the Texas State Capitol (\u003ca href=\"http://www.huffingtonpost.com/entry/women-wore-handmaids-tale-robes-to-ohio-statehouse-to-protest-anti-abortion-law_us_5940080ee4b02402687d0047?ncid=engmodushpmg00000004\">and just the other day in Ohio\u003c/a>) that evoke scenes from a book I read in 12th grade English class.\u003c/p>\n\u003cp>https://twitter.com/HuffPostWomen/status/874676690617851904\u003c/p>\n\u003cp>\"Yes: your life, right now, is both text and context for this television show,\" Temple writes. Later, she continues, \"...what it really does is remind us of the true precariousness of our own situation in America. We rely so much on the perceived rules of our society, but in fact we have almost no control. We assume that the rules will protect us, but those rules aren’t actually real.\"\u003c/p>\n\u003cp>What this all points to on a very macro and existential level is that what is \"real\" is so often not. We construct notions of something being lasting, fixed, and solid, and we use this illusion to comfort ourselves into a false sense of security and inaction. Sometimes, it is the illusion of fiction's unlikeliness, sometimes the illusion of a boundary or an impossibility. More and more, I get the impression our fictional stories are trying to point out the danger of the illusions, rather than weave them for our entertainment.\u003c/p>\n\u003cp>I'm reminded of the second part of Mark Twain's famous quote. \"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.\" We have no idea what plot twist is coming next; the truth does not have to stick to what is possible.\u003c/p>\n\u003cp>Of course, this is just TV and pop culture that I'm considering here. \u003ca href=\"https://www.pastemagazine.com/articles/2017/03/20-radical-films-to-watch-in-the-age-of-trump.html\">Films\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/columns/rock/7678148/what-protest-music-are-people-buying-at-record-shops-trump\">music\u003c/a>, \u003ca href=\"http://www.salon.com/2017/02/17/its-gallows-humor-canadian-actors-on-writing-comedy-in-the-trump-era/\">comedy\u003c/a>, \u003ca href=\"https://pen.org/press-clip/hope-alive-age-trump-poets-writers-creating-new-vision/\">literature\u003c/a>, and \u003ca href=\"https://hyperallergic.com/352519/13-artists-design-flags-for-the-age-of-trump-with-plans-to-burn-them-later/\">visual art\u003c/a> are ever more vital (Google \"any art form\" in the age of Trump, and you get incredible results). As Charles McNulty writes \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-mcnulty-notebook-20170324-story.html\">in the \u003cem>LA Times\u003c/em>\u003c/a>, \"The arts and the humanities nixed by Trump’s budget proposal pose a direct challenge to demagoguery. Literature, theater, music and the visual arts promote contemplation. They invite individuals to ask questions, consider alternative views and second-guess what they’ve been brainwashed into believing.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Let's keep paying very close attention to all the stories we're being told, and to what we believe is true.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in February, David Frum, former speechwriter for President George W. Bush, jokingly likened the first few weeks of the Trump administration to my favorite show about Russian spies:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I laughed, re-tweeted, and then stopped laughing. Wait, I \u003cem>do\u003c/em> sort of feel like an off-screen extra in an episode of \u003cem>The Americans!\u003c/em>\u003c/p>\n\u003cp>It has become uncanny to watch fictional stories in this age of post-truth, alternative facts, and daily melodrama. Nothing feels entirely fictional or entirely real; what used to be a respite of guilty pleasures and genuine entertainment is now an eerie reminder of the specific uncertainties, dangers, and horrors of this particular time.\u003c/p>\n\u003cp>My suspension of belief no longer exists, and even if it did, it doesn't seem smart or responsible to suspend it. Of course, fiction usually seeks to reveal something about our lives and our worlds, but this current intersection between fiction and reality is something different for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Hulu's comment sections under episodes of \u003cem>The Handmaid's Tale\u003c/em>, people debate our current dystopia more than anything related to plot or character. In January, Orwell's \u003ca href=\"https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?mcubz=2\">\u003cem>1984\u003c/em> \u003c/a>had a 9,500 percent increase in sales, as readers no doubt wanted to brush up on doublethink. Even \u003cem>The Bachelorette\u003c/em>, which is usually quite willfully anachronistic, has the first black Bachelorette being courted by a man \u003ca href=\"http://people.com/tv/bachelorette-lee-garrett-alleged-offensive-tweets/\">who allegedly believes Black Lives Matter is a terrorist group and liberal woman aren't to be trusted\u003c/a>.\u003c/p>\n\u003cp>While I haven't re-read \u003cem>1984\u003c/em>, I have found myself drawn to watching \u003cem>Scandal\u003c/em> again, a particularly soapy show that I'd given up on years ago when it went off the rails. I was curious to see how the narrative would unfold, considering our reality seems more nail-biting and suspenseful than anything we could make up. I was not surprised that the gory, amoral roller coaster suddenly had the sickening gravitas of one of those true crime TV documentaries. None of the behind-the-scenes machinations felt that far-fetched. In fact, the murder, mayhem, and subterfuge is all quite symbolically rich, as if there is something meaningful to be gleaned from Elizabeth getting bashed with a baseball bat or the Electoral College being blackmailed. \u003cem>Scandal\u003c/em> has become an artsy exposé!\u003c/p>\n\u003cp>After speaking with writers from \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>Veep\u003c/em>, and \u003cem>Madam Secretary, The New York Times'\u003c/em> Jim Rutenberg discovered the new reality of what it's like to \u003ca href=\"https://www.nytimes.com/2017/04/12/arts/television/political-tv-in-age-of-trump-shonda-rhimes-scandal-veep-madame-secretary-house-of-cards-hbo.html?mcubz=2&_r=0\">write TV in the age of Trump\u003c/a>: \"Suddenly, the writers who work on political television shows were competing less with one another and more with real life, because of a president who transformed their seemingly escapist scripts into something resembling nonfiction — and scrambled the traditional notions of political cause and effect that they tended to base their drama upon.\"\u003c/p>\n\u003cp>That's at the heart of it for me, as a fiction writer and someone who loves stories: what role does fiction play when the truth is stranger than fiction, and when it's ever more essential that we value and uncover the truth?\u003c/p>\n\u003cp>Perhaps fiction, even the lighthearted television variety, has a responsibility to keep us alert to our reality rather than inspire us to escape it. Not everyone and everything has to be political all the time, and yet I have to admit that, lately, when I watch a show that doesn't at least \u003cem>somehow\u003c/em> engage with our current political and cultural climate, I find myself asking, \u003cem>What is the point of this? \u003c/em>Even comedy sitcoms like \u003cem>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/black-ishs-lemons-is-art-for-the-age-of-trump/512978/\">Black-ish \u003c/a>\u003c/em>and \u003cem>Kimmy Schmidt\u003c/em> find a way to get some commentary in.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\">\u003cimg class=\"size-full wp-image-86030 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>The Handmaid's Tale\u003c/em> has been discussed extensively (and very beautifully in \u003ca href=\"http://lithub.com/the-handmaids-tale-adapts-more-than-the-novel-here-is-america/\">Emily Temple's piece for Lit Hub\u003c/a>). I've had a lot of mixed emotions and assessments while watching, but the most unfamiliar sensation has been a too-real sense of doom, fear, and portent. Most things I watch, even disturbing things, don't stick with me for too long afterwards. I take them in, think about them, and let them go pretty easily. But \u003cem>The Handmaid's Tale\u003c/em> leaves this strange and unprecedented after-image that frightens me and inspires me to (among other things) stay updated on \u003ca href=\"https://medium.com/@Amy_Siskind\">Amy's Siskind's list of things that are subtly changing around us\u003c/a>. It's no surprise that women have been \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">showing up to protests in red cloaks and white bonnets\u003c/a>. It's really quite something to see images from the Texas State Capitol (\u003ca href=\"http://www.huffingtonpost.com/entry/women-wore-handmaids-tale-robes-to-ohio-statehouse-to-protest-anti-abortion-law_us_5940080ee4b02402687d0047?ncid=engmodushpmg00000004\">and just the other day in Ohio\u003c/a>) that evoke scenes from a book I read in 12th grade English class.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"Yes: your life, right now, is both text and context for this television show,\" Temple writes. Later, she continues, \"...what it really does is remind us of the true precariousness of our own situation in America. We rely so much on the perceived rules of our society, but in fact we have almost no control. We assume that the rules will protect us, but those rules aren’t actually real.\"\u003c/p>\n\u003cp>What this all points to on a very macro and existential level is that what is \"real\" is so often not. We construct notions of something being lasting, fixed, and solid, and we use this illusion to comfort ourselves into a false sense of security and inaction. Sometimes, it is the illusion of fiction's unlikeliness, sometimes the illusion of a boundary or an impossibility. More and more, I get the impression our fictional stories are trying to point out the danger of the illusions, rather than weave them for our entertainment.\u003c/p>\n\u003cp>I'm reminded of the second part of Mark Twain's famous quote. \"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.\" We have no idea what plot twist is coming next; the truth does not have to stick to what is possible.\u003c/p>\n\u003cp>Of course, this is just TV and pop culture that I'm considering here. \u003ca href=\"https://www.pastemagazine.com/articles/2017/03/20-radical-films-to-watch-in-the-age-of-trump.html\">Films\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/columns/rock/7678148/what-protest-music-are-people-buying-at-record-shops-trump\">music\u003c/a>, \u003ca href=\"http://www.salon.com/2017/02/17/its-gallows-humor-canadian-actors-on-writing-comedy-in-the-trump-era/\">comedy\u003c/a>, \u003ca href=\"https://pen.org/press-clip/hope-alive-age-trump-poets-writers-creating-new-vision/\">literature\u003c/a>, and \u003ca href=\"https://hyperallergic.com/352519/13-artists-design-flags-for-the-age-of-trump-with-plans-to-burn-them-later/\">visual art\u003c/a> are ever more vital (Google \"any art form\" in the age of Trump, and you get incredible results). As Charles McNulty writes \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-mcnulty-notebook-20170324-story.html\">in the \u003cem>LA Times\u003c/em>\u003c/a>, \"The arts and the humanities nixed by Trump’s budget proposal pose a direct challenge to demagoguery. Literature, theater, music and the visual arts promote contemplation. They invite individuals to ask questions, consider alternative views and second-guess what they’ve been brainwashed into believing.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Let's keep paying very close attention to all the stories we're being told, and to what we believe is true.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hollywood movies \u003cem>love\u003c/em> technology. Because so many of us hate it.\u003c/p>\n\u003cp>Technology represents the new, the unknown, which makes it the chewiest of film fodder. For years now, genre movies have eagerly played into our collective unease with the tech that surrounds us.\u003c/p>\n\u003cp>In spy movies like the \u003cem>Bourne\u003c/em> series, the specter of 24-hour digital surveillance evokes our feelings of paranoia and dread.\u003c/p>\n\u003cp>In popcorn science-fiction films like the \u003cem>Terminator\u003c/em> series and the art-house sci-fi of \u003cem>Ex Machina\u003c/em> and, seminally, \u003cem>2001: A Space Odyssey\u003c/em>, computers are forever achieving sentience and threatening humanity's very existence.\u003c/p>\n\u003cp>And as for horror movies? Well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They're ... not particularly subtle about it.\u003c/p>\n\u003cp>\u003cem>The Ring\u003c/em> (2002) and its 2016 sequel, \u003cem>Rings\u003c/em>? A video that kills you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uukQ_6szDm8\u003c/p>\n\u003cp>\u003cem>One Missed Call\u003c/em> (2008)? Cellphones that kill you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZKouK8W417A\u003c/p>\n\u003cp>\u003cem>Unfriended\u003c/em> (2014)? Skype that kills you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Lgj4GjqCFlY\u003c/p>\n\u003cp>\u003cem>Jeruzalem\u003c/em> (2015) Google Glass that kills you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VlilRJBDxek\u003c/p>\n\u003cp>The Paranormal Activity franchise? Digital cameras that capture you being mysteriously — but most emphatically — killed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=twoWuDy5kys\u003c/p>\n\u003cp>But there's one movie genre that's still struggling to incorporate the everyday tech of contemporary life into the stories it tells: the romantic comedy.\u003c/p>\n\u003cp>Which is notable — and very, very odd — because online dating (whether through sites like Match.com or smartphone apps like Tinder) is, for millions of people, a simple fact of life — the New Normal. A 2013 \u003ca href=\"https://news.uchicago.edu/article/2013/06/03/meeting-online-leads-happier-more-enduring-marriages\">University of Chicago study\u003c/a>, for example, found that more than one-third of marriages now begin online, and that number is only expected to increase.\u003c/p>\n\u003cp>So why is Hollywood churning out so many movies where technology leads to painful, terrifying death, but is reluctant to make movies where that same tech leads to love?\u003c/p>\n\u003cp>\u003cstrong>Not enough rom-coms?\u003c/strong>\u003c/p>\n\u003cp>Maybe it's simply a numbers game: we're not living in a time when Hollywood's producing a lot of romantic comedies (this summer's excellent \u003cem>The Big Sick\u003c/em> notwithstanding), so there's fewer opportunities for them to grapple with online dating.\u003c/p>\n\u003cp>\u003cstrong>Lack of tension?\u003c/strong>\u003c/p>\n\u003cp>But maybe it's something about the nature of the genre. Sarah Wendell, who runs the website \u003ca href=\"http://smartbitchestrashybooks.com/\">Smart Bitches, Trashy Books\u003c/a>, which critiques and celebrates romance novels, knows a little something about rom-com story structure.\u003c/p>\n\u003cp>\"When you have a romantic comedy,\" she says, \"part of the story's central tension is whatever's preventing your characters from getting a happy ending. Something's in their way. But when you have them use technology to actively seek out another person, you lower that tension — which is where the comedy comes from.\"\u003c/p>\n\u003cp>\u003cstrong>Boring visuals?\u003c/strong>\u003c/p>\n\u003cp>Christine Vachon, whose company, Killer Films, produced movies like \u003cem>Carol\u003c/em> and \u003cem>Still Alice\u003c/em>, thinks it comes down to the onscreen visuals. Or rather, the \u003cem>lack\u003c/em> of them.\u003c/p>\n\u003cp>\"Watching two people meet in a visually clever way is a lot more interesting than people swiping right or left,\" she says.\u003c/p>\n\u003cp>But she's quick to add that this may change.\u003c/p>\n\u003cp>\"I think you can [make movies about online dating], I just don't think we have yet,\" she says. \"I think you can make \u003cem>anything\u003c/em> cinematically compelling. I just think that there's some sort of visual language that we haven't quite cracked yet.\"\u003c/p>\n\u003cp>\u003cstrong>Out-of-touch gatekeepers?\u003c/strong>\u003c/p>\n\u003cp>But even if some future screenwriter figures out how to crack that language, that's only the first step. Comedian Guy Branum, who's pitched a screenplay or two in his time, says they'd still have to get the script past studio executives, which won't be easy.\u003c/p>\n\u003cp>\"People who are greenlighting rom-coms are still men in their 50s,\" he says, \"who have not integrated social media or dating apps in their lives — they never had to, because they didn't exist. They all got married in 1986 and were rich enough that they didn't need help to find a second wife in 1999.\"\u003c/p>\n\u003cp>Branum writes for Hulu's \u003cem>The Mindy Project\u003c/em>, which — like a lot of TV shows — features characters texting and clicking and swiping all the time. But he's not surprised that film studios are still reluctant to show people using tech in realistic ways.\u003c/p>\n\u003cp>\"A big problem is that we no longer make movies that reflect reality,\" he says. \"The movies we are good at making are talking cars that transforms into robots or something smashing into the Earth or people going into space. We have to some extent forgotten how to make movies about people.\"\u003c/p>\n\u003cp>For her part, producer Christine Vachon is a \u003cem>bit\u003c/em> more hopeful. She just thinks Hollywood needs some time.\u003c/p>\n\u003cp>\"The movie business is always afraid of what it doesn't completely understand,\" she says. \"But our cinematic language always shifts and adjusts to the times that we're in.\"\u003c/p>\n\u003cp>\u003cstrong>In the meantime ...\u003c/strong>\u003c/p>\n\u003cp>That shift she talks about may have already started, but to see it you have to look beyond the rom-com. Weirdly enough, it's science fiction that's exploring the space where romance and technology come together — in films like 2014's \u003cem>Ex Machina\u003c/em> and — especially — 2013's \u003cem>Her\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n1AjtIAje3o\u003c/p>\n\u003cp>In that film, Joaquin Phoenix plays a lonely guy who installs an artificial intelligence — voiced by Scarlett Johansson— onto his computer.\u003c/p>\n\u003cp>And then falls in love with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's not Match.com, but for several different reasons, it's probably as close as Hollywood's going to get... for now.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Hasn%27t+Online+Dating+Made+It+Onscreen%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood movies \u003cem>love\u003c/em> technology. Because so many of us hate it.\u003c/p>\n\u003cp>Technology represents the new, the unknown, which makes it the chewiest of film fodder. For years now, genre movies have eagerly played into our collective unease with the tech that surrounds us.\u003c/p>\n\u003cp>In spy movies like the \u003cem>Bourne\u003c/em> series, the specter of 24-hour digital surveillance evokes our feelings of paranoia and dread.\u003c/p>\n\u003cp>In popcorn science-fiction films like the \u003cem>Terminator\u003c/em> series and the art-house sci-fi of \u003cem>Ex Machina\u003c/em> and, seminally, \u003cem>2001: A Space Odyssey\u003c/em>, computers are forever achieving sentience and threatening humanity's very existence.\u003c/p>\n\u003cp>And as for horror movies? Well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They're ... not particularly subtle about it.\u003c/p>\n\u003cp>\u003cem>The Ring\u003c/em> (2002) and its 2016 sequel, \u003cem>Rings\u003c/em>? A video that kills you.\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/uukQ_6szDm8'\n title='//www.youtube.com/embed/uukQ_6szDm8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>One Missed Call\u003c/em> (2008)? Cellphones that kill you.\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/ZKouK8W417A'\n title='//www.youtube.com/embed/ZKouK8W417A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Unfriended\u003c/em> (2014)? Skype that kills you.\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/Lgj4GjqCFlY'\n title='//www.youtube.com/embed/Lgj4GjqCFlY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Jeruzalem\u003c/em> (2015) Google Glass that kills you.\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/VlilRJBDxek'\n title='//www.youtube.com/embed/VlilRJBDxek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Paranormal Activity franchise? Digital cameras that capture you being mysteriously — but most emphatically — killed.\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/twoWuDy5kys'\n title='//www.youtube.com/embed/twoWuDy5kys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But there's one movie genre that's still struggling to incorporate the everyday tech of contemporary life into the stories it tells: the romantic comedy.\u003c/p>\n\u003cp>Which is notable — and very, very odd — because online dating (whether through sites like Match.com or smartphone apps like Tinder) is, for millions of people, a simple fact of life — the New Normal. A 2013 \u003ca href=\"https://news.uchicago.edu/article/2013/06/03/meeting-online-leads-happier-more-enduring-marriages\">University of Chicago study\u003c/a>, for example, found that more than one-third of marriages now begin online, and that number is only expected to increase.\u003c/p>\n\u003cp>So why is Hollywood churning out so many movies where technology leads to painful, terrifying death, but is reluctant to make movies where that same tech leads to love?\u003c/p>\n\u003cp>\u003cstrong>Not enough rom-coms?\u003c/strong>\u003c/p>\n\u003cp>Maybe it's simply a numbers game: we're not living in a time when Hollywood's producing a lot of romantic comedies (this summer's excellent \u003cem>The Big Sick\u003c/em> notwithstanding), so there's fewer opportunities for them to grapple with online dating.\u003c/p>\n\u003cp>\u003cstrong>Lack of tension?\u003c/strong>\u003c/p>\n\u003cp>But maybe it's something about the nature of the genre. Sarah Wendell, who runs the website \u003ca href=\"http://smartbitchestrashybooks.com/\">Smart Bitches, Trashy Books\u003c/a>, which critiques and celebrates romance novels, knows a little something about rom-com story structure.\u003c/p>\n\u003cp>\"When you have a romantic comedy,\" she says, \"part of the story's central tension is whatever's preventing your characters from getting a happy ending. Something's in their way. But when you have them use technology to actively seek out another person, you lower that tension — which is where the comedy comes from.\"\u003c/p>\n\u003cp>\u003cstrong>Boring visuals?\u003c/strong>\u003c/p>\n\u003cp>Christine Vachon, whose company, Killer Films, produced movies like \u003cem>Carol\u003c/em> and \u003cem>Still Alice\u003c/em>, thinks it comes down to the onscreen visuals. Or rather, the \u003cem>lack\u003c/em> of them.\u003c/p>\n\u003cp>\"Watching two people meet in a visually clever way is a lot more interesting than people swiping right or left,\" she says.\u003c/p>\n\u003cp>But she's quick to add that this may change.\u003c/p>\n\u003cp>\"I think you can [make movies about online dating], I just don't think we have yet,\" she says. \"I think you can make \u003cem>anything\u003c/em> cinematically compelling. I just think that there's some sort of visual language that we haven't quite cracked yet.\"\u003c/p>\n\u003cp>\u003cstrong>Out-of-touch gatekeepers?\u003c/strong>\u003c/p>\n\u003cp>But even if some future screenwriter figures out how to crack that language, that's only the first step. Comedian Guy Branum, who's pitched a screenplay or two in his time, says they'd still have to get the script past studio executives, which won't be easy.\u003c/p>\n\u003cp>\"People who are greenlighting rom-coms are still men in their 50s,\" he says, \"who have not integrated social media or dating apps in their lives — they never had to, because they didn't exist. They all got married in 1986 and were rich enough that they didn't need help to find a second wife in 1999.\"\u003c/p>\n\u003cp>Branum writes for Hulu's \u003cem>The Mindy Project\u003c/em>, which — like a lot of TV shows — features characters texting and clicking and swiping all the time. But he's not surprised that film studios are still reluctant to show people using tech in realistic ways.\u003c/p>\n\u003cp>\"A big problem is that we no longer make movies that reflect reality,\" he says. \"The movies we are good at making are talking cars that transforms into robots or something smashing into the Earth or people going into space. We have to some extent forgotten how to make movies about people.\"\u003c/p>\n\u003cp>For her part, producer Christine Vachon is a \u003cem>bit\u003c/em> more hopeful. She just thinks Hollywood needs some time.\u003c/p>\n\u003cp>\"The movie business is always afraid of what it doesn't completely understand,\" she says. \"But our cinematic language always shifts and adjusts to the times that we're in.\"\u003c/p>\n\u003cp>\u003cstrong>In the meantime ...\u003c/strong>\u003c/p>\n\u003cp>That shift she talks about may have already started, but to see it you have to look beyond the rom-com. Weirdly enough, it's science fiction that's exploring the space where romance and technology come together — in films like 2014's \u003cem>Ex Machina\u003c/em> and — especially — 2013's \u003cem>Her\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n1AjtIAje3o'\n title='//www.youtube.com/embed/n1AjtIAje3o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In that film, Joaquin Phoenix plays a lonely guy who installs an artificial intelligence — voiced by Scarlett Johansson— onto his computer.\u003c/p>\n\u003cp>And then falls in love with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's not Match.com, but for several different reasons, it's probably as close as Hollywood's going to get... for now.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Hasn%27t+Online+Dating+Made+It+Onscreen%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Does Rough Night's Box Office Flop Indicate a Cultural Shift in How We See Sex Workers?",
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"content": "\u003cp>Maybe Father's Day weekend wasn't the best time to release a movie driven by, and so obviously designed for, women, but much-hyped comedy \u003ca href=\"http://www.imdb.com/title/tt4799050/?ref_=nv_sr_1\">\u003cem>Rough Night\u003c/em>\u003c/a> had a rough showing at the box office during its opening weekend. The Scarlett Johansson, Kate McKinnon, Ilana Glazer, Zoë Kravitz, and Jillian Bell party romp brought in just $8 million -- about half what was expected. Given that \u003cem>Wonder Woman\u003c/em> simultaneously brought in $40.8 million (even though it had already been out for three weeks), the female leads are clearly not the reason for the disappointing attendance.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gnp8BvB8z4Q\u003c/p>\n\u003cp>It's impossible not to wonder if the reason audiences stayed away in droves is the problematic nature of \u003cem>Rough Night\u003c/em>'s plot. A comedy revolving around the death of a sex worker is a hard sell in general, but when the target audience is female, and sex work is overwhelmingly a female profession, it becomes harder for audiences to approach flippantly. Before the film even came out, the public was expressing horror about the plot on social media.\u003c/p>\n\u003cp>https://twitter.com/NaturallyTiss/status/839872422207717376?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.refinery29.com%2F2017%2F03%2F144516%2Frough-night-trailer-sex-worker-rights-issue\u003c/p>\n\u003cp>Bloggers in some corners of the internet weren't particularly thrilled either. \u003ca href=\"https://www.themarysue.com/not-cool-rough-night-trailer/\">TheMarySue\u003c/a> declared \"killing a stripper isn’t hilarious, regardless of whatever gender they may be.\" \u003ca href=\"http://www.refinery29.com/2017/03/144516/rough-night-trailer-sex-worker-rights-issue\">Refinery29\u003c/a> put the movie concept in an even starker context: \"A long-term mortality study on sex workers found that active sex workers have a mortality rate of 459 per 100,000 people — to put that into perspective, the general public mortality rate is around 1.9 per every 100,000 people.\" \u003ca href=\"http://www.mtv.com/news/2993813/lady-problems-the-rough-night-trailer-controversy-zzzzzzzzzzzz/\">MTV\u003c/a> tried to suggest that audiences shouldn't be taking this movie so seriously -- \"This is, at worst, an Adam Sandler movie, except with interesting women and actually good jokes and no casual racism or misogyny,\" -- but in the internet court of opinion, \u003cem>Rough Night\u003c/em> had already taken a hit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Intersectional feminism has been working very hard the last few years to alter how \u003ca href=\"http://everydayfeminism.com/2014/11/myths-people-sex-industry/\">sex workers\u003c/a> are viewed by those who don't work in the industry. It has been remarkably effective in humanizing one of the most historically judged and marginalized groups in the world. Social media has also assisted those working in the sex industry in offering a realistic day-to-day view of what the work actually entails (\u003ca href=\"http://www.jacqthestripper.com/\">Jacq the Stripper\u003c/a> has been particularly effective at this). These developments have undoubtedly shifted the perception of the general public, especially with younger demographics. In this super-woke cultural environment, changing the usual gender of the dead sex worker just might not be enough to get a lot of women on board.\u003c/p>\n\u003cp>Had \u003cem>Rough Night\u003c/em> come out 19 years ago, on the heels of 1998's truly hard-to-watch \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0124198/?ref_=nv_sr_1\">Very Bad Things\u003c/a> (\u003c/em>in which a prostitute is accidentally killed at a bachelor party), it might have made a modicum of sense as an antidote to, and revenge for, that unbearably masculine movie. Of course, it's highly unlikely that \u003cem>Rough Night\u003c/em> could have even gotten a green light back then, but waiting two decades to flip this particular death-of-a-sex-worker script makes the joke too old for much of its millennial target audience to even get get the reference. (\u003cem>Very Bad Things\u003c/em> is certainly very far down the list of 1990s Cameron Diaz vehicles we look back on fondly.)\u003c/p>\n\u003cp>It is possible too that, even without the reach and influence of intersectional feminism, we are simply tired, as a culture, of watching sex workers only represented as caricatures (\u003ca href=\"http://www.imdb.com/title/tt0083642/?ref_=fn_al_tt_1\">\u003cem>The\u003c/em> \u003cem>Best Little Whorehouse in Texas\u003c/em>\u003c/a>), by stereotypes -- being either hardened, drug-dependent or dead -- or by tropes, the most common being the hooker with a heart of gold. See: \u003ca href=\"http://www.imdb.com/title/tt0100405/?ref_=fn_al_tt_1\">\u003cem>Pretty Woman\u003c/em>\u003c/a>, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0086465/?ref_=nv_sr_1\">Trading Places\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0086200/?ref_=nv_sr_1\">Risky Business\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0113627/?ref_=nv_sr_1\">Leaving Las Vegas\u003c/a>,\u003c/em> \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0108399/?ref_=fn_al_tt_1\">True Romance\u003c/a> -- \u003c/em>a film that features a call girl who specifies that she's only ever had two clients, as a means for audiences to like her more -- and \u003ca href=\"http://www.vh1.com/news/86110/25-hookers-with-hearts-of-gold/\">too many others\u003c/a> to mention. For too long now, a tragic undercurrent has followed almost all on-screen representations of sex workers too.\u003c/p>\n\u003cp>Recent years have seen a moderate shift, as indicated by 2012's joyful, and extremely popular \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1915581/?ref_=nv_sr_1\">Magic Mike\u003c/a>, \u003c/em>(though even that movie ended with Channing Tatum's titular character leaving behind the world of stripping) and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=cMZhDdNfrE0\">For a Good Time, Call..., \u003c/a>\u003c/em>which went out of its way to represent sex workers as Just Like You And Me. More recently, Hulu's \u003cem>Harlots\u003c/em> series has been praised across the board as both feminist and sex worker-positive:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JmUP1idcOhU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>Rough Night\u003c/em>'s disappointing weekend might push media and movies forward, and allow those who work in the sex industry a place in popular culture that doesn't involve either dehumanization or the need to be saved. After decades of reductive stereotyping, it is most definitely time for a change. \u003cem>Rough Night\u003c/em> just found that out the hard way.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe Father's Day weekend wasn't the best time to release a movie driven by, and so obviously designed for, women, but much-hyped comedy \u003ca href=\"http://www.imdb.com/title/tt4799050/?ref_=nv_sr_1\">\u003cem>Rough Night\u003c/em>\u003c/a> had a rough showing at the box office during its opening weekend. The Scarlett Johansson, Kate McKinnon, Ilana Glazer, Zoë Kravitz, and Jillian Bell party romp brought in just $8 million -- about half what was expected. Given that \u003cem>Wonder Woman\u003c/em> simultaneously brought in $40.8 million (even though it had already been out for three weeks), the female leads are clearly not the reason for the disappointing attendance.\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/gnp8BvB8z4Q'\n title='//www.youtube.com/embed/gnp8BvB8z4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's impossible not to wonder if the reason audiences stayed away in droves is the problematic nature of \u003cem>Rough Night\u003c/em>'s plot. A comedy revolving around the death of a sex worker is a hard sell in general, but when the target audience is female, and sex work is overwhelmingly a female profession, it becomes harder for audiences to approach flippantly. Before the film even came out, the public was expressing horror about the plot on social media.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Intersectional feminism has been working very hard the last few years to alter how \u003ca href=\"http://everydayfeminism.com/2014/11/myths-people-sex-industry/\">sex workers\u003c/a> are viewed by those who don't work in the industry. It has been remarkably effective in humanizing one of the most historically judged and marginalized groups in the world. Social media has also assisted those working in the sex industry in offering a realistic day-to-day view of what the work actually entails (\u003ca href=\"http://www.jacqthestripper.com/\">Jacq the Stripper\u003c/a> has been particularly effective at this). These developments have undoubtedly shifted the perception of the general public, especially with younger demographics. In this super-woke cultural environment, changing the usual gender of the dead sex worker just might not be enough to get a lot of women on board.\u003c/p>\n\u003cp>Had \u003cem>Rough Night\u003c/em> come out 19 years ago, on the heels of 1998's truly hard-to-watch \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0124198/?ref_=nv_sr_1\">Very Bad Things\u003c/a> (\u003c/em>in which a prostitute is accidentally killed at a bachelor party), it might have made a modicum of sense as an antidote to, and revenge for, that unbearably masculine movie. Of course, it's highly unlikely that \u003cem>Rough Night\u003c/em> could have even gotten a green light back then, but waiting two decades to flip this particular death-of-a-sex-worker script makes the joke too old for much of its millennial target audience to even get get the reference. (\u003cem>Very Bad Things\u003c/em> is certainly very far down the list of 1990s Cameron Diaz vehicles we look back on fondly.)\u003c/p>\n\u003cp>It is possible too that, even without the reach and influence of intersectional feminism, we are simply tired, as a culture, of watching sex workers only represented as caricatures (\u003ca href=\"http://www.imdb.com/title/tt0083642/?ref_=fn_al_tt_1\">\u003cem>The\u003c/em> \u003cem>Best Little Whorehouse in Texas\u003c/em>\u003c/a>), by stereotypes -- being either hardened, drug-dependent or dead -- or by tropes, the most common being the hooker with a heart of gold. See: \u003ca href=\"http://www.imdb.com/title/tt0100405/?ref_=fn_al_tt_1\">\u003cem>Pretty Woman\u003c/em>\u003c/a>, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0086465/?ref_=nv_sr_1\">Trading Places\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0086200/?ref_=nv_sr_1\">Risky Business\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0113627/?ref_=nv_sr_1\">Leaving Las Vegas\u003c/a>,\u003c/em> \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0108399/?ref_=fn_al_tt_1\">True Romance\u003c/a> -- \u003c/em>a film that features a call girl who specifies that she's only ever had two clients, as a means for audiences to like her more -- and \u003ca href=\"http://www.vh1.com/news/86110/25-hookers-with-hearts-of-gold/\">too many others\u003c/a> to mention. For too long now, a tragic undercurrent has followed almost all on-screen representations of sex workers too.\u003c/p>\n\u003cp>Recent years have seen a moderate shift, as indicated by 2012's joyful, and extremely popular \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1915581/?ref_=nv_sr_1\">Magic Mike\u003c/a>, \u003c/em>(though even that movie ended with Channing Tatum's titular character leaving behind the world of stripping) and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=cMZhDdNfrE0\">For a Good Time, Call..., \u003c/a>\u003c/em>which went out of its way to represent sex workers as Just Like You And Me. More recently, Hulu's \u003cem>Harlots\u003c/em> series has been praised across the board as both feminist and sex worker-positive:\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/JmUP1idcOhU'\n title='//www.youtube.com/embed/JmUP1idcOhU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>Rough Night\u003c/em>'s disappointing weekend might push media and movies forward, and allow those who work in the sex industry a place in popular culture that doesn't involve either dehumanization or the need to be saved. After decades of reductive stereotyping, it is most definitely time for a change. \u003cem>Rough Night\u003c/em> just found that out the hard way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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