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"content": "\u003cp>It's a depressing question to ask on a Father's Day weekend: What does it mean that a superstar comic and philanthropist once \"America's Dad\" just saw his prosecution on sexual assault charges end in a mistrial?\u003c/p>\n\u003cp>The trial against Bill Cosby ended Saturday, when a deadlocked jury was unable to reach a verdict on three counts of aggravated indecent assault after several days of deliberations. Until and unless the jurors speak, we won't know if just one or two of them declined to convict or if there was more widespread disagreement.\u003c/p>\n\u003cp>Prosecutors have already said they will retry Cosby and people on every side of the issue have used the outcome to argue their cause — from advocates for rape victims concerned that other victims won't be believed to those, including Cosby's wife Camille, who say the jurors resisting conviction stopped an unfair process out to ruin a successful man.\u003c/p>\n\u003cp>I think the verdict shows, once again, how difficult it is to convict a celebrity of serious criminal charges, especially in a case that boils down to taking one non-famous person's word over the celebrity's account.\u003c/p>\n\u003cp>But it also reveals something else: How the court of public opinion can overlook scandal in one pop culture moment, only to deliver a very different verdict in another, later, time. And Cosby isn't the only powerful man to recently find his legacy ground into the dust over a similar dynamic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby's defense against Andrea Constand's allegation that he drugged and raped her in 2004 was that they had consensual sex. His deposition testimony in her civil suit revealed the man who has a bestselling book about fatherhood had procured Quaaludes for the purpose of having sex with women who were not his wife.\u003c/p>\n\u003cp>Given that he has been married to Camille Cosby for 53 years, he seemed to be admitting an awful truth to defend himself against even worse accusations.\u003c/p>\n\u003cp>These charges were first reported in the press many years ago; Constand filed a lawsuit against Cosby in 2005 when prosecutors at the time declined to file charges. Her lawyers lined up 13 other women who were ready to testify on similar allegations of being drugged and sexually assaulted by Cosby. Some of them talked to the press, even after Constand settled her lawsuit.\u003c/p>\n\u003cp>But the public's reaction back then was much different. It was as if we all decided to undergo a massive case of cultural amnesia at once, shrugging off the case with little public outcry. As a story on the website \u003ca href=\"http://gawker.com/who-wants-to-remember-bill-cosbys-multiple-sex-assaul-1515923178\">Gawker put it a few years ago\u003c/a>, \"Basically, nobody wanted to live in a world where Bill Cosby was a sexual predator. It was too much to handle.\"\u003c/p>\n\u003cp>And the world seemed to move on — until a joke by comic Hannibal Burress calling Cosby a rapist became a viral video in 2014, inspiring one of his accusers to write an op-ed column for the \u003cem>Washington Post\u003c/em>, which brought an avalanche of new allegations.\u003c/p>\n\u003cp>When those allegations against Cosby were pulled back into the light nearly 10 years later, the public had a much different reaction. Media outlets scrambled to speak to women who alleged he had abused them; 35 of them posed for the cover of \u003cem>New York\u003c/em> magazine. A sitcom deal with NBC vanished, and TV outlets pulled reruns of \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>We had reached a moment where those who allege sexual assault are believed more readily, particularly in the court of public opinion. Women seemed less inclined to accept a world where they have to tolerate harassment and worse from bosses and power brokers. And social media gave a voice to people who might have been overlooked before.\u003c/p>\n\u003cp>Doubt that notion? Then consider the recent fate of Fox News Channel founder Roger Ailes and former Fox News star Bill O'Reilly. Both men saw allegations of sexual harassment and lawsuit settlements rise from the past and smash their current careers. Ailes, who died in May, was ousted from the cable channel built in his image; O'Reilly followed, after the \u003ca href=\"https://www.nytimes.com/2017/04/01/business/media/bill-oreilly-sexual-harassment-fox-news.html?_r=0\">New York Times reported on settlements\u003c/a> with five women totaling about $13 million.\u003c/p>\n\u003cp>And even though Donald Trump was elected president after audio surfaced of him seeming to admit to sexually harassing women, it was perhaps the biggest speedbump in his campaign – the only scandal that looked like it might actually reduce his popularity with his base.\u003c/p>\n\u003cp>Cosby has felt the sting of changed attitudes in another way; how people view his criticism of poor black people as somehow being enablers of their own problems with poverty and oppression. The \u003ca href=\"https://en.wikipedia.org/wiki/Pound_Cake_speech\">comic's words advising young people\u003c/a> to pull up their pants and stop committing petty crimes as an antidote to persistent inequality reminded me of my parents' generation and their approach to survival in an often racist world.\u003c/p>\n\u003cp>I don't think they ever expected white America could be fair enough to elect a black man like Barack Obama president. So the way to survive is to keep your nose clean and never give the system an excuse to come after you. That perspective was summed up in the title of Cosby's 2007 book, \u003cem>Come On, People: On the Path from Victims to Victors\u003c/em>.\u003c/p>\n\u003cp>But there is less patience now for that rhetoric, derided as \"respectability politics.\" As yet another police officer was acquitted Friday in the questionable shooting of a young black man, Philando Castile — sparking hundreds of people to protest in Minnesota — it seems that keeping your nose clean isn't enough.\u003c/p>\n\u003cp>After decades covering show business, I'll never underestimate Hollywood's capacity for overlooking people's heinous pasts to make money (Exhibit A: Mel Gibson's co-starring turn in the new Will Ferrell/Mark Wahlberg movie \u003cem>Daddy's Home 2\u003c/em>. Exhibit B: Mark Wahlberg's career in general).\u003c/p>\n\u003cp>But it's tough to imagine another major corporation lining up to work with Cosby again. His career is likely over, with decades of philanthropy and role modeling washed away by the star's own admission that he cheated on his wife many, many times, and allegations from dozens of women that he did far worse.\u003c/p>\n\u003cp>For those convinced of his guilt in Constand's case, that's not likely to feel like justice. But in a world where money, power and celebrity still buy exemption from quite a lot of rules, a guilty verdict in the court of public opinion may be the best outcome possible.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At least, until a little more time passes.\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=What+Does+Mistrial+In+Cosby%27s+Case+Mean+In+Court+Of+Public+Opinion%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby's defense against Andrea Constand's allegation that he drugged and raped her in 2004 was that they had consensual sex. His deposition testimony in her civil suit revealed the man who has a bestselling book about fatherhood had procured Quaaludes for the purpose of having sex with women who were not his wife.\u003c/p>\n\u003cp>Given that he has been married to Camille Cosby for 53 years, he seemed to be admitting an awful truth to defend himself against even worse accusations.\u003c/p>\n\u003cp>These charges were first reported in the press many years ago; Constand filed a lawsuit against Cosby in 2005 when prosecutors at the time declined to file charges. Her lawyers lined up 13 other women who were ready to testify on similar allegations of being drugged and sexually assaulted by Cosby. Some of them talked to the press, even after Constand settled her lawsuit.\u003c/p>\n\u003cp>But the public's reaction back then was much different. It was as if we all decided to undergo a massive case of cultural amnesia at once, shrugging off the case with little public outcry. As a story on the website \u003ca href=\"http://gawker.com/who-wants-to-remember-bill-cosbys-multiple-sex-assaul-1515923178\">Gawker put it a few years ago\u003c/a>, \"Basically, nobody wanted to live in a world where Bill Cosby was a sexual predator. 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And social media gave a voice to people who might have been overlooked before.\u003c/p>\n\u003cp>Doubt that notion? Then consider the recent fate of Fox News Channel founder Roger Ailes and former Fox News star Bill O'Reilly. Both men saw allegations of sexual harassment and lawsuit settlements rise from the past and smash their current careers. Ailes, who died in May, was ousted from the cable channel built in his image; O'Reilly followed, after the \u003ca href=\"https://www.nytimes.com/2017/04/01/business/media/bill-oreilly-sexual-harassment-fox-news.html?_r=0\">New York Times reported on settlements\u003c/a> with five women totaling about $13 million.\u003c/p>\n\u003cp>And even though Donald Trump was elected president after audio surfaced of him seeming to admit to sexually harassing women, it was perhaps the biggest speedbump in his campaign – the only scandal that looked like it might actually reduce his popularity with his base.\u003c/p>\n\u003cp>Cosby has felt the sting of changed attitudes in another way; how people view his criticism of poor black people as somehow being enablers of their own problems with poverty and oppression. The \u003ca href=\"https://en.wikipedia.org/wiki/Pound_Cake_speech\">comic's words advising young people\u003c/a> to pull up their pants and stop committing petty crimes as an antidote to persistent inequality reminded me of my parents' generation and their approach to survival in an often racist world.\u003c/p>\n\u003cp>I don't think they ever expected white America could be fair enough to elect a black man like Barack Obama president. So the way to survive is to keep your nose clean and never give the system an excuse to come after you. That perspective was summed up in the title of Cosby's 2007 book, \u003cem>Come On, People: On the Path from Victims to Victors\u003c/em>.\u003c/p>\n\u003cp>But there is less patience now for that rhetoric, derided as \"respectability politics.\" As yet another police officer was acquitted Friday in the questionable shooting of a young black man, Philando Castile — sparking hundreds of people to protest in Minnesota — it seems that keeping your nose clean isn't enough.\u003c/p>\n\u003cp>After decades covering show business, I'll never underestimate Hollywood's capacity for overlooking people's heinous pasts to make money (Exhibit A: Mel Gibson's co-starring turn in the new Will Ferrell/Mark Wahlberg movie \u003cem>Daddy's Home 2\u003c/em>. Exhibit B: Mark Wahlberg's career in general).\u003c/p>\n\u003cp>But it's tough to imagine another major corporation lining up to work with Cosby again. 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"content": "\u003cp>For much of Monday morning, \u003ca href=\"https://twitter.com/darealamberrose\">Amber Rose\u003c/a> and \u003ca href=\"https://twitter.com/piersmorgan\">Piers Morgan\u003c/a> exchanged increasingly jaw-dropping barbs on Twitter, after Morgan objected to Rose's partially \u003ca href=\"https://twitter.com/DaRealAmberRose/status/873966359079604224/photo/1\">nude promo photo\u003c/a> for her upcoming \u003ca href=\"http://amberroseslutwalk.com/general-information/\">Slutwalk\u003c/a> (coming this October). Morgan responded to Rose's gorgeous, NSFW photo by reposting it on his Twitter page and asserting: \"This is not feminism. It's attentionseekingism.\"\u003c/p>\n\u003cp>It's worth noting at this juncture that Piers Morgan has a history of body-shaming famous women. When Kim Kardashian posted one of \u003ca href=\"https://twitter.com/KimKardashian/status/706754164047667200/photo/1?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.thecut.com%2F2016%2F03%2Fkim-kardashian-chloe-grace-moretz-piers-morgan-twitter.html\">her naked selfies\u003c/a> (the one with the strategically placed black bars), Morgan referred to the photo as \"absurd,\" and asked her, via Twitter: \"Want me to buy you some clothes?\"\u003c/p>\n\u003cp>On another occasion, Susan Sarandon's cleavage prompted this response:\u003cbr>\n\u003cimg class=\"size-full wp-image-85954 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM.png\" alt=\"\" width=\"600\" height=\"539\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM.png 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-160x144.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-240x216.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-375x337.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-520x467.png 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Rose \u003ca href=\"https://twitter.com/DaRealAmberRose/status/874290105636208640\">initially responded\u003c/a> to Morgan's mansplaining of feminism with emojis and an upbeat note about bringing more attention to her cause. When Morgan then \u003ca href=\"https://twitter.com/GabbyBraca/status/874287015747104768\">re-Tweeted one of his supporters\u003c/a> saying \"It's pornography. Period,\" Rose got more personal:\u003c/p>\n\u003cp>https://twitter.com/DaRealAmberRose/status/874295032299134981\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was at this point that things went south rather rapidly. In an extremely ill-advised move, Morgan then decided to slut-shame the most famous anti-slut-shaming campaigner in America, tweeting: \"You seem like the type of girl who'd star in it.\"\u003c/p>\n\u003cp>When men like Piers Morgan indulge in the consistent shaming of women, it is impossible for women everywhere not to wonder whether these aghast opinions are rooted in an underlying need to control women or in the body-shamer's own personal sexual hang-ups.\u003c/p>\n\u003cp>This morning, something about being publicly slut-shamed, while in the midst of promoting an anti-slut-shaming march, sent Amber Rose down a new and hilarious path: shaming Piers Morgan for his own sexual repression.\u003c/p>\n\u003cp>https://twitter.com/DaRealAmberRose/status/874299081182461952\u003c/p>\n\u003cp>Rose was on a roll:\u003c/p>\n\u003cp>https://twitter.com/DaRealAmberRose/status/874300246251061248\u003c/p>\n\u003cp>Morgan tried to keep up, but was obviously a little flustered by the sex talk:\u003c/p>\n\u003cp>https://twitter.com/piersmorgan/status/874300599097077764\u003c/p>\n\u003cp>Rose was relentless:\u003c/p>\n\u003cp>https://twitter.com/DaRealAmberRose/status/874301643159764992\u003c/p>\n\u003cp>In the end, Morgan hid behind British customs and asked if Rose would like to have a cup of tea and \"discuss where you're going wrong re feminism.\" Still not one to be cowed, Rose suggested the two of them hash this discussion out on one of their shows and Morgan said he would get \"my people to talk to your people.\"\u003c/p>\n\u003cp>If you examine Piers Morgan's Twitter profile, it is clear that, far more often than not, he is the argument starter. He couldn't even get out of the discussion with Amber Rose today without taking a \u003ca href=\"https://twitter.com/piersmorgan/status/874306990767517697\">swipe at Lady Gaga\u003c/a> at the end. So there is an argument to be made here that Morgan is little more than a high-profile troll. One could argue that he gets himself into these public spats and spends his time swiping at people more famous than him on social media, in order to maintain his own public profile.\u003c/p>\n\u003cp>Today though, Morgan accidentally did something useful: he did Amber Rose a favor by raising the profile of her third annual Slutwalk (over three months before it's even due to happen), while also inadvertently demonstrating why Slutwalks are so necessary and important for modern, assertive women.\u003c/p>\n\u003cp>What conservative male public figures don't seem to understand every time they tell a feminist she's doing feminism wrong is that it only serves to motivate other feminists. (See also: \u003ca href=\"https://en.wikipedia.org/wiki/Rush_Limbaugh%E2%80%93Sandra_Fluke_controversy\">Rush Limbaugh attacking Sandra Fluke\u003c/a>, and Bill O'Reilly repeatedly asserting that women are treated \u003ca href=\"https://www.youtube.com/watch?v=LjbTsqnkHWY&t=191s\">fairly and equally\u003c/a>, while paying out $13 million to \u003ca href=\"http://variety.com/2017/tv/news/bill-oreilly-fired-sexual-harassment-fox-news-timeline-1202372546/\">suppress sexual harassment cases\u003c/a> from being brought against him.)\u003c/p>\n\u003cp>Morgan's belief that feminism and sexuality do not and cannot mix is ridiculous and hideously outdated, yet many conservatives cling to it, in an attempt to shame women out of taking charge of their own bodies. Amber Rose, in her typically unflappable manner, provided a means to shut that nonsense down in a manner that is playful, entertaining, challenging, and, best of all, embarrassing for the shamer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For every woman who has ever had their own sexuality judged, analyzed, and dissected by a man in their vicinity, watching a smug and stuffy middle-aged man try to shut down a confident, powerful woman is usually excruciating. Somehow, today, Amber Rose managed to flip the script and come out on top. And it was glorious.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For much of Monday morning, \u003ca href=\"https://twitter.com/darealamberrose\">Amber Rose\u003c/a> and \u003ca href=\"https://twitter.com/piersmorgan\">Piers Morgan\u003c/a> exchanged increasingly jaw-dropping barbs on Twitter, after Morgan objected to Rose's partially \u003ca href=\"https://twitter.com/DaRealAmberRose/status/873966359079604224/photo/1\">nude promo photo\u003c/a> for her upcoming \u003ca href=\"http://amberroseslutwalk.com/general-information/\">Slutwalk\u003c/a> (coming this October). Morgan responded to Rose's gorgeous, NSFW photo by reposting it on his Twitter page and asserting: \"This is not feminism. It's attentionseekingism.\"\u003c/p>\n\u003cp>It's worth noting at this juncture that Piers Morgan has a history of body-shaming famous women. When Kim Kardashian posted one of \u003ca href=\"https://twitter.com/KimKardashian/status/706754164047667200/photo/1?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.thecut.com%2F2016%2F03%2Fkim-kardashian-chloe-grace-moretz-piers-morgan-twitter.html\">her naked selfies\u003c/a> (the one with the strategically placed black bars), Morgan referred to the photo as \"absurd,\" and asked her, via Twitter: \"Want me to buy you some clothes?\"\u003c/p>\n\u003cp>On another occasion, Susan Sarandon's cleavage prompted this response:\u003cbr>\n\u003cimg class=\"size-full wp-image-85954 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM.png\" alt=\"\" width=\"600\" height=\"539\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM.png 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-160x144.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-240x216.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-375x337.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-520x467.png 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Rose \u003ca href=\"https://twitter.com/DaRealAmberRose/status/874290105636208640\">initially responded\u003c/a> to Morgan's mansplaining of feminism with emojis and an upbeat note about bringing more attention to her cause. When Morgan then \u003ca href=\"https://twitter.com/GabbyBraca/status/874287015747104768\">re-Tweeted one of his supporters\u003c/a> saying \"It's pornography. Period,\" Rose got more personal:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was at this point that things went south rather rapidly. In an extremely ill-advised move, Morgan then decided to slut-shame the most famous anti-slut-shaming campaigner in America, tweeting: \"You seem like the type of girl who'd star in it.\"\u003c/p>\n\u003cp>When men like Piers Morgan indulge in the consistent shaming of women, it is impossible for women everywhere not to wonder whether these aghast opinions are rooted in an underlying need to control women or in the body-shamer's own personal sexual hang-ups.\u003c/p>\n\u003cp>This morning, something about being publicly slut-shamed, while in the midst of promoting an anti-slut-shaming march, sent Amber Rose down a new and hilarious path: shaming Piers Morgan for his own sexual repression.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rose was on a roll:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Morgan tried to keep up, but was obviously a little flustered by the sex talk:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the end, Morgan hid behind British customs and asked if Rose would like to have a cup of tea and \"discuss where you're going wrong re feminism.\" Still not one to be cowed, Rose suggested the two of them hash this discussion out on one of their shows and Morgan said he would get \"my people to talk to your people.\"\u003c/p>\n\u003cp>If you examine Piers Morgan's Twitter profile, it is clear that, far more often than not, he is the argument starter. He couldn't even get out of the discussion with Amber Rose today without taking a \u003ca href=\"https://twitter.com/piersmorgan/status/874306990767517697\">swipe at Lady Gaga\u003c/a> at the end. So there is an argument to be made here that Morgan is little more than a high-profile troll. One could argue that he gets himself into these public spats and spends his time swiping at people more famous than him on social media, in order to maintain his own public profile.\u003c/p>\n\u003cp>Today though, Morgan accidentally did something useful: he did Amber Rose a favor by raising the profile of her third annual Slutwalk (over three months before it's even due to happen), while also inadvertently demonstrating why Slutwalks are so necessary and important for modern, assertive women.\u003c/p>\n\u003cp>What conservative male public figures don't seem to understand every time they tell a feminist she's doing feminism wrong is that it only serves to motivate other feminists. (See also: \u003ca href=\"https://en.wikipedia.org/wiki/Rush_Limbaugh%E2%80%93Sandra_Fluke_controversy\">Rush Limbaugh attacking Sandra Fluke\u003c/a>, and Bill O'Reilly repeatedly asserting that women are treated \u003ca href=\"https://www.youtube.com/watch?v=LjbTsqnkHWY&t=191s\">fairly and equally\u003c/a>, while paying out $13 million to \u003ca href=\"http://variety.com/2017/tv/news/bill-oreilly-fired-sexual-harassment-fox-news-timeline-1202372546/\">suppress sexual harassment cases\u003c/a> from being brought against him.)\u003c/p>\n\u003cp>Morgan's belief that feminism and sexuality do not and cannot mix is ridiculous and hideously outdated, yet many conservatives cling to it, in an attempt to shame women out of taking charge of their own bodies. Amber Rose, in her typically unflappable manner, provided a means to shut that nonsense down in a manner that is playful, entertaining, challenging, and, best of all, embarrassing for the shamer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For every woman who has ever had their own sexuality judged, analyzed, and dissected by a man in their vicinity, watching a smug and stuffy middle-aged man try to shut down a confident, powerful woman is usually excruciating. Somehow, today, Amber Rose managed to flip the script and come out on top. And it was glorious.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Here's What The Future Has in Store... According to Sci-Fi Movies",
"title": "Here's What The Future Has in Store... According to Sci-Fi Movies",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/06/Future.mp3\" title=\"What Do Bad Sci-Fi Movies Predict for the Next Four Years?\" 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\u003cdiv>\u003c/div>\n\u003c/aside>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the ceaseless surprises and revelations of the Current News Cycle™, one could be forgiven for wondering: “If this is just the \u003cem>first\u003c/em> \u003cem>half\u003c/em> of 2017, what in God’s name do the next four years hold for us?” Since political polls, gut instinct, and common sense seem to be failing, why \u003c/span>\u003cspan style=\"font-weight: 400\">not\u003c/span>\u003ci> \u003c/i>\u003cspan style=\"font-weight: 400\">turn to a medium that \u003cem>never\u003c/em> gets it wrong in predicting the future: the movies? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether out of a desire for freedom of imagination, or just a fear of looking a bit silly when “2004” comes and goes without an apocalypse and/or flying cars, today’s filmmakers usually prefer to set their science fiction in a vague, undated version of The Future—one that allows for far more wiggle-room. Luckily, the hubristic action auteurs of the '80s, '90s, and early noughties clearly had \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">no \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">such qualms about firmly nailing their ideas to the proverbial church door, complete with conveniently firm calendar years. So, let’s see what the near future, as imagined by the sci-fi B-movies of yesteryear, apparently holds, shall we?\u003c/span>\u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0093894/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>The Running Man\u003c/i>\u003c/b>\u003c/a>\u003cb> (1987)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Welcome to America in 2019, when the best men don't run for president... They run for their lives.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i2FMhBg0h_8\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those of us lucky enough to have experienced this bonkers exemplar of 1980s Arnold Schwarzenegger excess know that the fact that its own \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">poster \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">disagrees with itself on which year it’s set (2019? 2017? Who cares!) is by far the least strange thing about it. Based on a short story by Stephen King, \u003cem>The Running Man\u003c/em> predicted that in 2017, America would be a suffocating, culture-free police state where the top-rated TV game show consists entirely of people murdering each other live every night. As bizarre—and let’s be honest, premature—as it feels to congratulate ourselves for this, we haven’t got to that last bit \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">quite \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">yet.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86434\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-full wp-image-86434\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/arnold-2.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former California Governor Arnold Schwarzenegger in 'The Running Man' \u003ccite>(TriStar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of commentators actually \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/in-1987-arnold-schwarzenegger-helped-to-predict-2017/512255/\" target=\"_blank\" rel=\"noopener noreferrer\">think \u003c/a>\u003ca href=\"http://www.bbc.com/future/story/20170105-why-we-may-be-living-in-the-future-of-the-running-man\" target=\"_blank\" rel=\"noopener noreferrer\">this movie\u003c/a> \u003ca href=\"https://motherboard.vice.com/en_us/article/the-trump-schwarzenegger-feud-shows-how-the-running-man-predicted-2017\" target=\"_blank\" rel=\"noopener noreferrer\">says a lot\u003c/a> \u003ca href=\"http://www.independent.co.uk/arts-entertainment/films/features/the-violent-post-truth-2017-predicted-in-the-running-man-we-re-living-in-it-a7506776.html\" target=\"_blank\" rel=\"noopener noreferrer\">about the way we live now\u003c/a>, and homicide aside, that's not so outlandish. Its loopy vision of the way reality TV and politics can become one really isn’t a foreign notion, with shiny spectacle being used by those in power as a distraction from totalitarian intent—by a U.S. President with a showbiz agent, no less. Neither is an appeal by those in power to the people’s baser impulses to acquire and retain that power. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also something a little too familiar in the way the puppet-masters behind the show manipulate the truth to present an alternative reality for reality TV: one in which good guy Schwarzenegger, innocent of the crime he’s been imprisoned for, is parachuted into the show as prey and sold to the baying audience as a ruthless killer who deserves everything he gets. But before we get carried away lauding Arnie as the new Aldous Huxley, this movie also features a bunch of sweet jetpacks and a weird insistence on endless aerobic dance numbers (choreographed, incidentally, by Paula Abdul). And I don’t think we’re anywhere \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">near \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">as obsessed with aerobics right now as this movie thinks.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> Thumbs up to reality TV and post-truth fake news, thumbs down for aerobics and jetpacks. \u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0115624/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Barb Wire\u003c/i>\u003c/b>\u003c/a>\u003cb> (1996)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: No Laws, No Limits, No Turning Back\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F2mk5MZwksg\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, a little less believability for your futurescape! This version of 2017, based on the comic book series of the same name, posits that by now this country will have been utterly ravaged by the “Second American Civil War”—exactly the kind of lawless environment in which titular mercenary, bounty hunter, and nightclub owner Barb Wire (Pamela Anderson) can easily hold down three jobs.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86223\" class=\"wp-caption alignnone\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-86223\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/gallery-1483461030-barb-wire.jpg\" alt=\"\" width=\"768\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-160x87.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-240x130.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-375x203.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-520x282.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Pamela Anderson in 'Barb Wire' \u003ccite>(Gramercy Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot, which claims to be “loosely based” on the plot of Casablanca, finds Barb becoming embroiled in a plot to help a group of freedom-loving folks escape over the border to—where else?—Canada. You may laugh, but didn’t overwhelming interest in emigrating to the land of Trudeau and universal healthcare \u003ca href=\"http://www.bbc.com/news/technology-37921376\" target=\"_blank\" rel=\"noopener noreferrer\">crash the Canadian Immigration and Citizenship website just after the 2016 U.S. election\u003c/a>? And that was \u003cem>without\u003c/em> a civil war to light the proverbial fire under you.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> “Oui” to Canadian refuge, “Non” to outright civil war (yet—it’s only June, after all.)\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0106950/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Fortress \u003c/i>\u003c/b>\u003c/a>\u003cb>(1992)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: A Prison of the Future. A High-Tech Hell. Built to Hold Anything... Except an Innocent Man.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3U6oLx3xy8s\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unencumbered by any pretense of \u003ca href=\"https://youtu.be/pYMXduKStjs?t=1m45s\" target=\"_blank\" rel=\"noopener noreferrer\">a Scottish accent\u003c/a>, Christopher Lambert of \u003ca href=\"http://www.imdb.com/title/tt0091203/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Highlander \u003c/i>\u003c/a>fame plays an ex-army officer living under a regime that’s instituted a punitive one-child policy for all Americans. He attempts to flee with his pregnant wife over the border to—wait for it—Canada. In this dystopia, dissenters are dispatched to the Fortress of the title: a private maximum security prison run by the Men-Tel Corporation (if that’s not too subtle for you?), where inmates are implanted with \"Intestinators\" that’ll explode inside anyone trying to escape, and where second babies are declared illegal, extracted, and and turned into cyborgs. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86224\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg class=\"size-full wp-image-86224\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/01119.jpg\" alt=\"\" width=\"600\" height=\"413\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-240x165.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-375x258.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-520x358.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Lambert in 'Fortress' \u003ccite>(Dimension Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Early ‘90s action hokiness aside, the privatization of America’s justice system is far from a foreign notion, and the fertility plot admittedly offers some serious \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/The_Handmaid%27s_Tale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Handmaid’s Tale\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> vibes for these troubling times. So if America stays its current course of viewing reproductive rights as an entirely optional thing, perhaps the most implausible thing about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fortress \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">by the end of this year will just be that tagline, which seems to quaintly suggest that prisoner innocence is somehow an entirely alien concept within the U.S. justice system. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> “Aye” for the Prison Industrial Complex, Canadian utopia (again), and reproductive nightmares. “Nay” for cyborg babies.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2018 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0438488/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>\u003ci>Terminator Salvation \u003c/i>\u003c/b>\u003c/a>\u003cb>(2009)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: The End Begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-Czz-TcWCkA\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This movie, which is more usually known as “The Terminator sequel with Christian Bale in it,” and which might actually be the most joyless action movie of the last decade, was the only one I could find explicitly set in the year 2018.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86226\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-86226\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Terminator_salvation_13.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Terminator in 'Terminator Salvation' \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">So dull is its vision of a post-apocalyptic America in ruins, most people don’t actually recall seeing \u003cem>Terminator Salvation\u003c/em>, even if they \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">have—\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">but in essence, this movie hypothesized that we’d have been at war with murderous cyborgs since 2003, who have also worked out how to genetically engineer human-cyborg hybrids. While 2003 wasn’t a great year for a lot of us, I don’t \u003cem>recall\u003c/em> a robot apocalypse taking place, so to be honest we don’t even need to give this one a 2018 Plausibility Rating.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2019 as envisioned by... \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://www.imdb.com/title/tt0083658/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Blade Runner\u003c/i>\u003c/b>\u003c/a>\u003cb> (1982)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Man Has Met His Match.. Now It’s His Problem\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eogpIG53Cis\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Trust me, I’m as angry as you are about the fact that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is appearing in the same round-up as\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Terminator Salvation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Barb Wire—\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">but as concretely-timestamped imaginings of the hell that awaits us in the future, they don’t come finer. \u003c/span>\u003cspan style=\"font-weight: 400\">To get the (synthetic) elephant in the room out of the way: it’s highly unlikely that by 2019, humankind will have expanded into space so comprehensively as to have created the off-world colonies imagined in this movie. Or that we’ll have\u003ca href=\"http://bladerunner.wikia.com/wiki/Priscilla_Stratton\" target=\"_blank\" rel=\"noopener noreferrer\"> sentient, angsty replicants that look like Darryl Hannah\u003c/a>, let alone an entire division of the LAPD dedicated to hunting them down. But because \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is a truly great movie from the mind of Philip K. Dick, it dares to make some interesting, considered thought-out predictions about what 2019 might look and feel like beyond just “there will be jumpsuits.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86227\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg class=\"size-full wp-image-86227\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Blade_Runner_1982_673.jpg\" alt=\"\" width=\"1600\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673.jpg 1600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-1020x510.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-1180x590.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-240x120.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-375x188.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-520x260.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">2019 L.A., flying cars and all, in 'Blade Runner' \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Many futuristic movies insist on imbuing their settings with a blown-out shininess that’s meant to be a visual signifier of The Future, but\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Blade Runner \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">at least nails \u003ca href=\"https://www.youtube.com/watch?v=aFJF2CRASRM\" target=\"_blank\" rel=\"noopener noreferrer\">how polluted and grimy any big American city will almost certainly look in two years’ time\u003c/a>—gigantic, oppressive digital billboards and all. One of the more intriguing, plausible predictions is a change in spoken language—people in \u003cem>Blade Runner\u003c/em>’s 2019 Los Angeles speak a new patois that mixes European and East Asian languages, which is not far fetched at all. Also, space exploration in this world seems to be pretty privatized, which, \u003ca href=\"http://www.virgingalactic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">if Richard Branson gets his way\u003c/a>, is exactly how it’ll be.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2019 Plausibility Rating\u003c/em>: Off-world colonies, replicants and (yes) flying cars—probably not. Pretty much everything else—seems legit.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2019 as envisioned by... \u003c/b>\u003cb>\u003ci>The Island\u003c/i>\u003c/b>\u003cb> (2005)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Plan Your Escape\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_ZyNJ3cKfEg\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Up against \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">all other visions of 2019 seem a tad redundant, which makes this utterly forgotten clunker from the strange days when “they” were trying to make Ewan McGregor an action hero even less worthy of your consideration. In this version of 2019, if you’re rich, you can afford your own handy identical clone, which will live its own life, until you’re in need of a new eye, or arm, or surrogate womb—at which point, your doppelgänger is ruthlessly harvested for its constituent parts. But your clone doesn’t \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">know \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">it’s a clone! What happens when the clones fight back?\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86228\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg class=\"size-full wp-image-86228\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a.jpg\" alt=\"\" width=\"1600\" height=\"900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a.jpg 1600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-520x293.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Ewan McGregor in 'The Island' \u003ccite>(DreamWorks Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though it’s sort of another imagining of a 2019 society that sees synthetic people as an acceptable moral compromise in the face of mortal frailty, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Island\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">tad \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">less concerned than \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with the devastating philosophical complexities of what it truly means to be human. In other words, it's basically \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/Never_Let_Me_Go_(novel)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Never Let Me Go \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">for morons.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2019 Plausibility Rating:\u003c/em> A probably-nope for clone harvesting (I mean, it is two whole years away) and a definitely-nope for Ewan McGregor as action hero—in 2019, or any other year.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2020 as envisioned by... \u003c/b>\u003ca href=\"https://www.imdb.com/title/tt0253556/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Reign of Fire \u003c/i>\u003c/b>\u003c/a>\u003cb>(2002)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Fight Fire With Fire\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wg7bjwEXp7Y\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yes, if we haven’t been wiped out by the Second American Civil War or a robo-apocalypse by then, we will have to undergo another U.S. presidential election. But according to this movie, we might have bigger problems in 2020… because we’ll be at war with dragons.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86230\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-86230\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/reign-of-fire.jpg\" alt=\"\" width=\"720\" height=\"304\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-160x68.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-240x101.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-375x158.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-520x220.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">'Reign of Fire' \u003ccite>(Buena Vista Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because \u003ca href=\"https://en.wikipedia.org/wiki/Reign_of_Fire_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">Wikipedia synopses\u003c/a> often say it best, this movie is set “twenty years after London tunneling project workers inadvertently awakened dragons from centuries of slumber and the creatures have subsequently replaced humans as the dominant species on Earth.” The War on Dragons, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Reign of Fire \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">supposes, will have knocked mankind back to a kind of Dark Ages, where flaming crossbows are our primary weapons, and all men must sport impressive beards. There’s very little else to say about this—admittedly very fun—film, other than that it boasts Matthew McConaughey at the very nascence of the career resurrection known as “\u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-mcconaissance\" target=\"_blank\" rel=\"noopener noreferrer\">The McConaissance\u003c/a>,” and is a way better futuristic movie starring Christian Bale than \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Terminator Salvation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2020 Plausibility Rating\u003c/em>: Why am I even asking. 100%!\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>In summary, if low-grade sci-fi movies (and \u003cem>Blade Runner\u003c/em>) offer us any wise predictions for the next four years, it’s that:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Cloning and/or cyborg-human hybrids are just around the corner.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">That very technology will almost certain try to kill us.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">If it doesn’t manage it, privatization and the corporate interests of a shadowy business elite will instead.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">You should submit your asylum application to Canada right now to beat the rush.\u003c/span>\u003c/li>\n\u003c/ul>\n\n",
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"excerpt": "Since political polls and common sense seem to be failing, why not turn to a medium that never gets it wrong in predicting the future: the movies? ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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\u003cdiv>\u003c/div>\n\u003c/aside>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the ceaseless surprises and revelations of the Current News Cycle™, one could be forgiven for wondering: “If this is just the \u003cem>first\u003c/em> \u003cem>half\u003c/em> of 2017, what in God’s name do the next four years hold for us?” Since political polls, gut instinct, and common sense seem to be failing, why \u003c/span>\u003cspan style=\"font-weight: 400\">not\u003c/span>\u003ci> \u003c/i>\u003cspan style=\"font-weight: 400\">turn to a medium that \u003cem>never\u003c/em> gets it wrong in predicting the future: the movies? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether out of a desire for freedom of imagination, or just a fear of looking a bit silly when “2004” comes and goes without an apocalypse and/or flying cars, today’s filmmakers usually prefer to set their science fiction in a vague, undated version of The Future—one that allows for far more wiggle-room. Luckily, the hubristic action auteurs of the '80s, '90s, and early noughties clearly had \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">no \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">such qualms about firmly nailing their ideas to the proverbial church door, complete with conveniently firm calendar years. So, let’s see what the near future, as imagined by the sci-fi B-movies of yesteryear, apparently holds, shall we?\u003c/span>\u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0093894/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>The Running Man\u003c/i>\u003c/b>\u003c/a>\u003cb> (1987)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Welcome to America in 2019, when the best men don't run for president... They run for their lives.\u003c/span>\u003c/i>\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/i2FMhBg0h_8'\n title='//www.youtube.com/embed/i2FMhBg0h_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Those of us lucky enough to have experienced this bonkers exemplar of 1980s Arnold Schwarzenegger excess know that the fact that its own \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">poster \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">disagrees with itself on which year it’s set (2019? 2017? Who cares!) is by far the least strange thing about it. Based on a short story by Stephen King, \u003cem>The Running Man\u003c/em> predicted that in 2017, America would be a suffocating, culture-free police state where the top-rated TV game show consists entirely of people murdering each other live every night. As bizarre—and let’s be honest, premature—as it feels to congratulate ourselves for this, we haven’t got to that last bit \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">quite \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">yet.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86434\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-full wp-image-86434\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/arnold-2.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former California Governor Arnold Schwarzenegger in 'The Running Man' \u003ccite>(TriStar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of commentators actually \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/in-1987-arnold-schwarzenegger-helped-to-predict-2017/512255/\" target=\"_blank\" rel=\"noopener noreferrer\">think \u003c/a>\u003ca href=\"http://www.bbc.com/future/story/20170105-why-we-may-be-living-in-the-future-of-the-running-man\" target=\"_blank\" rel=\"noopener noreferrer\">this movie\u003c/a> \u003ca href=\"https://motherboard.vice.com/en_us/article/the-trump-schwarzenegger-feud-shows-how-the-running-man-predicted-2017\" target=\"_blank\" rel=\"noopener noreferrer\">says a lot\u003c/a> \u003ca href=\"http://www.independent.co.uk/arts-entertainment/films/features/the-violent-post-truth-2017-predicted-in-the-running-man-we-re-living-in-it-a7506776.html\" target=\"_blank\" rel=\"noopener noreferrer\">about the way we live now\u003c/a>, and homicide aside, that's not so outlandish. Its loopy vision of the way reality TV and politics can become one really isn’t a foreign notion, with shiny spectacle being used by those in power as a distraction from totalitarian intent—by a U.S. President with a showbiz agent, no less. Neither is an appeal by those in power to the people’s baser impulses to acquire and retain that power. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also something a little too familiar in the way the puppet-masters behind the show manipulate the truth to present an alternative reality for reality TV: one in which good guy Schwarzenegger, innocent of the crime he’s been imprisoned for, is parachuted into the show as prey and sold to the baying audience as a ruthless killer who deserves everything he gets. But before we get carried away lauding Arnie as the new Aldous Huxley, this movie also features a bunch of sweet jetpacks and a weird insistence on endless aerobic dance numbers (choreographed, incidentally, by Paula Abdul). And I don’t think we’re anywhere \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">near \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">as obsessed with aerobics right now as this movie thinks.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> Thumbs up to reality TV and post-truth fake news, thumbs down for aerobics and jetpacks. \u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0115624/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Barb Wire\u003c/i>\u003c/b>\u003c/a>\u003cb> (1996)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: No Laws, No Limits, No Turning Back\u003c/span>\u003c/i>\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/F2mk5MZwksg'\n title='//www.youtube.com/embed/F2mk5MZwksg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Now, a little less believability for your futurescape! This version of 2017, based on the comic book series of the same name, posits that by now this country will have been utterly ravaged by the “Second American Civil War”—exactly the kind of lawless environment in which titular mercenary, bounty hunter, and nightclub owner Barb Wire (Pamela Anderson) can easily hold down three jobs.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86223\" class=\"wp-caption alignnone\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-86223\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/gallery-1483461030-barb-wire.jpg\" alt=\"\" width=\"768\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-160x87.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-240x130.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-375x203.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-520x282.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Pamela Anderson in 'Barb Wire' \u003ccite>(Gramercy Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot, which claims to be “loosely based” on the plot of Casablanca, finds Barb becoming embroiled in a plot to help a group of freedom-loving folks escape over the border to—where else?—Canada. You may laugh, but didn’t overwhelming interest in emigrating to the land of Trudeau and universal healthcare \u003ca href=\"http://www.bbc.com/news/technology-37921376\" target=\"_blank\" rel=\"noopener noreferrer\">crash the Canadian Immigration and Citizenship website just after the 2016 U.S. election\u003c/a>? And that was \u003cem>without\u003c/em> a civil war to light the proverbial fire under you.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> “Oui” to Canadian refuge, “Non” to outright civil war (yet—it’s only June, after all.)\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0106950/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Fortress \u003c/i>\u003c/b>\u003c/a>\u003cb>(1992)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: A Prison of the Future. A High-Tech Hell. Built to Hold Anything... Except an Innocent Man.\u003c/span>\u003c/i>\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/3U6oLx3xy8s'\n title='//www.youtube.com/embed/3U6oLx3xy8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Unencumbered by any pretense of \u003ca href=\"https://youtu.be/pYMXduKStjs?t=1m45s\" target=\"_blank\" rel=\"noopener noreferrer\">a Scottish accent\u003c/a>, Christopher Lambert of \u003ca href=\"http://www.imdb.com/title/tt0091203/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Highlander \u003c/i>\u003c/a>fame plays an ex-army officer living under a regime that’s instituted a punitive one-child policy for all Americans. He attempts to flee with his pregnant wife over the border to—wait for it—Canada. In this dystopia, dissenters are dispatched to the Fortress of the title: a private maximum security prison run by the Men-Tel Corporation (if that’s not too subtle for you?), where inmates are implanted with \"Intestinators\" that’ll explode inside anyone trying to escape, and where second babies are declared illegal, extracted, and and turned into cyborgs. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86224\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg class=\"size-full wp-image-86224\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/01119.jpg\" alt=\"\" width=\"600\" height=\"413\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-240x165.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-375x258.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-520x358.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Lambert in 'Fortress' \u003ccite>(Dimension Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Early ‘90s action hokiness aside, the privatization of America’s justice system is far from a foreign notion, and the fertility plot admittedly offers some serious \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/The_Handmaid%27s_Tale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Handmaid’s Tale\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> vibes for these troubling times. So if America stays its current course of viewing reproductive rights as an entirely optional thing, perhaps the most implausible thing about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fortress \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">by the end of this year will just be that tagline, which seems to quaintly suggest that prisoner innocence is somehow an entirely alien concept within the U.S. justice system. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> “Aye” for the Prison Industrial Complex, Canadian utopia (again), and reproductive nightmares. “Nay” for cyborg babies.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2018 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0438488/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>\u003ci>Terminator Salvation \u003c/i>\u003c/b>\u003c/a>\u003cb>(2009)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: The End Begins\u003c/span>\u003c/i>\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/-Czz-TcWCkA'\n title='//www.youtube.com/embed/-Czz-TcWCkA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This movie, which is more usually known as “The Terminator sequel with Christian Bale in it,” and which might actually be the most joyless action movie of the last decade, was the only one I could find explicitly set in the year 2018.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86226\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-86226\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Terminator_salvation_13.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Terminator in 'Terminator Salvation' \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">So dull is its vision of a post-apocalyptic America in ruins, most people don’t actually recall seeing \u003cem>Terminator Salvation\u003c/em>, even if they \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">have—\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">but in essence, this movie hypothesized that we’d have been at war with murderous cyborgs since 2003, who have also worked out how to genetically engineer human-cyborg hybrids. While 2003 wasn’t a great year for a lot of us, I don’t \u003cem>recall\u003c/em> a robot apocalypse taking place, so to be honest we don’t even need to give this one a 2018 Plausibility Rating.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2019 as envisioned by... \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://www.imdb.com/title/tt0083658/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Blade Runner\u003c/i>\u003c/b>\u003c/a>\u003cb> (1982)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Man Has Met His Match.. Now It’s His Problem\u003c/span>\u003c/i>\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/eogpIG53Cis'\n title='//www.youtube.com/embed/eogpIG53Cis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Trust me, I’m as angry as you are about the fact that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is appearing in the same round-up as\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Terminator Salvation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Barb Wire—\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">but as concretely-timestamped imaginings of the hell that awaits us in the future, they don’t come finer. \u003c/span>\u003cspan style=\"font-weight: 400\">To get the (synthetic) elephant in the room out of the way: it’s highly unlikely that by 2019, humankind will have expanded into space so comprehensively as to have created the off-world colonies imagined in this movie. Or that we’ll have\u003ca href=\"http://bladerunner.wikia.com/wiki/Priscilla_Stratton\" target=\"_blank\" rel=\"noopener noreferrer\"> sentient, angsty replicants that look like Darryl Hannah\u003c/a>, let alone an entire division of the LAPD dedicated to hunting them down. But because \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is a truly great movie from the mind of Philip K. Dick, it dares to make some interesting, considered thought-out predictions about what 2019 might look and feel like beyond just “there will be jumpsuits.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86227\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg class=\"size-full wp-image-86227\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Blade_Runner_1982_673.jpg\" alt=\"\" width=\"1600\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673.jpg 1600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-1020x510.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-1180x590.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-240x120.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-375x188.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-520x260.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">2019 L.A., flying cars and all, in 'Blade Runner' \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Many futuristic movies insist on imbuing their settings with a blown-out shininess that’s meant to be a visual signifier of The Future, but\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Blade Runner \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">at least nails \u003ca href=\"https://www.youtube.com/watch?v=aFJF2CRASRM\" target=\"_blank\" rel=\"noopener noreferrer\">how polluted and grimy any big American city will almost certainly look in two years’ time\u003c/a>—gigantic, oppressive digital billboards and all. One of the more intriguing, plausible predictions is a change in spoken language—people in \u003cem>Blade Runner\u003c/em>’s 2019 Los Angeles speak a new patois that mixes European and East Asian languages, which is not far fetched at all. Also, space exploration in this world seems to be pretty privatized, which, \u003ca href=\"http://www.virgingalactic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">if Richard Branson gets his way\u003c/a>, is exactly how it’ll be.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2019 Plausibility Rating\u003c/em>: Off-world colonies, replicants and (yes) flying cars—probably not. Pretty much everything else—seems legit.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2019 as envisioned by... \u003c/b>\u003cb>\u003ci>The Island\u003c/i>\u003c/b>\u003cb> (2005)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Plan Your Escape\u003c/span>\u003c/i>\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/_ZyNJ3cKfEg'\n title='//www.youtube.com/embed/_ZyNJ3cKfEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Up against \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">all other visions of 2019 seem a tad redundant, which makes this utterly forgotten clunker from the strange days when “they” were trying to make Ewan McGregor an action hero even less worthy of your consideration. In this version of 2019, if you’re rich, you can afford your own handy identical clone, which will live its own life, until you’re in need of a new eye, or arm, or surrogate womb—at which point, your doppelgänger is ruthlessly harvested for its constituent parts. But your clone doesn’t \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">know \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">it’s a clone! What happens when the clones fight back?\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86228\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg class=\"size-full wp-image-86228\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a.jpg\" alt=\"\" width=\"1600\" height=\"900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a.jpg 1600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-520x293.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Ewan McGregor in 'The Island' \u003ccite>(DreamWorks Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though it’s sort of another imagining of a 2019 society that sees synthetic people as an acceptable moral compromise in the face of mortal frailty, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Island\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">tad \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">less concerned than \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with the devastating philosophical complexities of what it truly means to be human. In other words, it's basically \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/Never_Let_Me_Go_(novel)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Never Let Me Go \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">for morons.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2019 Plausibility Rating:\u003c/em> A probably-nope for clone harvesting (I mean, it is two whole years away) and a definitely-nope for Ewan McGregor as action hero—in 2019, or any other year.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2020 as envisioned by... \u003c/b>\u003ca href=\"https://www.imdb.com/title/tt0253556/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Reign of Fire \u003c/i>\u003c/b>\u003c/a>\u003cb>(2002)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Fight Fire With Fire\u003c/span>\u003c/i>\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/Wg7bjwEXp7Y'\n title='//www.youtube.com/embed/Wg7bjwEXp7Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Yes, if we haven’t been wiped out by the Second American Civil War or a robo-apocalypse by then, we will have to undergo another U.S. presidential election. But according to this movie, we might have bigger problems in 2020… because we’ll be at war with dragons.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86230\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-86230\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/reign-of-fire.jpg\" alt=\"\" width=\"720\" height=\"304\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-160x68.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-240x101.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-375x158.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-520x220.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">'Reign of Fire' \u003ccite>(Buena Vista Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because \u003ca href=\"https://en.wikipedia.org/wiki/Reign_of_Fire_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">Wikipedia synopses\u003c/a> often say it best, this movie is set “twenty years after London tunneling project workers inadvertently awakened dragons from centuries of slumber and the creatures have subsequently replaced humans as the dominant species on Earth.” The War on Dragons, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Reign of Fire \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">supposes, will have knocked mankind back to a kind of Dark Ages, where flaming crossbows are our primary weapons, and all men must sport impressive beards. There’s very little else to say about this—admittedly very fun—film, other than that it boasts Matthew McConaughey at the very nascence of the career resurrection known as “\u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-mcconaissance\" target=\"_blank\" rel=\"noopener noreferrer\">The McConaissance\u003c/a>,” and is a way better futuristic movie starring Christian Bale than \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Terminator Salvation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2020 Plausibility Rating\u003c/em>: Why am I even asking. 100%!\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>In summary, if low-grade sci-fi movies (and \u003cem>Blade Runner\u003c/em>) offer us any wise predictions for the next four years, it’s that:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Cloning and/or cyborg-human hybrids are just around the corner.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">That very technology will almost certain try to kill us.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">If it doesn’t manage it, privatization and the corporate interests of a shadowy business elite will instead.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">You should submit your asylum application to Canada right now to beat the rush.\u003c/span>\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "What Do Bad Sci-Fi Movies Predict for the Next Few Years?",
"title": "What Do Bad Sci-Fi Movies Predict for the Next Few Years?",
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"content": "\u003cp>Get ready for cyborg babies, televised death matches, and lots o' dragons! Also, we investigate the Song of the Summer phenomenon and share a few 2017 contenders.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/06/Future.mp3\" title=\"What Do Bad Sci-Fi Movies Predict for the Next Few Years?\" 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> \u003c/p>\n\u003cp>What's in store for us over the next couple of years? Bad sci-fi movies might have the answer:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2017/06/15/heres-what-the-future-has-in-store-according-to-sci-fi-movies/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/wever.gif\">\u003cimg class=\"aligncenter size-full wp-image-86436\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/wever.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>Which song will we not be able to get away from this summer?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus.gif\">\u003cimg class=\"aligncenter size-full wp-image-86433\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus.gif\" alt=\"\" width=\"220\" height=\"247\">\u003c/a>\u003c/p>\n\u003cp>Why are Florida girls pissed about LaCroix?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/dDpWj2n.gif\">\u003cimg class=\"aligncenter size-full wp-image-86431\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/dDpWj2n.gif\" alt=\"\" width=\"268\" height=\"247\">\u003c/a>\u003c/p>\n\u003cp>And why is Len's \"Steal My Sunshine\" still so good?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E1fzJ_AYajA\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> & \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/wever.gif\">\u003cimg class=\"aligncenter size-full wp-image-86436\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/wever.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>Which song will we not be able to get away from this summer?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus.gif\">\u003cimg class=\"aligncenter size-full wp-image-86433\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus.gif\" alt=\"\" width=\"220\" height=\"247\">\u003c/a>\u003c/p>\n\u003cp>Why are Florida girls pissed about LaCroix?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/dDpWj2n.gif\">\u003cimg class=\"aligncenter size-full wp-image-86431\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/dDpWj2n.gif\" alt=\"\" width=\"268\" height=\"247\">\u003c/a>\u003c/p>\n\u003cp>And why is Len's \"Steal My Sunshine\" still so good?\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/E1fzJ_AYajA'\n title='//www.youtube.com/embed/E1fzJ_AYajA'\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> & \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-ericas-picks-monterey-pop-bless-me-ultima-the-opera-and-a-visit-to-north-beach",
"title": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach",
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"content": "\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C_HEU68f96w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KabkFfwJK3E\u003c/p>\n\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x4tGJLqZ4-k\u003c/p>\n\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "KQED's Cy Musiker follows poet Erica Lewis for a journey through North Beach — and a host of hot picks for this week.",
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"title": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach | KQED",
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"headline": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" 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/C_HEU68f96w'\n title='//www.youtube.com/embed/C_HEU68f96w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\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/KabkFfwJK3E'\n title='//www.youtube.com/embed/KabkFfwJK3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" 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/x4tGJLqZ4-k'\n title='//www.youtube.com/embed/x4tGJLqZ4-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" 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>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Groupie Myth: How Teens Are Exploited Both On the Road and Online",
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"content": "\u003cp>In 1993, I was 14-years-old and the kind of fervently enthusiastic music fan that goes on to write about it for a living. One night, after attending a concert featuring two prominent metal bands, my best friend and I stood outside the front entrance of the arena and waited for her dad to pick us up. As we excitedly dissected the evening’s events, we were approached by a grizzled-looking man in requisite rock 'n' roll clothing, an all-access pass hanging from his belt loop.\u003c/p>\n\u003cp>“You girls wanna meet the bands?” he asked.\u003c/p>\n\u003cp>My friend and I looked at each other, bemused.\u003c/p>\n\u003cp>“Well… yeah…” my friend replied, hesitant, but not wanting to miss out on a golden opportunity.\u003c/p>\n\u003cp>“Alright,” this man -- probably in his mid-40s -- replied. “Follow me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hang on,” I said. “What do \u003cem>you\u003c/em> get out of this?”\u003c/p>\n\u003cp>Without any hesitation, he smirked, nodded and pointed to his groin. I linked arms with my friend, who, like me, had visibly recoiled, and said, “Uhhh, NO.”\u003c/p>\n\u003cp>“Suit yourselves!” he snapped back and went off in search of other, less prudish schoolgirls.\u003c/p>\n\u003cp>Five minutes later, we were safely in the back of my friend’s dad’s car and on our way home. We never told any adults about the incident -- certainly not our parents, who fearfully might have stopped us from going to any more concerts -- and we barely discussed it with each other, because thinking about it creeped us out.\u003c/p>\n\u003cp>It was my first experience of the kind of exploitation that routinely takes place on the road. At the time, despite my youth, I knew all about groupies. I knew that as a female in this particular music scene, I was in a minority. And I knew that I might sometimes be targeted by creepy older men. But when it actually happened in real life, it was an infinitely more intimidating experience than I had bargained for.\u003c/p>\n\u003cp>A couple of months later, while squeezed into the crowd of a (to this day) well-respected alternative band, my friend was sexually assaulted by an older boy. She told me afterwards that she was trapped and scared and froze when this stranger’s hand climbed up her skirt because he was so much bigger than her. If you know any women who grew up going to shows in their teens, you will be hard pressed to find one who hasn’t experienced the wandering hands of a fellow audience member.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LU1bEeKsHs8\u003c/p>\n\u003cp>Assault at shows is an issue that has been publicly discussed since riot grrrl first shone a light on it in the early 1990s. This reached its peak in 1999 when the \u003ca href=\"http://www.mtv.com/news/516319/two-woodstock-fans-allegedly-raped-in-mosh-pits/\">chaos of Woodstock\u003c/a> resulted in numerous sexual assault reports and a number of rape allegations from audience members. More recently, in 2015, five teenage girls in the U.K. started \u003ca href=\"http://www.dazeddigital.com/music/article/28377/1/meet-the-teen-girls-fighting-sexual-assault-at-music-venues\">#GirlsAgainst\u003c/a> to highlight the fact that this problem is ongoing. Just last year, 26 women reported being assaulted at the \u003ca href=\"http://www.cnn.com/2016/06/01/europe/germany-concert-sex-assaults/\">Schlossgrabenfest music festival\u003c/a> in Germany.\u003c/p>\n\u003cp>It’s not talked about all that often, but the risks facing women and girls who like live music are not limited to fellow audience members. There is a culture of silence in this male-dominated industry that, in my 18 years of journalistic experience on the road and backstage, has shocked me.\u003c/p>\n\u003cp>I once saw two girls pretend to faint at a pop-punk show in England, in order to get backstage. They succeeded. I happened to walk into a room after the show, where they were laughing about how clever they had been. I asked them how old they were. “Eighteen,” the chorus came back, but their undeveloped bodies and nervous giggling told a different story. After making out with each other for the entertainment of the headlining band, they were ushered into separate rooms by a singer and a drummer on the tour. I am not clear about what happened behind those closed doors, but I would hazard a guess that it probably wasn’t legal.\u003c/p>\n\u003cp>I have seen similar scenes play out, backstage at festivals all over the world, while tents are being broken down and gear loaded out. There are bands who are vigilant, who will politely shoo these girls away and call out other bands on the bill who don’t carry the same sympathy for, and sexual aversion to, underage girls. These bands are, thankfully, in the majority. But, in my experience, if you line up 10 tour buses, there are probably going to be a couple of people (sometimes crew members), who have no qualms about taking advantage of naïve fandom when the opportunity presents itself.\u003c/p>\n\u003cfigure id=\"attachment_61198\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg class=\"wp-image-61198\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/watkins-1020x1009.png\" alt=\"watkins\" width=\"300\" height=\"297\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1020x1009.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-160x158.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-800x791.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-768x759.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1920x1899.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1180x1167.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-960x949.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-240x237.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-375x371.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-520x514.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-150x150.png 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Ian Watkins, vocalist, convicted sex offender\u003c/figcaption>\u003c/figure>\n\u003cp>When Lostprophets frontman, Ian Watkins, was convicted of \u003ca href=\"https://www.theguardian.com/uk-news/2013/dec/18/ian-watkins-jailed-child-sex-crimes\">a litany of child sex offences\u003c/a> in 2013, the focus was on the fact that the case horrifyingly involved two infants, whose mothers had been targeted by Watkins as “superfans” and ultimately were complicit in, and convicted of, the abuse of their own children. Watkins was also convicted of carrying out (and filming) degrading sex acts on a teenage fan, who had been an underage virgin at the time.\u003c/p>\n\u003cp>The issues surrounding bands and groupies are complex and frequently rooted in a culture that tells rock musicians that it's their right, and tells young women that their greatest commodity -- their easiest “in” -- is their bodies and their sexuality. Romanticized depictions of groupies in TV and movies (Showtime’s \u003cem>\u003ca href=\"http://www.sho.com/roadies\">Roadies\u003c/a> \u003c/em>was a recent offender) continue to perpetuate the idea that groupies are beloved and essential; that women can get in on the excitement of being on the road, if only they’ll give it up. In reality, groupies are often mocked by the band the second they’ve been ushered off the bus.\u003c/p>\n\u003cp>On one occasion nine years ago, I was traveling with an emo band in Europe. As the venue cleared out, I went to use the ladies' room and found a girl crying by the sinks. I asked if she was okay.\u003c/p>\n\u003cp>“No one asked me backstage,” she sobbed. “I really wanted to meet the band, so I dressed like this…” -- skin-tight, hip-hugging jeans, push-up bra and a cropped top; a lot of make-up for a face so fresh -- “…but still no one noticed me.”\u003c/p>\n\u003cp>“The reason you weren’t asked backstage,” I gently explained, “was because this band are good people. The only thing going on back there is eating, email-checking, and girlfriend-Skyping. You’re not missing anything, I promise.”\u003c/p>\n\u003cp>“I still wanted to be asked,” she wept.\u003c/p>\n\u003cp>“How old are you?”\u003c/p>\n\u003cp>“Fifteen.”\u003c/p>\n\u003cp>A mere 10 minutes of telling this girl that there were other ways to participate in this scene that didn’t involve her body, she had stopped crying, started to mull over the possibilities of becoming a music photographer, and was ready to go home. If this had been a different band and a different concert, her evening could have ended very differently.\u003c/p>\n\u003cp>In the digital age, a brand new form of fan exploitation has emerged, and it doesn’t even require fans to leave the house. Just this week, YouTube star \u003ca href=\"http://www.huffingtonpost.com/entry/youtube-singing-star-austin-jones-faces-child-pornography-charges_us_594101bfe4b0d3185485fb0a\">Austin Jones was arrested\u003c/a> on two counts of producing child pornography, after he allegedly requested sexually explicit material from underage fans, via Facebook.\u003c/p>\n\u003cp>Back in January, a Boston man named \u003ca href=\"http://www.billboard.com/articles/news/7655473/man-posed-justin-bieber-extort-nude-photos\">Bryan Asrary was arrested\u003c/a> after nude photos of a 9-year-old girl were found on his laptop and cellphone. He is alleged to have impersonated Justin Bieber online in order get them.\u003c/p>\n\u003cp>Similarly, traveling punk festival Warped Tour was plagued with problems in 2015 after allowing then-23-year-old Jake McElfresh (a.k.a. Front Porch Step) onto the bill, even though multiple underage, teenage girls had \u003ca href=\"http://www.billboard.com/front-porch-step-jacob-mcelfresh-warped-tour-sexual-misconduct-underage-sexting-kevin-lyman\">complained online\u003c/a> about McElfresh’s lewd behavior towards them. These girls, scattered around the country, posted messages and explicit photos, allegedly from McElfresh, to their Tumblr accounts, having grown uncomfortable with the contact.\u003c/p>\n\u003cp>Today, most of the public concern expressed and discussed around this subject is focused on the online dangers facing children and teenagers. What those discussions so often fail to acknowledge is that the link between music and fan exploitation has always been there, and that the myth of the in-control, gleeful groupie is a frequently false one.\u003c/p>\n\u003cp>Certainly, the internet age does offer new and horrifying forms of exploitation, but it also leaves digital fingerprints, evidence, screenshots, and, like never before, a means to expose and convict the people who take advantage of music fans in sexual ways. The culture that encourages these uneasy and sometimes illegal relationships between musicians and fans needs a major reset -- one that we may finally be making steps towards in the wake of Austin Jones' and Brian Asrary’s arrests, McElfresh’s public humiliation, and the universal revulsion that greeted Watkins’ case.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the meantime, we should be grateful that the digital age finally offers us a means to prove these predators exist, and do something about it -- something my best friend and I would have been eternally grateful for back in 1993.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hang on,” I said. “What do \u003cem>you\u003c/em> get out of this?”\u003c/p>\n\u003cp>Without any hesitation, he smirked, nodded and pointed to his groin. I linked arms with my friend, who, like me, had visibly recoiled, and said, “Uhhh, NO.”\u003c/p>\n\u003cp>“Suit yourselves!” he snapped back and went off in search of other, less prudish schoolgirls.\u003c/p>\n\u003cp>Five minutes later, we were safely in the back of my friend’s dad’s car and on our way home. We never told any adults about the incident -- certainly not our parents, who fearfully might have stopped us from going to any more concerts -- and we barely discussed it with each other, because thinking about it creeped us out.\u003c/p>\n\u003cp>It was my first experience of the kind of exploitation that routinely takes place on the road. At the time, despite my youth, I knew all about groupies. I knew that as a female in this particular music scene, I was in a minority. And I knew that I might sometimes be targeted by creepy older men. But when it actually happened in real life, it was an infinitely more intimidating experience than I had bargained for.\u003c/p>\n\u003cp>A couple of months later, while squeezed into the crowd of a (to this day) well-respected alternative band, my friend was sexually assaulted by an older boy. She told me afterwards that she was trapped and scared and froze when this stranger’s hand climbed up her skirt because he was so much bigger than her. If you know any women who grew up going to shows in their teens, you will be hard pressed to find one who hasn’t experienced the wandering hands of a fellow audience member.\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/LU1bEeKsHs8'\n title='//www.youtube.com/embed/LU1bEeKsHs8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Assault at shows is an issue that has been publicly discussed since riot grrrl first shone a light on it in the early 1990s. This reached its peak in 1999 when the \u003ca href=\"http://www.mtv.com/news/516319/two-woodstock-fans-allegedly-raped-in-mosh-pits/\">chaos of Woodstock\u003c/a> resulted in numerous sexual assault reports and a number of rape allegations from audience members. More recently, in 2015, five teenage girls in the U.K. started \u003ca href=\"http://www.dazeddigital.com/music/article/28377/1/meet-the-teen-girls-fighting-sexual-assault-at-music-venues\">#GirlsAgainst\u003c/a> to highlight the fact that this problem is ongoing. Just last year, 26 women reported being assaulted at the \u003ca href=\"http://www.cnn.com/2016/06/01/europe/germany-concert-sex-assaults/\">Schlossgrabenfest music festival\u003c/a> in Germany.\u003c/p>\n\u003cp>It’s not talked about all that often, but the risks facing women and girls who like live music are not limited to fellow audience members. There is a culture of silence in this male-dominated industry that, in my 18 years of journalistic experience on the road and backstage, has shocked me.\u003c/p>\n\u003cp>I once saw two girls pretend to faint at a pop-punk show in England, in order to get backstage. They succeeded. I happened to walk into a room after the show, where they were laughing about how clever they had been. I asked them how old they were. “Eighteen,” the chorus came back, but their undeveloped bodies and nervous giggling told a different story. After making out with each other for the entertainment of the headlining band, they were ushered into separate rooms by a singer and a drummer on the tour. I am not clear about what happened behind those closed doors, but I would hazard a guess that it probably wasn’t legal.\u003c/p>\n\u003cp>I have seen similar scenes play out, backstage at festivals all over the world, while tents are being broken down and gear loaded out. There are bands who are vigilant, who will politely shoo these girls away and call out other bands on the bill who don’t carry the same sympathy for, and sexual aversion to, underage girls. These bands are, thankfully, in the majority. But, in my experience, if you line up 10 tour buses, there are probably going to be a couple of people (sometimes crew members), who have no qualms about taking advantage of naïve fandom when the opportunity presents itself.\u003c/p>\n\u003cfigure id=\"attachment_61198\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg class=\"wp-image-61198\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/watkins-1020x1009.png\" alt=\"watkins\" width=\"300\" height=\"297\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1020x1009.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-160x158.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-800x791.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-768x759.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1920x1899.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1180x1167.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-960x949.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-240x237.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-375x371.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-520x514.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-150x150.png 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Ian Watkins, vocalist, convicted sex offender\u003c/figcaption>\u003c/figure>\n\u003cp>When Lostprophets frontman, Ian Watkins, was convicted of \u003ca href=\"https://www.theguardian.com/uk-news/2013/dec/18/ian-watkins-jailed-child-sex-crimes\">a litany of child sex offences\u003c/a> in 2013, the focus was on the fact that the case horrifyingly involved two infants, whose mothers had been targeted by Watkins as “superfans” and ultimately were complicit in, and convicted of, the abuse of their own children. Watkins was also convicted of carrying out (and filming) degrading sex acts on a teenage fan, who had been an underage virgin at the time.\u003c/p>\n\u003cp>The issues surrounding bands and groupies are complex and frequently rooted in a culture that tells rock musicians that it's their right, and tells young women that their greatest commodity -- their easiest “in” -- is their bodies and their sexuality. Romanticized depictions of groupies in TV and movies (Showtime’s \u003cem>\u003ca href=\"http://www.sho.com/roadies\">Roadies\u003c/a> \u003c/em>was a recent offender) continue to perpetuate the idea that groupies are beloved and essential; that women can get in on the excitement of being on the road, if only they’ll give it up. In reality, groupies are often mocked by the band the second they’ve been ushered off the bus.\u003c/p>\n\u003cp>On one occasion nine years ago, I was traveling with an emo band in Europe. As the venue cleared out, I went to use the ladies' room and found a girl crying by the sinks. I asked if she was okay.\u003c/p>\n\u003cp>“No one asked me backstage,” she sobbed. “I really wanted to meet the band, so I dressed like this…” -- skin-tight, hip-hugging jeans, push-up bra and a cropped top; a lot of make-up for a face so fresh -- “…but still no one noticed me.”\u003c/p>\n\u003cp>“The reason you weren’t asked backstage,” I gently explained, “was because this band are good people. The only thing going on back there is eating, email-checking, and girlfriend-Skyping. You’re not missing anything, I promise.”\u003c/p>\n\u003cp>“I still wanted to be asked,” she wept.\u003c/p>\n\u003cp>“How old are you?”\u003c/p>\n\u003cp>“Fifteen.”\u003c/p>\n\u003cp>A mere 10 minutes of telling this girl that there were other ways to participate in this scene that didn’t involve her body, she had stopped crying, started to mull over the possibilities of becoming a music photographer, and was ready to go home. If this had been a different band and a different concert, her evening could have ended very differently.\u003c/p>\n\u003cp>In the digital age, a brand new form of fan exploitation has emerged, and it doesn’t even require fans to leave the house. Just this week, YouTube star \u003ca href=\"http://www.huffingtonpost.com/entry/youtube-singing-star-austin-jones-faces-child-pornography-charges_us_594101bfe4b0d3185485fb0a\">Austin Jones was arrested\u003c/a> on two counts of producing child pornography, after he allegedly requested sexually explicit material from underage fans, via Facebook.\u003c/p>\n\u003cp>Back in January, a Boston man named \u003ca href=\"http://www.billboard.com/articles/news/7655473/man-posed-justin-bieber-extort-nude-photos\">Bryan Asrary was arrested\u003c/a> after nude photos of a 9-year-old girl were found on his laptop and cellphone. He is alleged to have impersonated Justin Bieber online in order get them.\u003c/p>\n\u003cp>Similarly, traveling punk festival Warped Tour was plagued with problems in 2015 after allowing then-23-year-old Jake McElfresh (a.k.a. Front Porch Step) onto the bill, even though multiple underage, teenage girls had \u003ca href=\"http://www.billboard.com/front-porch-step-jacob-mcelfresh-warped-tour-sexual-misconduct-underage-sexting-kevin-lyman\">complained online\u003c/a> about McElfresh’s lewd behavior towards them. These girls, scattered around the country, posted messages and explicit photos, allegedly from McElfresh, to their Tumblr accounts, having grown uncomfortable with the contact.\u003c/p>\n\u003cp>Today, most of the public concern expressed and discussed around this subject is focused on the online dangers facing children and teenagers. What those discussions so often fail to acknowledge is that the link between music and fan exploitation has always been there, and that the myth of the in-control, gleeful groupie is a frequently false one.\u003c/p>\n\u003cp>Certainly, the internet age does offer new and horrifying forms of exploitation, but it also leaves digital fingerprints, evidence, screenshots, and, like never before, a means to expose and convict the people who take advantage of music fans in sexual ways. The culture that encourages these uneasy and sometimes illegal relationships between musicians and fans needs a major reset -- one that we may finally be making steps towards in the wake of Austin Jones' and Brian Asrary’s arrests, McElfresh’s public humiliation, and the universal revulsion that greeted Watkins’ case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, we should be grateful that the digital age finally offers us a means to prove these predators exist, and do something about it -- something my best friend and I would have been eternally grateful for back in 1993.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Anita Pallenberg, a model and actress who had children with Keith Richards and served as a muse for The Rolling Stones, has died. She was 75.\u003c/p>\n\u003cp>A spokesperson for Richards told The Associated Press that Pallenberg died Tuesday at St. Richard’s Hospital in the city of Chichester, located in southeast England. The cause of death was not revealed, but the statement released Wednesday said Pallenberg “had been ill for some time” and that her family was by her side.\u003c/p>\n\u003cp>“A most remarkable woman. Always in my heart,” Richards said in a statement.\u003c/p>\n\u003cp>Pallenberg was born on April 6, 1942. She served as inspiration for the Stones’ “Miss Amanda Jones” and “You Got the Silver.”\u003c/p>\n\u003cp>She appeared in films like \u003cem>Barbarella\u003c/em>, \u003cem>Candy\u003c/em>, \u003cem>Le Berceau de Cristal\u003c/em> and \u003cem>Performance\u003c/em>, which included Mick Jagger.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pallenberg first dated the late Brian Jones of the Stones, but later dated Richards, with whom she had three children (their youngest son died months after he was born).\u003c/p>\n\u003cp>Pallenberg said in an interview with The Guardian in 2008 that she didn’t want to write her autobiography because publishers wanted dirt and drama about the Stones.\u003c/p>\n\u003cp>“I had several publishers and they were all the same. They all wanted salacious,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pallenberg will be cremated and a memorial service is being planned. She is survived by a son, a daughter and five grandchildren.\u003cbr>\n.\u003c/p>\n\n",
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"content": "\u003cp>In their brand new video for \"Revolution Radio,\" \u003ca href=\"http://www.greenday.com/stillbreathing?ref=https://www.google.com/\">Green Day\u003c/a> pays tribute to Berkeley's famed punk rock venue / community center, \u003ca href=\"https://en.wikipedia.org/wiki/924_Gilman_Street\">924 Gilman Street,\u003c/a> by performing inside the heavily graffiti-ed space and splicing in footage of them playing Gilman in the band's early days.\u003c/p>\n\u003cp>Which is particularly heart-warming because, back when Green Day first signed to a major label in 1993, Gilman banned the band on account of them being corporate sellouts. Billy Joe, Tré, and Mike were eventully allowed back for a show \u003ca href=\"https://www.youtube.com/watch?v=0B9Rpg3avv0\">in 2001\u003c/a> (best YouTube comment: \"I wonder if this concert felt weird for them, like meeting your ex girlfriend for coffee five years later\"), then played a benefit show there for \u003ca href=\"https://www.akpress.org/\">AK Press\u003c/a> in \u003ca href=\"https://www.youtube.com/watch?v=60LAyqVSE3U\">2015\u003c/a>.\u003c/p>\n\u003cp>In the mid-'90s, nobody thought this video would ever happen, so enjoy!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B4zc-f0TIZ4\u003c/p>\n\u003cp>If you want to see more of Green Day at Gilman, check out the recently released documentary, \u003ca href=\"https://eastbaypunk.com/\">\u003cem>Turn it Around: The Story of East Bay Punk\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In their brand new video for \"Revolution Radio,\" \u003ca href=\"http://www.greenday.com/stillbreathing?ref=https://www.google.com/\">Green Day\u003c/a> pays tribute to Berkeley's famed punk rock venue / community center, \u003ca href=\"https://en.wikipedia.org/wiki/924_Gilman_Street\">924 Gilman Street,\u003c/a> by performing inside the heavily graffiti-ed space and splicing in footage of them playing Gilman in the band's early days.\u003c/p>\n\u003cp>Which is particularly heart-warming because, back when Green Day first signed to a major label in 1993, Gilman banned the band on account of them being corporate sellouts. Billy Joe, Tré, and Mike were eventully allowed back for a show \u003ca href=\"https://www.youtube.com/watch?v=0B9Rpg3avv0\">in 2001\u003c/a> (best YouTube comment: \"I wonder if this concert felt weird for them, like meeting your ex girlfriend for coffee five years later\"), then played a benefit show there for \u003ca href=\"https://www.akpress.org/\">AK Press\u003c/a> in \u003ca href=\"https://www.youtube.com/watch?v=60LAyqVSE3U\">2015\u003c/a>.\u003c/p>\n\u003cp>In the mid-'90s, nobody thought this video would ever happen, so enjoy!\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/B4zc-f0TIZ4'\n title='//www.youtube.com/embed/B4zc-f0TIZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you want to see more of Green Day at Gilman, check out the recently released documentary, \u003ca href=\"https://eastbaypunk.com/\">\u003cem>Turn it Around: The Story of East Bay Punk\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "50 Years After 'Loving,' Hollywood Still Struggles With Interracial Romance",
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"content": "\u003cp>Fifty years ago, on June 12, 1967, the Supreme Court's decision in \u003cem>Loving v. Virginia\u003c/em> legalized interracial marriage. Just two weeks earlier, shooting had been completed on a movie about that very subject — Stanley Kramer's soon-to-be-classic, Oscar-winning, box-office smash \u003cem>Guess Who's Coming To Dinner,\u003c/em> starring Spencer Tracy, Katharine Houghton and Sidney Poitier.\u003c/p>\n\u003cp>Profits are a powerful motivator for Hollywood studios. So it might seem obvious that a blockbusting indicator of audience acceptance for interracial romance on-screen would lead to studios greenlighting more of them. But prejudices in Hollywood were as long-standing as they were elsewhere in society. Those prejudices did not disappear overnight, and the film industry did not embrace mixed-race couples on-screen.\u003c/p>\n\u003cp>There had been interracial screen romances, even in the silent era, but they were almost always pictured as either comically foolish or flat-out doomed. D.W. Griffith ended his silent tragedy \u003cem>Broken Blossoms Or the Yellow Man and the Girl\u003c/em> with the deaths of both his title characters — a Chinese immigrant and a London prizefighter's daughter.\u003c/p>\n\u003cp>The silent drama \u003cem>The Bronze Bride,\u003c/em> about a white fur trapper who marries a Native American woman, also ended with tears. And in \u003cem>Show Boat\u003c/em> in 1936, things end happily for nearly everyone except Julie, the wife of the showboat's white leading man. She is of mixed race, but has been passing as white.\u003c/p>\n\u003cp>In the song \"Can't Help Lovin' That Man of Mine,\" Julie sings of being helplessly in love, and her husband is devoted to her. But she will nonetheless end up drunk and alone at the film's end, looking from the shadows at the happier characters who have married within their own race.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In that, she had lots of company on-screen. Hollywood had adopted a Motion Picture Production Code in 1930 — popularly known as the Hays Code for its author, Will H. Hays, president of the Motion Picture Producers and Distributors of America — which explicitly prohibited the depiction of \"sex relationships between the white and black races.\" The code was meant to curb what bluenoses of that era considered immorality, and with interracial marriage then illegal in 30 states, depicting it would arguably have been condoning an illegal act.\u003c/p>\n\u003cp>Though \u003cem>Show Boat\u003c/em> had been a hit on Broadway, movie theaters, especially in the South, might well have refused to play it even with the Production Code seal of approval. But the filmmakers had a trick to get around objections — a casting gambit used in many motion pictures of that era: Audiences were not actually seeing a black/white couple on-screen, because the biracial character was played by Helen Morgan, a white actress. Griffith had done the same thing in \u003cem>Broken Blossoms, \u003c/em>casting a heavily made-up Richard Barthelmess as Chinese immigrant Cheng Huan.\u003c/p>\n\u003cp>The same thing happened when \u003cem>Show Boat\u003c/em> was remade in 1951. Although Lena Horne campaigned hard for the role, Ava Gardner was cast as Julie, and not only was she not black, she wasn't even singing (though she certainly could have; she recorded a vocal track they ended up not using that is lighter and more contemporary to modern ears).\u003c/p>\n\u003cp>Colorblind and, in several different senses, tone-deaf, this qualified as Hollywood artificiality at its peak. And it followed close on the heels of another drama Horne had campaigned for, \u003cem>Pinky,\u003c/em> about another character who was passing as white. That part went to Jeanne Crain, for whom passing was relatively easy, as she was white. She got an Oscar nomination as best actress for pretending not to be.\u003c/p>\n\u003cp>Foreign films weren't as timid. In 1935, Josephine Baker — who had moved to Paris because of racial prejudice in the U.S. and was becoming a big star there — starred in the French-made \u003cem>Princess Tam Tam,\u003c/em> playing a Tunisian woman who is the muse of a white French novelist.\u003c/p>\n\u003cp>In the U.S., though, because of the Hays Code, that film and others like it played only in theaters catering strictly to black patrons. Then, in 1956, the code was revised, and the stipulation about race was dropped, which allowed a blonde Inger Stevens to have what was, at the time, an incendiary conversation with Harry Belafonte in \u003cem>The World, The Flesh and The Devil,\u003c/em> a science-fiction film in which a nuclear war had left the two of them virtually alone in the world. \u003cem>(Note: The dialogue below contains language some readers may find offensive.)\u003c/em>\u003c/p>\n\u003cp>Stevens has asked Belafonte to be honest with her, and Belafonte has responded that if she pushes, he'll be \"so honest it'll burn you.\"\u003c/p>\n\u003cp>When she does push, he erupts in fury: \"If you're squeamish about words, I'm 'colored.' If you face facts I'm a Negro. If you're a polite Southerner, I'm a 'Negra,' and I'm a 'nigger' if you're not. ... A little while ago, you said you were 'free, white and 21.' That didn't mean anything to you. Just an expression you'd heard a thousand times. Well, to me it was an arrow in my guts.\"\u003c/p>\n\u003cp>Stevens asks for help getting it right: \"You're a fine, decent man; what else is there to know?\"\u003c/p>\n\u003cp>\"[In] that world we came from you wouldn't know that,\" Belafonte's character replies. \"You wouldn't even know me. Why should the world fall down to prove I'm what I am, and that there's nothing wrong with what I am?\"\u003c/p>\n\u003cp>Good question, and others were asking it, too: In the British film \u003cem>A Taste of Honey,\u003c/em> Rita Tushingham gets pregnant by a black sailor and decides to keep the baby. Hollywood's first interracial kiss appeared in the drama \u003cem>Island in the Sun.\u003c/em> And the era-defining \u003cem>Guess Who's Coming to Dinner\u003c/em> arrived in theaters six months to the day after interracial marriage was legalized by the \u003cem>Loving\u003c/em> decision.\u003c/p>\n\u003cp>Lawyers only had to make their closing argument to nine Supreme Court justices. Spencer Tracy's summation went out to more than 40 million moviegoers, when he said this to Sidney Poitier and Katharine Houghton:\u003c/p>\n\u003cblockquote>\u003cp>\" 'Anybody could make a case — and a helluva good case — against your getting married,' he says. 'The arguments are so obvious that nobody has to make them. But you're two wonderful people, who happened to fall in love, and happen to have a pigmentation problem. And I think that now, no matter what kind of a case some bastard could make against your getting married, there would be only one thing worse. And that would be if, knowing what you two are, knowing what you two have, and knowing what you two feel, you didn't get married.' \"\u003c/p>\u003c/blockquote>\n\u003cp>And that broke the logjam, right?\u003c/p>\n\u003cp>No, not really. Hollywood spent the rest of the 20th century debating how to follow \u003cem>Guess Who's Coming To Dinner,\u003c/em> and mostly deciding not to.\u003c/p>\n\u003cfigure id=\"attachment_86018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-86018 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Williams and Daniel Kaluuya star in Jordan Peele's 'Get Out'.\u003cbr> (Justin Lubin/Courtesy of Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>Bromances with black-white pairings were fine — say, the \u003cem>Lethal Weapon\u003c/em> franchise. Producers who could attract stars of sufficient wattage — say Kevin Costner at the height of his fame, and Whitney Houston at the height of hers — could dare audiences to resist their pairing in a film like \u003cem>The Bodyguard\u003c/em>. And there were occasional problem-dramas that tackled the issue head-on as an issue — Spike Lee's \u003cem>Jungle Fever,\u003c/em> for instance, or the lesbian interracial romance \u003cem>The Watermelon Woman\u003c/em>.\u003c/p>\n\u003cp>But for many in Hollywood, the risk of alienating some part of the audience has not seemed a risk worth taking on a multimillion-dollar budget. So Will Smith and Denzel Washington have spent most of their careers appearing opposite African-American love interests, and Brad Pitt and Tom Cruise have not. Never mind that multiracial casting has been a boon at the box office for, say, the \u003cem>Fast and Furious\u003c/em> films.\u003c/p>\n\u003cp>There are, of course, outliers. Jordan Peele's satirical dramedy \u003cem>Get Out\u003c/em> is a witty look at social stereotyping, which uses race to subvert and amplify horror tropes. With a first-time director, \u003cem>Get Out\u003c/em> has taken in almost a quarter of a billion dollars at the worldwide box office.\u003c/p>\n\u003cp>Also this year, in \u003cem>Everything, Everything,\u003c/em> an African-American girl-in-a-bubble and a white neighbor fall in love. The supporting cast of \u003cem>Beauty and the Beast\u003c/em> turned out to have two interracial couples, once the magic spell was broken. And in the upcoming comedy \u003cem>The Big Sick,\u003c/em> Kumail Nanjiani will tell the true story of how he, a man of Pakistani descent, met his Caucasian wife.\u003c/p>\n\u003cp>These films, let's note, make sense in the current movie marketplace, especially for younger viewers. The Pew Research Center \u003ca href=\"http://www.pewsocialtrends.org/2017/05/18/intermarriage-in-the-u-s-50-years-after-loving-v-virginia/#fn-22844-2\" target=\"_blank\" rel=\"noopener noreferrer\">recently reported\u003c/a> that in 2015, the most recent year for which figures are available, \"17 percent of all U.S. newlyweds had a spouse of a different race or ethnicity.\" That compares with 3 percent in 1967 — the year of the \u003cem>Loving\u003c/em> decision and of \u003cem>Guess Who's Coming to Dinner.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The nation has changed, and Hollywood will, too. At the moment, though, it's still playing catch-up.\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=50+Years+After+%27Loving%2C%27+Hollywood+Still+Struggles+With+Interracial+Romance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, on June 12, 1967, the Supreme Court's decision in \u003cem>Loving v. Virginia\u003c/em> legalized interracial marriage. Just two weeks earlier, shooting had been completed on a movie about that very subject — Stanley Kramer's soon-to-be-classic, Oscar-winning, box-office smash \u003cem>Guess Who's Coming To Dinner,\u003c/em> starring Spencer Tracy, Katharine Houghton and Sidney Poitier.\u003c/p>\n\u003cp>Profits are a powerful motivator for Hollywood studios. So it might seem obvious that a blockbusting indicator of audience acceptance for interracial romance on-screen would lead to studios greenlighting more of them. But prejudices in Hollywood were as long-standing as they were elsewhere in society. Those prejudices did not disappear overnight, and the film industry did not embrace mixed-race couples on-screen.\u003c/p>\n\u003cp>There had been interracial screen romances, even in the silent era, but they were almost always pictured as either comically foolish or flat-out doomed. D.W. Griffith ended his silent tragedy \u003cem>Broken Blossoms Or the Yellow Man and the Girl\u003c/em> with the deaths of both his title characters — a Chinese immigrant and a London prizefighter's daughter.\u003c/p>\n\u003cp>The silent drama \u003cem>The Bronze Bride,\u003c/em> about a white fur trapper who marries a Native American woman, also ended with tears. And in \u003cem>Show Boat\u003c/em> in 1936, things end happily for nearly everyone except Julie, the wife of the showboat's white leading man. She is of mixed race, but has been passing as white.\u003c/p>\n\u003cp>In the song \"Can't Help Lovin' That Man of Mine,\" Julie sings of being helplessly in love, and her husband is devoted to her. But she will nonetheless end up drunk and alone at the film's end, looking from the shadows at the happier characters who have married within their own race.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In that, she had lots of company on-screen. Hollywood had adopted a Motion Picture Production Code in 1930 — popularly known as the Hays Code for its author, Will H. Hays, president of the Motion Picture Producers and Distributors of America — which explicitly prohibited the depiction of \"sex relationships between the white and black races.\" The code was meant to curb what bluenoses of that era considered immorality, and with interracial marriage then illegal in 30 states, depicting it would arguably have been condoning an illegal act.\u003c/p>\n\u003cp>Though \u003cem>Show Boat\u003c/em> had been a hit on Broadway, movie theaters, especially in the South, might well have refused to play it even with the Production Code seal of approval. But the filmmakers had a trick to get around objections — a casting gambit used in many motion pictures of that era: Audiences were not actually seeing a black/white couple on-screen, because the biracial character was played by Helen Morgan, a white actress. Griffith had done the same thing in \u003cem>Broken Blossoms, \u003c/em>casting a heavily made-up Richard Barthelmess as Chinese immigrant Cheng Huan.\u003c/p>\n\u003cp>The same thing happened when \u003cem>Show Boat\u003c/em> was remade in 1951. Although Lena Horne campaigned hard for the role, Ava Gardner was cast as Julie, and not only was she not black, she wasn't even singing (though she certainly could have; she recorded a vocal track they ended up not using that is lighter and more contemporary to modern ears).\u003c/p>\n\u003cp>Colorblind and, in several different senses, tone-deaf, this qualified as Hollywood artificiality at its peak. And it followed close on the heels of another drama Horne had campaigned for, \u003cem>Pinky,\u003c/em> about another character who was passing as white. That part went to Jeanne Crain, for whom passing was relatively easy, as she was white. She got an Oscar nomination as best actress for pretending not to be.\u003c/p>\n\u003cp>Foreign films weren't as timid. In 1935, Josephine Baker — who had moved to Paris because of racial prejudice in the U.S. and was becoming a big star there — starred in the French-made \u003cem>Princess Tam Tam,\u003c/em> playing a Tunisian woman who is the muse of a white French novelist.\u003c/p>\n\u003cp>In the U.S., though, because of the Hays Code, that film and others like it played only in theaters catering strictly to black patrons. Then, in 1956, the code was revised, and the stipulation about race was dropped, which allowed a blonde Inger Stevens to have what was, at the time, an incendiary conversation with Harry Belafonte in \u003cem>The World, The Flesh and The Devil,\u003c/em> a science-fiction film in which a nuclear war had left the two of them virtually alone in the world. \u003cem>(Note: The dialogue below contains language some readers may find offensive.)\u003c/em>\u003c/p>\n\u003cp>Stevens has asked Belafonte to be honest with her, and Belafonte has responded that if she pushes, he'll be \"so honest it'll burn you.\"\u003c/p>\n\u003cp>When she does push, he erupts in fury: \"If you're squeamish about words, I'm 'colored.' If you face facts I'm a Negro. If you're a polite Southerner, I'm a 'Negra,' and I'm a 'nigger' if you're not. ... A little while ago, you said you were 'free, white and 21.' That didn't mean anything to you. Just an expression you'd heard a thousand times. Well, to me it was an arrow in my guts.\"\u003c/p>\n\u003cp>Stevens asks for help getting it right: \"You're a fine, decent man; what else is there to know?\"\u003c/p>\n\u003cp>\"[In] that world we came from you wouldn't know that,\" Belafonte's character replies. \"You wouldn't even know me. Why should the world fall down to prove I'm what I am, and that there's nothing wrong with what I am?\"\u003c/p>\n\u003cp>Good question, and others were asking it, too: In the British film \u003cem>A Taste of Honey,\u003c/em> Rita Tushingham gets pregnant by a black sailor and decides to keep the baby. Hollywood's first interracial kiss appeared in the drama \u003cem>Island in the Sun.\u003c/em> And the era-defining \u003cem>Guess Who's Coming to Dinner\u003c/em> arrived in theaters six months to the day after interracial marriage was legalized by the \u003cem>Loving\u003c/em> decision.\u003c/p>\n\u003cp>Lawyers only had to make their closing argument to nine Supreme Court justices. Spencer Tracy's summation went out to more than 40 million moviegoers, when he said this to Sidney Poitier and Katharine Houghton:\u003c/p>\n\u003cblockquote>\u003cp>\" 'Anybody could make a case — and a helluva good case — against your getting married,' he says. 'The arguments are so obvious that nobody has to make them. But you're two wonderful people, who happened to fall in love, and happen to have a pigmentation problem. And I think that now, no matter what kind of a case some bastard could make against your getting married, there would be only one thing worse. And that would be if, knowing what you two are, knowing what you two have, and knowing what you two feel, you didn't get married.' \"\u003c/p>\u003c/blockquote>\n\u003cp>And that broke the logjam, right?\u003c/p>\n\u003cp>No, not really. Hollywood spent the rest of the 20th century debating how to follow \u003cem>Guess Who's Coming To Dinner,\u003c/em> and mostly deciding not to.\u003c/p>\n\u003cfigure id=\"attachment_86018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-86018 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Williams and Daniel Kaluuya star in Jordan Peele's 'Get Out'.\u003cbr> (Justin Lubin/Courtesy of Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>Bromances with black-white pairings were fine — say, the \u003cem>Lethal Weapon\u003c/em> franchise. Producers who could attract stars of sufficient wattage — say Kevin Costner at the height of his fame, and Whitney Houston at the height of hers — could dare audiences to resist their pairing in a film like \u003cem>The Bodyguard\u003c/em>. And there were occasional problem-dramas that tackled the issue head-on as an issue — Spike Lee's \u003cem>Jungle Fever,\u003c/em> for instance, or the lesbian interracial romance \u003cem>The Watermelon Woman\u003c/em>.\u003c/p>\n\u003cp>But for many in Hollywood, the risk of alienating some part of the audience has not seemed a risk worth taking on a multimillion-dollar budget. So Will Smith and Denzel Washington have spent most of their careers appearing opposite African-American love interests, and Brad Pitt and Tom Cruise have not. Never mind that multiracial casting has been a boon at the box office for, say, the \u003cem>Fast and Furious\u003c/em> films.\u003c/p>\n\u003cp>There are, of course, outliers. Jordan Peele's satirical dramedy \u003cem>Get Out\u003c/em> is a witty look at social stereotyping, which uses race to subvert and amplify horror tropes. With a first-time director, \u003cem>Get Out\u003c/em> has taken in almost a quarter of a billion dollars at the worldwide box office.\u003c/p>\n\u003cp>Also this year, in \u003cem>Everything, Everything,\u003c/em> an African-American girl-in-a-bubble and a white neighbor fall in love. The supporting cast of \u003cem>Beauty and the Beast\u003c/em> turned out to have two interracial couples, once the magic spell was broken. And in the upcoming comedy \u003cem>The Big Sick,\u003c/em> Kumail Nanjiani will tell the true story of how he, a man of Pakistani descent, met his Caucasian wife.\u003c/p>\n\u003cp>These films, let's note, make sense in the current movie marketplace, especially for younger viewers. The Pew Research Center \u003ca href=\"http://www.pewsocialtrends.org/2017/05/18/intermarriage-in-the-u-s-50-years-after-loving-v-virginia/#fn-22844-2\" target=\"_blank\" rel=\"noopener noreferrer\">recently reported\u003c/a> that in 2015, the most recent year for which figures are available, \"17 percent of all U.S. newlyweds had a spouse of a different race or ethnicity.\" That compares with 3 percent in 1967 — the year of the \u003cem>Loving\u003c/em> decision and of \u003cem>Guess Who's Coming to Dinner.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The nation has changed, and Hollywood will, too. At the moment, though, it's still playing catch-up.\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=50+Years+After+%27Loving%2C%27+Hollywood+Still+Struggles+With+Interracial+Romance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How Big Brother Magazine Paved the Way for 'Jackass,' Jonah Hill, and Our Collective Desensitization",
"title": "How Big Brother Magazine Paved the Way for 'Jackass,' Jonah Hill, and Our Collective Desensitization",
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"content": "\u003cp>In case you haven't checked Hulu's new movies section recently, there's a documentary that just came out titled \u003ca href=\"https://www.hulu.com/watch/1086233\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dumb: The Story of Big Brother Magazine\u003c/em>\u003c/a>. Unless you were a skateboarder in the '90s, you probably have no idea what \u003ca href=\"https://en.wikipedia.org/wiki/Big_Brother_(magazine)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Big Brother\u003c/em>\u003c/a> was. But the magazine's influence\u003cem> \u003c/em>is still ricocheting around the pop culture landscape and has undoubtedly touched you at some point, whether you know it or not.\u003c/p>\n\u003cp>The most obvious thing to come out of \u003cem>Big Brother\u003c/em> was \u003cem>Jackass—\u003c/em>MTV's paean to stupid stunts and behaving badly. Before \u003cem>Jackass\u003c/em>, \u003ca href=\"https://en.wikipedia.org/wiki/Johnny_Knoxville\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Knoxville\u003c/a> made a name for himself in the skate community (despite not even being a skater) by showing up on \u003cem>Big Brother\u003c/em> videos and literally attacking himself with a variety of weapons, including an actual gun.\u003c/p>\n\u003cp>As somebody who was pretty submerged in the skateboard community the year the video below came out (1998), I cannot overstate the gleeful-yet-horrified impact that watching Knoxville shoot himself had at that time. Approach this footage with caution if you don't like cursing and/ or watching dudes really, really hurt themselves:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xU9eakbujlg\u003c/p>\n\u003cp>By the time Knoxville had thrown himself in front of a moving vehicle for another\u003ca href=\"https://www.youtube.com/playlist?list=PLltys3SF2WxOE69B-797-dRWCKqV2bJB-\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Big Brother\u003c/em>\u003c/a> video, just a year later, the skate community was as desensitized to this kind of stunt as the entire nation would later become after three seasons of \u003cem>Jackass\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn't just the \u003cem>Big Brother\u003c/em> skate videos that were nuts, \u003cem>Big Brother\u003c/em> magazine made \u003cem>National Lampoon\u003c/em> look like \u003cem>Disney Adventures. \u003c/em>(\u003ca href=\"https://en.wikipedia.org/wiki/Chris_Pontius\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Pontius\u003c/a> wrote for it, \u003ca href=\"https://en.wikipedia.org/wiki/Steve-O\" target=\"_blank\" rel=\"noopener noreferrer\">Steve-O\u003c/a> literally set his face on fire to get in the magazine, and Jason \"\u003ca href=\"https://en.wikipedia.org/wiki/Jason_Acu%C3%B1a\" target=\"_blank\" rel=\"noopener noreferrer\">Wee Man\u003c/a>\" Acuña was the subscription manager.) It was less about skateboarding and more about self-consciously trying to offend—which is why there were \u003ca href=\"https://www.youtube.com/watch?v=Jwrz1pc-tv8\" target=\"_blank\" rel=\"noopener noreferrer\">news stories warning parents\u003c/a> about the dangers of \u003cem>Big Brother,\u003c/em> and why it ended up being owned by \u003ca href=\"https://en.wikipedia.org/wiki/Hustler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hustler\u003c/em>\u003c/a>-founder and First Amendment fan, \u003ca href=\"https://en.wikipedia.org/wiki/Larry_Flynt\" target=\"_blank\" rel=\"noopener noreferrer\">Larry Flynt\u003c/a>.\u003c/p>\n\u003cp>Truly, in the pre-internet age,\u003cem> Big Brother\u003c/em> was a dark entity. It was a window into the most self-destructive, nihilistic elements of skateboarding. It was uncomfortable to read. There were graphic depictions of bodily fluids and rampant, full frontal nudity. It was sometimes homophobic and frequently sexist. Its \"KIDS ISSUE\" had a cover designed to appeal to children, but articles about bestiality and BDSM inside. Instructions on how to take drugs and how to commit suicide were featured. \u003cem>Big Brother\u003c/em> embraced every taboo possible in the same decade that political correctness became a thing, and thrived both because, and in spite, of it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0jcKEifF0og\u003c/p>\n\u003cp>When \u003cem>Big Brother\u003c/em> first emerged in 1992, the shadier, dirtier, riskier elements of skating were already well-established (thanks in no small part to \u003ca href=\"https://www.youtube.com/watch?v=hzx5Ji3Yyas&t=2137s\" target=\"_blank\" rel=\"noopener noreferrer\">what was happening in the Bay Area\u003c/a> in the late '80s and early '90s). \u003cem>Big Brother\u003c/em> just did more to shine a light on them than anyone else ever had, and subsequently managed to push skateboarding's focus almost entirely in that direction—at least for a few years. The more sexual and offensive content there was in the magazine, the more the entire skateboard industry embraced shock value.\u003c/p>\n\u003cp>As previously stated, without \u003cem>Big Brother\u003c/em>, there would have been no \u003cem>Jackass. \u003c/em>And without\u003cem> Jackass,\u003c/em> the boundaries of how ridiculous and dangerous you can be on television and in movies would not be where they are now. Actor Jonah Hill, speaking in the \u003cem>Dumb\u003c/em> documentary, describes \u003cem>Big Brother\u003c/em> as his \"biggest influence comedically\" because it made him think \"humor could be cool, because it could be dangerous.\" In the world of print, one has to wonder if men's magazines like \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Maxim_(magazine)\" target=\"_blank\" rel=\"noopener noreferrer\">Maxim\u003c/a> \u003c/em>(launched 1995)\u003cem> \u003c/em>and\u003cem> \u003ca href=\"https://books.google.com/books?id=nT6pCgAAQBAJ&pg=PT294&lpg=PT294&dq=FHM+launched+in+USA&source=bl&ots=sR6FGQFBb1&sig=mhjhC1nOhYsIQ46CJQV2vmi0bmg&hl=en&sa=X&ved=0ahUKEwiNjser16zUAhUN5mMKHbxDBF4Q6AEISjAG#v=onepage&q=FHM%20launched%20in%20USA&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">FHM\u003c/a>\u003c/em> (launched 1999) would have had the idea of incorporating so much unclothed female flesh into non-related and mainstream content if \u003cem>Big Brother\u003c/em> hadn't done it first\u003cem>.\u003c/em>\u003c/p>\n\u003cp>One of the great ironies of \u003cem>Big Brother\u003c/em> is that it helped create the environment that caused the boom in skateboarding in the late '90s and early 2000s, but was simultaneously destroyed because of it. Once skating hit the mainstream—thanks in part to the growing success of the \u003ca href=\"http://xgames.espn.com/xgames/\" target=\"_blank\" rel=\"noopener noreferrer\">X Games\u003c/a>—skate companies, wishing to cultivate an air of respectability, couldn't get away from \u003cem>Big Brother\u003c/em> fast enough. And without advertising dollars, the magazine was doomed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the post-internet age, it's difficult to imagine anything being able to shock quite like \u003cem>Big Brother\u003c/em> did in its heyday—but \u003cem>Big Brother\u003c/em> is also an indelible part of why we, as a culture, are inherently less shockable now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case you haven't checked Hulu's new movies section recently, there's a documentary that just came out titled \u003ca href=\"https://www.hulu.com/watch/1086233\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dumb: The Story of Big Brother Magazine\u003c/em>\u003c/a>. Unless you were a skateboarder in the '90s, you probably have no idea what \u003ca href=\"https://en.wikipedia.org/wiki/Big_Brother_(magazine)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Big Brother\u003c/em>\u003c/a> was. But the magazine's influence\u003cem> \u003c/em>is still ricocheting around the pop culture landscape and has undoubtedly touched you at some point, whether you know it or not.\u003c/p>\n\u003cp>The most obvious thing to come out of \u003cem>Big Brother\u003c/em> was \u003cem>Jackass—\u003c/em>MTV's paean to stupid stunts and behaving badly. Before \u003cem>Jackass\u003c/em>, \u003ca href=\"https://en.wikipedia.org/wiki/Johnny_Knoxville\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Knoxville\u003c/a> made a name for himself in the skate community (despite not even being a skater) by showing up on \u003cem>Big Brother\u003c/em> videos and literally attacking himself with a variety of weapons, including an actual gun.\u003c/p>\n\u003cp>As somebody who was pretty submerged in the skateboard community the year the video below came out (1998), I cannot overstate the gleeful-yet-horrified impact that watching Knoxville shoot himself had at that time. Approach this footage with caution if you don't like cursing and/ or watching dudes really, really hurt themselves:\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/xU9eakbujlg'\n title='//www.youtube.com/embed/xU9eakbujlg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the time Knoxville had thrown himself in front of a moving vehicle for another\u003ca href=\"https://www.youtube.com/playlist?list=PLltys3SF2WxOE69B-797-dRWCKqV2bJB-\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Big Brother\u003c/em>\u003c/a> video, just a year later, the skate community was as desensitized to this kind of stunt as the entire nation would later become after three seasons of \u003cem>Jackass\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn't just the \u003cem>Big Brother\u003c/em> skate videos that were nuts, \u003cem>Big Brother\u003c/em> magazine made \u003cem>National Lampoon\u003c/em> look like \u003cem>Disney Adventures. \u003c/em>(\u003ca href=\"https://en.wikipedia.org/wiki/Chris_Pontius\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Pontius\u003c/a> wrote for it, \u003ca href=\"https://en.wikipedia.org/wiki/Steve-O\" target=\"_blank\" rel=\"noopener noreferrer\">Steve-O\u003c/a> literally set his face on fire to get in the magazine, and Jason \"\u003ca href=\"https://en.wikipedia.org/wiki/Jason_Acu%C3%B1a\" target=\"_blank\" rel=\"noopener noreferrer\">Wee Man\u003c/a>\" Acuña was the subscription manager.) It was less about skateboarding and more about self-consciously trying to offend—which is why there were \u003ca href=\"https://www.youtube.com/watch?v=Jwrz1pc-tv8\" target=\"_blank\" rel=\"noopener noreferrer\">news stories warning parents\u003c/a> about the dangers of \u003cem>Big Brother,\u003c/em> and why it ended up being owned by \u003ca href=\"https://en.wikipedia.org/wiki/Hustler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hustler\u003c/em>\u003c/a>-founder and First Amendment fan, \u003ca href=\"https://en.wikipedia.org/wiki/Larry_Flynt\" target=\"_blank\" rel=\"noopener noreferrer\">Larry Flynt\u003c/a>.\u003c/p>\n\u003cp>Truly, in the pre-internet age,\u003cem> Big Brother\u003c/em> was a dark entity. It was a window into the most self-destructive, nihilistic elements of skateboarding. It was uncomfortable to read. There were graphic depictions of bodily fluids and rampant, full frontal nudity. It was sometimes homophobic and frequently sexist. Its \"KIDS ISSUE\" had a cover designed to appeal to children, but articles about bestiality and BDSM inside. Instructions on how to take drugs and how to commit suicide were featured. \u003cem>Big Brother\u003c/em> embraced every taboo possible in the same decade that political correctness became a thing, and thrived both because, and in spite, of it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0jcKEifF0og'\n title='//www.youtube.com/embed/0jcKEifF0og'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When \u003cem>Big Brother\u003c/em> first emerged in 1992, the shadier, dirtier, riskier elements of skating were already well-established (thanks in no small part to \u003ca href=\"https://www.youtube.com/watch?v=hzx5Ji3Yyas&t=2137s\" target=\"_blank\" rel=\"noopener noreferrer\">what was happening in the Bay Area\u003c/a> in the late '80s and early '90s). \u003cem>Big Brother\u003c/em> just did more to shine a light on them than anyone else ever had, and subsequently managed to push skateboarding's focus almost entirely in that direction—at least for a few years. The more sexual and offensive content there was in the magazine, the more the entire skateboard industry embraced shock value.\u003c/p>\n\u003cp>As previously stated, without \u003cem>Big Brother\u003c/em>, there would have been no \u003cem>Jackass. \u003c/em>And without\u003cem> Jackass,\u003c/em> the boundaries of how ridiculous and dangerous you can be on television and in movies would not be where they are now. Actor Jonah Hill, speaking in the \u003cem>Dumb\u003c/em> documentary, describes \u003cem>Big Brother\u003c/em> as his \"biggest influence comedically\" because it made him think \"humor could be cool, because it could be dangerous.\" In the world of print, one has to wonder if men's magazines like \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Maxim_(magazine)\" target=\"_blank\" rel=\"noopener noreferrer\">Maxim\u003c/a> \u003c/em>(launched 1995)\u003cem> \u003c/em>and\u003cem> \u003ca href=\"https://books.google.com/books?id=nT6pCgAAQBAJ&pg=PT294&lpg=PT294&dq=FHM+launched+in+USA&source=bl&ots=sR6FGQFBb1&sig=mhjhC1nOhYsIQ46CJQV2vmi0bmg&hl=en&sa=X&ved=0ahUKEwiNjser16zUAhUN5mMKHbxDBF4Q6AEISjAG#v=onepage&q=FHM%20launched%20in%20USA&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">FHM\u003c/a>\u003c/em> (launched 1999) would have had the idea of incorporating so much unclothed female flesh into non-related and mainstream content if \u003cem>Big Brother\u003c/em> hadn't done it first\u003cem>.\u003c/em>\u003c/p>\n\u003cp>One of the great ironies of \u003cem>Big Brother\u003c/em> is that it helped create the environment that caused the boom in skateboarding in the late '90s and early 2000s, but was simultaneously destroyed because of it. Once skating hit the mainstream—thanks in part to the growing success of the \u003ca href=\"http://xgames.espn.com/xgames/\" target=\"_blank\" rel=\"noopener noreferrer\">X Games\u003c/a>—skate companies, wishing to cultivate an air of respectability, couldn't get away from \u003cem>Big Brother\u003c/em> fast enough. And without advertising dollars, the magazine was doomed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the post-internet age, it's difficult to imagine anything being able to shock quite like \u003cem>Big Brother\u003c/em> did in its heyday—but \u003cem>Big Brother\u003c/em> is also an indelible part of why we, as a culture, are inherently less shockable now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/06/Warriors.mp3\" title=\"An Oral History of Selfies and the Warriors\" 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>Allow me to tell you the story of me and sports. Don't worry, it won't take very long. From an early age, my mother decided to shape her only son into a “man” through gifts of over-sized Redskins winter apparel. I could live with that because it was infinitely better than \u003ca href=\"https://www.instagram.com/p/YQROlsKL3M/?taken-by=excusemybeauty\" target=\"_blank\" rel=\"noopener noreferrer\">the bow ties forced upon me in earlier years\u003c/a>. Something that was harder to accept was being enlisted in an actual sport.\u003c/p>\n\u003cp>This isn't recorded in any record books, but it's true: I was the most apathetic defense soccer player in the history of the game. As halfheartedly as Daria plays volleyball, I did my best to be as unhelpful as possible. But that didn't stop a hurtling ball from finding the side of my head. Stars! Just like in the cartoons!\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"http://25.media.tumblr.com/tumblr_mbg2yrSz2C1reihnqo1_400.gif\" alt=\"\">\u003c/p>\n\u003cp>If I was a fictional being in a Hollywood movie, this would have been the part of the story where I became impassioned and fueled by the pain and made some memorable winning play or something. What actually happened is I cried a lot and the coach took me to the sidelines and then did that thing jocks do in movies where they rally an unwilling person into doing something they don't actually want to do. \"YOU GOT THIS! YOU'RE FINE! YOU READY TO GO BACK IN THERE???\" I'm not exactly sure what I said, considering the head injury, but it was something in the neighborhood of: Hell no. That was the last day of my illustrious sporting career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since then, sports don't come up that often. Well, until recently, that is, with the Warriors making the NBA Finals in three consecutive years, and the SF Giants winning three World Series over the span of five years. On each of those occasions, I took the “if you can’t beat ‘em, join ‘em” approach and sacrificed myself to \u003ca href=\"http://a1.ec-images.myspacecdn.com/images01/90/087cb41702aff307d024cf8f163986a6/l.jpg\">the sporty gods\u003c/a>. And you know what, it wasn’t terrible. With the NBA Finals upon us, what’s a non-sports fan to do?\u003c/p>\n\u003cp>Here are a few tips on how to successfully pretend you care about sports (and maybe even have some fun while you’re at it):\u003c/p>\n\u003cp style=\"text-align: center\">1. \u003cstrong>Do respect the high holiday and mind your manners.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"http://1.bp.blogspot.com/-kNIlbDZHJlU/ThI7plOhyBI/AAAAAAAAAKM/qHKlw3qKOLs/s1600/manners.jpg\" alt=\"\">\u003c/p>\n\u003cp>I’m not sure if Emily Post ever touched on the topic of talking loudly over an important televised event, but I bet she would have been against it. So don’t be a chatterbox during pivotal plays. Just because you don’t care doesn’t mean that others don’t. This is called manners. You wouldn’t want someone to go on and on about how they just can’t figure out why so-and-so never called them back while you’re watching reruns of \u003cem>\u003ca href=\"http://ww2.kqed.org/pop/tag/full-house/\" target=\"_blank\" rel=\"noopener noreferrer\">Full House\u003c/a>\u003c/em>, now would you?\u003c/p>\n\u003cp style=\"text-align: center\">2. \u003cstrong>Do wear the right colors.\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/01/c4ce9940-1a5f-0131-b0bc-4e7ad7558a4b.gif\" rel=\"attachment wp-att-20154\">\u003cimg class=\"aligncenter size-full wp-image-20154\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/01/c4ce9940-1a5f-0131-b0bc-4e7ad7558a4b.gif\" alt=\"clueless clothes gif\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>Dressing up is fun (see: Halloween and Quinceañeras, Rocky Horror shows and raves). So get in the mood by putting together an ensemble that is appropriate for the occasion. You don’t have to go so far as to wear a jersey or hat, but at least get the colors right if you plan on rooting for a specific team. Don some midnight blue, gold, and/or international orange for the Warriors. If for some weird reason you're rooting for the Cavaliers, go for wine, gold and/or navy blue.\u003c/p>\n\u003cp style=\"text-align: center\">3. \u003cstrong>Do find your people.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RRteokw7m80\u003c/p>\n\u003cp>Life is too short to surround yourself with people that don't get you so find out where your kindred spirits hang out. If you like to be in the middle of the action, Mission dive bars are the place for you. If you enjoy reliving your college years, head to the Marina. If you don’t like strangers, invite yourself over to a friend’s house. And if you’re gay and aren’t opposed to \u003ca href=\"http://ww2.kqed.org/pop/2013/01/30/proven-gays-like-sports-too/\" target=\"_blank\" rel=\"noopener noreferrer\">a celebratory kiss\u003c/a>, check out Hi Tops in the Castro. If you don't live in San Francisco, I'm sure you know which local spot you'd feel most comfortable in.\u003c/p>\n\u003cp style=\"text-align: center\">4. \u003cstrong>Do your homework.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"http://www.bbisd.org/pages/uploaded_images/Garfeils.gif\" alt=\"\">\u003c/p>\n\u003cp>No one likes a dunce so do some light studying. Okay, let's be real; you're not going to study. Here's a cheat sheet from me to you:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/06/08/21-fun-facts-you-might-not-know-about-the-golden-state-warriors/\u003c/p>\n\u003cp class=\"Normal_0020_0028Web_0029\">Got all that? Good!\u003c/p>\n\u003cp>If all the above fails to up your interest level, here's a secret weapon: If you’re a girl, gay boy or open-minded straight guy, go through both teams’ rosters and pick your next boyfriend. As anyone who has crushed on their high school math teacher knows, love can make any subject interesting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">So put your shiver-inducing sports memories behind you and let these tips guide you to surviving and maybe even enjoying America’s biggest and baddest sporting event. In the words of my former coach: “YOU GOT THIS!”\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>Allow me to tell you the story of me and sports. Don't worry, it won't take very long. From an early age, my mother decided to shape her only son into a “man” through gifts of over-sized Redskins winter apparel. I could live with that because it was infinitely better than \u003ca href=\"https://www.instagram.com/p/YQROlsKL3M/?taken-by=excusemybeauty\" target=\"_blank\" rel=\"noopener noreferrer\">the bow ties forced upon me in earlier years\u003c/a>. Something that was harder to accept was being enlisted in an actual sport.\u003c/p>\n\u003cp>This isn't recorded in any record books, but it's true: I was the most apathetic defense soccer player in the history of the game. As halfheartedly as Daria plays volleyball, I did my best to be as unhelpful as possible. But that didn't stop a hurtling ball from finding the side of my head. Stars! Just like in the cartoons!\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"http://25.media.tumblr.com/tumblr_mbg2yrSz2C1reihnqo1_400.gif\" alt=\"\">\u003c/p>\n\u003cp>If I was a fictional being in a Hollywood movie, this would have been the part of the story where I became impassioned and fueled by the pain and made some memorable winning play or something. What actually happened is I cried a lot and the coach took me to the sidelines and then did that thing jocks do in movies where they rally an unwilling person into doing something they don't actually want to do. \"YOU GOT THIS! YOU'RE FINE! YOU READY TO GO BACK IN THERE???\" I'm not exactly sure what I said, considering the head injury, but it was something in the neighborhood of: Hell no. That was the last day of my illustrious sporting career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, sports don't come up that often. Well, until recently, that is, with the Warriors making the NBA Finals in three consecutive years, and the SF Giants winning three World Series over the span of five years. On each of those occasions, I took the “if you can’t beat ‘em, join ‘em” approach and sacrificed myself to \u003ca href=\"http://a1.ec-images.myspacecdn.com/images01/90/087cb41702aff307d024cf8f163986a6/l.jpg\">the sporty gods\u003c/a>. And you know what, it wasn’t terrible. With the NBA Finals upon us, what’s a non-sports fan to do?\u003c/p>\n\u003cp>Here are a few tips on how to successfully pretend you care about sports (and maybe even have some fun while you’re at it):\u003c/p>\n\u003cp style=\"text-align: center\">1. \u003cstrong>Do respect the high holiday and mind your manners.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"http://1.bp.blogspot.com/-kNIlbDZHJlU/ThI7plOhyBI/AAAAAAAAAKM/qHKlw3qKOLs/s1600/manners.jpg\" alt=\"\">\u003c/p>\n\u003cp>I’m not sure if Emily Post ever touched on the topic of talking loudly over an important televised event, but I bet she would have been against it. So don’t be a chatterbox during pivotal plays. Just because you don’t care doesn’t mean that others don’t. This is called manners. You wouldn’t want someone to go on and on about how they just can’t figure out why so-and-so never called them back while you’re watching reruns of \u003cem>\u003ca href=\"http://ww2.kqed.org/pop/tag/full-house/\" target=\"_blank\" rel=\"noopener noreferrer\">Full House\u003c/a>\u003c/em>, now would you?\u003c/p>\n\u003cp style=\"text-align: center\">2. \u003cstrong>Do wear the right colors.\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/01/c4ce9940-1a5f-0131-b0bc-4e7ad7558a4b.gif\" rel=\"attachment wp-att-20154\">\u003cimg class=\"aligncenter size-full wp-image-20154\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/01/c4ce9940-1a5f-0131-b0bc-4e7ad7558a4b.gif\" alt=\"clueless clothes gif\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>Dressing up is fun (see: Halloween and Quinceañeras, Rocky Horror shows and raves). So get in the mood by putting together an ensemble that is appropriate for the occasion. You don’t have to go so far as to wear a jersey or hat, but at least get the colors right if you plan on rooting for a specific team. Don some midnight blue, gold, and/or international orange for the Warriors. If for some weird reason you're rooting for the Cavaliers, go for wine, gold and/or navy blue.\u003c/p>\n\u003cp style=\"text-align: center\">3. \u003cstrong>Do find your people.\u003c/strong>\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/RRteokw7m80'\n title='//www.youtube.com/embed/RRteokw7m80'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Life is too short to surround yourself with people that don't get you so find out where your kindred spirits hang out. If you like to be in the middle of the action, Mission dive bars are the place for you. If you enjoy reliving your college years, head to the Marina. If you don’t like strangers, invite yourself over to a friend’s house. And if you’re gay and aren’t opposed to \u003ca href=\"http://ww2.kqed.org/pop/2013/01/30/proven-gays-like-sports-too/\" target=\"_blank\" rel=\"noopener noreferrer\">a celebratory kiss\u003c/a>, check out Hi Tops in the Castro. If you don't live in San Francisco, I'm sure you know which local spot you'd feel most comfortable in.\u003c/p>\n\u003cp style=\"text-align: center\">4. \u003cstrong>Do your homework.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"http://www.bbisd.org/pages/uploaded_images/Garfeils.gif\" alt=\"\">\u003c/p>\n\u003cp>No one likes a dunce so do some light studying. Okay, let's be real; you're not going to study. Here's a cheat sheet from me to you:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Howard Scott Warshaw has had many gigs over the years, but perhaps his most notable achievement was also a spectacular failure:\u003c/p>\n\u003cp>\"I did the E.T. video game, the game that is widely held to be the worst video game of all time,\" he says.\u003c/p>\n\u003cp>E.T. The Extra-Terrestrial for the Atari 2600 was a commercial flop and a gaming disaster. Based loosely on Steven Spielberg's 1982 blockbuster of the same name, the game was a confusing mess that left players frustrated and disoriented. Millions of copies went unsold, and Atari ended up literally burying the game by dumping many surplus cartridges into a New Mexico landfill.\u003c/p>\n\u003cp>Within a year of E.T.'s release, the entire video game industry collapsed. Warshaw ultimately had to give up his career as a game designer. But the failure also laid the foundations for a new life.\u003c/p>\n\u003cp>To understand the makings of what has been described as the worst video game ever, you have to understand the mind of the man who made it. From the very start of life, Howard Scott Warshaw was in a hurry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"When I was a kid, I wanted to be older. When I was older, I wanted to be an adult. I wanted to get out and I wanted to engage life,\" he says.\u003c/p>\n\u003cp>He wanted to get through school fast, make a quick, tidy fortune in business, and retire by 30.\u003c/p>\n\u003cp>To that end, he zipped through college, got a master's degree in computer engineering and headed to Silicon Valley. In 1981, he was hired at a new company called Atari. Atari was basically an early Silicon Valley startup. Its main product, the Atari 2600, was the first really popular video game console.\u003c/p>\n\u003cp>Warshaw's job was to design games. This was the era of games like Pong, in which users used black-and-white virtual paddles to push a small, square \"ball\" around a screen. It was pretty sedate.\u003c/p>\n\u003cp>Warshaw took a much more exciting approach to game design. At a time when graphics were primitive and in-game plots were nonexistent, he pushed to make his games feel more like movies.\u003c/p>\n\u003cp>\"I tried to make every single thing on the screen move and pulse with color and sound,\" he says.\u003c/p>\n\u003cp>His first game was Yars' Revenge. The user played a mutant space fly, trying to kill a giant monster. It was unlike anything that had come before, and it was a runaway hit.\u003c/p>\n\u003cfigure id=\"attachment_85254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-85254 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-800x440.jpg\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-800x440.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-160x88.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-768x422.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-240x132.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-375x206.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-520x286.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75.jpg 950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Howard Scott Warshaw was working at Atari in 1982 when Steven Spielberg asked him to design a video game adaptation of E.T.\u003cbr> (Courtesy of Dave Staugas)\u003c/figcaption>\u003c/figure>\n\u003cp>Warshaw quickly became one of the company's superstar programmers. When Atari got the rights to make the video game version of Steven Spielberg's first Indiana Jones movie, \u003cem>Raiders of the Lost Ark\u003c/em>, they put him on the job. Now to put this in perspective, nobody had ever made a video game based on a movie. At 23, Warshaw was going to be the first programmer to ever attempt it.\u003c/p>\n\u003cp>It took him 10 months to design the \u003cem>Raiders\u003c/em> game, write the code, get feedback, reprogram it and put it through quality control. When all that was finished, he showed Spielberg the final product.\u003c/p>\n\u003cp>\u003cstrong> \"\u003c/strong>He looks up at me and he says, 'It's just like a movie. I feel like I just watched a movie,' \" Warshaw recalls. \"I thought, 'Oh my God! Steven Spielberg thinks my adventure game is just like a movie!' To me that was the ultimate compliment I could possibly receive on this work.\"\u003c/p>\n\u003cp>And here's where the trouble began. The next movie Spielberg made was \u003cem>E.T.\u003c/em> Spielberg wanted a video game based on \u003cem>E.T\u003c/em>. And he wanted Warshaw to program it.\u003c/p>\n\u003cp>\"Spielberg had requested that I do E.T\u003cem>.\u003c/em> So fine, I'm not going to argue,\" Warshaw says. \"But what had happened, the negotiations for E.T\u003cem>.\u003c/em> had run very long.\"\u003c/p>\n\u003cp>Atari and Spielberg haggled over rights and money until the end of July 1982. To get the game out in time for the Christmas holiday, Warshaw would have to build it from scratch in five weeks. The CEO of Atari called him directly.\u003c/p>\n\u003cp>\"He goes, 'We need an \u003cem>E.T.\u003c/em> game and we need it for September first, can you do it?' And I said, 'You bet I can. I absolutely can,'\" he says.\u003c/p>\n\u003cp>\"I don't know exactly what I was full of at the time, exactly, but whatever it was I was overflowing with it, and I believed I could pull it off. I mean the hubris of it!\"\u003c/p>\n\u003cp>Warshaw wasn't the only one full of hubris. During this period, Atari was one of the fastest growing companies in America. Its profits were soaring and bonus checks were rolling in. Inside the headquarters were drugs and sex and booze.\u003c/p>\n\u003cp>\"It was a ridiculous, excessive, sort of 'fall of Rome' kind of environment,\" he says.\u003c/p>\n\u003cp>And everyone there believed that nothing could stop them.\u003c/p>\n\u003cp>Warshaw had just 36 hours to come up with a concept for the game. In the movie, E.T. puts together a communicator he uses to \"phone home.\" So Warshaw made that the basic plot of the game, too. The player as E.T. was to go around gathering parts for the phone.\u003c/p>\n\u003cp>\"Another issue with me is that it's not enough that we're going to do something in five weeks. I wanted to do something that was a step up, not just an add-on,\" he says.\u003c/p>\n\u003cp>Warshaw created an elaborate world for the Atari E.T. to explore. The world was designed to wrap around on itself, so traveling in any direction eventually returned E.T. to his starting point.\u003c/p>\n\u003cfigure id=\"attachment_85255\" class=\"wp-caption alignright\" style=\"max-width: 316px\">\u003cimg class=\"size-full wp-image-85255\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/et-2_enl-1ca07a16cf17786b685e544b86145a2334d5e38b.png\" alt=\"\" width=\"316\" height=\"196\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/05/et-2_enl-1ca07a16cf17786b685e544b86145a2334d5e38b.png 316w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/et-2_enl-1ca07a16cf17786b685e544b86145a2334d5e38b-160x99.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/et-2_enl-1ca07a16cf17786b685e544b86145a2334d5e38b-240x149.png 240w\" sizes=\"(max-width: 316px) 100vw, 316px\">\u003cfigcaption class=\"wp-caption-text\">In a still from the game, Elliott meets E.T. in a field of wells. The player must also collect Reese's Pieces, which are represented by small black dots throughout the game.\u003cbr>(Wikipedia)\u003c/figcaption>\u003c/figure>\n\u003cp>Then Warshaw added lots of pits in the ground to hide parts of the phone in. (We'll get back to those pits later.)\u003c/p>\n\u003cp>Warshaw flew down to LA to show Spielberg the concept.\u003c/p>\n\u003cp>\"I lay the whole thing out and here it is, and Spielberg looks at me and he goes, 'Couldn't you just do something like Pac-Man?'\"\u003c/p>\n\u003cp>Warshaw was furious. \"Just to give you an idea of how full of myself I was at that point. I'm sitting there with Steven Spielberg and I wanted to say, 'Well, gee, Steven couldn't you do something like \u003cem>The Day the Earth Stood Still\u003c/em>?'\"\u003c/p>\n\u003cp>In the end Spielberg signed off on the game's design. Warshaw went back to Silicon Valley. He had a game development system moved into his home so he could work on E.T. day and night.\u003c/p>\n\u003cp>\"I would say workwise it was the hardest five weeks of my life,\" he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7W41bHU7F0U\u003c/p>\n\u003cp>And in five, magical weeks, he took the blockbuster film \u003cem>E.T.\u003c/em> and turned it into a horrible video game.\u003c/p>\n\u003cp>Here's the fundamental problem with E.T.: It's really confusing to play. The E.T. game character travels through a wraparound world that keeps returning players to the same screen again and again without explanation. The pits in the ground, in which E.T.'s phone is hidden, constantly trap the little alien. In the words of NPR's \u003ca href=\"http://www.npr.org/people/182264497/gene-demby\">Gene Demby\u003c/a>, who received a copy one Christmas in his youth, E.T. is the video-game equivalent of \"purgatory.\"\u003c/p>\n\u003cp>Warshaw has a different way of explaining the game's problem: \"There's a difference between frustration and disorientation,\" he says. \"Video games are all about frustration. It's OK to frustrate a user. In fact, it's important to frustrate a user. But you don't want to disorient the user.\"\u003c/p>\n\u003cp>At first, Warshaw didn't know that he'd made a dud. Sales around the holidays were strong. E.T. was at the top of the charts. But then, in the halls at Atari, people started coming up to him and saying things that made it clear E.T. had flopped.\u003c/p>\n\u003cp>\"It hurt,\" Warshaw recalls. \"I mean it hurt to hear that people aren't liking my game.\"\u003c/p>\n\u003cfigure id=\"attachment_85265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-85265 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-768x510.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An E.T. video game cartridge found along with other discarded Atari games in a New Mexico landfill in 2013.\u003cbr> (taylorhatmaker/ Wikimedia)\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time Warshaw's game flopped, Atari was running into real trouble. The company's owners were making bad business deals. Programmers like Warshaw were making bad games. And just as quickly as it had risen, Atari was falling. The CEO was fired, and the company had to lay off hundreds of employees.\u003c/p>\n\u003cp>Soon, Warshaw was out of a job. \"Atari was the world to me,\" he says. \"You want to talk about a failure. The failure of E.T. was really nothing at that time in my life compared to the loss of Atari as a workplace.\"\u003c/p>\n\u003cp>But when it came to failure, Warshaw was just getting started. Atari had made him a millionaire, but he squandered it on bad investments. And then the IRS came after him for back taxes. Warshaw hit bottom.\u003c/p>\n\u003cp>\"Until one day, I really had a sit-down with myself, and I said, 'You know, the IRS can only take my money. That's really all they can do. If I give them my happiness, that's on me.' \"\u003c/p>\n\u003cp>And he began a long, slow journey toward finding that happiness again. He went from job to job: computers, videography, real estate. Some gigs were better than others, but none compared to his time at Atari. The months stretched into years, and eventually more than a decade. And then one day, he was talking to his girlfriend at the time and she asked him, \"What do you really want to do?\"\u003c/p>\n\u003cp>\"I said, 'Well, I'd be a therapist.' I mean, I didn't even think for a second, I knew exactly what I wanted to do,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_85256\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-85256 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-800x489.jpg\" alt=\"\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-800x489.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-1020x623.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-1920x1173.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-1180x721.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-960x587.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-240x147.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-375x229.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-520x318.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warshaw and his wife, Sherri Warshaw, earlier this year.\u003cbr> (Courtesy of Howard Scott Warshaw)\u003c/figcaption>\u003c/figure>\n\u003cp>Therapy. It made perfect sense. Silicon Valley was booming, except instead of video games it was smartphones and apps. Startups were failing. People's careers were crashing and burning. And after everything he'd been through, Warshaw knew he was the guy who could help.\u003c/p>\n\u003cp>\"I have been there; I do know what it's like. I have succeeded and I've failed and I've lost it, and I've had it and I've lost it. I've seen all this go. I can help people really understand and relate and find a way around and through it,\" he says.\u003c/p>\n\u003cp>Warshaw got his license, and today he calls himself the \u003ca href=\"http://hswarshaw.com/wordpress/\">Silicon Valley Therapist\u003c/a>. His clients are a lot like he was back in the day: young, ambitious and rushing ahead. Business is good.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story is the third in a four-part series on the experience of failure and how people deal with it. It was developed in NPR's \u003c/em>Story Lab\u003cem>. Nicholas DePrey created original music for the series.\u003c/em>\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=Total+Failure%3A+The+World%27s+Worst+Video+Game&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Howard Scott Warshaw has had many gigs over the years, but perhaps his most notable achievement was also a spectacular failure:\u003c/p>\n\u003cp>\"I did the E.T. video game, the game that is widely held to be the worst video game of all time,\" he says.\u003c/p>\n\u003cp>E.T. The Extra-Terrestrial for the Atari 2600 was a commercial flop and a gaming disaster. Based loosely on Steven Spielberg's 1982 blockbuster of the same name, the game was a confusing mess that left players frustrated and disoriented. Millions of copies went unsold, and Atari ended up literally burying the game by dumping many surplus cartridges into a New Mexico landfill.\u003c/p>\n\u003cp>Within a year of E.T.'s release, the entire video game industry collapsed. Warshaw ultimately had to give up his career as a game designer. But the failure also laid the foundations for a new life.\u003c/p>\n\u003cp>To understand the makings of what has been described as the worst video game ever, you have to understand the mind of the man who made it. From the very start of life, Howard Scott Warshaw was in a hurry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"When I was a kid, I wanted to be older. When I was older, I wanted to be an adult. I wanted to get out and I wanted to engage life,\" he says.\u003c/p>\n\u003cp>He wanted to get through school fast, make a quick, tidy fortune in business, and retire by 30.\u003c/p>\n\u003cp>To that end, he zipped through college, got a master's degree in computer engineering and headed to Silicon Valley. In 1981, he was hired at a new company called Atari. Atari was basically an early Silicon Valley startup. Its main product, the Atari 2600, was the first really popular video game console.\u003c/p>\n\u003cp>Warshaw's job was to design games. This was the era of games like Pong, in which users used black-and-white virtual paddles to push a small, square \"ball\" around a screen. It was pretty sedate.\u003c/p>\n\u003cp>Warshaw took a much more exciting approach to game design. At a time when graphics were primitive and in-game plots were nonexistent, he pushed to make his games feel more like movies.\u003c/p>\n\u003cp>\"I tried to make every single thing on the screen move and pulse with color and sound,\" he says.\u003c/p>\n\u003cp>His first game was Yars' Revenge. The user played a mutant space fly, trying to kill a giant monster. It was unlike anything that had come before, and it was a runaway hit.\u003c/p>\n\u003cfigure id=\"attachment_85254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-85254 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-800x440.jpg\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-800x440.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-160x88.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-768x422.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-240x132.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-375x206.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75-520x286.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/dave-staugas-1_enl-30a7af3bf9ed96dbe796aa722539cd0ba4ab5c75.jpg 950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Howard Scott Warshaw was working at Atari in 1982 when Steven Spielberg asked him to design a video game adaptation of E.T.\u003cbr> (Courtesy of Dave Staugas)\u003c/figcaption>\u003c/figure>\n\u003cp>Warshaw quickly became one of the company's superstar programmers. When Atari got the rights to make the video game version of Steven Spielberg's first Indiana Jones movie, \u003cem>Raiders of the Lost Ark\u003c/em>, they put him on the job. Now to put this in perspective, nobody had ever made a video game based on a movie. At 23, Warshaw was going to be the first programmer to ever attempt it.\u003c/p>\n\u003cp>It took him 10 months to design the \u003cem>Raiders\u003c/em> game, write the code, get feedback, reprogram it and put it through quality control. When all that was finished, he showed Spielberg the final product.\u003c/p>\n\u003cp>\u003cstrong> \"\u003c/strong>He looks up at me and he says, 'It's just like a movie. I feel like I just watched a movie,' \" Warshaw recalls. \"I thought, 'Oh my God! Steven Spielberg thinks my adventure game is just like a movie!' To me that was the ultimate compliment I could possibly receive on this work.\"\u003c/p>\n\u003cp>And here's where the trouble began. The next movie Spielberg made was \u003cem>E.T.\u003c/em> Spielberg wanted a video game based on \u003cem>E.T\u003c/em>. And he wanted Warshaw to program it.\u003c/p>\n\u003cp>\"Spielberg had requested that I do E.T\u003cem>.\u003c/em> So fine, I'm not going to argue,\" Warshaw says. \"But what had happened, the negotiations for E.T\u003cem>.\u003c/em> had run very long.\"\u003c/p>\n\u003cp>Atari and Spielberg haggled over rights and money until the end of July 1982. To get the game out in time for the Christmas holiday, Warshaw would have to build it from scratch in five weeks. The CEO of Atari called him directly.\u003c/p>\n\u003cp>\"He goes, 'We need an \u003cem>E.T.\u003c/em> game and we need it for September first, can you do it?' And I said, 'You bet I can. I absolutely can,'\" he says.\u003c/p>\n\u003cp>\"I don't know exactly what I was full of at the time, exactly, but whatever it was I was overflowing with it, and I believed I could pull it off. I mean the hubris of it!\"\u003c/p>\n\u003cp>Warshaw wasn't the only one full of hubris. During this period, Atari was one of the fastest growing companies in America. Its profits were soaring and bonus checks were rolling in. Inside the headquarters were drugs and sex and booze.\u003c/p>\n\u003cp>\"It was a ridiculous, excessive, sort of 'fall of Rome' kind of environment,\" he says.\u003c/p>\n\u003cp>And everyone there believed that nothing could stop them.\u003c/p>\n\u003cp>Warshaw had just 36 hours to come up with a concept for the game. In the movie, E.T. puts together a communicator he uses to \"phone home.\" So Warshaw made that the basic plot of the game, too. The player as E.T. was to go around gathering parts for the phone.\u003c/p>\n\u003cp>\"Another issue with me is that it's not enough that we're going to do something in five weeks. I wanted to do something that was a step up, not just an add-on,\" he says.\u003c/p>\n\u003cp>Warshaw created an elaborate world for the Atari E.T. to explore. The world was designed to wrap around on itself, so traveling in any direction eventually returned E.T. to his starting point.\u003c/p>\n\u003cfigure id=\"attachment_85255\" class=\"wp-caption alignright\" style=\"max-width: 316px\">\u003cimg class=\"size-full wp-image-85255\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/et-2_enl-1ca07a16cf17786b685e544b86145a2334d5e38b.png\" alt=\"\" width=\"316\" height=\"196\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/05/et-2_enl-1ca07a16cf17786b685e544b86145a2334d5e38b.png 316w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/et-2_enl-1ca07a16cf17786b685e544b86145a2334d5e38b-160x99.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/et-2_enl-1ca07a16cf17786b685e544b86145a2334d5e38b-240x149.png 240w\" sizes=\"(max-width: 316px) 100vw, 316px\">\u003cfigcaption class=\"wp-caption-text\">In a still from the game, Elliott meets E.T. in a field of wells. The player must also collect Reese's Pieces, which are represented by small black dots throughout the game.\u003cbr>(Wikipedia)\u003c/figcaption>\u003c/figure>\n\u003cp>Then Warshaw added lots of pits in the ground to hide parts of the phone in. (We'll get back to those pits later.)\u003c/p>\n\u003cp>Warshaw flew down to LA to show Spielberg the concept.\u003c/p>\n\u003cp>\"I lay the whole thing out and here it is, and Spielberg looks at me and he goes, 'Couldn't you just do something like Pac-Man?'\"\u003c/p>\n\u003cp>Warshaw was furious. \"Just to give you an idea of how full of myself I was at that point. I'm sitting there with Steven Spielberg and I wanted to say, 'Well, gee, Steven couldn't you do something like \u003cem>The Day the Earth Stood Still\u003c/em>?'\"\u003c/p>\n\u003cp>In the end Spielberg signed off on the game's design. Warshaw went back to Silicon Valley. He had a game development system moved into his home so he could work on E.T. day and night.\u003c/p>\n\u003cp>\"I would say workwise it was the hardest five weeks of my life,\" he says.\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/7W41bHU7F0U'\n title='//www.youtube.com/embed/7W41bHU7F0U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And in five, magical weeks, he took the blockbuster film \u003cem>E.T.\u003c/em> and turned it into a horrible video game.\u003c/p>\n\u003cp>Here's the fundamental problem with E.T.: It's really confusing to play. The E.T. game character travels through a wraparound world that keeps returning players to the same screen again and again without explanation. The pits in the ground, in which E.T.'s phone is hidden, constantly trap the little alien. In the words of NPR's \u003ca href=\"http://www.npr.org/people/182264497/gene-demby\">Gene Demby\u003c/a>, who received a copy one Christmas in his youth, E.T. is the video-game equivalent of \"purgatory.\"\u003c/p>\n\u003cp>Warshaw has a different way of explaining the game's problem: \"There's a difference between frustration and disorientation,\" he says. \"Video games are all about frustration. It's OK to frustrate a user. In fact, it's important to frustrate a user. But you don't want to disorient the user.\"\u003c/p>\n\u003cp>At first, Warshaw didn't know that he'd made a dud. Sales around the holidays were strong. E.T. was at the top of the charts. But then, in the halls at Atari, people started coming up to him and saying things that made it clear E.T. had flopped.\u003c/p>\n\u003cp>\"It hurt,\" Warshaw recalls. \"I mean it hurt to hear that people aren't liking my game.\"\u003c/p>\n\u003cfigure id=\"attachment_85265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-85265 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-768x510.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/et-1_custom-c3583ef1f8e9fca5088b3f2dd7c1f6371e4958e9-s800-c85-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An E.T. video game cartridge found along with other discarded Atari games in a New Mexico landfill in 2013.\u003cbr> (taylorhatmaker/ Wikimedia)\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time Warshaw's game flopped, Atari was running into real trouble. The company's owners were making bad business deals. Programmers like Warshaw were making bad games. And just as quickly as it had risen, Atari was falling. The CEO was fired, and the company had to lay off hundreds of employees.\u003c/p>\n\u003cp>Soon, Warshaw was out of a job. \"Atari was the world to me,\" he says. \"You want to talk about a failure. The failure of E.T. was really nothing at that time in my life compared to the loss of Atari as a workplace.\"\u003c/p>\n\u003cp>But when it came to failure, Warshaw was just getting started. Atari had made him a millionaire, but he squandered it on bad investments. And then the IRS came after him for back taxes. Warshaw hit bottom.\u003c/p>\n\u003cp>\"Until one day, I really had a sit-down with myself, and I said, 'You know, the IRS can only take my money. That's really all they can do. If I give them my happiness, that's on me.' \"\u003c/p>\n\u003cp>And he began a long, slow journey toward finding that happiness again. He went from job to job: computers, videography, real estate. Some gigs were better than others, but none compared to his time at Atari. The months stretched into years, and eventually more than a decade. And then one day, he was talking to his girlfriend at the time and she asked him, \"What do you really want to do?\"\u003c/p>\n\u003cp>\"I said, 'Well, I'd be a therapist.' I mean, I didn't even think for a second, I knew exactly what I wanted to do,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_85256\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-85256 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-800x489.jpg\" alt=\"\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-800x489.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-1020x623.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-1920x1173.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-1180x721.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-960x587.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-240x147.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-375x229.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/05/howard-1_enl-e3671150a5837724cda460944556d0a6ea771284-520x318.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warshaw and his wife, Sherri Warshaw, earlier this year.\u003cbr> (Courtesy of Howard Scott Warshaw)\u003c/figcaption>\u003c/figure>\n\u003cp>Therapy. It made perfect sense. Silicon Valley was booming, except instead of video games it was smartphones and apps. Startups were failing. People's careers were crashing and burning. And after everything he'd been through, Warshaw knew he was the guy who could help.\u003c/p>\n\u003cp>\"I have been there; I do know what it's like. I have succeeded and I've failed and I've lost it, and I've had it and I've lost it. I've seen all this go. I can help people really understand and relate and find a way around and through it,\" he says.\u003c/p>\n\u003cp>Warshaw got his license, and today he calls himself the \u003ca href=\"http://hswarshaw.com/wordpress/\">Silicon Valley Therapist\u003c/a>. His clients are a lot like he was back in the day: young, ambitious and rushing ahead. Business is good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is the third in a four-part series on the experience of failure and how people deal with it. It was developed in NPR's \u003c/em>Story Lab\u003cem>. Nicholas DePrey created original music for the series.\u003c/em>\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=Total+Failure%3A+The+World%27s+Worst+Video+Game&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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