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"title": "'Jon Stewart of Egypt' Looks for More than Just Laughs in U.S.",
"headTitle": "‘Jon Stewart of Egypt’ Looks for More than Just Laughs in U.S. | KQED",
"content": "\u003cp>When he appears on Tuesday, Apr. 4 at the University of California Berkeley’s Zellerbach Hall, \u003ca href=\"https://en.wikipedia.org/wiki/Bassem_Youssef\">Bassem Youssef \u003c/a>promises to be his usual funny self: a guy who, with a wry quip or odd facial expression, can induce laughter about very hard truths.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Millions of Americans know Youssef as “the Jon Stewart of Egypt,” a designation that references Youssef’s former Arabic-language TV show \u003ca href=\"https://en.wikipedia.org/wiki/Al_Bernameg\">\u003cem>Al-Bernameg\u003c/em>\u003c/a> (البرنامج), in which the comedian satirized Egyptian society before a weekly audience of 30 million people. During the \u003ca href=\"https://en.wikipedia.org/wiki/Arab_Spring\">2011 Arab Spring revolutions\u003c/a> and the turmoil surrounding \u003ca href=\"https://en.wikipedia.org/wiki/Mohamed_Morsi\">Mohamed Morsi\u003c/a>‘s presidential election and deposition in Egypt, humor made Youssef famous.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Jon Stewart with Bassem Youssef at Albernameg (English sub) البرنامج لقاء باسم يوسف مع جون ستيوارت\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ZveBqA4xy0A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>It also led to Youssef’s arrest by the Egyptian government and eventual forced exile from his homeland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, Youssef lives in the United States, and he’s experiencing a \u003cem>very \u003c/em>American moment — at the center of a giant media spotlight. The comedian’s new memoir, \u003cem>\u003ca href=\"https://www.harpercollins.com/9780062659989/revolution-for-dummies#audio-player\">Revolution for Dummies\u003c/a>,\u003c/em> is getting lots of attention, \u003ca href=\"https://www.youtube.com/watch?v=0o_MGKvYG3s\">including from Stephen Colbert\u003c/a>. Youssef is also the subject of the new documentary \u003ca href=\"http://ticklinggiants.com/\">\u003cem>Tickling Giants\u003c/em>\u003c/a> that’s getting rave reviews (“an ebullient ode to freedom,” \u003ca href=\"http://variety.com/2017/film/reviews/tickling-giants-review-boussem-youssef-jon-stewart-1202015825/\">said\u003c/a> \u003cem>Variety\u003c/em>) and drawing crowds around the U.S.\u003c/p>\n\u003cp>By phone from Los Angeles, where he lives with his wife and young daughter, Youssef spoke to KQED about the ups and downs of life in the spotlight, in advance of his appearance in the Bay Area under the auspices of Cal Performances.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bassem Youssef Worries He's In The Middle Eastern Version Of 'Get Out'\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/0o_MGKvYG3s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Do you miss Egypt and your show \u003cem>Al-Bernameg\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Of course I do. But I’m in a different life now. I’m starting over in a new country with new audiences and new references. I have very realistic expectations. If I have moderate success here – for example having my own foothold in the American media – that will be enough for me. The show in Egypt had its time, and that was it.\u003c/p>\n\u003cp>\u003cstrong>In the fall of 2016, you were a \u003ca href=\"http://cddrl.fsi.stanford.edu/news/bassem-youssef-joins-ard-visiting-scholar\">visiting scholar\u003c/a> at Stanford – with the Program on Arab Reform and Democracy at the university’s Center on Democracy, Development, and the Rule of Law. Is teaching at a university so different from doing comedy?\u003c/strong>\u003cspan style=\"font-size: 10.0pt;font-family: 'Arial','sans-serif';color: black\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12979811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12979811 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-800x452.jpg\" alt=\"Bassem Youssef\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725.jpg 1330w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bassem Youssef \u003ccite>(Photo: Courtesy of Coucla Refaat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well, in 2015 \u003ca href=\"http://iop.harvard.edu/fellows/bassem-youssef\">I was an academic at Harvard\u003c/a>, and engaging with students is something beautiful, because you have all these young students who are hungry to know more about politics outside the realm of the books they read. And, of course they sometimes turn to you for answers that the biggest, most veteran political scientists and leaders don’t have the answer for, like, “When are things going to change?” and “Do you think there’s hope?” Of course, we struggle in that. But it’s a great experience. I learned from them as much as they learned from me.\u003c/p>\n\u003cp>\u003cstrong>You’re very funny in front of a camera. But you can also be serious. Who is the real Bassem Youssef?\u003c/strong>\u003c/p>\n\u003cp>I enjoy more intellectual conversations than just cracking jokes. I’m a much more serious person in real life. Maybe before the show, I was that kind of guy – someone who liked to crack jokes. But after the show happened, it was kind of like my persona was doing the show, and my person was exhausted by that persona. In real life, I’m much more mellow.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Revolution for Dummies\u003c/em> reminds readers that you got involved in the Arab Spring protests, and started doing your show, somewhat reluctantly. You were a practicing doctor before all this.\u003c/strong>\u003c/p>\n\u003cp>I was only one example of millions of people who, after 30 years of living under a dictator, just thought it doesn’t matter to get involved because nothing will ever change. The revolution came and signified the change, and many people who had left Egypt came back. It changed all of us – I can’t say if it was for better or for worse.\u003c/p>\n\u003cp>\u003cstrong>When Jon Stewart visited your show in Egypt, you joked with your audience – in Arabic – that Stewart was “the Bassem Youssef of America.” Do you get tired of being compared to Jon Stewart? \u003c/strong>\u003c/p>\n\u003cp>We have this joke going on a lot between Jon and me. I’m honored to be mentioned in the same sentence as Jon Stewart. He’s an idol. I’ve watched him for 10 years. For me, it doesn’t get old. But it serves a practical purpose: It tells people who I am in four words: ‘Jon Stewart of Egypt.’ So people can automatically make a reference instead of trying to explain it to them the history of what I did, and what happened in Egypt.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bassem Youssef \u003ca href=\"https://calperformances.org/performances/2016-17/speakers/bassem-youssef.php\">appears\u003c/a> on Tuesday, Apr. 4 at the Cal Performances event, “The Joke is Mightier than the Sword.”\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When he appears on Tuesday, Apr. 4 at the University of California Berkeley’s Zellerbach Hall, \u003ca href=\"https://en.wikipedia.org/wiki/Bassem_Youssef\">Bassem Youssef \u003c/a>promises to be his usual funny self: a guy who, with a wry quip or odd facial expression, can induce laughter about very hard truths.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Millions of Americans know Youssef as “the Jon Stewart of Egypt,” a designation that references Youssef’s former Arabic-language TV show \u003ca href=\"https://en.wikipedia.org/wiki/Al_Bernameg\">\u003cem>Al-Bernameg\u003c/em>\u003c/a> (البرنامج), in which the comedian satirized Egyptian society before a weekly audience of 30 million people. During the \u003ca href=\"https://en.wikipedia.org/wiki/Arab_Spring\">2011 Arab Spring revolutions\u003c/a> and the turmoil surrounding \u003ca href=\"https://en.wikipedia.org/wiki/Mohamed_Morsi\">Mohamed Morsi\u003c/a>‘s presidential election and deposition in Egypt, humor made Youssef famous.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Jon Stewart with Bassem Youssef at Albernameg (English sub) البرنامج لقاء باسم يوسف مع جون ستيوارت\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ZveBqA4xy0A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>It also led to Youssef’s arrest by the Egyptian government and eventual forced exile from his homeland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, Youssef lives in the United States, and he’s experiencing a \u003cem>very \u003c/em>American moment — at the center of a giant media spotlight. The comedian’s new memoir, \u003cem>\u003ca href=\"https://www.harpercollins.com/9780062659989/revolution-for-dummies#audio-player\">Revolution for Dummies\u003c/a>,\u003c/em> is getting lots of attention, \u003ca href=\"https://www.youtube.com/watch?v=0o_MGKvYG3s\">including from Stephen Colbert\u003c/a>. Youssef is also the subject of the new documentary \u003ca href=\"http://ticklinggiants.com/\">\u003cem>Tickling Giants\u003c/em>\u003c/a> that’s getting rave reviews (“an ebullient ode to freedom,” \u003ca href=\"http://variety.com/2017/film/reviews/tickling-giants-review-boussem-youssef-jon-stewart-1202015825/\">said\u003c/a> \u003cem>Variety\u003c/em>) and drawing crowds around the U.S.\u003c/p>\n\u003cp>By phone from Los Angeles, where he lives with his wife and young daughter, Youssef spoke to KQED about the ups and downs of life in the spotlight, in advance of his appearance in the Bay Area under the auspices of Cal Performances.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bassem Youssef Worries He's In The Middle Eastern Version Of 'Get Out'\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/0o_MGKvYG3s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Do you miss Egypt and your show \u003cem>Al-Bernameg\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Of course I do. But I’m in a different life now. I’m starting over in a new country with new audiences and new references. I have very realistic expectations. If I have moderate success here – for example having my own foothold in the American media – that will be enough for me. The show in Egypt had its time, and that was it.\u003c/p>\n\u003cp>\u003cstrong>In the fall of 2016, you were a \u003ca href=\"http://cddrl.fsi.stanford.edu/news/bassem-youssef-joins-ard-visiting-scholar\">visiting scholar\u003c/a> at Stanford – with the Program on Arab Reform and Democracy at the university’s Center on Democracy, Development, and the Rule of Law. Is teaching at a university so different from doing comedy?\u003c/strong>\u003cspan style=\"font-size: 10.0pt;font-family: 'Arial','sans-serif';color: black\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12979811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12979811 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-800x452.jpg\" alt=\"Bassem Youssef\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725.jpg 1330w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bassem Youssef \u003ccite>(Photo: Courtesy of Coucla Refaat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well, in 2015 \u003ca href=\"http://iop.harvard.edu/fellows/bassem-youssef\">I was an academic at Harvard\u003c/a>, and engaging with students is something beautiful, because you have all these young students who are hungry to know more about politics outside the realm of the books they read. And, of course they sometimes turn to you for answers that the biggest, most veteran political scientists and leaders don’t have the answer for, like, “When are things going to change?” and “Do you think there’s hope?” Of course, we struggle in that. But it’s a great experience. I learned from them as much as they learned from me.\u003c/p>\n\u003cp>\u003cstrong>You’re very funny in front of a camera. But you can also be serious. Who is the real Bassem Youssef?\u003c/strong>\u003c/p>\n\u003cp>I enjoy more intellectual conversations than just cracking jokes. I’m a much more serious person in real life. Maybe before the show, I was that kind of guy – someone who liked to crack jokes. But after the show happened, it was kind of like my persona was doing the show, and my person was exhausted by that persona. In real life, I’m much more mellow.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Revolution for Dummies\u003c/em> reminds readers that you got involved in the Arab Spring protests, and started doing your show, somewhat reluctantly. You were a practicing doctor before all this.\u003c/strong>\u003c/p>\n\u003cp>I was only one example of millions of people who, after 30 years of living under a dictator, just thought it doesn’t matter to get involved because nothing will ever change. The revolution came and signified the change, and many people who had left Egypt came back. It changed all of us – I can’t say if it was for better or for worse.\u003c/p>\n\u003cp>\u003cstrong>When Jon Stewart visited your show in Egypt, you joked with your audience – in Arabic – that Stewart was “the Bassem Youssef of America.” Do you get tired of being compared to Jon Stewart? \u003c/strong>\u003c/p>\n\u003cp>We have this joke going on a lot between Jon and me. I’m honored to be mentioned in the same sentence as Jon Stewart. He’s an idol. I’ve watched him for 10 years. For me, it doesn’t get old. But it serves a practical purpose: It tells people who I am in four words: ‘Jon Stewart of Egypt.’ So people can automatically make a reference instead of trying to explain it to them the history of what I did, and what happened in Egypt.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bassem Youssef \u003ca href=\"https://calperformances.org/performances/2016-17/speakers/bassem-youssef.php\">appears\u003c/a> on Tuesday, Apr. 4 at the Cal Performances event, “The Joke is Mightier than the Sword.”\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The artist and gay activist Gilbert Baker has died in New York; he was 65. In 1978, Baker designed the rainbow flag, which has since become widely known as a symbol of LGBTQ pride and civil rights.\u003c/p>\n\u003cp>A vigil is planned at 7pm on Friday, March 31 in \u003ca href=\"https://www.facebook.com/events/1917863981815411/\" target=\"_blank\" rel=\"noopener\">Harvey Milk Plaza\u003c/a>, according to the \u003cem>San Francisco Bay Times\u003c/em>, which recently featured Baker on \u003ca href=\"https://issuu.com/sfbt/docs/03.09.17_final.small\" target=\"_blank\" rel=\"noopener\">its cover\u003c/a>.\u003c/p>\n\u003cp>“I am heartbroken,” wrote fellow activist Cleve Jones on his Facebook page. “My dearest friend in the world is gone. Gilbert gave the world the Rainbow Flag; he gave me forty years of love and friendship. I can’t stop crying. I love you forever Gilbert Baker.”\u003c/p>\n\u003cfigure id=\"attachment_12983964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12983964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Gilbert-Baker-The-white-House-e1491007138668-800x616.jpg\" alt=\"Gilbert Baker with President Barack Obama\" width=\"800\" height=\"616\">\u003cfigcaption class=\"wp-caption-text\">Gilbert Baker with President Barack Obama \u003ccite>(Photo: Courtesy of the White House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Baker designed the rainbow flag in San Francisco at the request of the city’s first openly gay supervisor, Harvey Milk, in an effort to create a symbol of unity for the LGBTQ community.\u003c/p>\n\u003cp>The original featured eight stripes: hot pink, red, orange, yellow, green, turquoise, indigo and violet. Baker changed the design the following year to the six-striped one used today, with red at the top and violet at the bottom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We called him Betsy Ross,” said Tom Ammiano, a former supervisor and state lawmaker who was also a contemporary and friend of Baker’s. “He always had a theatrical sense. He liked color and design. Every time you look at that flag. That is Gilbert.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Baker said of his creation, “It all goes back to the first moment of the first flag back in 1978 for me. Raising it up and seeing it there blowing in the wind for everyone to see. It completely astounded me that people just got it, in an instant like a bolt of lightning — that this was their flag. It belonged to all of us. It was the most thrilling moment of my life.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The artist and gay activist Gilbert Baker has died in New York; he was 65. In 1978, Baker designed the rainbow flag, which has since become widely known as a symbol of LGBTQ pride and civil rights.\u003c/p>\n\u003cp>A vigil is planned at 7pm on Friday, March 31 in \u003ca href=\"https://www.facebook.com/events/1917863981815411/\" target=\"_blank\" rel=\"noopener\">Harvey Milk Plaza\u003c/a>, according to the \u003cem>San Francisco Bay Times\u003c/em>, which recently featured Baker on \u003ca href=\"https://issuu.com/sfbt/docs/03.09.17_final.small\" target=\"_blank\" rel=\"noopener\">its cover\u003c/a>.\u003c/p>\n\u003cp>“I am heartbroken,” wrote fellow activist Cleve Jones on his Facebook page. “My dearest friend in the world is gone. Gilbert gave the world the Rainbow Flag; he gave me forty years of love and friendship. I can’t stop crying. I love you forever Gilbert Baker.”\u003c/p>\n\u003cfigure id=\"attachment_12983964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12983964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Gilbert-Baker-The-white-House-e1491007138668-800x616.jpg\" alt=\"Gilbert Baker with President Barack Obama\" width=\"800\" height=\"616\">\u003cfigcaption class=\"wp-caption-text\">Gilbert Baker with President Barack Obama \u003ccite>(Photo: Courtesy of the White House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Baker designed the rainbow flag in San Francisco at the request of the city’s first openly gay supervisor, Harvey Milk, in an effort to create a symbol of unity for the LGBTQ community.\u003c/p>\n\u003cp>The original featured eight stripes: hot pink, red, orange, yellow, green, turquoise, indigo and violet. Baker changed the design the following year to the six-striped one used today, with red at the top and violet at the bottom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We called him Betsy Ross,” said Tom Ammiano, a former supervisor and state lawmaker who was also a contemporary and friend of Baker’s. “He always had a theatrical sense. He liked color and design. Every time you look at that flag. That is Gilbert.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Baker said of his creation, “It all goes back to the first moment of the first flag back in 1978 for me. Raising it up and seeing it there blowing in the wind for everyone to see. It completely astounded me that people just got it, in an instant like a bolt of lightning — that this was their flag. It belonged to all of us. It was the most thrilling moment of my life.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X2b8_eZtjvo\u003c/p>\n\u003cp>\u003cstrong>March 31-April 3\u003c/strong>: Bach composed a number of motets for double chorus, always for special occasions, and the \u003ca href=\"http://www.americanbach.org/index.html\" target=\"_blank\" rel=\"noopener\">American Bach Soloists \u003c/a>(ABS) have programmed a full evening of these ethereal choral works. Music director Jeffrey Thomas led the ensemble in two of these pieces,”Singet dem Herrn ein neues Lied” and “Fürchte dich nicht, ich bin bei dir” at the 2012 Berkeley Festival & Exhibition, but ABS has added works for double chorus they say have only recently been attributed to Bach, which sounds like a promise of musical discovery. Details for the concert in Belvedere, Berkeley, San Francisco, and Davis \u003ca href=\"http://www.americanbach.org/2017-04.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6jWBCnIHe9A\u003c/p>\n\u003cp>\u003cstrong>March 30-April 23:\u003c/strong> \u003ca href=\"http://www.telegraph.co.uk/theatre/what-to-see/needles-and-opium-miles-davis-meets-jean-cocteau--review/\" target=\"_blank\" rel=\"noopener\">\u003cem>Needles and Opium\u003c/em>\u003c/a> is a play about \u003ca href=\"https://www.theguardian.com/music/2006/may/25/jazz\" target=\"_blank\" rel=\"noopener\">Miles Davis and his love for French singer Juliette Greco \u003c/a>and heroin in the Paris of 1949, as well as movie director \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Cocteau\" target=\"_blank\" rel=\"noopener\">Jean Cocteau\u003c/a>‘s dalliance with New York City and opium the same year. It’s an odd concept, but exactly what we might expect from French-Canadian theater director \u003ca href=\"http://lacaserne.net/index2.php/robertlepage/\" target=\"_blank\" rel=\"noopener\">Robert Lepage\u003c/a>. This revival of Lepage’s 1989 piece will be performed in a cube hanging over the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>‘s Geary Stage with an acrobat playing Miles Davis. Lepage’s work, at its best, is always a dazzling, disorienting puzzle. Details for the San Francisco run are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/needles_and_opium.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12978571\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978571\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-800x496.jpg\" alt=\"The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971 \u003ccite>(Photo: Courtesy of The Wooster Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 6-16\u003c/strong>: In \u003cem>The Town Hall Affair, \u003c/em>New York’s \u003ca href=\"http://thewoostergroup.org/blog/\" target=\"_blank\" rel=\"noopener\">The Wooster Group \u003c/a>brings to life a real-life debate from 1971 between the writer \u003ca href=\"https://www.theguardian.com/books/booksblog/2007/nov/13/farewelltonormanmailerase\" target=\"_blank\" rel=\"noopener\">Norman Mailer\u003c/a>, a hardcore macho chauvinist, and some of the biggest names in second wave feminism, including Germaine Greer, Jacqueline Ceballos, and Susan Sontag. The play is based on a documentary about the evening, \u003ca href=\"https://vimeo.com/78950738\" target=\"_blank\" rel=\"noopener\">\u003cem>Town Bloody Hall\u003c/em>\u003c/a>, made under challenging conditions by D.A. Pennebaker and Chris Hegedus. The theatrical result should be maddening and enlightening. Details for the run of \u003cem>Town Hall Affair \u003c/em>at Z Space in San Francisco are\u003ca href=\"http://www.zspace.org/the-town-hall-affair/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zw7DfFVga5Y\u003c/p>\n\u003cp>\u003cstrong>April 1 & 2\u003c/strong>: \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">Mucca Pazza \u003c/a>is a 20 plus member ensemble based in Chicago that gleefully deconstructs the whole idea of a marching band. As you can see and hear in the video above, they do it with lots of brass, drums and cheerleaders. The music is a blend of gypsy jazz and New Orleans funk. What could be bad? Details for Mucca Pazza’s performance at the Mondavi Center in Davis on Saturday are \u003ca href=\"https://www.mondaviarts.org/event/2016-17/mucca-pazza\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and details for their Sunday show at San Francisco’s Bottom of the Hill are \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12978570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12978570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg\" alt=\"A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Dorothea Lange from ‘Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco \u003ccite>(Photo: Dorothea Lange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 1-March 2018\u003c/strong>: On April 1, 75 years ago, the U.S. began registering and forcing Japanese Americans on the West Coast behind barbed wire at incarceration camps like Manzanar and Tule Lake. It’s mostly forgotten today, but the Presidio’s presiding officer at the time, General John Dewitt, oversaw the internment process. To commemorate that terrible breach of American values, The Presidio is opening the show \u003cem>Exclusion: The Presidio’s Role in World War II Japanese American Incarceration.\u003c/em>The Presidio’s director of heritage programs, Eric Blind, says one thing the show explores is the fact that fabricated news stories are an old tactic. “There were fake news stories going around saying that some of the Pearl Harbor bombers were wearing American university graduation rings, and this idea that there was a fifth column inside the United States ready to be spies and saboteurs from the Japanese American community,” Blind says. “None of these things were found to be true. But it did lead to bad decisions.” Details for \u003cem>Exclusion\u003c/em> at the Presidio Officers’ Club are \u003ca href=\"http://www.presidio.gov/officers-club/exhibitions/special-exhibition-exclusion\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/208527770\u003c/p>\n\u003cp>\u003cstrong>April 5-19:\u003c/strong> You could simply disappear into the dark for days on end at the \u003cem>60th San Francisco International Film Festival\u003c/em>. It’s a rite of spring with its 120 or so showings of features, documentaries, and cartoons. There are also seminars, like one on on \u003cem>Vertigo\u003c/em> and another on \u003cem>Citizen Kane\u003c/em>, both hosted by San Francisco film historian \u003ca href=\"https://en.wikipedia.org/wiki/David_Thomson_(film_critic)\" target=\"_blank\" rel=\"noopener\">David Thomson\u003c/a>. Local highlights include Peter Bratt with his documentary \u003cem>Dolores\u003c/em> about farm worker leader Dolores Huerta, and Peter Nicks’\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-force#.WN2UDm8rKJA\" target=\"_blank\" rel=\"noopener\">The Force\u003c/a>, \u003c/em>a documentary about the Oakland Police Department. Details for the SF International Film Fest are \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ytXTtXSgpPc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 3:\u003c/strong> The band Wire was born 40 years ago in London England, and they sound as tough and intense as they ever did on their new album \u003cem>Silver/Lead\u003c/em>. They’re formalists in a way, sticking to a classic, guitar-heavy sound. Yet they always find new things to say. The three old guys — Robert Gray on drums, Graham Lewis on bass guitar, and Colin Newman on guitar — are as punk as ever, and Matt Simms, the new guy since 2010, adds more awesome guitar work. Details on this chance to hear rock history at Slim’s on Monday are \u003ca href=\"http://www.slimspresents.com/event/wire-slims/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The Do List spotlights the San Francisco Film Fest, a feminist debate and punk pioneers 40 years on",
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"title": "Cy and David's Picks: A Modern Marching Band, Recalling a Racial Injustice, and Getting Wired | KQED",
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"headline": "Cy and David's Picks: A Modern Marching Band, Recalling a Racial Injustice, and Getting Wired",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\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/X2b8_eZtjvo'\n title='//www.youtube.com/embed/X2b8_eZtjvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 31-April 3\u003c/strong>: Bach composed a number of motets for double chorus, always for special occasions, and the \u003ca href=\"http://www.americanbach.org/index.html\" target=\"_blank\" rel=\"noopener\">American Bach Soloists \u003c/a>(ABS) have programmed a full evening of these ethereal choral works. Music director Jeffrey Thomas led the ensemble in two of these pieces,”Singet dem Herrn ein neues Lied” and “Fürchte dich nicht, ich bin bei dir” at the 2012 Berkeley Festival & Exhibition, but ABS has added works for double chorus they say have only recently been attributed to Bach, which sounds like a promise of musical discovery. Details for the concert in Belvedere, Berkeley, San Francisco, and Davis \u003ca href=\"http://www.americanbach.org/2017-04.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6jWBCnIHe9A'\n title='//www.youtube.com/embed/6jWBCnIHe9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 30-April 23:\u003c/strong> \u003ca href=\"http://www.telegraph.co.uk/theatre/what-to-see/needles-and-opium-miles-davis-meets-jean-cocteau--review/\" target=\"_blank\" rel=\"noopener\">\u003cem>Needles and Opium\u003c/em>\u003c/a> is a play about \u003ca href=\"https://www.theguardian.com/music/2006/may/25/jazz\" target=\"_blank\" rel=\"noopener\">Miles Davis and his love for French singer Juliette Greco \u003c/a>and heroin in the Paris of 1949, as well as movie director \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Cocteau\" target=\"_blank\" rel=\"noopener\">Jean Cocteau\u003c/a>‘s dalliance with New York City and opium the same year. It’s an odd concept, but exactly what we might expect from French-Canadian theater director \u003ca href=\"http://lacaserne.net/index2.php/robertlepage/\" target=\"_blank\" rel=\"noopener\">Robert Lepage\u003c/a>. This revival of Lepage’s 1989 piece will be performed in a cube hanging over the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>‘s Geary Stage with an acrobat playing Miles Davis. Lepage’s work, at its best, is always a dazzling, disorienting puzzle. Details for the San Francisco run are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/needles_and_opium.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12978571\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978571\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-800x496.jpg\" alt=\"The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971 \u003ccite>(Photo: Courtesy of The Wooster Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 6-16\u003c/strong>: In \u003cem>The Town Hall Affair, \u003c/em>New York’s \u003ca href=\"http://thewoostergroup.org/blog/\" target=\"_blank\" rel=\"noopener\">The Wooster Group \u003c/a>brings to life a real-life debate from 1971 between the writer \u003ca href=\"https://www.theguardian.com/books/booksblog/2007/nov/13/farewelltonormanmailerase\" target=\"_blank\" rel=\"noopener\">Norman Mailer\u003c/a>, a hardcore macho chauvinist, and some of the biggest names in second wave feminism, including Germaine Greer, Jacqueline Ceballos, and Susan Sontag. The play is based on a documentary about the evening, \u003ca href=\"https://vimeo.com/78950738\" target=\"_blank\" rel=\"noopener\">\u003cem>Town Bloody Hall\u003c/em>\u003c/a>, made under challenging conditions by D.A. Pennebaker and Chris Hegedus. The theatrical result should be maddening and enlightening. Details for the run of \u003cem>Town Hall Affair \u003c/em>at Z Space in San Francisco are\u003ca href=\"http://www.zspace.org/the-town-hall-affair/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zw7DfFVga5Y'\n title='//www.youtube.com/embed/Zw7DfFVga5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 1 & 2\u003c/strong>: \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">Mucca Pazza \u003c/a>is a 20 plus member ensemble based in Chicago that gleefully deconstructs the whole idea of a marching band. As you can see and hear in the video above, they do it with lots of brass, drums and cheerleaders. The music is a blend of gypsy jazz and New Orleans funk. What could be bad? Details for Mucca Pazza’s performance at the Mondavi Center in Davis on Saturday are \u003ca href=\"https://www.mondaviarts.org/event/2016-17/mucca-pazza\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and details for their Sunday show at San Francisco’s Bottom of the Hill are \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12978570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12978570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg\" alt=\"A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Dorothea Lange from ‘Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco \u003ccite>(Photo: Dorothea Lange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 1-March 2018\u003c/strong>: On April 1, 75 years ago, the U.S. began registering and forcing Japanese Americans on the West Coast behind barbed wire at incarceration camps like Manzanar and Tule Lake. It’s mostly forgotten today, but the Presidio’s presiding officer at the time, General John Dewitt, oversaw the internment process. To commemorate that terrible breach of American values, The Presidio is opening the show \u003cem>Exclusion: The Presidio’s Role in World War II Japanese American Incarceration.\u003c/em>The Presidio’s director of heritage programs, Eric Blind, says one thing the show explores is the fact that fabricated news stories are an old tactic. “There were fake news stories going around saying that some of the Pearl Harbor bombers were wearing American university graduation rings, and this idea that there was a fifth column inside the United States ready to be spies and saboteurs from the Japanese American community,” Blind says. “None of these things were found to be true. But it did lead to bad decisions.” Details for \u003cem>Exclusion\u003c/em> at the Presidio Officers’ Club are \u003ca href=\"http://www.presidio.gov/officers-club/exhibitions/special-exhibition-exclusion\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 5-19:\u003c/strong> You could simply disappear into the dark for days on end at the \u003cem>60th San Francisco International Film Festival\u003c/em>. It’s a rite of spring with its 120 or so showings of features, documentaries, and cartoons. There are also seminars, like one on on \u003cem>Vertigo\u003c/em> and another on \u003cem>Citizen Kane\u003c/em>, both hosted by San Francisco film historian \u003ca href=\"https://en.wikipedia.org/wiki/David_Thomson_(film_critic)\" target=\"_blank\" rel=\"noopener\">David Thomson\u003c/a>. Local highlights include Peter Bratt with his documentary \u003cem>Dolores\u003c/em> about farm worker leader Dolores Huerta, and Peter Nicks’\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-force#.WN2UDm8rKJA\" target=\"_blank\" rel=\"noopener\">The Force\u003c/a>, \u003c/em>a documentary about the Oakland Police Department. Details for the SF International Film Fest are \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">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/ytXTtXSgpPc'\n title='//www.youtube.com/embed/ytXTtXSgpPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 3:\u003c/strong> The band Wire was born 40 years ago in London England, and they sound as tough and intense as they ever did on their new album \u003cem>Silver/Lead\u003c/em>. They’re formalists in a way, sticking to a classic, guitar-heavy sound. Yet they always find new things to say. The three old guys — Robert Gray on drums, Graham Lewis on bass guitar, and Colin Newman on guitar — are as punk as ever, and Matt Simms, the new guy since 2010, adds more awesome guitar work. Details on this chance to hear rock history at Slim’s on Monday are \u003ca href=\"http://www.slimspresents.com/event/wire-slims/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[contextly_sidebar id=\"Yknj1xZIdalECnTXbTagkjYK8Lf9iwHV\"]When I decided to travel across the country to hear stories about identity and privilege, Idaho kept coming up as a place I needed to visit. In 2016, the state \u003ca href=\"http://www.pewresearch.org/fact-tank/2016/12/06/just-10-states-resettled-more-than-half-of-recent-refugees-to-u-s/ft_16-12-02_usrefugees_percapita/\">ranked third\u003c/a> (behind Nebraska and North Dakota) in welcoming the most refugees per capita. Rural red states dominating that list kind of shocked me, so I had to see it for myself.\u003c/p>\n\u003cp>After driving for hours, surrounded by nothing, I finally made it to Boise. The downtown area felt more like my small rural hometown in the middle of Louisiana than a state capital. My research there led to several refugee resettlement agencies, and Marwan Sweedan’s name kept coming up as a \"man about town\" I had to meet. Two minutes into our conversation, I could already see why.\u003c/p>\n\u003cp>A former surgeon, Sweedan came to the United States from Iraq as a refugee in 2008. A graduate of one of the most elite medical schools in the Middle East, he had worked at Ramadi Hospital with a focus on supporting mentally and physically challenged patients, a highly vulnerable and marginalized group in Iraq.\u003c/p>\n\u003cp>During the occupation of their country, many Iraqis volunteered to help the U.S. government. Sweedan, along with many of his family members, was among them. He helped establish the Commission of Public Integrity, an anti-corruption program created to foster good governance in Iraq and counter corruption in Iraqi officials.\u003c/p>\n\u003cp>\u003cem>Anti-corruption? Maybe he can help us clean up Washington?\u003c/em> I thought.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because of his work, Marwan Sweedan and his brothers faced assassination attempts. His own father was kidnapped and assassinated because of Marwan’s support of U.S. troops. Luckily, Marwan escaped to Jordan, where he worked with insurance companies as a consultant before getting help from an American friend and future mentor to receive refugee status in the United States.\u003c/p>\n\u003cp>His first destination upon arrival? San Francisco.\u003c/p>\n\u003cp>\"That was a cultural shock,\" Sweedan chuckled, describing his first few days in the U.S. \"The first time I was out was at night and it was Halloween. I called my friend, my mentor, and I told him, 'It's Halloween and I'm outside in the streets in San Francisco.' And he was laughing, 'Don't have a first impression, wait for me to explain things to you.'\"\u003c/p>\n\u003cp>Marwan eventually got more comfortable, thanks to weekly meetings with his mentor, where they would talk about all things American culture, from politics to history to holidays. Gratitude for that relationship is one of the reasons why Marwan now spends so much of his time volunteering with Global Impact to support new refugees in their resettlement in Boise and connect them with services and jobs.\u003c/p>\n\u003cp>In addition to the help of his mentor, Sweedan also attributes much of his acclimation to enlisting in the Army.\u003c/p>\n\u003cp>Upon arriving in San Francisco, Sweedan went from being an esteemed surgeon in Iraq to working as a technician in a tissue bank. Although he was quickly promoted, he decided to join the Army as a combat medic, hoping to use his medical skills to support his adopted home country.\u003c/p>\n\u003cp>\"I felt like I built a bridge, without carrying a weapon or being deployed,\" Sweedan beamed with pride. Superiors quickly realized that Sweedan’s wealth of knowledge on Iraq was an asset. Throughout his service, he gave a series of nine lectures on the customs, history, and language of Iraq to better prepare troops for their deployment. But the learning was mutual.\u003c/p>\n\u003cp>\"Joining the military helped me learn a lot about the United States. I worked with liberals and conservatives. Maybe there were people who didn’t agree with me or didn’t like me, but we all had to work together,\" he says.\u003c/p>\n\u003cp>This across-the-aisle mentality prepared him for a move from the expensive Bay Area to Boise, a town he now loves. I was happy to hear that, but had to ask about whether he had experienced any racism and Islamophobia. Could he feel a shift?\u003c/p>\n\u003cp>What I got was a resounding yes. ''For a while, people here [in Boise] carried their guns, and they were walking behind Muslims here, especially women wearing their scarves.'' But the Bay Area wasn't always kind either. ''In San Francisco, I got yelled at too. I was there right as feelings towards Iraq turned for the worse.''\u003c/p>\n\u003cp>To my surprise, Marwan shrugged these memories off, smiled, and reminded me of two things: he had experienced worse in his similarly divided homeland, and despite his circumstances, he always aims to be a bridge of understanding.\u003c/p>\n\u003cp>\"I lived in conservative areas and liberal areas. People don’t hate people, but ideas clash with ideas. And people are afraid of what they don’t know,\" Sweedan said.\u003c/p>\n\u003cp>Recognized by the Obama administration as a \"Champion of Change,\" Sweedan has a clear message on people with anti-refugee beliefs: \"I want to be fair to them. I understand their point of view. A lot of Americans felt like both Republicans and Democrats have failed them for the past 30 years because the government became paralyzed. On TV, you hear a lot about refugees, so a lot of people were feeling, what about us?\"\u003c/p>\n\u003cp>I found myself moved by Sweedan’s level of empathy. It’s that sort of reflection, compassion, and curiosity that I find missing in national conversations around immigration and refugees. Sweedan risked his life and the life of his family by supporting the U.S. in Iraq. After losing his father because of this, he still decided to serve the U.S. again as an Army medic. And yet, here he was, being sympathetic to people who are often the least understanding of his plight.\u003c/p>\n\u003cp>He chalks it up to a general lack of understanding about the refugee experience, a reason why he continues telling his story to anyone who will listen.\u003c/p>\n\u003cp>\"I get it. They love this country, they want to protect this country. But I love and want to protect this country too,\" Sweedan said.\u003c/p>\n\u003cp>So how does this U.S. veteran / Muslim / surgeon / Iraqi refugee identify?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"I'm an Idahoan.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>When I decided to travel across the country to hear stories about identity and privilege, Idaho kept coming up as a place I needed to visit. In 2016, the state \u003ca href=\"http://www.pewresearch.org/fact-tank/2016/12/06/just-10-states-resettled-more-than-half-of-recent-refugees-to-u-s/ft_16-12-02_usrefugees_percapita/\">ranked third\u003c/a> (behind Nebraska and North Dakota) in welcoming the most refugees per capita. Rural red states dominating that list kind of shocked me, so I had to see it for myself.\u003c/p>\n\u003cp>After driving for hours, surrounded by nothing, I finally made it to Boise. The downtown area felt more like my small rural hometown in the middle of Louisiana than a state capital. My research there led to several refugee resettlement agencies, and Marwan Sweedan’s name kept coming up as a \"man about town\" I had to meet. Two minutes into our conversation, I could already see why.\u003c/p>\n\u003cp>A former surgeon, Sweedan came to the United States from Iraq as a refugee in 2008. A graduate of one of the most elite medical schools in the Middle East, he had worked at Ramadi Hospital with a focus on supporting mentally and physically challenged patients, a highly vulnerable and marginalized group in Iraq.\u003c/p>\n\u003cp>During the occupation of their country, many Iraqis volunteered to help the U.S. government. Sweedan, along with many of his family members, was among them. He helped establish the Commission of Public Integrity, an anti-corruption program created to foster good governance in Iraq and counter corruption in Iraqi officials.\u003c/p>\n\u003cp>\u003cem>Anti-corruption? Maybe he can help us clean up Washington?\u003c/em> I thought.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because of his work, Marwan Sweedan and his brothers faced assassination attempts. His own father was kidnapped and assassinated because of Marwan’s support of U.S. troops. Luckily, Marwan escaped to Jordan, where he worked with insurance companies as a consultant before getting help from an American friend and future mentor to receive refugee status in the United States.\u003c/p>\n\u003cp>His first destination upon arrival? San Francisco.\u003c/p>\n\u003cp>\"That was a cultural shock,\" Sweedan chuckled, describing his first few days in the U.S. \"The first time I was out was at night and it was Halloween. I called my friend, my mentor, and I told him, 'It's Halloween and I'm outside in the streets in San Francisco.' And he was laughing, 'Don't have a first impression, wait for me to explain things to you.'\"\u003c/p>\n\u003cp>Marwan eventually got more comfortable, thanks to weekly meetings with his mentor, where they would talk about all things American culture, from politics to history to holidays. Gratitude for that relationship is one of the reasons why Marwan now spends so much of his time volunteering with Global Impact to support new refugees in their resettlement in Boise and connect them with services and jobs.\u003c/p>\n\u003cp>In addition to the help of his mentor, Sweedan also attributes much of his acclimation to enlisting in the Army.\u003c/p>\n\u003cp>Upon arriving in San Francisco, Sweedan went from being an esteemed surgeon in Iraq to working as a technician in a tissue bank. Although he was quickly promoted, he decided to join the Army as a combat medic, hoping to use his medical skills to support his adopted home country.\u003c/p>\n\u003cp>\"I felt like I built a bridge, without carrying a weapon or being deployed,\" Sweedan beamed with pride. Superiors quickly realized that Sweedan’s wealth of knowledge on Iraq was an asset. Throughout his service, he gave a series of nine lectures on the customs, history, and language of Iraq to better prepare troops for their deployment. But the learning was mutual.\u003c/p>\n\u003cp>\"Joining the military helped me learn a lot about the United States. I worked with liberals and conservatives. Maybe there were people who didn’t agree with me or didn’t like me, but we all had to work together,\" he says.\u003c/p>\n\u003cp>This across-the-aisle mentality prepared him for a move from the expensive Bay Area to Boise, a town he now loves. I was happy to hear that, but had to ask about whether he had experienced any racism and Islamophobia. Could he feel a shift?\u003c/p>\n\u003cp>What I got was a resounding yes. ''For a while, people here [in Boise] carried their guns, and they were walking behind Muslims here, especially women wearing their scarves.'' But the Bay Area wasn't always kind either. ''In San Francisco, I got yelled at too. I was there right as feelings towards Iraq turned for the worse.''\u003c/p>\n\u003cp>To my surprise, Marwan shrugged these memories off, smiled, and reminded me of two things: he had experienced worse in his similarly divided homeland, and despite his circumstances, he always aims to be a bridge of understanding.\u003c/p>\n\u003cp>\"I lived in conservative areas and liberal areas. People don’t hate people, but ideas clash with ideas. And people are afraid of what they don’t know,\" Sweedan said.\u003c/p>\n\u003cp>Recognized by the Obama administration as a \"Champion of Change,\" Sweedan has a clear message on people with anti-refugee beliefs: \"I want to be fair to them. I understand their point of view. A lot of Americans felt like both Republicans and Democrats have failed them for the past 30 years because the government became paralyzed. On TV, you hear a lot about refugees, so a lot of people were feeling, what about us?\"\u003c/p>\n\u003cp>I found myself moved by Sweedan’s level of empathy. It’s that sort of reflection, compassion, and curiosity that I find missing in national conversations around immigration and refugees. Sweedan risked his life and the life of his family by supporting the U.S. in Iraq. After losing his father because of this, he still decided to serve the U.S. again as an Army medic. And yet, here he was, being sympathetic to people who are often the least understanding of his plight.\u003c/p>\n\u003cp>He chalks it up to a general lack of understanding about the refugee experience, a reason why he continues telling his story to anyone who will listen.\u003c/p>\n\u003cp>\"I get it. They love this country, they want to protect this country. But I love and want to protect this country too,\" Sweedan said.\u003c/p>\n\u003cp>So how does this U.S. veteran / Muslim / surgeon / Iraqi refugee identify?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Designers are rolling out their spring lines and the runways are looking more diverse than ever. But the comparative abundance of models who are people of color didn't happen overnight.\u003c/p>\n\u003cp>There was the occasional — very occasional — model who wasn't white in the 50s and early 60s on runways. But African-American models put American couture on the map in 1973 when they walked the runway in France in what's become known as \u003ca href=\"http://www.npr.org/2015/03/19/393823017/how-a-1970s-fashion-faceoff-put-american-designers-in-the-spotlight\">The Battle of Versailles\u003c/a>.\u003c/p>\n\u003cp>Almost instantly, black models were The Thing for a brief, halcyon period. But by the mid-80s, with a few glorious exceptions, the catwalks had regained a distinctly milky aspect.\u003c/p>\n\u003cp>Many designers' casting directors — the people choose models for shows — would specify they wanted a \"certain look.\" And for a long time that look was very, very pale.\u003c/p>\n\u003cp>Things got so monochromatic that in 2013 Bethann Hardison, a former model and modeling agency owner, and supermodels Iman and Naomi Campbell formed an organization called Diversity Coalition, to insist on runways that included women of color. The Coalition even penned a manifesto addressed to the international fashion industry, saying the runways needed to be a lot more varied in hue, especially at the darker end of the spectrum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The decision to use basically all-white models reveals a trait that is unbecoming to modern society,\" the authors wrote.\u003c/p>\n\u003cp>Then they named names.\u003c/p>\n\u003cp>That, said James Scully, is what gets people's attention. Scully, a model, casting director and activist, recently wrote \u003ca href=\"http://www.thefashionspot.com/runway-news/737855-james-scully-calls-out-balenciaga-and-lanvin-casting/\">an Instagram post\u003c/a> that claimed that the House of Lanvin had requested no women of color be included in the go-sees for casting its latest show.\u003c/p>\n\u003cp>Lanvin insisted that was incorrect—but in the end, 6 women of color were in its lineup.\u003c/p>\n\u003cp>Earlier this month, The Fashion Spot, an online forum for fashion insiders, released its \u003ca href=\"http://www.thefashionspot.com/runway-news/740117-runway-diversity-report-fall-2017/\">Runway Diversity Report\u003c/a> for Fall 2017. The report surveyed 241 shows during the fall 2017 season. Almost 28 percent of the models in those shows, collectively, were people of color. The report looked at national and international runways and found the highest racial diversity across the four major participating cities (New York, London, Milan, and Paris) was in New York, where 31.5 percent of the models were people of color.\u003c/p>\n\u003cp>Jennifer Davidson, editor in chief of The Fashion Spot, told \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em> \"I personally don't think 31.5 is enough, but it's definitely an improvement.\"\u003c/p>\n\u003cp>It's a tricky thing, casting. Directors have a vision for their lines — but what if that vision doesn't include a more inclusive palette? \"It's an aesthetic decision, it's not personal\" used to be a standard response from some designers. Marc Jacobs is one of the designers the Diversity Coalition called out in 2013 for being diversity-impoverished. He again found himself in the fashion world's crosshairs last year when he sent mostly white models down the runway in rainbow-colored yarn dreadlocks.\u003c/p>\n\u003cp>Jacobs was mystified at some of the outrage from people who charged him with cultural appropriation. Openly questioning why \u003ca href=\"https://www.theguardian.com/fashion/2016/sep/20/marc-jacobs-apologises-using-white-models-dreadlocks-cultural-\">white models wearing dreadlocks\u003c/a> was offensive, he suggested that his critics wouldn't \"criticize women of color for straightening their hair.\" Eventually Jacobs \u003ca href=\"http://www.usmagazine.com/stylish/news/marc-jacobs-apologizes-for-dreadlocks-comments-w440863\">apologized on Instagram\u003c/a> \"for the lack of sensitivity unintentionally expressed by my brevity.\"\u003c/p>\n\u003cp>And, tellingly, he was among the designers with one of the most diverse runway lineups for fall 2017 — 66 percent models of color (see photo above).\u003c/p>\n\u003cp>The Fashion Spot has begun to tabulate not just racial diversity, but other kinds as well: designers that use older models, models who are transgender and plus-sized models. Of those groups, there has been more representation of plus-sized women than any other difference, but the door has been opened for other kinds of diversity. (Dolce & Gabbana dressed Italian nonnas (gramdmas) in its current campaign, and have for a few seasons. At J Crew, entire families replaced models to show off the retailer's wares.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These steps are not only good, but smart: the world, and fashion's consumer base, is getting more varied by the day. Having the runway mirror the real world a little more closely will lead to the industry's favorite sound: ka-ching, ka-ching.\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=On+Fashion+Runways%2C+Inclusion+Is+About+More+Than+Color&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Designers are rolling out their spring lines and the runways are looking more diverse than ever. But the comparative abundance of models who are people of color didn't happen overnight.\u003c/p>\n\u003cp>There was the occasional — very occasional — model who wasn't white in the 50s and early 60s on runways. But African-American models put American couture on the map in 1973 when they walked the runway in France in what's become known as \u003ca href=\"http://www.npr.org/2015/03/19/393823017/how-a-1970s-fashion-faceoff-put-american-designers-in-the-spotlight\">The Battle of Versailles\u003c/a>.\u003c/p>\n\u003cp>Almost instantly, black models were The Thing for a brief, halcyon period. But by the mid-80s, with a few glorious exceptions, the catwalks had regained a distinctly milky aspect.\u003c/p>\n\u003cp>Many designers' casting directors — the people choose models for shows — would specify they wanted a \"certain look.\" And for a long time that look was very, very pale.\u003c/p>\n\u003cp>Things got so monochromatic that in 2013 Bethann Hardison, a former model and modeling agency owner, and supermodels Iman and Naomi Campbell formed an organization called Diversity Coalition, to insist on runways that included women of color. The Coalition even penned a manifesto addressed to the international fashion industry, saying the runways needed to be a lot more varied in hue, especially at the darker end of the spectrum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"The decision to use basically all-white models reveals a trait that is unbecoming to modern society,\" the authors wrote.\u003c/p>\n\u003cp>Then they named names.\u003c/p>\n\u003cp>That, said James Scully, is what gets people's attention. Scully, a model, casting director and activist, recently wrote \u003ca href=\"http://www.thefashionspot.com/runway-news/737855-james-scully-calls-out-balenciaga-and-lanvin-casting/\">an Instagram post\u003c/a> that claimed that the House of Lanvin had requested no women of color be included in the go-sees for casting its latest show.\u003c/p>\n\u003cp>Lanvin insisted that was incorrect—but in the end, 6 women of color were in its lineup.\u003c/p>\n\u003cp>Earlier this month, The Fashion Spot, an online forum for fashion insiders, released its \u003ca href=\"http://www.thefashionspot.com/runway-news/740117-runway-diversity-report-fall-2017/\">Runway Diversity Report\u003c/a> for Fall 2017. The report surveyed 241 shows during the fall 2017 season. Almost 28 percent of the models in those shows, collectively, were people of color. The report looked at national and international runways and found the highest racial diversity across the four major participating cities (New York, London, Milan, and Paris) was in New York, where 31.5 percent of the models were people of color.\u003c/p>\n\u003cp>Jennifer Davidson, editor in chief of The Fashion Spot, told \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em> \"I personally don't think 31.5 is enough, but it's definitely an improvement.\"\u003c/p>\n\u003cp>It's a tricky thing, casting. Directors have a vision for their lines — but what if that vision doesn't include a more inclusive palette? \"It's an aesthetic decision, it's not personal\" used to be a standard response from some designers. Marc Jacobs is one of the designers the Diversity Coalition called out in 2013 for being diversity-impoverished. He again found himself in the fashion world's crosshairs last year when he sent mostly white models down the runway in rainbow-colored yarn dreadlocks.\u003c/p>\n\u003cp>Jacobs was mystified at some of the outrage from people who charged him with cultural appropriation. Openly questioning why \u003ca href=\"https://www.theguardian.com/fashion/2016/sep/20/marc-jacobs-apologises-using-white-models-dreadlocks-cultural-\">white models wearing dreadlocks\u003c/a> was offensive, he suggested that his critics wouldn't \"criticize women of color for straightening their hair.\" Eventually Jacobs \u003ca href=\"http://www.usmagazine.com/stylish/news/marc-jacobs-apologizes-for-dreadlocks-comments-w440863\">apologized on Instagram\u003c/a> \"for the lack of sensitivity unintentionally expressed by my brevity.\"\u003c/p>\n\u003cp>And, tellingly, he was among the designers with one of the most diverse runway lineups for fall 2017 — 66 percent models of color (see photo above).\u003c/p>\n\u003cp>The Fashion Spot has begun to tabulate not just racial diversity, but other kinds as well: designers that use older models, models who are transgender and plus-sized models. Of those groups, there has been more representation of plus-sized women than any other difference, but the door has been opened for other kinds of diversity. (Dolce & Gabbana dressed Italian nonnas (gramdmas) in its current campaign, and have for a few seasons. At J Crew, entire families replaced models to show off the retailer's wares.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These steps are not only good, but smart: the world, and fashion's consumer base, is getting more varied by the day. Having the runway mirror the real world a little more closely will lead to the industry's favorite sound: ka-ching, ka-ching.\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=On+Fashion+Runways%2C+Inclusion+Is+About+More+Than+Color&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The biopic \u003cem>Selena\u003c/em> tells the story of Mexican-American pop star \u003ca href=\"http://www.npr.org/tags/400100713/selena\" target=\"_blank\">Selena \u003c/a>Quintanilla Perez, a \u003ca href=\"https://www.britannica.com/art/Tejano-music\" target=\"_blank\">Tejano music\u003c/a> singer who made a rare crossover to mainstream American audiences. The movie debuted 20 years ago Tuesday, two years after the singer was \u003ca href=\"http://www.nytimes.com/1995/04/01/obituaries/grammy-winning-singer-selena-killed-in-shooting-at-texas-motel.html\" target=\"_blank\">killed by the former president of her fan club\u003c/a>.\u003c/p>\n\u003cp>Deborah Paredez, author of \u003cem>Selenidad: Selena, Latinos, and the Performance of Memory\u003c/em>, says the film is more concerned with the triumph of Selena's life than the tragedy of her death. \"We learn about how she ascended to fame as both a Tejana superstar, but also as an international superstar,\" she says. \"And only at the very end do we have the tragic end of her life. But even in that ending, we get a sense of what her promise was.\"\u003c/p>\n\u003cp>Selena started her career singing Tejano music, which is popular in Texas and among Mexican-Americans. But her music also drew from a range of Latin genres as well as American pop music. \"Because of her particular sound and her style and her particular talent,\" Paredez says, \"and because of the kind of global reach of the recording industry, she became truly a kind of international sensation.\"\u003c/p>\n\u003cp>Even after her death, the singer was so popular that when Warner Bros. held highly publicized open auditions for the film, more than 20,000 young girls and women showed up to be considered. According to Paredez, who interview some of them for her book, they traveled from all over the country. \"So many of them talked about going to audition not so much because they were aspiring to be stars necessarily, or even be connected to Hollywood, but auditioning for \u003cem>Selena\u003c/em> was, for so many young Latinas, a way of just asserting their own sense of their own specific Latina identity.\"\u003c/p>\n\u003cp>That may also be why the film has endured. \"Times for Latinos aren't much better at this moment,\" Paredez says. There aren't a lot of other inspirational films for Latinos to turn to, and \u003cem>Selena\u003c/em>, after all, represents two success stories: that of its subject and that of its Puerto Rican star, Jennifer Lopez, whose career the film helped catapult.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Paredez also points to another \u003cem>Selena\u003c/em> legacy that doesn't often get talked about — one with queer Latino communities. \"She provided a kind of a drag icon, for some,\" she says. \"... Also, talking with queer communities who were deeply affected by the AIDS crisis, as Latino communities were, Selena's death and her legacy really was something that resonated for them as someone who died too young and yet who also had a life beyond death. ... And I think often that particular part of the story gets left out.\"\u003c/p>\n\u003cp>\u003ci>\u003c/i>\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/520986979/520996104\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Editor \u003ca href=\"http://www.npr.org/people/474954558/melissa-gray\" target=\"_blank\">Melissa Gray\u003c/a>, producer Jordan-Marie Smith and intern Esteban Bustillos contributed to this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The biopic \u003cem>Selena\u003c/em> tells the story of Mexican-American pop star \u003ca href=\"http://www.npr.org/tags/400100713/selena\" target=\"_blank\">Selena \u003c/a>Quintanilla Perez, a \u003ca href=\"https://www.britannica.com/art/Tejano-music\" target=\"_blank\">Tejano music\u003c/a> singer who made a rare crossover to mainstream American audiences. The movie debuted 20 years ago Tuesday, two years after the singer was \u003ca href=\"http://www.nytimes.com/1995/04/01/obituaries/grammy-winning-singer-selena-killed-in-shooting-at-texas-motel.html\" target=\"_blank\">killed by the former president of her fan club\u003c/a>.\u003c/p>\n\u003cp>Deborah Paredez, author of \u003cem>Selenidad: Selena, Latinos, and the Performance of Memory\u003c/em>, says the film is more concerned with the triumph of Selena's life than the tragedy of her death. \"We learn about how she ascended to fame as both a Tejana superstar, but also as an international superstar,\" she says. \"And only at the very end do we have the tragic end of her life. But even in that ending, we get a sense of what her promise was.\"\u003c/p>\n\u003cp>Selena started her career singing Tejano music, which is popular in Texas and among Mexican-Americans. But her music also drew from a range of Latin genres as well as American pop music. \"Because of her particular sound and her style and her particular talent,\" Paredez says, \"and because of the kind of global reach of the recording industry, she became truly a kind of international sensation.\"\u003c/p>\n\u003cp>Even after her death, the singer was so popular that when Warner Bros. held highly publicized open auditions for the film, more than 20,000 young girls and women showed up to be considered. According to Paredez, who interview some of them for her book, they traveled from all over the country. \"So many of them talked about going to audition not so much because they were aspiring to be stars necessarily, or even be connected to Hollywood, but auditioning for \u003cem>Selena\u003c/em> was, for so many young Latinas, a way of just asserting their own sense of their own specific Latina identity.\"\u003c/p>\n\u003cp>That may also be why the film has endured. \"Times for Latinos aren't much better at this moment,\" Paredez says. There aren't a lot of other inspirational films for Latinos to turn to, and \u003cem>Selena\u003c/em>, after all, represents two success stories: that of its subject and that of its Puerto Rican star, Jennifer Lopez, whose career the film helped catapult.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Paredez also points to another \u003cem>Selena\u003c/em> legacy that doesn't often get talked about — one with queer Latino communities. \"She provided a kind of a drag icon, for some,\" she says. \"... Also, talking with queer communities who were deeply affected by the AIDS crisis, as Latino communities were, Selena's death and her legacy really was something that resonated for them as someone who died too young and yet who also had a life beyond death. ... And I think often that particular part of the story gets left out.\"\u003c/p>\n\u003cp>\u003ci>\u003c/i>\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/520986979/520996104\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Editor \u003ca href=\"http://www.npr.org/people/474954558/melissa-gray\" target=\"_blank\">Melissa Gray\u003c/a>, producer Jordan-Marie Smith and intern Esteban Bustillos contributed to this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The six-episode podcast \u003cem>Missing Richard Simmons \u003c/em>dropped its final episode on Monday, two days ahead of schedule. For a project nominally devoted to finding out more about what happened to onetime fitness guru Richard Simmons, it wasn't very satisfying by that standard. Host Dan Taberski concluded, in effect, that Richard Simmons was safe and physically healthy and had withdrawn voluntarily from public life without much fanfare, which is ... pretty much what we already knew. That's what Simmons had said in a call to \u003cem>Today \u003c/em>that Taberski played again and again. That's what the police had said after they checked on him. Stripped to the frame, the beginning of the podcast gave the back story, the ending mused about the anticlimax of it all, and the middle largely traced a couple of more sensational theories for which Taberski ultimately didn't find any evidence.\u003c/p>\n\u003cp>But as unsatisfying as the show was as a mystery, it was fascinating as a study of what we ask of public figures — of what we feel entitled to ask of them.\u003c/p>\n\u003cp>If there's one thing that the podcast showed, and in fact if there's one thing on which Taberski rested his thesis that Simmons' withdrawal was worthy of further investigation, it's that Richard Simmons gave a preposterous amount of himself away to the people who bought his products, came to his classes, went on his cruises, and simply told him how much pain they were in because they thought he would understand. The thesis of the show is largely that a man who was so close to people and loved being close to people would never just stop doing it.\u003c/p>\n\u003cp>It's one of Taberski's apparent blind spots that Simmons didn't connect at this profound and personal level with \u003cem>all \u003c/em>fat people — he connected with a certain kind of person who wanted and reached for something personal from him. After all, plenty of people just watched the videos. I should know; I can still do \"It's My Party\" from \u003cem>Sweatin' To The Oldies\u003c/em>. But there was a kind of Richard Simmons person who wanted to touch him, stuff dollar bills in his shorts on the cruise ship, and talk to him on the phone. And the way Taberski tells the story, Simmons turned himself inside out trying to give every one of them whatever it was they wanted.\u003c/p>\n\u003cp>I interviewed Judy Blume a couple of years ago and asked her whether the intimate connection readers felt, particularly as young people, with her books like \u003cem>Are You There, God? It's Me Margaret \u003c/em>made her their assumed confidante in a way that was overwhelming. \"Yes,\" she told me without hesitation. \"For a while there, I got too involved with some of the kids who wrote to me. I got very emotionally involved with them. I had to go to a counselor to help me, because I'm not trained in the helping professions.\" She said she needed to understand how to \"be supportive, and yet step back. Because there were a couple of kids I wanted to save. You know, I wanted to bring them to live with me. ... This never would have worked out.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>I wanted to bring them to live with me. \u003c/em>It sounds remarkable, but can you imagine what Judy Blume's mail must have been like? I cannot imagine it didn't daily consist of \u003cem>someone is hurting me, someone is hitting me, I feel alone, you are the only one who understands me, you are the only one who I'm telling this to, you are the only one I trust\u003c/em>. And these were kids.\u003c/p>\n\u003cp>What I thought over and over while listening to \u003cem>Missing Richard Simmons \u003c/em>is that Richard Simmons may have been the Judy Blume who never got the counselor. Who tried to save everyone.\u003c/p>\n\u003cp>I don't really believe in the old Andy Warhol prediction that in the future, everyone will be famous for 15 minutes. What I believe is that fame will indeed be served in small portions, limited not by time but by scope. If that's the case, then instead of being famous for 15 minutes, many will be famous to 15 people. Or perhaps 1,500 or 15,000 people — a small enough number that you can move through most of the world unnoticed, but a large enough number that the circle of people who follow you with intensity necessarily includes people who don't know you. What to do about that is something I think more and more people have faced.\u003c/p>\n\u003cp>The emotionally healthiest people I've ever met who are in the public eye are the ones who are capable, figuratively speaking, of extending a toe in front of them and scratching a line in the dirt. They know how to say, \"We can shake hands across this line, we can talk across this line, and we can express gratitude to each other across this line, but I wouldn't ask you to babysit my children, and you can't sleep on my couch.\" It's not apathy, it's not superiority, and it's not disdain. It's a recognition of the physics of personal connection. There is only so much energy. There is only so much to give, and there is only so much you can turn yourself inside out for so many people before something runs low, or runs out.\u003c/p>\n\u003cp>Taberski presumed some pathology in Simmons' disappearance but doesn't seem to have worried about what was happening before that, despite the fact that there were red flags all over his very own descriptions. In arguing that Simmons should have said goodbye (or, more precisely, should have said goodbye differently), he likened Simmons' relationships with the people he called and counseled and coached over the years to two things over and over again: friendship and therapy. Weren't they friends? Wasn't it like therapy?\u003c/p>\n\u003cp>\u003cem>Friendship isn't therapy. \u003c/em>Holy moly, people, if you never believe anything else you read on the Internet, believe that friendship isn't therapy and therapy isn't friendship. When you're asking both \"weren't these friendships?\" and \"weren't these therapeutic relationships?\" you are diagnosing in real time the problem with the direction such things can go. Without professional structure and rules, it's not therapy. Without reciprocity, it's not friendship. I know almost nothing about my therapist's life; that's by design. He wouldn't be invited to my birthday party; that's by design, too. I only ask my friends to listen as much as I will listen. Were these people listening to Richard Simmons as much as he was listening to them?\u003c/p>\n\u003cp>It's hard to feel bad for people who receive other people's admiration, and it's hard to feel bad for people who make a lot of money by being beloved. No argument. But while what Simmons did may be different from a musician or a novelist — or someone who makes a podcast — I'm confident he had something in common with many of those people, which is that what meant the most to him was what his work meant to others. I can tell you that I have pinned to my cubicle walls almost every paper note and letter I've ever received from readers and listeners. But, speaking metaphorically, not every expression of gratitude arrives on paper, which you can keep with you, pinned to your life indefinitely. Some thank-you's arrive written on rocks, and if you feel obligated to carry all of those rocks everywhere you go for the rest of your life, if you can't learn to look at them, be grateful for them, and set them down, even they become a lot to carry.\u003c/p>\n\u003cp>The more the gratitude is for what has already been done, the more it is written on paper: \u003cem>I'm so grateful for the thing you made; it meant the world to me\u003c/em>. That is weightless; it is wonderful. The closer it gets to expecting something from you in the future, something that must continue, the more it is written on stone: \u003cem>You're the only one who understands me. You're the only reason I can get out of bed every day. \u003c/em>I have a feeling Richard Simmons received a lot of gratitude written on stones, just as Judy Blume did, but it certainly sounds like it was much harder for him to put down.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The sad thing about \u003cem>Missing Richard Simmons \u003c/em>is that if Richard Simmons finally decided to drop all of those rocks and rest — whatever state he was in when he did — then nothing makes it clearer how he got to that point than someone making a hit out of demanding over and over some kind of explanation. Perhaps he finally drew a boundary. Perhaps he finally put his sneakered toe out and drew that line in the dirt, in which case it's uncomfortable to think the response was, \"How could you?\"\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=%27Missing+Richard+Simmons%27+And+The+Nature+Of+Being+Known&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The six-episode podcast \u003cem>Missing Richard Simmons \u003c/em>dropped its final episode on Monday, two days ahead of schedule. For a project nominally devoted to finding out more about what happened to onetime fitness guru Richard Simmons, it wasn't very satisfying by that standard. Host Dan Taberski concluded, in effect, that Richard Simmons was safe and physically healthy and had withdrawn voluntarily from public life without much fanfare, which is ... pretty much what we already knew. That's what Simmons had said in a call to \u003cem>Today \u003c/em>that Taberski played again and again. That's what the police had said after they checked on him. Stripped to the frame, the beginning of the podcast gave the back story, the ending mused about the anticlimax of it all, and the middle largely traced a couple of more sensational theories for which Taberski ultimately didn't find any evidence.\u003c/p>\n\u003cp>But as unsatisfying as the show was as a mystery, it was fascinating as a study of what we ask of public figures — of what we feel entitled to ask of them.\u003c/p>\n\u003cp>If there's one thing that the podcast showed, and in fact if there's one thing on which Taberski rested his thesis that Simmons' withdrawal was worthy of further investigation, it's that Richard Simmons gave a preposterous amount of himself away to the people who bought his products, came to his classes, went on his cruises, and simply told him how much pain they were in because they thought he would understand. The thesis of the show is largely that a man who was so close to people and loved being close to people would never just stop doing it.\u003c/p>\n\u003cp>It's one of Taberski's apparent blind spots that Simmons didn't connect at this profound and personal level with \u003cem>all \u003c/em>fat people — he connected with a certain kind of person who wanted and reached for something personal from him. After all, plenty of people just watched the videos. I should know; I can still do \"It's My Party\" from \u003cem>Sweatin' To The Oldies\u003c/em>. But there was a kind of Richard Simmons person who wanted to touch him, stuff dollar bills in his shorts on the cruise ship, and talk to him on the phone. And the way Taberski tells the story, Simmons turned himself inside out trying to give every one of them whatever it was they wanted.\u003c/p>\n\u003cp>I interviewed Judy Blume a couple of years ago and asked her whether the intimate connection readers felt, particularly as young people, with her books like \u003cem>Are You There, God? It's Me Margaret \u003c/em>made her their assumed confidante in a way that was overwhelming. \"Yes,\" she told me without hesitation. \"For a while there, I got too involved with some of the kids who wrote to me. I got very emotionally involved with them. I had to go to a counselor to help me, because I'm not trained in the helping professions.\" She said she needed to understand how to \"be supportive, and yet step back. Because there were a couple of kids I wanted to save. You know, I wanted to bring them to live with me. ... This never would have worked out.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>I wanted to bring them to live with me. \u003c/em>It sounds remarkable, but can you imagine what Judy Blume's mail must have been like? I cannot imagine it didn't daily consist of \u003cem>someone is hurting me, someone is hitting me, I feel alone, you are the only one who understands me, you are the only one who I'm telling this to, you are the only one I trust\u003c/em>. And these were kids.\u003c/p>\n\u003cp>What I thought over and over while listening to \u003cem>Missing Richard Simmons \u003c/em>is that Richard Simmons may have been the Judy Blume who never got the counselor. Who tried to save everyone.\u003c/p>\n\u003cp>I don't really believe in the old Andy Warhol prediction that in the future, everyone will be famous for 15 minutes. What I believe is that fame will indeed be served in small portions, limited not by time but by scope. If that's the case, then instead of being famous for 15 minutes, many will be famous to 15 people. Or perhaps 1,500 or 15,000 people — a small enough number that you can move through most of the world unnoticed, but a large enough number that the circle of people who follow you with intensity necessarily includes people who don't know you. What to do about that is something I think more and more people have faced.\u003c/p>\n\u003cp>The emotionally healthiest people I've ever met who are in the public eye are the ones who are capable, figuratively speaking, of extending a toe in front of them and scratching a line in the dirt. They know how to say, \"We can shake hands across this line, we can talk across this line, and we can express gratitude to each other across this line, but I wouldn't ask you to babysit my children, and you can't sleep on my couch.\" It's not apathy, it's not superiority, and it's not disdain. It's a recognition of the physics of personal connection. There is only so much energy. There is only so much to give, and there is only so much you can turn yourself inside out for so many people before something runs low, or runs out.\u003c/p>\n\u003cp>Taberski presumed some pathology in Simmons' disappearance but doesn't seem to have worried about what was happening before that, despite the fact that there were red flags all over his very own descriptions. In arguing that Simmons should have said goodbye (or, more precisely, should have said goodbye differently), he likened Simmons' relationships with the people he called and counseled and coached over the years to two things over and over again: friendship and therapy. Weren't they friends? Wasn't it like therapy?\u003c/p>\n\u003cp>\u003cem>Friendship isn't therapy. \u003c/em>Holy moly, people, if you never believe anything else you read on the Internet, believe that friendship isn't therapy and therapy isn't friendship. When you're asking both \"weren't these friendships?\" and \"weren't these therapeutic relationships?\" you are diagnosing in real time the problem with the direction such things can go. Without professional structure and rules, it's not therapy. Without reciprocity, it's not friendship. I know almost nothing about my therapist's life; that's by design. He wouldn't be invited to my birthday party; that's by design, too. I only ask my friends to listen as much as I will listen. Were these people listening to Richard Simmons as much as he was listening to them?\u003c/p>\n\u003cp>It's hard to feel bad for people who receive other people's admiration, and it's hard to feel bad for people who make a lot of money by being beloved. No argument. But while what Simmons did may be different from a musician or a novelist — or someone who makes a podcast — I'm confident he had something in common with many of those people, which is that what meant the most to him was what his work meant to others. I can tell you that I have pinned to my cubicle walls almost every paper note and letter I've ever received from readers and listeners. But, speaking metaphorically, not every expression of gratitude arrives on paper, which you can keep with you, pinned to your life indefinitely. Some thank-you's arrive written on rocks, and if you feel obligated to carry all of those rocks everywhere you go for the rest of your life, if you can't learn to look at them, be grateful for them, and set them down, even they become a lot to carry.\u003c/p>\n\u003cp>The more the gratitude is for what has already been done, the more it is written on paper: \u003cem>I'm so grateful for the thing you made; it meant the world to me\u003c/em>. That is weightless; it is wonderful. The closer it gets to expecting something from you in the future, something that must continue, the more it is written on stone: \u003cem>You're the only one who understands me. You're the only reason I can get out of bed every day. \u003c/em>I have a feeling Richard Simmons received a lot of gratitude written on stones, just as Judy Blume did, but it certainly sounds like it was much harder for him to put down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sad thing about \u003cem>Missing Richard Simmons \u003c/em>is that if Richard Simmons finally decided to drop all of those rocks and rest — whatever state he was in when he did — then nothing makes it clearer how he got to that point than someone making a hit out of demanding over and over some kind of explanation. Perhaps he finally drew a boundary. Perhaps he finally put his sneakered toe out and drew that line in the dirt, in which case it's uncomfortable to think the response was, \"How could you?\"\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=%27Missing+Richard+Simmons%27+And+The+Nature+Of+Being+Known&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Meet the Adorable Dogs and Puppies of KQED!",
"title": "Meet the Adorable Dogs and Puppies of KQED!",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>There doesn't seem to be a consensus on anything these days. But hopefully we can all agree that National Puppy Day is a good thing. You know what's better than stressing yourself out over every twist and turn of the news cycle? Looking at pictures of cute animals!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/StickyRice.jpg\">\u003cimg class=\"wp-image-71323 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/StickyRice-1020x765.jpg\" alt=\"StickyRice\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Sticky Rice specializes in fetching and making you wish you had a cooler name.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Hampton.jpg\">\u003cimg class=\"wp-image-71324 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Hampton-1020x683.jpg\" alt=\"Hampton\" width=\"640\" height=\"429\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-1020x683.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-768x515.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-1180x791.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-960x643.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-240x161.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-375x251.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-520x348.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton.jpg 1800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>If this pic of Hampton doesn't turn your frown upside down, seek medical help.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Chip.jpg\">\u003cimg class=\"wp-image-71326 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Chip.jpg\" alt=\"Chip\" width=\"720\" height=\"960\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Chip.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Chip-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Chip-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Chip-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Chip-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>Chip, reigning gold medalist in bedroom eyes.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1.jpg\">\u003cimg class=\"wp-image-71318 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-1020x1360.jpg\" alt=\"Image uploaded from iOS (1)\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Sahari has jokes!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n.jpg\">\u003cimg class=\"aligncenter size-full wp-image-71354\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n.jpg\" alt=\"10425145_10204482861925761_4008724567812240829_n\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Gordie, Walter, and Pirate, auditioning for a \u003cem>Homeward Bound\u003c/em> remake.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Dixie-and-Dash.jpg\">\u003cimg class=\"wp-image-71314 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Dixie-and-Dash-1020x765.jpg\" alt=\"Dixie and Dash\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Dixie and Dash invented the good hair day.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/img_0924-e1490297517268.jpg\">\u003cimg class=\"wp-image-71331 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/img_0924-e1490297517268.jpg\" alt=\"img_0924\" width=\"1025\" height=\"636\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-240x149.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-375x233.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-520x323.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-800x496.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-768x477.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-1020x633.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-960x596.jpg 960w\" sizes=\"(max-width: 1025px) 100vw, 1025px\">\u003c/a>\u003c/p>\n\u003cp>Charlie enjoys long walks on the beach and thinking about life and stuff.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2.jpg\">\u003cimg class=\"wp-image-71317 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2.jpg\" alt=\"Image uploaded from iOS (2)\" width=\"960\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-520x347.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003c/p>\n\u003cp>Bodhi, at your service!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3.jpg\">\u003cimg class=\"wp-image-71316 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-1020x1360.jpg\" alt=\"Image uploaded from iOS (3)\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3.jpg 1224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Bodhi, after work. Being a service animal is hard work. Zzzzz.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Millie.jpg\">\u003cimg class=\"wp-image-71322 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Millie.jpg\" alt=\"Millie\" width=\"801\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie.jpg 801w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-768x1151.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-375x562.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-520x779.jpg 520w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003c/a>\u003c/p>\n\u003cp>Millie, waiting for a Lyft.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o.jpg\">\u003cimg class=\"wp-image-71325 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-1020x1020.jpg\" alt=\"16601735_1743882615927457_5130422758710025075_o\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Harley Rascal Brown has three names because having just one couldn't fully express all this cuteness.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Harry.jpg\">\u003cimg class=\"wp-image-71327 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Harry.jpg\" alt=\"Harry\" width=\"720\" height=\"960\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Harry.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Harry-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Harry-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Harry-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Harry-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>Harry lives up to his name.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/IMG_6709-e1490307155958.jpeg\">\u003cimg class=\"aligncenter size-large wp-image-71355\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/IMG_6709-e1490307155958-1020x1360.jpeg\" alt=\"IMG_6709\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-1020x1360.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-160x213.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-800x1067.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-768x1024.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-1920x2560.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-1180x1573.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-960x1280.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-240x320.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-375x500.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-520x693.jpeg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Sarge patiently waits for his own statue.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n.jpg\">\u003cimg class=\"wp-image-71328 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n.jpg\" alt=\"12472724_1576162529366134_7743386460274354345_n\" width=\"720\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-150x150.jpg 150w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>Darla likes hiking because it's fun, but also because \u003ca href=\"https://www.instagram.com/darlapjane/\">her Instagram\u003c/a> isn't going to populate itself.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o.jpg\">\u003cimg class=\"aligncenter size-full wp-image-71364\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o.jpg\" alt=\"12898364_10208252841813001_9191221120502580047_o\" width=\"960\" height=\"1031\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-160x172.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-800x859.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-768x825.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-240x258.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-375x403.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-520x558.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003c/p>\n\u003cp>Yuki's favorite song: \"Kiss Me\" by Sixpence None the Richer.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/heidi.jpg\">\u003cimg class=\"wp-image-71329 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/heidi-1020x1360.jpg\" alt=\"heidi\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Heidi runs this town.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/IMG_6213.jpeg\">\u003cimg class=\"wp-image-71330 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/IMG_6213-1020x765.jpeg\" alt=\"IMG_6213\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-768x576.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213.jpeg 1632w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Making the world a more adorable place is hard work. You can pay Beetle back via Visa, Mastercard, and belly rubs.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And here are a few KQED kitties because why not:\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tapas.jpg\">\u003cimg class=\"aligncenter size-large wp-image-71320\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tapas-1020x765.jpg\" alt=\"tapas\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Draw Tapas like one of your French girls.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Bunny.jpg\">\u003cimg class=\"aligncenter size-full wp-image-71333\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Bunny.jpg\" alt=\"Bunny\" width=\"720\" height=\"960\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Bunny.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Bunny-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Bunny-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Bunny-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Bunny-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>Bunny cat naps, stays on brand.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.-.jpg\"> \u003cimg class=\"aligncenter size-large wp-image-71319\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--1020x1360.jpg\" alt=\"Odo and Kira show some love for each other.\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.-.jpg 1224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The world needs more love. Odo and Kira are doing their part. Are you?\u003c/p>\n\n",
"disqusIdentifier": "71306 https://ww2.kqed.org/pop/?p=71306",
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"excerpt": "You know what's better than stressing yourself out over every twist and turn of the news cycle? Looking at pictures of cute animals!",
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"description": "You know what's better than stressing yourself out over every twist and turn of the news cycle? Looking at pictures of cute animals!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There doesn't seem to be a consensus on anything these days. But hopefully we can all agree that National Puppy Day is a good thing. You know what's better than stressing yourself out over every twist and turn of the news cycle? Looking at pictures of cute animals!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/StickyRice.jpg\">\u003cimg class=\"wp-image-71323 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/StickyRice-1020x765.jpg\" alt=\"StickyRice\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/StickyRice-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Sticky Rice specializes in fetching and making you wish you had a cooler name.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Hampton.jpg\">\u003cimg class=\"wp-image-71324 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Hampton-1020x683.jpg\" alt=\"Hampton\" width=\"640\" height=\"429\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-1020x683.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-768x515.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-1180x791.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-960x643.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-240x161.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-375x251.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton-520x348.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Hampton.jpg 1800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>If this pic of Hampton doesn't turn your frown upside down, seek medical help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Chip.jpg\">\u003cimg class=\"wp-image-71326 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Chip.jpg\" alt=\"Chip\" width=\"720\" height=\"960\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Chip.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Chip-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Chip-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Chip-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Chip-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>Chip, reigning gold medalist in bedroom eyes.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1.jpg\">\u003cimg class=\"wp-image-71318 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-1020x1360.jpg\" alt=\"Image uploaded from iOS (1)\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-1-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Sahari has jokes!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n.jpg\">\u003cimg class=\"aligncenter size-full wp-image-71354\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n.jpg\" alt=\"10425145_10204482861925761_4008724567812240829_n\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/10425145_10204482861925761_4008724567812240829_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Gordie, Walter, and Pirate, auditioning for a \u003cem>Homeward Bound\u003c/em> remake.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Dixie-and-Dash.jpg\">\u003cimg class=\"wp-image-71314 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Dixie-and-Dash-1020x765.jpg\" alt=\"Dixie and Dash\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Dixie-and-Dash-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Dixie and Dash invented the good hair day.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/img_0924-e1490297517268.jpg\">\u003cimg class=\"wp-image-71331 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/img_0924-e1490297517268.jpg\" alt=\"img_0924\" width=\"1025\" height=\"636\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-240x149.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-375x233.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-520x323.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-800x496.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-768x477.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-1020x633.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/img_0924-e1490297517268-960x596.jpg 960w\" sizes=\"(max-width: 1025px) 100vw, 1025px\">\u003c/a>\u003c/p>\n\u003cp>Charlie enjoys long walks on the beach and thinking about life and stuff.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2.jpg\">\u003cimg class=\"wp-image-71317 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2.jpg\" alt=\"Image uploaded from iOS (2)\" width=\"960\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-2-520x347.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003c/p>\n\u003cp>Bodhi, at your service!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3.jpg\">\u003cimg class=\"wp-image-71316 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-1020x1360.jpg\" alt=\"Image uploaded from iOS (3)\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Image-uploaded-from-iOS-3.jpg 1224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Bodhi, after work. Being a service animal is hard work. Zzzzz.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Millie.jpg\">\u003cimg class=\"wp-image-71322 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Millie.jpg\" alt=\"Millie\" width=\"801\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie.jpg 801w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-768x1151.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-375x562.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Millie-520x779.jpg 520w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003c/a>\u003c/p>\n\u003cp>Millie, waiting for a Lyft.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o.jpg\">\u003cimg class=\"wp-image-71325 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-1020x1020.jpg\" alt=\"16601735_1743882615927457_5130422758710025075_o\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/16601735_1743882615927457_5130422758710025075_o.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Harley Rascal Brown has three names because having just one couldn't fully express all this cuteness.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Harry.jpg\">\u003cimg class=\"wp-image-71327 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Harry.jpg\" alt=\"Harry\" width=\"720\" height=\"960\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Harry.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Harry-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Harry-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Harry-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Harry-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>Harry lives up to his name.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/IMG_6709-e1490307155958.jpeg\">\u003cimg class=\"aligncenter size-large wp-image-71355\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/IMG_6709-e1490307155958-1020x1360.jpeg\" alt=\"IMG_6709\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-1020x1360.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-160x213.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-800x1067.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-768x1024.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-1920x2560.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-1180x1573.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-960x1280.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-240x320.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-375x500.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6709-e1490307155958-520x693.jpeg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Sarge patiently waits for his own statue.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n.jpg\">\u003cimg class=\"wp-image-71328 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n.jpg\" alt=\"12472724_1576162529366134_7743386460274354345_n\" width=\"720\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12472724_1576162529366134_7743386460274354345_n-150x150.jpg 150w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>Darla likes hiking because it's fun, but also because \u003ca href=\"https://www.instagram.com/darlapjane/\">her Instagram\u003c/a> isn't going to populate itself.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o.jpg\">\u003cimg class=\"aligncenter size-full wp-image-71364\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o.jpg\" alt=\"12898364_10208252841813001_9191221120502580047_o\" width=\"960\" height=\"1031\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-160x172.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-800x859.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-768x825.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-240x258.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-375x403.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/12898364_10208252841813001_9191221120502580047_o-520x558.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003c/p>\n\u003cp>Yuki's favorite song: \"Kiss Me\" by Sixpence None the Richer.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/heidi.jpg\">\u003cimg class=\"wp-image-71329 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/heidi-1020x1360.jpg\" alt=\"heidi\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/heidi-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Heidi runs this town.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/IMG_6213.jpeg\">\u003cimg class=\"wp-image-71330 size-large\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/IMG_6213-1020x765.jpeg\" alt=\"IMG_6213\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-768x576.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/IMG_6213.jpeg 1632w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Making the world a more adorable place is hard work. You can pay Beetle back via Visa, Mastercard, and belly rubs.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And here are a few KQED kitties because why not:\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tapas.jpg\">\u003cimg class=\"aligncenter size-large wp-image-71320\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tapas-1020x765.jpg\" alt=\"tapas\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/tapas-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Draw Tapas like one of your French girls.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Bunny.jpg\">\u003cimg class=\"aligncenter size-full wp-image-71333\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Bunny.jpg\" alt=\"Bunny\" width=\"720\" height=\"960\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Bunny.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Bunny-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Bunny-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Bunny-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Bunny-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>Bunny cat naps, stays on brand.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.-.jpg\"> \u003cimg class=\"aligncenter size-large wp-image-71319\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--1020x1360.jpg\" alt=\"Odo and Kira show some love for each other.\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.--520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Odo-and-Kira-show-some-love-for-each-other.-.jpg 1224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The world needs more love. Odo and Kira are doing their part. Are you?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Fetishes, Listservs, and the '90s: How I Almost Became a Tickle-Video Star",
"title": "Fetishes, Listservs, and the '90s: How I Almost Became a Tickle-Video Star",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>This month, HBO airs \u003ci>Tickled\u003c/i>, a documentary about what the filmmakers call “the world’s strangest sport” -- competitive endurance tickling. Made by New Zealand journalist David Farrier, the film tells the story of a mysterious figure behind so-called tickling \"competitions\" and hundreds (if not thousands) of online videos that feature young, handsome straight men being tied up and tickled.\u003c/p>\n\u003cp>The participants are paid thousands of dollars for their work, but often end up harassed and having their lives ruined by the producer, whom they never actually meet in person. One such participant had \u003ca href=\"http://abcnews.go.com/Entertainment/bizarre-controversy-surrounding-tickled-documentary-making-competitive-endurance/story?id=40262893\" target=\"_blank\">his football career thwarted\u003c/a> after he asked for his video -- which was understood to be private -- to be taken down from YouTube. Another was framed for committing cyberattacks against the White House.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iOBXuCYB4jQ\u003c/p>\n\u003cp>Over the course of filming, the documentarians discovered that David D’Amato, a former assistant principal, has been paying for these videos since the '90s. Back then he solicited videos under the female pseudonym Terri Tickle. And that’s how I knew him.\u003c/p>\n\u003cp style=\"text-align: center\">***\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before social media, we avid computer nerds used listservs to share interests, argue politics, and make new friends on the internet. It was all done through email -- no separate websites or apps.\u003c/p>\n\u003cp>The summer before I left for college, a listserv I was on shared a message from a woman who called herself \"Terri Tickle.\" She was looking to lay down hundreds of dollars for videos of young men being “mercilessly, relentlessly tickled.” She insisted there was nothing sexual about the videos, and promised they would never become public, as they were solely for her personal collection.\u003c/p>\n\u003cp>The email popped up in my inbox during a time when I was desperate for money. I had a job working as a stocker at a grocery store, but I hadn’t been saving for college. I blew through my paychecks in fits of impulsivity. My parents weren’t much help either, but they did try -- when I was young, my dad bought bonds that we kept in our freezer for years, certain they would provide some help with college. Turned out we probably lost money from the electricity used to freeze the worthless paper for so long.\u003c/p>\n\u003cp>Terri Tickle's email made me curious. Even if she said they weren’t about sex, they were definitely about sex. But who wants to watch dudes get tickled?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Kevin-YEarbook.jpeg\">\u003cimg class=\"alignright wp-image-71102\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Kevin-YEarbook-1020x1506.jpeg\" alt=\"Kevin YEarbook\" width=\"300\" height=\"443\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-1020x1506.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-160x236.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-800x1181.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-768x1134.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-960x1417.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-240x354.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-375x554.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-520x768.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook.jpeg 1084w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>I went to Terri’s website, which looked like a fancy GeoCities fanpage, as it was the '90s. Spotting her email address, I convinced myself that it wouldn’t hurt to reach out. I wrote a short email, adding a link to the website of my band the Ninja Boners, because it included my high school yearbook picture. (Yes, I had a band called the Ninja Boners.)\u003c/p>\n\u003cp>The reply came right away -- she was interested. \u003cem>Really\u003c/em> interested. Like lots-of-exclamation-points-and-capital-letters interested. She specifically didn’t want anything from my friend Jed, who also had his picture on our band's site, but she definitely wanted videos of me, as soon as possible.\u003c/p>\n\u003cp>She offered to send money right away, and asked for my home address. \u003cem>Someone wants to send me cash in the mail?\u003c/em> I thought. \u003cem>Sure, here's where I live.\u003c/em> (Obviously, in hindsight, a stupid idea.) And the money came -- about $80 if I remember correctly, all 20s.\u003c/p>\n\u003cp>I did not see a problem with this arrangement.\u003c/p>\n\u003cp>Having invested in me, she started asking for the video; not harassing, just checking in. We built a bit of a rapport. I would always promise to send something, but I was having trouble convincing my girlfriend to make the video with me, I said. (The truth was I never asked her and didn’t want to.)\u003c/p>\n\u003cp>In the meantime, a week into our correspondence, Terri offered a temporary compromise: she’d pay $100 for \u003cem>audio\u003c/em> of me being tickled. What a deal! So, with a cheap Radio Shack microphone, I recorded myself laughing hysterically and sent off the files. The cash came in a FedEx envelope a few days later.\u003c/p>\n\u003cp>(Years later, my mother found those audio files on the computer and asked me what they were. I said I didn’t know. She told me “they were really creepy.”)\u003c/p>\n\u003cp>One day, Terri sent an email telling me to expect a present. That weekend, a FedEx envelope showed up with about a quarter-ounce of weed inside. Frankly, I was more shocked by how easy it was to send weed in the mail than the action itself.\u003c/p>\n\u003cp>I never got around to recording a tickling video. In truth, making the video never crossed my mind. Why would I want something like that floating around when she’s already sending me money?\u003c/p>\n\u003cp>Terri must’ve figured out my plan because, one evening, I turned on my computer and found my inbox overwhelmed with new messages. There were thousands of unread emails that had nothing but robot-speak inside. And they kept coming. After deleting a bunch, I located the note from Terri telling me that she was angry. I was being punished for taking too long, and I had better make that video right away or the harassment would continue.\u003c/p>\n\u003cp>An avalanche of emails wasn’t scary to me, but I did take this person’s money and wanted to keep my promise. I’m an Eagle Scout for Chrissakes! So I wrote back to Terri and told her I was on it. Then I called my girlfriend Annette.\u003c/p>\n\u003cp>After hearing my story, she sounded like a disappointed mom, letting out a few heavy sighs before asking, \"What were you thinking?\"\u003c/p>\n\u003cp>But she did have the right advice. \"Just don’t do anything,\" she said. \"Don’t even write back.\"\u003c/p>\n\u003cp>And that’s what I did. I called my internet provider and had my email shut off. After that, the harassment stopped. There was nothing Terri could do to me any more, and thankfully I didn’t have much of a digital identity that she could stalk. Weeks later, I moved away to college, happy to have avoided making a ridiculous tickling video.\u003c/p>\n\u003cp>About a month or two into my first semester, I received an email from Terri. It said something to the effect of “Just wanted to show that I can always find you.”\u003c/p>\n\u003cp>I’m sure I was supposed to feel scared. But I just deleted Terri’s note and moved on.\u003c/p>\n\u003cp style=\"text-align: center\">***\u003c/p>\n\u003cp>I was lucky to escape unscathed from Terri’s/D’Amato’s wrath. As \u003cem>Tickled\u003c/em> documents, his revenge trips typically don’t end after a few emails. D’Amato’s former “talent” agent David Starr not only faced online harassment, but received a barrage of physical hate mail mocking the fact that his brother had died. Some of those letters were sent to Starr’s elderly mother. And the filmmakers behind \u003ci>Tickled\u003c/i> have experienced D'Amato's wrath, as well; they've been threatened with lawsuits before, during and after the documentary was made, and there’s a new site dedicated to attacking them (\u003ca href=\"http://www.tickledmovie.info/2016/04/part-three/\">it looks about as high-tech\u003c/a> as the old Terri Tickle site).\u003c/p>\n\u003cp>Despite all of this, the documentary shows that D’Amato, who \u003ca href=\"https://www.yahoo.com/movies/tickled-directors-react-david-d-211251604.html\">died suddenly this month\u003c/a>, avoided serious punishment. Even after he was arrested and \u003ca href=\"https://mycitypaper.com/articles/040501/cb.onmedia.shtml\">charged by the FBI \u003c/a>in 2001, he only had to spend three months in jail. The only son of a successful Wall Street lawyer, D’Amato was wealthy and well-educated, and became a lawyer himself.\u003c/p>\n\u003cp>But I didn’t write this story to dump on D’Amato. I want to impart an important lesson, which is this: Good decisions are rarely made in desperation. The more you need money, the more susceptible you become to scams and other harmful situations. The last thing you need after making a stupid mistake is to make more stupid mistakes. So if you find yourself desperate for cash and the easiest option requires you to exploit yourself, strongly consider the alternative. Take it from me: the tough times are only temporary, and permanent embarrassment is no laughing matter.\u003c/p>\n\u003cp>\u003cem>Want to learn more about the dark and twisted world of tickling? Listen to this episode of \u003ca href=\"https://ww2.kqed.org/pop/category/the-cooler/\" target=\"_blank\">The Cooler\u003c/a> podcast:\u003cbr>\n\u003c/em>\u003cbr>\n[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/03/Tickled.mp3\" title=\"The Dark and Twisted World of Tickling\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>CORRECTION:\u003c/strong> This story originally reported that D'Amato's punishment in 2001 was limited to a few months in a halfway house. Hal Karp, who originally reported on this story after D'Amato's arrest, pointed out that he spent the first three months in jail and another two in a halfway house.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month, HBO airs \u003ci>Tickled\u003c/i>, a documentary about what the filmmakers call “the world’s strangest sport” -- competitive endurance tickling. Made by New Zealand journalist David Farrier, the film tells the story of a mysterious figure behind so-called tickling \"competitions\" and hundreds (if not thousands) of online videos that feature young, handsome straight men being tied up and tickled.\u003c/p>\n\u003cp>The participants are paid thousands of dollars for their work, but often end up harassed and having their lives ruined by the producer, whom they never actually meet in person. One such participant had \u003ca href=\"http://abcnews.go.com/Entertainment/bizarre-controversy-surrounding-tickled-documentary-making-competitive-endurance/story?id=40262893\" target=\"_blank\">his football career thwarted\u003c/a> after he asked for his video -- which was understood to be private -- to be taken down from YouTube. Another was framed for committing cyberattacks against the White House.\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/iOBXuCYB4jQ'\n title='//www.youtube.com/embed/iOBXuCYB4jQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over the course of filming, the documentarians discovered that David D’Amato, a former assistant principal, has been paying for these videos since the '90s. Back then he solicited videos under the female pseudonym Terri Tickle. And that’s how I knew him.\u003c/p>\n\u003cp style=\"text-align: center\">***\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before social media, we avid computer nerds used listservs to share interests, argue politics, and make new friends on the internet. It was all done through email -- no separate websites or apps.\u003c/p>\n\u003cp>The summer before I left for college, a listserv I was on shared a message from a woman who called herself \"Terri Tickle.\" She was looking to lay down hundreds of dollars for videos of young men being “mercilessly, relentlessly tickled.” She insisted there was nothing sexual about the videos, and promised they would never become public, as they were solely for her personal collection.\u003c/p>\n\u003cp>The email popped up in my inbox during a time when I was desperate for money. I had a job working as a stocker at a grocery store, but I hadn’t been saving for college. I blew through my paychecks in fits of impulsivity. My parents weren’t much help either, but they did try -- when I was young, my dad bought bonds that we kept in our freezer for years, certain they would provide some help with college. Turned out we probably lost money from the electricity used to freeze the worthless paper for so long.\u003c/p>\n\u003cp>Terri Tickle's email made me curious. Even if she said they weren’t about sex, they were definitely about sex. But who wants to watch dudes get tickled?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Kevin-YEarbook.jpeg\">\u003cimg class=\"alignright wp-image-71102\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Kevin-YEarbook-1020x1506.jpeg\" alt=\"Kevin YEarbook\" width=\"300\" height=\"443\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-1020x1506.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-160x236.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-800x1181.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-768x1134.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-960x1417.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-240x354.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-375x554.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook-520x768.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Kevin-YEarbook.jpeg 1084w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>I went to Terri’s website, which looked like a fancy GeoCities fanpage, as it was the '90s. Spotting her email address, I convinced myself that it wouldn’t hurt to reach out. I wrote a short email, adding a link to the website of my band the Ninja Boners, because it included my high school yearbook picture. (Yes, I had a band called the Ninja Boners.)\u003c/p>\n\u003cp>The reply came right away -- she was interested. \u003cem>Really\u003c/em> interested. Like lots-of-exclamation-points-and-capital-letters interested. She specifically didn’t want anything from my friend Jed, who also had his picture on our band's site, but she definitely wanted videos of me, as soon as possible.\u003c/p>\n\u003cp>She offered to send money right away, and asked for my home address. \u003cem>Someone wants to send me cash in the mail?\u003c/em> I thought. \u003cem>Sure, here's where I live.\u003c/em> (Obviously, in hindsight, a stupid idea.) And the money came -- about $80 if I remember correctly, all 20s.\u003c/p>\n\u003cp>I did not see a problem with this arrangement.\u003c/p>\n\u003cp>Having invested in me, she started asking for the video; not harassing, just checking in. We built a bit of a rapport. I would always promise to send something, but I was having trouble convincing my girlfriend to make the video with me, I said. (The truth was I never asked her and didn’t want to.)\u003c/p>\n\u003cp>In the meantime, a week into our correspondence, Terri offered a temporary compromise: she’d pay $100 for \u003cem>audio\u003c/em> of me being tickled. What a deal! So, with a cheap Radio Shack microphone, I recorded myself laughing hysterically and sent off the files. The cash came in a FedEx envelope a few days later.\u003c/p>\n\u003cp>(Years later, my mother found those audio files on the computer and asked me what they were. I said I didn’t know. She told me “they were really creepy.”)\u003c/p>\n\u003cp>One day, Terri sent an email telling me to expect a present. That weekend, a FedEx envelope showed up with about a quarter-ounce of weed inside. Frankly, I was more shocked by how easy it was to send weed in the mail than the action itself.\u003c/p>\n\u003cp>I never got around to recording a tickling video. In truth, making the video never crossed my mind. Why would I want something like that floating around when she’s already sending me money?\u003c/p>\n\u003cp>Terri must’ve figured out my plan because, one evening, I turned on my computer and found my inbox overwhelmed with new messages. There were thousands of unread emails that had nothing but robot-speak inside. And they kept coming. After deleting a bunch, I located the note from Terri telling me that she was angry. I was being punished for taking too long, and I had better make that video right away or the harassment would continue.\u003c/p>\n\u003cp>An avalanche of emails wasn’t scary to me, but I did take this person’s money and wanted to keep my promise. I’m an Eagle Scout for Chrissakes! So I wrote back to Terri and told her I was on it. Then I called my girlfriend Annette.\u003c/p>\n\u003cp>After hearing my story, she sounded like a disappointed mom, letting out a few heavy sighs before asking, \"What were you thinking?\"\u003c/p>\n\u003cp>But she did have the right advice. \"Just don’t do anything,\" she said. \"Don’t even write back.\"\u003c/p>\n\u003cp>And that’s what I did. I called my internet provider and had my email shut off. After that, the harassment stopped. There was nothing Terri could do to me any more, and thankfully I didn’t have much of a digital identity that she could stalk. Weeks later, I moved away to college, happy to have avoided making a ridiculous tickling video.\u003c/p>\n\u003cp>About a month or two into my first semester, I received an email from Terri. It said something to the effect of “Just wanted to show that I can always find you.”\u003c/p>\n\u003cp>I’m sure I was supposed to feel scared. But I just deleted Terri’s note and moved on.\u003c/p>\n\u003cp style=\"text-align: center\">***\u003c/p>\n\u003cp>I was lucky to escape unscathed from Terri’s/D’Amato’s wrath. As \u003cem>Tickled\u003c/em> documents, his revenge trips typically don’t end after a few emails. D’Amato’s former “talent” agent David Starr not only faced online harassment, but received a barrage of physical hate mail mocking the fact that his brother had died. Some of those letters were sent to Starr’s elderly mother. And the filmmakers behind \u003ci>Tickled\u003c/i> have experienced D'Amato's wrath, as well; they've been threatened with lawsuits before, during and after the documentary was made, and there’s a new site dedicated to attacking them (\u003ca href=\"http://www.tickledmovie.info/2016/04/part-three/\">it looks about as high-tech\u003c/a> as the old Terri Tickle site).\u003c/p>\n\u003cp>Despite all of this, the documentary shows that D’Amato, who \u003ca href=\"https://www.yahoo.com/movies/tickled-directors-react-david-d-211251604.html\">died suddenly this month\u003c/a>, avoided serious punishment. Even after he was arrested and \u003ca href=\"https://mycitypaper.com/articles/040501/cb.onmedia.shtml\">charged by the FBI \u003c/a>in 2001, he only had to spend three months in jail. The only son of a successful Wall Street lawyer, D’Amato was wealthy and well-educated, and became a lawyer himself.\u003c/p>\n\u003cp>But I didn’t write this story to dump on D’Amato. I want to impart an important lesson, which is this: Good decisions are rarely made in desperation. The more you need money, the more susceptible you become to scams and other harmful situations. The last thing you need after making a stupid mistake is to make more stupid mistakes. So if you find yourself desperate for cash and the easiest option requires you to exploit yourself, strongly consider the alternative. Take it from me: the tough times are only temporary, and permanent embarrassment is no laughing matter.\u003c/p>\n\u003cp>\u003cem>Want to learn more about the dark and twisted world of tickling? Listen to this episode of \u003ca href=\"https://ww2.kqed.org/pop/category/the-cooler/\" target=\"_blank\">The Cooler\u003c/a> podcast:\u003cbr>\n\u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>CORRECTION:\u003c/strong> This story originally reported that D'Amato's punishment in 2001 was limited to a few months in a halfway house. Hal Karp, who originally reported on this story after D'Amato's arrest, pointed out that he spent the first three months in jail and another two in a halfway house.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You'll never think of tickling the same way again. Also, a look at the dangers of being a know-it-all, the glory of Keanu Reeves, and the story of a badass four-year-old Siberian girl.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/03/Tickled.mp3\" title=\"The Dark and Twisted World of Tickling\" 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\">\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\">\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>We start things off by getting into all the shocking details from \u003cem>Tickled\u003c/em>, a documentary about the twisted world of \"competitive endurance tickling.\"\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/MeLV4iO.gif\">\u003cimg class=\"aligncenter size-full wp-image-71174\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/MeLV4iO.gif\" alt=\"MeLV4iO\" width=\"460\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>We talk about how everyone is a know-it-all these days, and why that's not great.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tumblr_mfuusos8hi1rf38dio1_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-71173\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tumblr_mfuusos8hi1rf38dio1_500.gif\" alt=\"tumblr_mfuusos8hi1rf38dio1_500\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>We try falling in love with Keanu Reeves.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/SvqnAaj.gif\">\u003cimg class=\"size-full wp-image-71171 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/SvqnAaj.gif\" alt=\"SvqnAaj\" width=\"350\" height=\"233\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on PWR BTTM's \"I Wanna Boi\", a song about how having a boyfriend is mostly about avoiding being cold:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xqwwkETs4TU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\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\">\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>We start things off by getting into all the shocking details from \u003cem>Tickled\u003c/em>, a documentary about the twisted world of \"competitive endurance tickling.\"\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/MeLV4iO.gif\">\u003cimg class=\"aligncenter size-full wp-image-71174\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/MeLV4iO.gif\" alt=\"MeLV4iO\" width=\"460\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>We talk about how everyone is a know-it-all these days, and why that's not great.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tumblr_mfuusos8hi1rf38dio1_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-71173\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tumblr_mfuusos8hi1rf38dio1_500.gif\" alt=\"tumblr_mfuusos8hi1rf38dio1_500\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>We try falling in love with Keanu Reeves.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/SvqnAaj.gif\">\u003cimg class=\"size-full wp-image-71171 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/SvqnAaj.gif\" alt=\"SvqnAaj\" width=\"350\" height=\"233\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on PWR BTTM's \"I Wanna Boi\", a song about how having a boyfriend is mostly about avoiding being cold:\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/xqwwkETs4TU'\n title='//www.youtube.com/embed/xqwwkETs4TU'\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\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Watch the Spice Girls Shut Down a '90s Talk Show Over Blackface",
"title": "Watch the Spice Girls Shut Down a '90s Talk Show Over Blackface",
"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\">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/2017/03/WokeGirls.mp3\" title=\"The Spice Girls: Woke Baes Since 1996\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003cp>There are countless reasons to love the Spice Girls. And now we have one more. Back in the '90s, the Spice Girls used their platform to espouse more progressive attitudes around feminism and gender equality:\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/gallery-1479467057-spice-girls-girl-power.gif\">\u003cimg class=\"aligncenter size-full wp-image-70072\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/gallery-1479467057-spice-girls-girl-power.gif\" alt=\"gallery-1479467057-spice-girls-girl-power\" width=\"768\" height=\"432\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/giphy.gif\">\u003cimg class=\"aligncenter size-medium wp-image-70077\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/giphy.gif\" alt=\"giphy\" width=\"409\" height=\"354\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/spice-girls-feminism.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-70078\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/spice-girls-feminism.jpg\" alt=\"spice-girls-feminism\" width=\"340\" height=\"240\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice-girls-feminism.jpg 340w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice-girls-feminism-160x113.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice-girls-feminism-240x169.jpg 240w\" sizes=\"(max-width: 340px) 100vw, 340px\">\u003c/a>\u003c/p>\n\u003cp>But they didn't stop there. Recently resurfaced footage from an appearance on a '90s Dutch talk show reveals that they also used their voices to speak out against blackface.\u003c/p>\n\u003cp>Before we get to the clip, some necessary context:\u003c/p>\n\u003cp>In Belgium and the Netherlands, they celebrate Christmas and St. Nicholas a bit differently than we do in the States. Sinterklaas, their version of Santa, is not helped by elves and flying reindeer; instead, he's assisted by \"Zwarte Piet,\" which translates to Black Pete. This character, described as a Moor from Spain, was introduced back in 1850. Every year, Dutch and Belgian people channel Black Pete by covering their faces in black makeup, painting on big red lips, and clipping on gold earrings.\u003c/p>\n\u003cfigure id=\"attachment_70079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/5192325626_2ab24605c7_b.jpg\">\u003cimg class=\"size-medium wp-image-70079\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-800x665.jpg\" alt=\"Photo: Gerard Stolk / Flickr\" width=\"800\" height=\"665\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-800x665.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-160x133.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-768x638.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-1020x848.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-960x798.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-240x199.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-375x312.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-520x432.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Gerard Stolk / \u003ca href=\"https://www.flickr.com/photos/gerardstolk/5192325626\">Flickr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite accusations of racism, many continue to defend the practice because relegating an entire race to an offensive costume is tradition (translation: confronting one's colonial past can be awkward and they'd rather not). To sidestep the controversy, some Zwarte Piet lovers now claim that Santa's black \"helper\" is actually white, and the blackface presentation is supposed to symbolize soot that got all over him while going down a chimney.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy.gif\">\u003cimg class=\"aligncenter size-full wp-image-27656\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy.gif\" alt=\"sure jan gif\" width=\"450\" height=\"254\">\u003c/a>\u003c/p>\n\u003cp>But people are slowly starting to accept the fact that traditional customs can also be super duper racist. And guess you knew that way back in the 1990s. The Spice Girls, of course!\u003c/p>\n\u003cp>While on a publicity tour through the Netherlands, talk show host Paul De Leeuw decided to bring out a band of Black Petes. The Spice Girls immediately tried to shut it down, yelling \"We don't like them! NO!\"\u003c/p>\n\u003cp>Melanie B, a.k.a. Scary Spice, the only person of color in the group, elaborated: \"I think they shouldn't paint their faces. You should get proper black people to do it. I don't think that's very good.\"\u003c/p>\n\u003cp>Leeuw dug his heels in: \"No, no, no, that's tradition, that's culture.\" He then pointed out one of the white people in blackface and said, \"One of them is \u003ca href=\"https://en.wikipedia.org/wiki/Winnie_Madikizela-Mandela\">Winnie Mandela\u003c/a>. Hello, Winnie!\"\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/spice_girls_blackface_1997.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-70098\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/spice_girls_blackface_1997-800x450.jpg\" alt=\"spice_girls_blackface_1997\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997.jpg 1330w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\"It's the '90s!\" a grossed-out Melanie C, a.k.a. Sporty Spice, pointed out.\u003c/p>\n\u003cp>Leeuw, however, stayed on message: \"But it's culture!\"\u003c/p>\n\u003cp>Geri, a.k.a. Ginger Spice, smacked that lame excuse down: \"Then update your culture!\"\u003c/p>\n\u003cp>The moral of the story: History is not kind to those who insist on being racist for whatever reason. And the Spice Girls are always right. Enjoy:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/SpiceGirlsFilm/status/839840527038222337?ref_src=twsrc%5Etfw\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are countless reasons to love the Spice Girls. And now we have one more. Back in the '90s, the Spice Girls used their platform to espouse more progressive attitudes around feminism and gender equality:\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/gallery-1479467057-spice-girls-girl-power.gif\">\u003cimg class=\"aligncenter size-full wp-image-70072\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/gallery-1479467057-spice-girls-girl-power.gif\" alt=\"gallery-1479467057-spice-girls-girl-power\" width=\"768\" height=\"432\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/giphy.gif\">\u003cimg class=\"aligncenter size-medium wp-image-70077\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/giphy.gif\" alt=\"giphy\" width=\"409\" height=\"354\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/spice-girls-feminism.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-70078\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/spice-girls-feminism.jpg\" alt=\"spice-girls-feminism\" width=\"340\" height=\"240\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice-girls-feminism.jpg 340w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice-girls-feminism-160x113.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice-girls-feminism-240x169.jpg 240w\" sizes=\"(max-width: 340px) 100vw, 340px\">\u003c/a>\u003c/p>\n\u003cp>But they didn't stop there. Recently resurfaced footage from an appearance on a '90s Dutch talk show reveals that they also used their voices to speak out against blackface.\u003c/p>\n\u003cp>Before we get to the clip, some necessary context:\u003c/p>\n\u003cp>In Belgium and the Netherlands, they celebrate Christmas and St. Nicholas a bit differently than we do in the States. Sinterklaas, their version of Santa, is not helped by elves and flying reindeer; instead, he's assisted by \"Zwarte Piet,\" which translates to Black Pete. This character, described as a Moor from Spain, was introduced back in 1850. Every year, Dutch and Belgian people channel Black Pete by covering their faces in black makeup, painting on big red lips, and clipping on gold earrings.\u003c/p>\n\u003cfigure id=\"attachment_70079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/5192325626_2ab24605c7_b.jpg\">\u003cimg class=\"size-medium wp-image-70079\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-800x665.jpg\" alt=\"Photo: Gerard Stolk / Flickr\" width=\"800\" height=\"665\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-800x665.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-160x133.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-768x638.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-1020x848.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-960x798.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-240x199.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-375x312.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b-520x432.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/5192325626_2ab24605c7_b.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Gerard Stolk / \u003ca href=\"https://www.flickr.com/photos/gerardstolk/5192325626\">Flickr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite accusations of racism, many continue to defend the practice because relegating an entire race to an offensive costume is tradition (translation: confronting one's colonial past can be awkward and they'd rather not). To sidestep the controversy, some Zwarte Piet lovers now claim that Santa's black \"helper\" is actually white, and the blackface presentation is supposed to symbolize soot that got all over him while going down a chimney.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy.gif\">\u003cimg class=\"aligncenter size-full wp-image-27656\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy.gif\" alt=\"sure jan gif\" width=\"450\" height=\"254\">\u003c/a>\u003c/p>\n\u003cp>But people are slowly starting to accept the fact that traditional customs can also be super duper racist. And guess you knew that way back in the 1990s. The Spice Girls, of course!\u003c/p>\n\u003cp>While on a publicity tour through the Netherlands, talk show host Paul De Leeuw decided to bring out a band of Black Petes. The Spice Girls immediately tried to shut it down, yelling \"We don't like them! NO!\"\u003c/p>\n\u003cp>Melanie B, a.k.a. Scary Spice, the only person of color in the group, elaborated: \"I think they shouldn't paint their faces. You should get proper black people to do it. I don't think that's very good.\"\u003c/p>\n\u003cp>Leeuw dug his heels in: \"No, no, no, that's tradition, that's culture.\" He then pointed out one of the white people in blackface and said, \"One of them is \u003ca href=\"https://en.wikipedia.org/wiki/Winnie_Madikizela-Mandela\">Winnie Mandela\u003c/a>. Hello, Winnie!\"\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/spice_girls_blackface_1997.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-70098\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/spice_girls_blackface_1997-800x450.jpg\" alt=\"spice_girls_blackface_1997\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/spice_girls_blackface_1997.jpg 1330w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\"It's the '90s!\" a grossed-out Melanie C, a.k.a. Sporty Spice, pointed out.\u003c/p>\n\u003cp>Leeuw, however, stayed on message: \"But it's culture!\"\u003c/p>\n\u003cp>Geri, a.k.a. Ginger Spice, smacked that lame excuse down: \"Then update your culture!\"\u003c/p>\n\u003cp>The moral of the story: History is not kind to those who insist on being racist for whatever reason. And the Spice Girls are always right. Enjoy:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"disqusTitle": "'Get Out' Sprang From An Effort To Master Fear, Says Director Jordan Peele",
"title": "'Get Out' Sprang From An Effort To Master Fear, Says Director Jordan Peele",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>The new film, \u003cem>Get Out,\u003c/em> defies easy classification. Though it has funny moments, it's primarily a horror film, with racial anxiety at its center. Writer-director Jordan Peele tells \u003cem>Fresh Air\u003c/em>'s Terry Gross that he thinks of \u003cem>Get Out\u003c/em> as a \"social thriller.\"\u003c/p>\n\u003cp>The movie tells the story of a young black man named Chris whose white girlfriend, Rose, takes him to meet her parents for the first time — without first telling them he's black. Rose's parents go out of their way to show Chris how open minded they are, but there's something suspicious in the liberal facade they present. The film takes several twists and turns (which we won't spoil here) as Chris figures out what is going on.\u003c/p>\n\u003cp>Peele wanted the audience, regardless of race, to see the subtle racism through Chris' eyes. \"It was very important to me to just get the entire audience in touch in some way with the fears inherent [in] being black in this country,\" Peele says. \"Part of being black in this country, and I presume being any minority, is constantly being told that ... we're seeing racism where there just isn't racism.\"\u003c/p>\n\u003cp>Previously known for his comedic work on the Comedy Central sketch series \u003cem>Key & Peele, \u003c/em>Peele says that his current turn as the director of a horror/thriller film comes from a \"deeper place in my soul\" than his comic work. \"This [movie] is just simply my truest passion,\" he says. \"It comes from this fact that in order to deal with my own fears, I wanted to be able to sort of master them. It's really just want I want to be doing.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sRfnevzM9kQ\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On racism as a device for a horror movie plot \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Every great horror movie comes from a true fear, and ideally it's a universal fear. The tricky nature of this project is that the fear I'm pulling from is very human, but it's not necessarily a universal experience, so that's why the first third of the movie is showing, and not in an over-the-top way, in a sort of real, grounded way, just getting everybody to be able to see the world through my protagonist's eyes and his fears.\u003c/p>\n\u003cp>\u003cstrong>On a lack of black representation in horror films \u003c/strong>\u003c/p>\n\u003cp>The gestation period for this idea kind of spanned several years, and I think one of the most important milestones in that process was just realizing that every true horror, human horror, American horror has a horror movie that deals with it and allows us to face that fear, except [that] race in a modern sense, hadn't been touched. It really hadn't been touched in my opinion since \u003cem>\u003ca href=\"http://www.npr.org/sections/codeswitch/2013/09/30/227943197/why-black-heroes-make-zombie-stories-more-interesting\">Night of the Living Dead\u003c/a> \u003c/em>50 years ago. Maybe with the film \u003cem>Candyman\u003c/em>. That to me, I just saw a void there. So it really started with this notion of like, \u003cem>this has to be possible, let's figure it out\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>On writing a film that would play differently to black and white people, but is meant to be inclusive \u003c/strong>\u003c/p>\n\u003cp>This was an exercise in ... making a movie that is meant to be inclusive. ... In any good story, whoever you are, you should be able to relate to the protagonist. 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I've never seen it done in \u003cem>film like this, that's awesome.\u003c/em>' And at the same moment I might recognize that there would be a lot of white people who would watch the scene and either recognize these moments as something that maybe they've done, or that they've seen someone do.\u003c/p>\n\u003cp>\u003cstrong>On Chris trying to connect with the black groundskeeper and housekeeper at Rose's house and not getting the response he expected\u003c/strong>\u003c/p>\n\u003cp>You know the stereotype of all black people know each other, well I think it probably comes from the fact that we can identify with each other's experience in a way that others may have a harder time. So yes, you see a black person anywhere where you're the only two, it's like there's an instant bond, or there should be, is sort of the feeling.\u003c/p>\n\u003cp>There's also this feeling, the fear of dating outside of one's race also brings with it a loaded group of fears\u003cem>. Am I abandoning my blackness in some way? Am I turning my back on my roots in some way?\u003c/em> So I wanted Chris to be dealing with that uncomfortableness of not knowing how he's being judged by the housekeeper and the groundskeeper in this situation.\u003c/p>\n\u003cp>\u003cstrong>On his biracial identity growing up \u003c/strong>\u003c/p>\n\u003cp>I'd been taught from an early age that I was in the \"other\" category on the standardized tests. I had to go down the list, \"Caucasian, African American, Latino, Asian, Pacific Islander,\" and then at the bottom is \"other.\" Very early on I was taught in a way that I was somehow this anomaly. ...\u003c/p>\n\u003cp>It's probably one of the reasons that I fell in love with horror and comedy, which I think are genres that really appeal to someone who identifies with the outsider or the other, which is many of us. I remember it being a very confusing notion that we were on the one hand learning about Martin Luther King's dream and then on the other hand we were having to fill in these boxes and declare what we were.\u003c/p>\n\u003cp>By the time I was a little older, maybe fourth or fifth grade, I would check the \"African American\" box, which brought me comfort to be able to identify with a group more. ...\u003c/p>\n\u003cp>By the time Barack Obama was elected it changed a lot of my feelings of identity and really inspired both \u003cem>Key & Peele\u003c/em> and \u003cem>Get Out\u003c/em>. ... All of a sudden being mixed was an identity, and one that was the identity of a man who I consider [to be] the very best of us. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new film, \u003cem>Get Out,\u003c/em> defies easy classification. Though it has funny moments, it's primarily a horror film, with racial anxiety at its center. Writer-director Jordan Peele tells \u003cem>Fresh Air\u003c/em>'s Terry Gross that he thinks of \u003cem>Get Out\u003c/em> as a \"social thriller.\"\u003c/p>\n\u003cp>The movie tells the story of a young black man named Chris whose white girlfriend, Rose, takes him to meet her parents for the first time — without first telling them he's black. Rose's parents go out of their way to show Chris how open minded they are, but there's something suspicious in the liberal facade they present. The film takes several twists and turns (which we won't spoil here) as Chris figures out what is going on.\u003c/p>\n\u003cp>Peele wanted the audience, regardless of race, to see the subtle racism through Chris' eyes. \"It was very important to me to just get the entire audience in touch in some way with the fears inherent [in] being black in this country,\" Peele says. \"Part of being black in this country, and I presume being any minority, is constantly being told that ... we're seeing racism where there just isn't racism.\"\u003c/p>\n\u003cp>Previously known for his comedic work on the Comedy Central sketch series \u003cem>Key & Peele, \u003c/em>Peele says that his current turn as the director of a horror/thriller film comes from a \"deeper place in my soul\" than his comic work. \"This [movie] is just simply my truest passion,\" he says. \"It comes from this fact that in order to deal with my own fears, I wanted to be able to sort of master them. It's really just want I want to be doing.\"\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/sRfnevzM9kQ'\n title='//www.youtube.com/embed/sRfnevzM9kQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On racism as a device for a horror movie plot \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every great horror movie comes from a true fear, and ideally it's a universal fear. The tricky nature of this project is that the fear I'm pulling from is very human, but it's not necessarily a universal experience, so that's why the first third of the movie is showing, and not in an over-the-top way, in a sort of real, grounded way, just getting everybody to be able to see the world through my protagonist's eyes and his fears.\u003c/p>\n\u003cp>\u003cstrong>On a lack of black representation in horror films \u003c/strong>\u003c/p>\n\u003cp>The gestation period for this idea kind of spanned several years, and I think one of the most important milestones in that process was just realizing that every true horror, human horror, American horror has a horror movie that deals with it and allows us to face that fear, except [that] race in a modern sense, hadn't been touched. It really hadn't been touched in my opinion since \u003cem>\u003ca href=\"http://www.npr.org/sections/codeswitch/2013/09/30/227943197/why-black-heroes-make-zombie-stories-more-interesting\">Night of the Living Dead\u003c/a> \u003c/em>50 years ago. Maybe with the film \u003cem>Candyman\u003c/em>. That to me, I just saw a void there. So it really started with this notion of like, \u003cem>this has to be possible, let's figure it out\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>On writing a film that would play differently to black and white people, but is meant to be inclusive \u003c/strong>\u003c/p>\n\u003cp>This was an exercise in ... making a movie that is meant to be inclusive. ... In any good story, whoever you are, you should be able to relate to the protagonist. At the same time, I had to recognize that black people would be watching this movie and having a different experience ... than white people would. ...\u003c/p>\n\u003cp>Often when I thought about a specific scene or a specific moment I'd think, \u003cem>I hope the black audience here\u003c/em> \u003cem>is [saying] 'Y\u003c/em>ou know what? This is my experience. I've never seen it done in \u003cem>film like this, that's awesome.\u003c/em>' And at the same moment I might recognize that there would be a lot of white people who would watch the scene and either recognize these moments as something that maybe they've done, or that they've seen someone do.\u003c/p>\n\u003cp>\u003cstrong>On Chris trying to connect with the black groundskeeper and housekeeper at Rose's house and not getting the response he expected\u003c/strong>\u003c/p>\n\u003cp>You know the stereotype of all black people know each other, well I think it probably comes from the fact that we can identify with each other's experience in a way that others may have a harder time. So yes, you see a black person anywhere where you're the only two, it's like there's an instant bond, or there should be, is sort of the feeling.\u003c/p>\n\u003cp>There's also this feeling, the fear of dating outside of one's race also brings with it a loaded group of fears\u003cem>. 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I remember it being a very confusing notion that we were on the one hand learning about Martin Luther King's dream and then on the other hand we were having to fill in these boxes and declare what we were.\u003c/p>\n\u003cp>By the time I was a little older, maybe fourth or fifth grade, I would check the \"African American\" box, which brought me comfort to be able to identify with a group more. ...\u003c/p>\n\u003cp>By the time Barack Obama was elected it changed a lot of my feelings of identity and really inspired both \u003cem>Key & Peele\u003c/em> and \u003cem>Get Out\u003c/em>. ... All of a sudden being mixed was an identity, and one that was the identity of a man who I consider [to be] the very best of us. 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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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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",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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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
},
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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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"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": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"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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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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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"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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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}
},
"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",
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