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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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"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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"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. 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>. 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. I feel like the discussions about being biracial weren't even in existence, so when Barack Obama was elected it definitely inspired us to explore that and the notions of code-switching and everything.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Listen to the full interview!\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/520130162/520281850\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Get+Out%27+Sprang+From+An+Effort+To+Master+Fear%2C+Says+Director+Jordan+Peele&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\n",
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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>. 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. I feel like the discussions about being biracial weren't even in existence, so when Barack Obama was elected it definitely inspired us to explore that and the notions of code-switching and everything.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Listen to the full interview!\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/520130162/520281850\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Get+Out%27+Sprang+From+An+Effort+To+Master+Fear%2C+Says+Director+Jordan+Peele&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Spice Girls: Woke Baes Since 1996",
"title": "The Spice Girls: Woke Baes Since 1996",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>Get Out\u003c/em> fangirling, the secret language of twins, and recently discovered Spice Girls footage that'll make you love them even more than you already do.\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\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 gushing about \u003cem>Get Out\u003c/em> and Daniel Kaluuya's eyes, and discuss the debate over whether black Brits should play American roles.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/GET-OUT-2.gif\">\u003cimg class=\"aligncenter size-full wp-image-69929\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/GET-OUT-2.gif\" alt=\"GET-OUT-2\" width=\"530\" height=\"298\">\u003c/a>\u003c/p>\n\u003cp>We learn about the story of a pair of twins who refused to speak to anyone but each other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/635959033001773413-1086658537_Odyssey-Twins-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-69930\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/635959033001773413-1086658537_Odyssey-Twins-1.gif\" alt=\"635959033001773413-1086658537_Odyssey - Twins 1\" width=\"480\" height=\"252\">\u003c/a>\u003c/p>\n\u003cp>We revel in a recently unearthed clip of the Spice Girls waging war on blackface way back in the '90s.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/19-reason-spice-world-cinematic-masterpiece.gif\">\u003cimg class=\"aligncenter size-medium wp-image-69932\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/19-reason-spice-world-cinematic-masterpiece.gif\" alt=\"19-reason-spice-world-cinematic-masterpiece\" width=\"500\" height=\"198\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/wonderbra.gif\">\u003cimg class=\"aligncenter size-full wp-image-69931\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/wonderbra.gif\" alt=\"wonderbra\" width=\"480\" height=\"360\">\u003c/a>\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2017/03/16/watch-the-spice-girls-shut-down-a-90s-talk-show-over-blackface/\u003c/p>\n\u003cp>And we ride out on Lorde's comeback single, \"Green Light\":\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dMK_npDG12Q\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": "\u003cp>A few years ago, Chimamanda Adichie received a message from a childhood friend asking for advice: She wanted to know how to raise her newborn daughter to be a feminist.\u003c/p>\n\u003cp>For Adichie — a best-selling author who has also made a name for herself as a leading feminist voice — the question was a bit daunting, but she wrote a long letter back to her friend. Now, that letter has been published as a book. It's called \u003cem>Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions\u003c/em>, and it talks about everything from how to choose toys to teaching self-reliance to challenging traditional gender roles.\u003c/p>\n\u003cp>Adichie says writing the letter was useful for her, too. \"Yes, I wrote it for my friend, but I think to a large extent it was also my way of mapping out my own thinking. Because I have talked a lot about these things and I care very much about them and I get very passionate ... but I realized I didn't actually have a concrete map of the particular, specific things that I think will help if we do them differently.\"\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On \"feminism-lite\" and why it's harmful\u003c/strong>\u003c/p>\n\u003cp>It means raising a girl to believe that she is inferior to a man, but that the man is expected to be good to her; that women are somehow naturally subordinate to men, but men have to treat women well. And I find it dehumanizing to women because I think that surely we have to have something more than male benevolence as the basis for a woman's wellbeing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I also think that that kind of feminism-lite, you know, often uses the language of power. And an example from the book is a British newspaper writing about the British prime minister and saying that her husband had \u003ca href=\"https://www.theguardian.com/business/2016/jul/12/philip-may-theresa-may-quiet-husband-city-experience\">\"allowed\" her to shine\u003c/a>. And I think it's the kind of language that's used so often that we just think it's normal, but it's so problematic. ... The premise, of course, is it's kind of like the headmaster has allowed the little girl to ascend.\u003c/p>\n\u003cp>And I just think it's important, very early on, to let children be aware of this. Right, so if a child — and when she's 3, of course, she's not going to be reading the newspapers, but when she's a bit older — to say to her, \"Do you see? This is not OK and here's why: 'Allow' is the language of power, and you can't use that when you're talking about two people who are equal.\"\u003c/p>\n\u003cp>\u003cstrong>On the importance of teaching girls to reject likability\u003c/strong>\u003c/p>\n\u003cp>I think the way that a lot of girls are raised in so many parts of the world is that idea that you have to be likeable. And likeable means you have to kind of mold and shape what you do and say based on what you imagine the other person wants to hear. ...\u003c/p>\n\u003cp>Actually, I was just thinking about a friend of mine who lives and works in Lagos, [Nigeria]. And she's talking about her superior at work, who she said was making her very uncomfortable because he made very demeaning remarks about her appearance, about her breasts, that kind of thing. And she said, you know, \"I just can't take it anymore. I need to tell him to stop.\" And one of the men, a friend of ours who was there, said to her, \"Well yes, you should, but make sure you're not rude about it.\" And my friend said, \"Of course I won't be rude.\"\u003c/p>\n\u003cp>And I remember being struck by that because I thought, \u003cem>He's demeaning you, this person. You're uncomfortable and unhappy, but you're still consumed by how not to be rude when you tell him to stop.\u003c/em> And I thought, \u003cem>You know what? You should be bloody rude!\u003c/em> And I remember also thinking, \u003cem>Only a woman raised in the way that we've been sort of conditioned would think about not being rude in telling somebody who's really hurting her to stop.\u003c/em>\u003c/p>\n\u003cp>And for me it's the consequence of likeability; it's what that idea of likeability does. And I think instead we should teach girls to just be themselves, and that idea that you don't have to be liked by everyone. And it kind of makes me wonder what kind of world would we have lived in if women had been allowed to be their full selves?\u003c/p>\n\u003cp>\u003cstrong>On the importance of teaching difference\u003c/strong>\u003c/p>\n\u003cp>My general approach is teach the child that we don't understand everything. ... \"I don't know, and it's OK that I don't know.\" I think it's important to just say to kids, \"Look, there's difference in the world. The norm of our existence as human beings is difference. We're not all the same, and it's OK.\" ... Then it makes them just kind of shrug when things that don't fit their own narrow existence sort of appear to them.\u003c/p>\n\u003cp>\u003cstrong>On why it's important to start having these conversations early on\u003c/strong>\u003c/p>\n\u003cp>By the time we are older, it's much more difficult to unlearn things that we've learned, which is why there are so many women who — even though ideas of gender are bad for them, stifle them — they kind of still go along with it because that's what they know. If we start early to start to challenge it, push back, then, you know, a woman is more likely, when she is an adult, to have those tools to say, \"You know, in the end I'm going to live the life I want to live.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Listen to the full interview on All Things Considered!\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/518160055/518391700\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor \u003ca href=\"http://www.npr.org/people/134634643/bridget-kelley\" target=\"_blank\">Bridget Kelley\u003c/a>, producer Jordan-Marie Smith and digital producer \u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\" target=\"_blank\">Nicole Cohen\u003c/a> contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, Chimamanda Adichie received a message from a childhood friend asking for advice: She wanted to know how to raise her newborn daughter to be a feminist.\u003c/p>\n\u003cp>For Adichie — a best-selling author who has also made a name for herself as a leading feminist voice — the question was a bit daunting, but she wrote a long letter back to her friend. Now, that letter has been published as a book. It's called \u003cem>Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions\u003c/em>, and it talks about everything from how to choose toys to teaching self-reliance to challenging traditional gender roles.\u003c/p>\n\u003cp>Adichie says writing the letter was useful for her, too. \"Yes, I wrote it for my friend, but I think to a large extent it was also my way of mapping out my own thinking. Because I have talked a lot about these things and I care very much about them and I get very passionate ... but I realized I didn't actually have a concrete map of the particular, specific things that I think will help if we do them differently.\"\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On \"feminism-lite\" and why it's harmful\u003c/strong>\u003c/p>\n\u003cp>It means raising a girl to believe that she is inferior to a man, but that the man is expected to be good to her; that women are somehow naturally subordinate to men, but men have to treat women well. And I find it dehumanizing to women because I think that surely we have to have something more than male benevolence as the basis for a woman's wellbeing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I also think that that kind of feminism-lite, you know, often uses the language of power. And an example from the book is a British newspaper writing about the British prime minister and saying that her husband had \u003ca href=\"https://www.theguardian.com/business/2016/jul/12/philip-may-theresa-may-quiet-husband-city-experience\">\"allowed\" her to shine\u003c/a>. And I think it's the kind of language that's used so often that we just think it's normal, but it's so problematic. ... The premise, of course, is it's kind of like the headmaster has allowed the little girl to ascend.\u003c/p>\n\u003cp>And I just think it's important, very early on, to let children be aware of this. Right, so if a child — and when she's 3, of course, she's not going to be reading the newspapers, but when she's a bit older — to say to her, \"Do you see? This is not OK and here's why: 'Allow' is the language of power, and you can't use that when you're talking about two people who are equal.\"\u003c/p>\n\u003cp>\u003cstrong>On the importance of teaching girls to reject likability\u003c/strong>\u003c/p>\n\u003cp>I think the way that a lot of girls are raised in so many parts of the world is that idea that you have to be likeable. And likeable means you have to kind of mold and shape what you do and say based on what you imagine the other person wants to hear. ...\u003c/p>\n\u003cp>Actually, I was just thinking about a friend of mine who lives and works in Lagos, [Nigeria]. And she's talking about her superior at work, who she said was making her very uncomfortable because he made very demeaning remarks about her appearance, about her breasts, that kind of thing. And she said, you know, \"I just can't take it anymore. I need to tell him to stop.\" And one of the men, a friend of ours who was there, said to her, \"Well yes, you should, but make sure you're not rude about it.\" And my friend said, \"Of course I won't be rude.\"\u003c/p>\n\u003cp>And I remember being struck by that because I thought, \u003cem>He's demeaning you, this person. You're uncomfortable and unhappy, but you're still consumed by how not to be rude when you tell him to stop.\u003c/em> And I thought, \u003cem>You know what? You should be bloody rude!\u003c/em> And I remember also thinking, \u003cem>Only a woman raised in the way that we've been sort of conditioned would think about not being rude in telling somebody who's really hurting her to stop.\u003c/em>\u003c/p>\n\u003cp>And for me it's the consequence of likeability; it's what that idea of likeability does. And I think instead we should teach girls to just be themselves, and that idea that you don't have to be liked by everyone. And it kind of makes me wonder what kind of world would we have lived in if women had been allowed to be their full selves?\u003c/p>\n\u003cp>\u003cstrong>On the importance of teaching difference\u003c/strong>\u003c/p>\n\u003cp>My general approach is teach the child that we don't understand everything. ... \"I don't know, and it's OK that I don't know.\" I think it's important to just say to kids, \"Look, there's difference in the world. The norm of our existence as human beings is difference. We're not all the same, and it's OK.\" ... Then it makes them just kind of shrug when things that don't fit their own narrow existence sort of appear to them.\u003c/p>\n\u003cp>\u003cstrong>On why it's important to start having these conversations early on\u003c/strong>\u003c/p>\n\u003cp>By the time we are older, it's much more difficult to unlearn things that we've learned, which is why there are so many women who — even though ideas of gender are bad for them, stifle them — they kind of still go along with it because that's what they know. If we start early to start to challenge it, push back, then, you know, a woman is more likely, when she is an adult, to have those tools to say, \"You know, in the end I'm going to live the life I want to live.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Listen to the full interview on All Things Considered!\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/518160055/518391700\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor \u003ca href=\"http://www.npr.org/people/134634643/bridget-kelley\" target=\"_blank\">Bridget Kelley\u003c/a>, producer Jordan-Marie Smith and digital producer \u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\" target=\"_blank\">Nicole Cohen\u003c/a> contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Do+You+Raise+A+Feminist+Daughter%3F+Chimamanda+Adichie+Has+15+Suggestions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A World Music Diva, A Play about War in Africa, and a Show about Artistic Influence",
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"headTitle": "Cy and David’s Picks: A World Music Diva, A Play about War in Africa, and a Show about Artistic Influence | KQED",
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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>Both David and I are a bit groggy after a late evening at the opening of \u003ca href=\"http://www.fiascotheater.com/\" target=\"_blank\" rel=\"noopener\">Fiasco Theater\u003c/a>’s \u003ca href=\"http://www.sfchronicle.com/performance/article/Romp-Into-the-Woods-where-wishes-come-10989566.php\" target=\"_blank\" rel=\"noopener\">excellent stripped down production \u003c/a>of James Lapine and Stephen Sondheim’s musical \u003cem>Into the Woods\u003c/em>. Details for the run at SHN’s \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=intothewoods&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Golden Gate Theater through April 2 are here\u003c/a>. I’m also stoked to see Aaron Diehl and Cecile McLorin Salvant celebrate the music of Jelly Roll Morton and George Gershwin. They’re at \u003ca href=\"https://live.stanford.edu/calendar/march-2017/aaron-diehl-presents-jelly-and-george\" target=\"_blank\" rel=\"noopener\">Bing Concert Hall at Stanford\u003c/a>, \u003ca href=\"https://www.kuumbwajazz.org/calendar/2017-02/\" target=\"_blank\" rel=\"noopener\">Kuumbwa in Santa Cruz\u003c/a>, \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/jelly-and-george-featuring-aaron-diehl-and-cecile-mclorin-salvant\">the Mondavi Center in Davis\u003c/a> and \u003ca href=\"https://sfjazz.org/events/2016-17/0316/cecile-mclorin-salvant-aaron-diehl\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> — with\u003ca href=\"http://www.aarondiehl.com/booked-c1q5u\" target=\"_blank\" rel=\"noopener\"> details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qC8feW4gomo\u003c/p>\n\u003cp>\u003cstrong>March 11\u003c/strong>: \u003ca href=\"http://www.meklitmusic.com/new-page-1/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a> is one of the Bay Area’s most adventurous singers and songwriters. She’s Ethiopian-born, and a TED Fellow who brews her music out of jazz, soul, R&B and world music. Hadero has been busy lately curating \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">The Nile Project \u003c/a>(a touring group of Nile Delta musicians) and \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>’s tribute to Lauryn Hill, so it’s nice to see her focusing again on her own music — especially in the intimate setting of Bing Concert Hall’s new Rehearsal Studio, with its cocktail lounge feel. Details for Hadero’s show Saturday\u003ca href=\"https://live.stanford.edu/calendar/march-2017/meklit\" target=\"_blank\" rel=\"noopener\"> are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876203 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg\" alt=\"Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco. \u003ccite>(Photo: Little Fang/Curran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 7–19\u003c/strong>: \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eclipsed\u003c/em> \u003c/a>is a play about the brutal violence of the Liberian Civil War and the bitter lives of women held as sex slaves by a rebel officer. The show is remarkable as the first on Broadway produced by an \u003ca href=\"http://www.okayafrica.com/culture-2/eclipsed-on-broadway-makes-history/\" target=\"_blank\" rel=\"noopener\">all-black, all-women creative team\u003c/a>, including former director (and former Berkeley Rep Associate Director) \u003ca href=\"https://www.forbes.com/sites/jerylbrunner/2016/06/29/director-liesl-tommy-the-first-woman-of-color-nominated-for-a-tony-for-best-direction-of-a-play/#70e6ca0a69a7\" target=\"_blank\" rel=\"noopener\">Lisel Tommy\u003c/a> and playwright and Zimbabwean-American Danai Gurira (who’s also one of the stars of the TV series \u003cem>\u003ca href=\"http://www.amc.com/shows/the-walking-dead\" target=\"_blank\" rel=\"noopener\">The Walking Dead\u003c/a>, \u003c/em>and slated to appear in the upcoming Marvel \u003cem>Black Panther\u003c/em> movie). Gurira started writing because she didn’t think there were enough plays about Africa on American stages (you think?), and has won nothing but praise for her work. \u003cem>Eclipsed\u003c/em> is the second show at the renovated Curran Theatre (after \u003cem>Fun Home), \u003c/em>and more proof that owner Carole Shorenstein Hays is making good on her promise to bring important, serious shows to San Francisco. Each performance of \u003cem>Eclipsed\u003c/em> will be dedicated by name—in a post-show presentation—to abducted girls around the world. Details \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ycIVwe4MsS4\u003c/p>\n\u003cp>\u003cstrong>March 16–19\u003c/strong>: \u003ca href=\"http://ncco.org/\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra\u003c/a> is continuing its 25th anniversary with a season of farewell to music director and violinist \u003ca href=\"http://www.nadjasalernosonnenberg.com/\" target=\"_blank\" rel=\"noopener\">Nadja Salerno-Sonnenberg\u003c/a>, who will leave to teach full-time at \u003ca href=\"http://www.loyno.edu/\" target=\"_blank\" rel=\"noopener\">Loyola University \u003c/a>next fall. For this concert, Salerno-Sonnenberg has put together a program of pure pleasure, featuring an excerpt from Stravinsky’s ballet \u003ca href=\"https://en.wikipedia.org/wiki/Apollo_(ballet)\" target=\"_blank\" rel=\"noopener\">\u003cem>Apollon musagète\u003c/em>\u003c/a> and a suite of songs from \u003cem>An American in Paris\u003c/em>. That brings in the other stars of these shows, the choral group Chanticleer. You can’t go wrong. It runs March 16 in Berkeley at the First Presbyterian Church, March 17 in Palo Alto at the Oshman JCC, March 18 at Herbst Theater in San Francisco, and March 19 in San Rafael at the Osher Marin JCC. Details \u003ca href=\"http://ncco.org/concert-tickets/program-3-americans-paris/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12876209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876209 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg\" alt=\"Richard Diebenkorn’s Woman on a Porch\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-960x737.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Diebenkorn’s ‘Woman on a Porch.’ \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11–May 29\u003c/strong>: Two of the greatest names in modern art are together for the first time at the San Francisco Museum of Modern Art — French Fauvist and impressionist \u003ca href=\"http://www.henri-matisse.net/\" target=\"_blank\" rel=\"noopener\">Henri Matisse\u003c/a> (1869-1954) and Californian \u003ca href=\"http://diebenkorn.org/\" target=\"_blank\" rel=\"noopener\">Richard Diebenkorn \u003c/a>(1922–1993). That Diebenkorn was deeply influenced by Matisse was no secret, But in this collaboration between the \u003ca href=\"https://artbma.org/\" target=\"_blank\" rel=\"noopener\">Baltimore Museum of Art\u003c/a> (with its deep collection of Matisse) and \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">SFMOMA \u003c/a>(with its deep collection of Diebenkorn), visitors can see firsthand the way Diebenkorn often employed the same colors and design elements that Matisse used in his paintings. “Diebenkorn had an incredible visual memory,” SFMOMA \u003ca href=\"https://newamericanpaintings.com/jurors/janet-bishop\" target=\"_blank\" rel=\"noopener\">curator Janet Bishop\u003c/a> told me while we talked in front of Matisse’s \u003cem>Yellow Pottery from Provence\u003c/em>, “and he carried that image with him, so several years later, when he made one of his Berkeley paintings, you see that same palette emerge, that same banding of color. To see these paintings together for the first time is an incredible thrill.” And they’re gorgeous. Details for the Matisse/Diebenkorn show at SFMOMA \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KLoKWvUwyjM\u003c/p>\n\u003cp>\u003cstrong>March 10–12\u003c/strong>: \u003ca href=\"http://thecoathangers.com/\" target=\"_blank\" rel=\"noopener\">The Coathangers\u003c/a> are three women from Atlanta who only occasionally do ballads — mostly they play garage and surf-punk with no compromises. The band’s name (a reference to dangerous abortion methods so common before \u003cem>Roe v. Wade\u003c/em>) makes David uncomfortable, but maybe that’s the idea for a trio whose song titles include “Don’t Touch my Sh-t.” They touch down three times in the Bay Area this weekend — on March 10 at Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7065685&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), March 11 at the Starline Social Club in Oakland (\u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/3/11/the-coathangers-girltears\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), and March 12 at the \u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">Arlene Francis Center\u003c/a> in Santa Rosa (\u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cp>\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\n",
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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>\n\u003cp>Both David and I are a bit groggy after a late evening at the opening of \u003ca href=\"http://www.fiascotheater.com/\" target=\"_blank\" rel=\"noopener\">Fiasco Theater\u003c/a>’s \u003ca href=\"http://www.sfchronicle.com/performance/article/Romp-Into-the-Woods-where-wishes-come-10989566.php\" target=\"_blank\" rel=\"noopener\">excellent stripped down production \u003c/a>of James Lapine and Stephen Sondheim’s musical \u003cem>Into the Woods\u003c/em>. Details for the run at SHN’s \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=intothewoods&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Golden Gate Theater through April 2 are here\u003c/a>. I’m also stoked to see Aaron Diehl and Cecile McLorin Salvant celebrate the music of Jelly Roll Morton and George Gershwin. They’re at \u003ca href=\"https://live.stanford.edu/calendar/march-2017/aaron-diehl-presents-jelly-and-george\" target=\"_blank\" rel=\"noopener\">Bing Concert Hall at Stanford\u003c/a>, \u003ca href=\"https://www.kuumbwajazz.org/calendar/2017-02/\" target=\"_blank\" rel=\"noopener\">Kuumbwa in Santa Cruz\u003c/a>, \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/jelly-and-george-featuring-aaron-diehl-and-cecile-mclorin-salvant\">the Mondavi Center in Davis\u003c/a> and \u003ca href=\"https://sfjazz.org/events/2016-17/0316/cecile-mclorin-salvant-aaron-diehl\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> — with\u003ca href=\"http://www.aarondiehl.com/booked-c1q5u\" target=\"_blank\" rel=\"noopener\"> details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qC8feW4gomo'\n title='//www.youtube.com/embed/qC8feW4gomo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 11\u003c/strong>: \u003ca href=\"http://www.meklitmusic.com/new-page-1/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a> is one of the Bay Area’s most adventurous singers and songwriters. She’s Ethiopian-born, and a TED Fellow who brews her music out of jazz, soul, R&B and world music. Hadero has been busy lately curating \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">The Nile Project \u003c/a>(a touring group of Nile Delta musicians) and \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>’s tribute to Lauryn Hill, so it’s nice to see her focusing again on her own music — especially in the intimate setting of Bing Concert Hall’s new Rehearsal Studio, with its cocktail lounge feel. Details for Hadero’s show Saturday\u003ca href=\"https://live.stanford.edu/calendar/march-2017/meklit\" target=\"_blank\" rel=\"noopener\"> are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876203 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg\" alt=\"Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco. \u003ccite>(Photo: Little Fang/Curran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 7–19\u003c/strong>: \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eclipsed\u003c/em> \u003c/a>is a play about the brutal violence of the Liberian Civil War and the bitter lives of women held as sex slaves by a rebel officer. The show is remarkable as the first on Broadway produced by an \u003ca href=\"http://www.okayafrica.com/culture-2/eclipsed-on-broadway-makes-history/\" target=\"_blank\" rel=\"noopener\">all-black, all-women creative team\u003c/a>, including former director (and former Berkeley Rep Associate Director) \u003ca href=\"https://www.forbes.com/sites/jerylbrunner/2016/06/29/director-liesl-tommy-the-first-woman-of-color-nominated-for-a-tony-for-best-direction-of-a-play/#70e6ca0a69a7\" target=\"_blank\" rel=\"noopener\">Lisel Tommy\u003c/a> and playwright and Zimbabwean-American Danai Gurira (who’s also one of the stars of the TV series \u003cem>\u003ca href=\"http://www.amc.com/shows/the-walking-dead\" target=\"_blank\" rel=\"noopener\">The Walking Dead\u003c/a>, \u003c/em>and slated to appear in the upcoming Marvel \u003cem>Black Panther\u003c/em> movie). Gurira started writing because she didn’t think there were enough plays about Africa on American stages (you think?), and has won nothing but praise for her work. \u003cem>Eclipsed\u003c/em> is the second show at the renovated Curran Theatre (after \u003cem>Fun Home), \u003c/em>and more proof that owner Carole Shorenstein Hays is making good on her promise to bring important, serious shows to San Francisco. Each performance of \u003cem>Eclipsed\u003c/em> will be dedicated by name—in a post-show presentation—to abducted girls around the world. Details \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" 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/ycIVwe4MsS4'\n title='//www.youtube.com/embed/ycIVwe4MsS4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 16–19\u003c/strong>: \u003ca href=\"http://ncco.org/\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra\u003c/a> is continuing its 25th anniversary with a season of farewell to music director and violinist \u003ca href=\"http://www.nadjasalernosonnenberg.com/\" target=\"_blank\" rel=\"noopener\">Nadja Salerno-Sonnenberg\u003c/a>, who will leave to teach full-time at \u003ca href=\"http://www.loyno.edu/\" target=\"_blank\" rel=\"noopener\">Loyola University \u003c/a>next fall. For this concert, Salerno-Sonnenberg has put together a program of pure pleasure, featuring an excerpt from Stravinsky’s ballet \u003ca href=\"https://en.wikipedia.org/wiki/Apollo_(ballet)\" target=\"_blank\" rel=\"noopener\">\u003cem>Apollon musagète\u003c/em>\u003c/a> and a suite of songs from \u003cem>An American in Paris\u003c/em>. That brings in the other stars of these shows, the choral group Chanticleer. You can’t go wrong. It runs March 16 in Berkeley at the First Presbyterian Church, March 17 in Palo Alto at the Oshman JCC, March 18 at Herbst Theater in San Francisco, and March 19 in San Rafael at the Osher Marin JCC. Details \u003ca href=\"http://ncco.org/concert-tickets/program-3-americans-paris/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12876209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876209 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg\" alt=\"Richard Diebenkorn’s Woman on a Porch\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-960x737.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Diebenkorn’s ‘Woman on a Porch.’ \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11–May 29\u003c/strong>: Two of the greatest names in modern art are together for the first time at the San Francisco Museum of Modern Art — French Fauvist and impressionist \u003ca href=\"http://www.henri-matisse.net/\" target=\"_blank\" rel=\"noopener\">Henri Matisse\u003c/a> (1869-1954) and Californian \u003ca href=\"http://diebenkorn.org/\" target=\"_blank\" rel=\"noopener\">Richard Diebenkorn \u003c/a>(1922–1993). That Diebenkorn was deeply influenced by Matisse was no secret, But in this collaboration between the \u003ca href=\"https://artbma.org/\" target=\"_blank\" rel=\"noopener\">Baltimore Museum of Art\u003c/a> (with its deep collection of Matisse) and \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">SFMOMA \u003c/a>(with its deep collection of Diebenkorn), visitors can see firsthand the way Diebenkorn often employed the same colors and design elements that Matisse used in his paintings. “Diebenkorn had an incredible visual memory,” SFMOMA \u003ca href=\"https://newamericanpaintings.com/jurors/janet-bishop\" target=\"_blank\" rel=\"noopener\">curator Janet Bishop\u003c/a> told me while we talked in front of Matisse’s \u003cem>Yellow Pottery from Provence\u003c/em>, “and he carried that image with him, so several years later, when he made one of his Berkeley paintings, you see that same palette emerge, that same banding of color. To see these paintings together for the first time is an incredible thrill.” And they’re gorgeous. Details for the Matisse/Diebenkorn show at SFMOMA \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" 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/KLoKWvUwyjM'\n title='//www.youtube.com/embed/KLoKWvUwyjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 10–12\u003c/strong>: \u003ca href=\"http://thecoathangers.com/\" target=\"_blank\" rel=\"noopener\">The Coathangers\u003c/a> are three women from Atlanta who only occasionally do ballads — mostly they play garage and surf-punk with no compromises. The band’s name (a reference to dangerous abortion methods so common before \u003cem>Roe v. Wade\u003c/em>) makes David uncomfortable, but maybe that’s the idea for a trio whose song titles include “Don’t Touch my Sh-t.” They touch down three times in the Bay Area this weekend — on March 10 at Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7065685&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), March 11 at the Starline Social Club in Oakland (\u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/3/11/the-coathangers-girltears\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), and March 12 at the \u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">Arlene Francis Center\u003c/a> in Santa Rosa (\u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Does Emma Watson’s Feminism Irritate So Many People?",
"title": "Why Does Emma Watson’s Feminism Irritate So Many People?",
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"content": "\u003cp>Emma Watson can't win. Ever since the 26-year-old actress \"came out\" as a feminist, she's been picked apart in every facet of her life as critics and feminist allies alike search of any traces of hypocrisy. For Watson, it's an impossible position -- on one side, she faces accusations of being an uptight, know-it-all feminist preacher; on the other, she's seen as too privileged and not feminist enough by fervently intersectional millennials.\u003c/p>\n\u003cp>The most recent turn in a seemingly endless discussion about Watson's fitness as a feminist stemmed from a rather stunning \u003ca href=\"https://www.timwalkerphotography.com/\">Tim Walker\u003c/a> photo shoot in this month's \u003cem>\u003ca href=\"http://www.vanityfair.com/hollywood/2017/02/emma-watson-cover-story\">Vanity Fair\u003c/a>\u003c/em>. The problem started when a British columnist and radio presenter named \u003ca href=\"https://en.wikipedia.org/wiki/Julia_Hartley-Brewer\">Julia Hartley-Brewer\u003c/a> found a photo of Watson displaying some tasteful underboob from the shoot, and tweeted the following:\u003c/p>\n\u003cp>https://twitter.com/JuliaHB1/status/836873834414366720\u003c/p>\n\u003cp>Respected British newspaper \u003ca href=\"http://www.independent.co.uk/author/biba-kang\">\u003cem>The Independent\u003c/em>\u003c/a> followed up by questioning Watson’s choices and agency: “One of the rubbish side effects of being a woman is that it’s often very hard to distinguish what you want with what you have been told to want… The only thing ‘having its cake and eating it too’ here is the patriarchy.”\u003c/p>\n\u003cp>The backlash continued. \u003ca href=\"http://www.cnn.com/2017/03/05/entertainment/emma-watson-vanity-fair-photo-controversy/\">CNN asked\u003c/a> with a straight face: “Can you be a feminist and pose in a nearly see-through top for Vanity Fair?\" And\u003cem> \u003ca href=\"http://www.hollywoodreporter.com/news/is-actress-feminist-emma-watson-a-hypocrite-going-topless-vanity-fair-982585\">The Hollywood Reporter\u003c/a>\u003c/em>, failing to understand that practicing feminists are not required nor expected to sign no-nudity clauses, asked, “Should stars worry more about their images in editorial photo spreads, especially when those images could run counter to their personal brand messaging?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some outlets fought for Watson. \u003cem>Jezebel\u003c/em>’s Rachel Verona Cote called Hartley-Brewer’s Tweet an “\u003ca href=\"http://jezebel.com/emma-watsons-feminist-card-is-now-invalid-because-she-p-1792995010\">absurd remark\u003c/a>;” \u003ca href=\"http://www.vulture.com/2017/03/emma-watson-gets-criticized-for-semi-nudity-in-vanity-fair.html\">\u003cem>Vulture\u003c/em> noted\u003c/a> that “According to some critics, feminism and nudity are mutually exclusive... That’s backwards.” \u003c/p>\n\u003cp>Watson herself \u003ca href=\"https://www.buzzfeed.com/ikrd/emma-watson-is-very-confused-about-the-backlash-to-her-vanit?utm_term=.ci5v1WVoA#.diadw4lxE\">weighed in\u003c/a> with sense and humor: “Feminism is about giving women choice, feminism is not a stick with which to beat other women with. It’s about freedom, it’s about liberation, it’s about equality,” she said. “I really don’t know what my tits have to do with it.”\u003c/p>\n\u003cp>Even after that, Watson was attacked on Twitter by Beyoncé fans, who revived \u003ca href=\"http://www.billboard.com/articles/news/7717149/emma-watson-beyonce-fans-called-hypocrite\">a three-year-old interview\u003c/a> in which Watson discussed Queen Bey's music videos.\u003c/p>\n\u003cp>https://twitter.com/MJStarLover/status/838459099566247937\u003c/p>\n\u003cp>In response, Watson dug up the interview, highlighted the sections in which she talked about Beyoncé, and allowed the text to speak for itself. (Admitting that she \"still [hadn't] really formed my own ideas about it,\" she had been asking questions about Beyoncé's music videos that seemed to be shot through a \"male gaze.\" )\u003c/p>\n\u003cp>As with so many criticisms directed at Watson -- whenever she does anything feminist \u003cem>or\u003c/em> feminine -- it's often a lot of fuss about nothing.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/emma.png\">\u003cimg class=\"alignright wp-image-68239\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/emma-800x814.png\" alt=\"emma\" width=\"400\" height=\"407\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-800x814.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-160x163.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-768x781.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1020x1038.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1920x1953.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1180x1201.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-960x977.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-240x244.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-375x382.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-520x529.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-64x64.png 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>The entire \u003cem>Vanity Fair\u003c/em> incident serves to highlight just how much confusion still swirls around feminism as a movement. In 2017, the idea that individuals must stay chaste and fully-clothed to defend equal rights for women is antiquated, stemming from an old stereotype that painted women’s rights campaigners as sexless man-haters in order to discourage more women from joining the movement. Apparently, \u003ca href=\"http://uptownmagazine.com/files/2014/10/Beyonce-FEminist.jpg\">Beyoncé in a leotard\u003c/a> in front of a gigantic FEMINIST sign at the Grammys in 2014 has done little to dispel this old, ugly myth. That's probably for the same reason why Watson was openly confused about Beyoncé at the time -- namely, that understanding millennial feminism requires additional thought about free sexual expression, patriarchal media influences, choice and women's place in the age of technology.\u003c/p>\n\u003cp>But another part of Watson's problem as an outspoken feminist is \u003cem>who she literally is\u003c/em>. She is widely viewed as the embodiment of privilege. Her accent carries the same polished tone as the British Royal Family; she was born in Paris to two successful lawyers; she has few memories of ever not being a millionaire, thanks to being cast as Hermione Granger in the \u003cem>Harry Potter\u003c/em> franchise at the age of nine. Watson definitely has something of a relatability problem.\u003c/p>\n\u003cp>At a time when the term “\u003ca href=\"https://www.bustle.com/articles/120684-7-things-feminists-of-color-want-white-feminists-to-know\">White Feminist\u003c/a>” is one of the worst things to call a female campaigner, Watson's feminism comes under extra scrutiny precisely because she is a young, rich, white, cis-gendered, heterosexual woman -- the exact demographic that dominated second-wave feminism, sometimes to the detriment of other women. It also happens to be the exact demographic from which millennial feminism so often seeks to distance itself.\u003c/p>\n\u003cp>Undoubtedly, Watson is now in a bit of a quagmire. Since she became an activist, she stopped being a relatable figure to those who don’t understand feminism nor care to hear about it (i.e., the people who picked apart her photo shoot last week). But for a sizable portion of new-generation feminists, Watson is simply too privileged to truly get it. No matter how much sense she speaks, or how well her arguments hold up, her innate privilege has a tendency to undercut her ability to be viewed as authentic.\u003c/p>\n\u003cp>The split between the old and new feminist guard was made abundantly clear after Watson's \u003ca href=\"https://ww2.kqed.org/pop/emma-watson-most-inspiring-quotes-international-womens-day-facebook-feminism-speech\">“HeForShe” speech\u003c/a> at the UN in 2014. It was a moment widely applauded across the mainstream media, but Watson faced backlash in some feminist-specific media outlets (like \u003cem>\u003ca href=\"http://www.xojane.com/issues/emma-watson-he-for-she\">XOJane\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://www.bgdblog.org/2014/09/im-really-emma-watsons-feminism-speech-u-n/\">BGD Blog\u003c/a>, \u003c/em>and \u003cem>\u003ca href=\"https://www.facebook.com/guerrillafeminism/posts/741051699298794\">Guerrilla Feminism\u003c/a>\u003c/em>). Her response to the discussion was thoughtful, but did little to dispel the idea that Watson might not truly get it:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-68230\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/watson-response-800x1045.png\" alt=\"Watson's response to charges of not being intersectional enough\" width=\"800\" height=\"1045\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-800x1045.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-160x209.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-768x1003.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1020x1332.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1920x2508.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1180x1542.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-960x1254.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-240x314.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-375x490.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-520x679.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another example of Watson’s good intentions backfiring is the Instagram account she set up to chronicle the many stunning ensembles she's been wearing on her globetrotting \u003cem>Beauty & The Beast\u003c/em> promotional tour. \u003ca href=\"https://www.instagram.com/the_press_tour/?hl=en\">@ThePressTour\u003c/a> was set up with the intention of highlighting another cause close to Watson’s heart -- eco-friendly fashion –- but to many, it looks an awful lot like just another rich, beautiful celebrity flaunting her access to extremely expensive couture. The motivations and intentions behind The Press Tour are great (and just imagine what the anti-feminists would say if she didn't show up to every appearance this polished), but the execution suggests to many that Watson is clueless when it comes to understanding the realities of life for low-income women and women of color.\u003c/p>\n\u003cfigure id=\"attachment_68238\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-68238\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1020x1559.png\" alt=\"Screen Shot 2017-03-06 at 5.14.24 PM\" width=\"500\" height=\"764\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1020x1559.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-160x245.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-800x1223.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-768x1174.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1920x2934.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1180x1803.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-960x1467.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-240x367.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-375x573.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-520x795.png 520w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Photo: The Press Tour Instagram\u003c/figcaption>\u003c/figure>\n\u003cp>If Watson continues with her feminist campaigning -- and young women would certainly be worse off if she didn’t -- the furor around that one very tasteful photograph in \u003cem>Vanity Fair\u003c/em> will only be the beginning. As it stands, it might be more useful for all of us to start viewing Watson through a lens that doesn't involve old-fashioned feminist stereotypes, and doesn't -- based on their bank balances or race -- exclude women (which was the point of intersectional feminism in the first place).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watson isn't a perfect feminist, because there is no such thing. We should be judging her for her passion, her actions, the attention she brings to feminism, and the fact that, even under heavy fire, she persists.\u003c/p>\n\n",
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"excerpt": "Can Emma Watson be both a feminist activist and a woman comfortable enough in her own skin to show some of it? Some think not.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emma Watson can't win. Ever since the 26-year-old actress \"came out\" as a feminist, she's been picked apart in every facet of her life as critics and feminist allies alike search of any traces of hypocrisy. For Watson, it's an impossible position -- on one side, she faces accusations of being an uptight, know-it-all feminist preacher; on the other, she's seen as too privileged and not feminist enough by fervently intersectional millennials.\u003c/p>\n\u003cp>The most recent turn in a seemingly endless discussion about Watson's fitness as a feminist stemmed from a rather stunning \u003ca href=\"https://www.timwalkerphotography.com/\">Tim Walker\u003c/a> photo shoot in this month's \u003cem>\u003ca href=\"http://www.vanityfair.com/hollywood/2017/02/emma-watson-cover-story\">Vanity Fair\u003c/a>\u003c/em>. The problem started when a British columnist and radio presenter named \u003ca href=\"https://en.wikipedia.org/wiki/Julia_Hartley-Brewer\">Julia Hartley-Brewer\u003c/a> found a photo of Watson displaying some tasteful underboob from the shoot, and tweeted the following:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Respected British newspaper \u003ca href=\"http://www.independent.co.uk/author/biba-kang\">\u003cem>The Independent\u003c/em>\u003c/a> followed up by questioning Watson’s choices and agency: “One of the rubbish side effects of being a woman is that it’s often very hard to distinguish what you want with what you have been told to want… The only thing ‘having its cake and eating it too’ here is the patriarchy.”\u003c/p>\n\u003cp>The backlash continued. \u003ca href=\"http://www.cnn.com/2017/03/05/entertainment/emma-watson-vanity-fair-photo-controversy/\">CNN asked\u003c/a> with a straight face: “Can you be a feminist and pose in a nearly see-through top for Vanity Fair?\" And\u003cem> \u003ca href=\"http://www.hollywoodreporter.com/news/is-actress-feminist-emma-watson-a-hypocrite-going-topless-vanity-fair-982585\">The Hollywood Reporter\u003c/a>\u003c/em>, failing to understand that practicing feminists are not required nor expected to sign no-nudity clauses, asked, “Should stars worry more about their images in editorial photo spreads, especially when those images could run counter to their personal brand messaging?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some outlets fought for Watson. \u003cem>Jezebel\u003c/em>’s Rachel Verona Cote called Hartley-Brewer’s Tweet an “\u003ca href=\"http://jezebel.com/emma-watsons-feminist-card-is-now-invalid-because-she-p-1792995010\">absurd remark\u003c/a>;” \u003ca href=\"http://www.vulture.com/2017/03/emma-watson-gets-criticized-for-semi-nudity-in-vanity-fair.html\">\u003cem>Vulture\u003c/em> noted\u003c/a> that “According to some critics, feminism and nudity are mutually exclusive... That’s backwards.” \u003c/p>\n\u003cp>Watson herself \u003ca href=\"https://www.buzzfeed.com/ikrd/emma-watson-is-very-confused-about-the-backlash-to-her-vanit?utm_term=.ci5v1WVoA#.diadw4lxE\">weighed in\u003c/a> with sense and humor: “Feminism is about giving women choice, feminism is not a stick with which to beat other women with. It’s about freedom, it’s about liberation, it’s about equality,” she said. “I really don’t know what my tits have to do with it.”\u003c/p>\n\u003cp>Even after that, Watson was attacked on Twitter by Beyoncé fans, who revived \u003ca href=\"http://www.billboard.com/articles/news/7717149/emma-watson-beyonce-fans-called-hypocrite\">a three-year-old interview\u003c/a> in which Watson discussed Queen Bey's music videos.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In response, Watson dug up the interview, highlighted the sections in which she talked about Beyoncé, and allowed the text to speak for itself. (Admitting that she \"still [hadn't] really formed my own ideas about it,\" she had been asking questions about Beyoncé's music videos that seemed to be shot through a \"male gaze.\" )\u003c/p>\n\u003cp>As with so many criticisms directed at Watson -- whenever she does anything feminist \u003cem>or\u003c/em> feminine -- it's often a lot of fuss about nothing.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/emma.png\">\u003cimg class=\"alignright wp-image-68239\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/emma-800x814.png\" alt=\"emma\" width=\"400\" height=\"407\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-800x814.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-160x163.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-768x781.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1020x1038.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1920x1953.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1180x1201.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-960x977.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-240x244.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-375x382.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-520x529.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-64x64.png 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>The entire \u003cem>Vanity Fair\u003c/em> incident serves to highlight just how much confusion still swirls around feminism as a movement. In 2017, the idea that individuals must stay chaste and fully-clothed to defend equal rights for women is antiquated, stemming from an old stereotype that painted women’s rights campaigners as sexless man-haters in order to discourage more women from joining the movement. Apparently, \u003ca href=\"http://uptownmagazine.com/files/2014/10/Beyonce-FEminist.jpg\">Beyoncé in a leotard\u003c/a> in front of a gigantic FEMINIST sign at the Grammys in 2014 has done little to dispel this old, ugly myth. That's probably for the same reason why Watson was openly confused about Beyoncé at the time -- namely, that understanding millennial feminism requires additional thought about free sexual expression, patriarchal media influences, choice and women's place in the age of technology.\u003c/p>\n\u003cp>But another part of Watson's problem as an outspoken feminist is \u003cem>who she literally is\u003c/em>. She is widely viewed as the embodiment of privilege. Her accent carries the same polished tone as the British Royal Family; she was born in Paris to two successful lawyers; she has few memories of ever not being a millionaire, thanks to being cast as Hermione Granger in the \u003cem>Harry Potter\u003c/em> franchise at the age of nine. Watson definitely has something of a relatability problem.\u003c/p>\n\u003cp>At a time when the term “\u003ca href=\"https://www.bustle.com/articles/120684-7-things-feminists-of-color-want-white-feminists-to-know\">White Feminist\u003c/a>” is one of the worst things to call a female campaigner, Watson's feminism comes under extra scrutiny precisely because she is a young, rich, white, cis-gendered, heterosexual woman -- the exact demographic that dominated second-wave feminism, sometimes to the detriment of other women. It also happens to be the exact demographic from which millennial feminism so often seeks to distance itself.\u003c/p>\n\u003cp>Undoubtedly, Watson is now in a bit of a quagmire. Since she became an activist, she stopped being a relatable figure to those who don’t understand feminism nor care to hear about it (i.e., the people who picked apart her photo shoot last week). But for a sizable portion of new-generation feminists, Watson is simply too privileged to truly get it. No matter how much sense she speaks, or how well her arguments hold up, her innate privilege has a tendency to undercut her ability to be viewed as authentic.\u003c/p>\n\u003cp>The split between the old and new feminist guard was made abundantly clear after Watson's \u003ca href=\"https://ww2.kqed.org/pop/emma-watson-most-inspiring-quotes-international-womens-day-facebook-feminism-speech\">“HeForShe” speech\u003c/a> at the UN in 2014. It was a moment widely applauded across the mainstream media, but Watson faced backlash in some feminist-specific media outlets (like \u003cem>\u003ca href=\"http://www.xojane.com/issues/emma-watson-he-for-she\">XOJane\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://www.bgdblog.org/2014/09/im-really-emma-watsons-feminism-speech-u-n/\">BGD Blog\u003c/a>, \u003c/em>and \u003cem>\u003ca href=\"https://www.facebook.com/guerrillafeminism/posts/741051699298794\">Guerrilla Feminism\u003c/a>\u003c/em>). Her response to the discussion was thoughtful, but did little to dispel the idea that Watson might not truly get it:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-68230\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/watson-response-800x1045.png\" alt=\"Watson's response to charges of not being intersectional enough\" width=\"800\" height=\"1045\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-800x1045.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-160x209.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-768x1003.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1020x1332.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1920x2508.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1180x1542.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-960x1254.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-240x314.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-375x490.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-520x679.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another example of Watson’s good intentions backfiring is the Instagram account she set up to chronicle the many stunning ensembles she's been wearing on her globetrotting \u003cem>Beauty & The Beast\u003c/em> promotional tour. \u003ca href=\"https://www.instagram.com/the_press_tour/?hl=en\">@ThePressTour\u003c/a> was set up with the intention of highlighting another cause close to Watson’s heart -- eco-friendly fashion –- but to many, it looks an awful lot like just another rich, beautiful celebrity flaunting her access to extremely expensive couture. The motivations and intentions behind The Press Tour are great (and just imagine what the anti-feminists would say if she didn't show up to every appearance this polished), but the execution suggests to many that Watson is clueless when it comes to understanding the realities of life for low-income women and women of color.\u003c/p>\n\u003cfigure id=\"attachment_68238\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-68238\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1020x1559.png\" alt=\"Screen Shot 2017-03-06 at 5.14.24 PM\" width=\"500\" height=\"764\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1020x1559.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-160x245.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-800x1223.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-768x1174.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1920x2934.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1180x1803.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-960x1467.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-240x367.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-375x573.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-520x795.png 520w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Photo: The Press Tour Instagram\u003c/figcaption>\u003c/figure>\n\u003cp>If Watson continues with her feminist campaigning -- and young women would certainly be worse off if she didn’t -- the furor around that one very tasteful photograph in \u003cem>Vanity Fair\u003c/em> will only be the beginning. As it stands, it might be more useful for all of us to start viewing Watson through a lens that doesn't involve old-fashioned feminist stereotypes, and doesn't -- based on their bank balances or race -- exclude women (which was the point of intersectional feminism in the first place).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watson isn't a perfect feminist, because there is no such thing. We should be judging her for her passion, her actions, the attention she brings to feminism, and the fact that, even under heavy fire, she persists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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>",
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"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?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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