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"content": "\u003cp>Women with tattoos: it’s been a thing for a while, especially among Millennial women. But the history extends far back in California. A new exhibition at \u003ca href=\"http://www.historysanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">History San Jose\u003c/a> explores a diverse and surprising relationship between women and ink in the Golden State.\u003c/p>\n\u003cp>[contextly_sidebar id=”RqxxtohyuaN0lTjAOGaVw1WdiwIAdbaj”]\u003c/p>\n\u003cp>Curator Amy Cohen, who has tats herself, enjoys upending expectations. “That’s what I hear from a lot of people,” Cohen says. “They had no idea that tattooed women have such a long history in California.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://historysanjose.org/wp/event/tattooed-tenacious-inked-women-in-californias-history-exhibit/\" target=\"_blank\" rel=\"noopener noreferrer\">Tattooed & Tenacious: Inked Women in California History\u003c/a>\u003c/em> features four chapters of that history, starting with Native American women, many of whom applied tattoos on each other as a rite of passage. “Women in a lot of tribes in California really held that tradition,” says Cohen. “They were the ones who had the knowledge.”\u003c/p>\n\u003cfigure id=\"attachment_11466582\" class=\"wp-caption aligncenter\" style=\"max-width: 666px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-666x600.jpg\" alt='This 1920 chart (from the 2014 book “Tattoo Traditions of Native North America\") shows: A. Yurok; B-C. Costanoan; D. Sinkyone; E-F. Maidu; G. Yuki; H-L. Chukchansi and Yokut' width=\"666\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-666x600.jpg 666w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-400x360.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-768x692.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-1180x1063.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-960x865.jpg 960w\" sizes=\"(max-width: 666px) 100vw, 666px\">\u003cfigcaption class=\"wp-caption-text\">This 1920 chart (from the 2014 book “Tattoo Traditions of Native North America”) shows: A. Yurok; B-C. Costanoan; D. Sinkyone; E-F. Maidu; G. Yuki; H-L. Chukchansi and Yokut \u003ccite>(Photo: Courtesy of Lars Krutak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tattoos and tightly-laced corsets\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Native women also got tattooed for aesthetic purposes, just as women do today. Tattoos took off in caucasian culture among upper class Victorian women, who wore them underneath their high collars and tightly-laced corsets. “Wealthy women took a cue from their European counterparts,” says Cohen. “They had portraits of lovers, nature imagery, family crests. Later, cars. And these were big tattoos, too. Just with the fashion of the day, you would never see it, unless they wanted you to.”\u003c/p>\n\u003cfigure id=\"attachment_11433946\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11433946 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-400x600.jpg\" alt='Amy Crocker, the Sacramento railroad heiress? Six or seven tattoos. \"Including a huge snake on her forearm with her third husband’s initials,\" says \"Tattooed & Tenacious\" curator Amy Cohen.' width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-786x1180.jpg 786w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-1180x1771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-960x1441.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Amy Crocker, the Sacramento railroad heiress? Six or seven tattoos. “Including a huge snake on her forearm with her third husband’s initials,” says “Tattooed & Tenacious” curator Amy Cohen. \u003ccite>(Photo: Courtesy of History San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Circus freaks, or tattooed ladies, got covered neck to ankle. They mainly did it to draw crowds and make money. And they got to choose the art. One tattooed lady was Artoria Gibbons, a lifelong Episcopalian. “A lot of her tattoos have a religious bent,” Cohen says.\u003c/p>\n\u003cp>Another circus performer, Lady Viola, worked for Ringling Brothers and Barnum & Bailey with the branded slogan “The Most Beautiful Tattooed Lady in the World.” She was really patriotic. “She has six presidents tattooed on her chest” says Cohen. “She has the US Capitol building on her back.”\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Cohen put together the exhibition for her master’s thesis. The \u003c/span>\u003ca style=\"line-height: 1.5\" href=\"http://www.haywardareahistory.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Hayward Area Historical Society\u003c/a>\u003cspan style=\"line-height: 1.5\">, where she interned, was first to host the show\u003c/span>\u003cem style=\"line-height: 1.5\">. \u003c/em>\u003cspan style=\"line-height: 1.5\">When History San Jose brought it in, curators added contemporary “flash art” from South Bay women tattooing today.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>California style\u003c/strong>\u003c/p>\n\u003cp>There’s a regional style to the art, according to Sam Rusk of \u003ca href=\"http://eltorobodyshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">El Toro Body Shop\u003c/a> in Morgan Hill. The tattoo artist says a lot of the art in California follows obvious themes like the shape of the state, the Golden Gate Bridge, grizzly bears, and poppies, as well as quail, the state bird. People on the west coast also tend to look across the Pacific for inspiration, so you see a lot of Japanese, Chinese and Polynesian designs. “Big sleeves of koi fish.” Rusk says. “Island and tribal stuff is pretty popular.”\u003c/p>\n\u003cp>Local gang culture pops up, too. “There’s heavy street influence,” says Jaz Fuller\u003cem>, \u003c/em>who works at \u003ca href=\"https://www.facebook.com/Unlimited-Ink-Tattoo-141038852701840/\" target=\"_blank\" rel=\"noopener noreferrer\">Unlimited Ink Tattoo\u003c/a> and \u003ca href=\"https://www.facebook.com/ironsparrowtattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">The Iron Sparrow Parlor\u003c/a> in San Jose.\u003c/p>\n\u003cp>“I was out in Arizona for a while,” Fuller says. “You’d get a switch blade out in the Bay, and out in Arizona you’d get an old school western revolver.”\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rachael-TattooBEST.gif\" rel=\"attachment wp-att-11436804\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11436804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rachael-TattooBEST.gif\" alt=\"Rachael-TattooBEST\" width=\"375\" height=\"500\">\u003c/a>\u003c/p>\n\u003cp>Sarah Grossman, another local artist featured in \u003cem>Tattooed & Tenacious\u003c/em>, and also in this \u003ca href=\"http://ww2.kqed.org/arts/2016/05/03/tattooed-and-tenacious-reveals-badass-legacy-of-female-tattoo-artists/\">groovy video\u003c/a> on KQED Arts, works at \u003ca href=\"https://www.instagram.com/polishedtattooing/\" target=\"_blank\" rel=\"noopener noreferrer\">Polished Tattooing\u003c/a> in San Jose.\u003c/p>\n\u003cp>\u003cstrong>A man’s world?\u003c/strong>\u003c/p>\n\u003cp>Grossman is the only woman working at her shop. That’s a common story. Not that the tattoo artist is uncomfortable about it. Grossman says tattoo art has always been a male dominated business, in terms of both the artists and the clients. But Grossman says that’s changing.\u003c/p>\n\u003cp>“It’s not that less men are getting tattooed,” Grossman explains as she works on customer, for whom she’s creating a fierce wolf with glaring yellow eyes and blood dripping from its fangs. “It’s that more women are finally getting tattooed because it’s such a decorative, popular thing. It’s kind of the new way to accessorize and to self-express.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>“Tattooed & Tenacious” continues through the end of the year. After that, it heads to Cal State Fullerton’s Department of Anthropology Teaching Museum in 2017, and \u003ca href=\"http://mtshastamuseum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mt. Shasta Sisson Museum\u003c/a> in 2018.\u003c/strong>\u003c/em>\u003c/p>\n\n",
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"excerpt": "History San Jose's 'Tattooed and Tenacious' exhibition shows how women have sported tattoos, delicate and wild, since before California was a thing. ",
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"title": "Inked Women of California Flex Their Muscles in San Jose | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Women with tattoos: it’s been a thing for a while, especially among Millennial women. But the history extends far back in California. A new exhibition at \u003ca href=\"http://www.historysanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">History San Jose\u003c/a> explores a diverse and surprising relationship between women and ink in the Golden State.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Curator Amy Cohen, who has tats herself, enjoys upending expectations. “That’s what I hear from a lot of people,” Cohen says. “They had no idea that tattooed women have such a long history in California.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://historysanjose.org/wp/event/tattooed-tenacious-inked-women-in-californias-history-exhibit/\" target=\"_blank\" rel=\"noopener noreferrer\">Tattooed & Tenacious: Inked Women in California History\u003c/a>\u003c/em> features four chapters of that history, starting with Native American women, many of whom applied tattoos on each other as a rite of passage. “Women in a lot of tribes in California really held that tradition,” says Cohen. “They were the ones who had the knowledge.”\u003c/p>\n\u003cfigure id=\"attachment_11466582\" class=\"wp-caption aligncenter\" style=\"max-width: 666px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-666x600.jpg\" alt='This 1920 chart (from the 2014 book “Tattoo Traditions of Native North America\") shows: A. Yurok; B-C. Costanoan; D. Sinkyone; E-F. Maidu; G. Yuki; H-L. Chukchansi and Yokut' width=\"666\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-666x600.jpg 666w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-400x360.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-768x692.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-1180x1063.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS19033_Image5-qut-960x865.jpg 960w\" sizes=\"(max-width: 666px) 100vw, 666px\">\u003cfigcaption class=\"wp-caption-text\">This 1920 chart (from the 2014 book “Tattoo Traditions of Native North America”) shows: A. Yurok; B-C. Costanoan; D. Sinkyone; E-F. Maidu; G. Yuki; H-L. Chukchansi and Yokut \u003ccite>(Photo: Courtesy of Lars Krutak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tattoos and tightly-laced corsets\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Native women also got tattooed for aesthetic purposes, just as women do today. Tattoos took off in caucasian culture among upper class Victorian women, who wore them underneath their high collars and tightly-laced corsets. “Wealthy women took a cue from their European counterparts,” says Cohen. “They had portraits of lovers, nature imagery, family crests. Later, cars. And these were big tattoos, too. Just with the fashion of the day, you would never see it, unless they wanted you to.”\u003c/p>\n\u003cfigure id=\"attachment_11433946\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11433946 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-400x600.jpg\" alt='Amy Crocker, the Sacramento railroad heiress? Six or seven tattoos. \"Including a huge snake on her forearm with her third husband’s initials,\" says \"Tattooed & Tenacious\" curator Amy Cohen.' width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-786x1180.jpg 786w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-1180x1771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18854_Image6-qut-960x1441.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Amy Crocker, the Sacramento railroad heiress? Six or seven tattoos. “Including a huge snake on her forearm with her third husband’s initials,” says “Tattooed & Tenacious” curator Amy Cohen. \u003ccite>(Photo: Courtesy of History San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Circus freaks, or tattooed ladies, got covered neck to ankle. They mainly did it to draw crowds and make money. And they got to choose the art. One tattooed lady was Artoria Gibbons, a lifelong Episcopalian. “A lot of her tattoos have a religious bent,” Cohen says.\u003c/p>\n\u003cp>Another circus performer, Lady Viola, worked for Ringling Brothers and Barnum & Bailey with the branded slogan “The Most Beautiful Tattooed Lady in the World.” She was really patriotic. “She has six presidents tattooed on her chest” says Cohen. “She has the US Capitol building on her back.”\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Cohen put together the exhibition for her master’s thesis. The \u003c/span>\u003ca style=\"line-height: 1.5\" href=\"http://www.haywardareahistory.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Hayward Area Historical Society\u003c/a>\u003cspan style=\"line-height: 1.5\">, where she interned, was first to host the show\u003c/span>\u003cem style=\"line-height: 1.5\">. \u003c/em>\u003cspan style=\"line-height: 1.5\">When History San Jose brought it in, curators added contemporary “flash art” from South Bay women tattooing today.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>California style\u003c/strong>\u003c/p>\n\u003cp>There’s a regional style to the art, according to Sam Rusk of \u003ca href=\"http://eltorobodyshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">El Toro Body Shop\u003c/a> in Morgan Hill. The tattoo artist says a lot of the art in California follows obvious themes like the shape of the state, the Golden Gate Bridge, grizzly bears, and poppies, as well as quail, the state bird. People on the west coast also tend to look across the Pacific for inspiration, so you see a lot of Japanese, Chinese and Polynesian designs. “Big sleeves of koi fish.” Rusk says. “Island and tribal stuff is pretty popular.”\u003c/p>\n\u003cp>Local gang culture pops up, too. “There’s heavy street influence,” says Jaz Fuller\u003cem>, \u003c/em>who works at \u003ca href=\"https://www.facebook.com/Unlimited-Ink-Tattoo-141038852701840/\" target=\"_blank\" rel=\"noopener noreferrer\">Unlimited Ink Tattoo\u003c/a> and \u003ca href=\"https://www.facebook.com/ironsparrowtattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">The Iron Sparrow Parlor\u003c/a> in San Jose.\u003c/p>\n\u003cp>“I was out in Arizona for a while,” Fuller says. “You’d get a switch blade out in the Bay, and out in Arizona you’d get an old school western revolver.”\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rachael-TattooBEST.gif\" rel=\"attachment wp-att-11436804\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11436804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rachael-TattooBEST.gif\" alt=\"Rachael-TattooBEST\" width=\"375\" height=\"500\">\u003c/a>\u003c/p>\n\u003cp>Sarah Grossman, another local artist featured in \u003cem>Tattooed & Tenacious\u003c/em>, and also in this \u003ca href=\"http://ww2.kqed.org/arts/2016/05/03/tattooed-and-tenacious-reveals-badass-legacy-of-female-tattoo-artists/\">groovy video\u003c/a> on KQED Arts, works at \u003ca href=\"https://www.instagram.com/polishedtattooing/\" target=\"_blank\" rel=\"noopener noreferrer\">Polished Tattooing\u003c/a> in San Jose.\u003c/p>\n\u003cp>\u003cstrong>A man’s world?\u003c/strong>\u003c/p>\n\u003cp>Grossman is the only woman working at her shop. That’s a common story. Not that the tattoo artist is uncomfortable about it. Grossman says tattoo art has always been a male dominated business, in terms of both the artists and the clients. But Grossman says that’s changing.\u003c/p>\n\u003cp>“It’s not that less men are getting tattooed,” Grossman explains as she works on customer, for whom she’s creating a fierce wolf with glaring yellow eyes and blood dripping from its fangs. “It’s that more women are finally getting tattooed because it’s such a decorative, popular thing. It’s kind of the new way to accessorize and to self-express.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>“Tattooed & Tenacious” continues through the end of the year. After that, it heads to Cal State Fullerton’s Department of Anthropology Teaching Museum in 2017, and \u003ca href=\"http://mtshastamuseum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mt. Shasta Sisson Museum\u003c/a> in 2018.\u003c/strong>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "NRA Rewrites Fairy Tales With More Firearms, Less Bloodshed",
"title": "NRA Rewrites Fairy Tales With More Firearms, Less Bloodshed",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Adding guns to the world of the Brothers Grimm drastically reduces death rates, according to a study — well, OK, according to a couple of stories published by the NRA.\u003c/p>\n\u003cp>So far, there are only two data points. And they're imaginary. But the trendline is clear: In the NRA's reimagined fairy tales, putting rifles in the hands of children creates a safer world.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.nrafamily.org/\">NRA Family\u003c/a> site published its first reimagined fairy tale — \u003ca href=\"http://www.nrafamily.org/articles/2016/1/13/little-red-riding-hood-has-a-gun/\">\"Little Red Riding Hood (Has A Gun)\"\u003c/a> in January, and followed up with \u003ca href=\"http://www.nrafamily.org/articles/2016/3/17/hansel-and-gretel-have-guns/\">\"Hansel and Gretel (Have Guns)\"\u003c/a> last week.\u003c/p>\n\u003cp>On Twitter, inspired by the series, a few people have been inventing their own #NRAfairytales, imagining tales that begin with \"once upon a time\" and end with a bang.\u003c/p>\n\u003cp>\"Prince traveling kingdom 2 find owner of glass slipper shot dead by gun wielding evil stepmother,\" \u003ca href=\"https://twitter.com/SarahFMcD/status/713054955058257921\">@SarahFMcD wrote\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The porridge was too cold, the bed was too hard, but this AK47 is just right,\" \u003ca href=\"https://twitter.com/Scott_Craven2/status/713023488815153152\">@Scott_Craven2 offered\u003c/a>. \"Who's up for some bearskln rugs?\"\u003c/p>\n\u003cp>But the NRA's own stories — written by Amelia Hamilton — are noteworthy for their nearly complete lack of violence.\u003c/p>\n\u003cp>Fairy tales, of course, were notoriously gory and grim in their original incarnations. But the NRA's versions take place in a utopia filled with empowered and unharmed children.\u003c/p>\n\u003cp>Take Little Red Riding Hood. In the original, a young girl and her grandmother are both devoured. A woodcutter with an ax kills the wolf and rips him open, saving the two women.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.nrafamily.org/articles/2016/1/13/little-red-riding-hood-has-a-gun/\">the NRA's rewrite\u003c/a>, Red walks through the woods with a rifle in her hands, warding off the wolf along the path. And at her grandmother's house, the situation was defused without a single bullet being fired:\u003c/p>\n\u003cblockquote>\u003cp>\"The wolf leaned in, jaws open wide, then stopped suddenly. Those big ears heard the unmistakable sound of a shotgun's safety being clicked off. Those big eyes looked down and saw that grandma had a scattergun aimed right at him. He realized that Grandmother hadn't been backing away from him; she had been moving towards her shotgun to protect herself and her home.\u003c/p>\n\u003cp>\" 'I don't think I'll be eaten today,' said Grandma, 'and you won't be eating anyone again.' Grandma kept her gun trained on the wolf, who was too scared to move. Before long, he heard a familiar voice call 'Grandmother, I'm here!' Red peeked her head in the door. The wolf couldn't believe his luck—he had come across two capable ladies in the same day, and they were related! Oh, how he hated when families learned how to protect themselves.\"\u003c/p>\u003c/blockquote>\n\u003cp>The wolf is carried away by the hunter, to an undefined but unpleasant end.\u003c/p>\n\u003cp>Or the classic Hansel and Gretel, where two children are abandoned in the woods to die, then imprisoned as food and slave labor, until a witch is killed by, um, forcible cremation.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.nrafamily.org/articles/2016/3/17/hansel-and-gretel-have-guns/\">Hamilton's version\u003c/a>, the family's hunger prompts not the abandonment of the children, but a hunting trip. The two kids set out into the woods to feed the family. Gretel takes down a 10-point buck before they head home and, as in the original, get lost in the woods.\u003c/p>\n\u003cp>When they see the gingerbread house, they aren't tempted to eat it — they're fully loaded with meat, after all — but they do save two boys who were trapped by the witch. The scene features a rifle, but it proves to be unnecessary:\u003c/p>\n\u003cblockquote>\u003cp>\" 'We're going to get you out of here,' Hansel told the boy, hoisting himself up and climbing into the window, helping Gretel in after him, for he was stronger than his sister.\u003c/p>\n\u003cp>\"The boys directed Hansel to the key that would unlock their cage while Gretel stood at the ready with her firearm just in case, for she was a better shot than her brother. Hansel unlocked the cage and opened the door. The hinges gave a groan and the sound of the witch's snoring stopped, the silence filling the room as they looked at each other in panic. Gretel got her rifle ready, but lowered it again when the snoring resumed. They helped the boys back out the window and hurried into the forest, breathing a sigh of relief when the cottage was out of sight.\"\u003c/p>\u003c/blockquote>\n\u003cp>Guns reappear when the well-armed local populace march on the witch's cottage. The villainess is imprisoned by the local sheriff, \"to be taken away so she could never harm another child.\"\u003c/p>\n\u003cp>Maybe they'll inspire some other advocacy and lobbying groups to defang disturbing fairy tales.\u003c/p>\n\u003cp>Will the pharmaceutical industry take the bite out of Snow White's poisoned apple? Will PETA soothe the angst of the Boy Who Cried Wolf, when the townspeople realize the joys of an animal-free life and set loose their sheep? Will agribusiness harness Jack's beanstalk?\u003c/p>\n\u003cp>The NRA series has inspired some criticism, as \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2016/03/24/oh-grandmother-what-a-big-gun-you-have-the-nra-rewrites-classic-fairy-tales/\">The Washington Post has noted\u003c/a>: Gun control advocacy groups have decried it for advancing gun culture. Gun rights advocates, meanwhile, have mocked liberal objections to the stories, pointing to the sheer horror of the original tales.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the NRA is pretty clear about its own intent: The stories are tagged \"Fun Friday\" and \"Just for fun\" on the site.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NRA+Rewrites+Fairy+Tales+With+More+Firearms%2C+Less+Bloodshed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The NRA is publishing a series of twists on classic tales — picture Gretel with a rifle in the witch's gingerbread house. The stories themselves are remarkably devoid of violence.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adding guns to the world of the Brothers Grimm drastically reduces death rates, according to a study — well, OK, according to a couple of stories published by the NRA.\u003c/p>\n\u003cp>So far, there are only two data points. And they're imaginary. But the trendline is clear: In the NRA's reimagined fairy tales, putting rifles in the hands of children creates a safer world.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.nrafamily.org/\">NRA Family\u003c/a> site published its first reimagined fairy tale — \u003ca href=\"http://www.nrafamily.org/articles/2016/1/13/little-red-riding-hood-has-a-gun/\">\"Little Red Riding Hood (Has A Gun)\"\u003c/a> in January, and followed up with \u003ca href=\"http://www.nrafamily.org/articles/2016/3/17/hansel-and-gretel-have-guns/\">\"Hansel and Gretel (Have Guns)\"\u003c/a> last week.\u003c/p>\n\u003cp>On Twitter, inspired by the series, a few people have been inventing their own #NRAfairytales, imagining tales that begin with \"once upon a time\" and end with a bang.\u003c/p>\n\u003cp>\"Prince traveling kingdom 2 find owner of glass slipper shot dead by gun wielding evil stepmother,\" \u003ca href=\"https://twitter.com/SarahFMcD/status/713054955058257921\">@SarahFMcD wrote\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"The porridge was too cold, the bed was too hard, but this AK47 is just right,\" \u003ca href=\"https://twitter.com/Scott_Craven2/status/713023488815153152\">@Scott_Craven2 offered\u003c/a>. \"Who's up for some bearskln rugs?\"\u003c/p>\n\u003cp>But the NRA's own stories — written by Amelia Hamilton — are noteworthy for their nearly complete lack of violence.\u003c/p>\n\u003cp>Fairy tales, of course, were notoriously gory and grim in their original incarnations. But the NRA's versions take place in a utopia filled with empowered and unharmed children.\u003c/p>\n\u003cp>Take Little Red Riding Hood. In the original, a young girl and her grandmother are both devoured. A woodcutter with an ax kills the wolf and rips him open, saving the two women.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.nrafamily.org/articles/2016/1/13/little-red-riding-hood-has-a-gun/\">the NRA's rewrite\u003c/a>, Red walks through the woods with a rifle in her hands, warding off the wolf along the path. And at her grandmother's house, the situation was defused without a single bullet being fired:\u003c/p>\n\u003cblockquote>\u003cp>\"The wolf leaned in, jaws open wide, then stopped suddenly. Those big ears heard the unmistakable sound of a shotgun's safety being clicked off. Those big eyes looked down and saw that grandma had a scattergun aimed right at him. He realized that Grandmother hadn't been backing away from him; she had been moving towards her shotgun to protect herself and her home.\u003c/p>\n\u003cp>\" 'I don't think I'll be eaten today,' said Grandma, 'and you won't be eating anyone again.' Grandma kept her gun trained on the wolf, who was too scared to move. Before long, he heard a familiar voice call 'Grandmother, I'm here!' Red peeked her head in the door. The wolf couldn't believe his luck—he had come across two capable ladies in the same day, and they were related! Oh, how he hated when families learned how to protect themselves.\"\u003c/p>\u003c/blockquote>\n\u003cp>The wolf is carried away by the hunter, to an undefined but unpleasant end.\u003c/p>\n\u003cp>Or the classic Hansel and Gretel, where two children are abandoned in the woods to die, then imprisoned as food and slave labor, until a witch is killed by, um, forcible cremation.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.nrafamily.org/articles/2016/3/17/hansel-and-gretel-have-guns/\">Hamilton's version\u003c/a>, the family's hunger prompts not the abandonment of the children, but a hunting trip. The two kids set out into the woods to feed the family. Gretel takes down a 10-point buck before they head home and, as in the original, get lost in the woods.\u003c/p>\n\u003cp>When they see the gingerbread house, they aren't tempted to eat it — they're fully loaded with meat, after all — but they do save two boys who were trapped by the witch. The scene features a rifle, but it proves to be unnecessary:\u003c/p>\n\u003cblockquote>\u003cp>\" 'We're going to get you out of here,' Hansel told the boy, hoisting himself up and climbing into the window, helping Gretel in after him, for he was stronger than his sister.\u003c/p>\n\u003cp>\"The boys directed Hansel to the key that would unlock their cage while Gretel stood at the ready with her firearm just in case, for she was a better shot than her brother. Hansel unlocked the cage and opened the door. The hinges gave a groan and the sound of the witch's snoring stopped, the silence filling the room as they looked at each other in panic. Gretel got her rifle ready, but lowered it again when the snoring resumed. They helped the boys back out the window and hurried into the forest, breathing a sigh of relief when the cottage was out of sight.\"\u003c/p>\u003c/blockquote>\n\u003cp>Guns reappear when the well-armed local populace march on the witch's cottage. The villainess is imprisoned by the local sheriff, \"to be taken away so she could never harm another child.\"\u003c/p>\n\u003cp>Maybe they'll inspire some other advocacy and lobbying groups to defang disturbing fairy tales.\u003c/p>\n\u003cp>Will the pharmaceutical industry take the bite out of Snow White's poisoned apple? Will PETA soothe the angst of the Boy Who Cried Wolf, when the townspeople realize the joys of an animal-free life and set loose their sheep? Will agribusiness harness Jack's beanstalk?\u003c/p>\n\u003cp>The NRA series has inspired some criticism, as \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2016/03/24/oh-grandmother-what-a-big-gun-you-have-the-nra-rewrites-classic-fairy-tales/\">The Washington Post has noted\u003c/a>: Gun control advocacy groups have decried it for advancing gun culture. Gun rights advocates, meanwhile, have mocked liberal objections to the stories, pointing to the sheer horror of the original tales.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the NRA is pretty clear about its own intent: The stories are tagged \"Fun Friday\" and \"Just for fun\" on the site.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NRA+Rewrites+Fairy+Tales+With+More+Firearms%2C+Less+Bloodshed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Garry Shandling, who as an actor and comedian pioneered a pretend brand of self-focused docudrama with \u003cem>the Larry Sanders Show\u003c/em>, has died of an apparent heart attack.\u003c/p>\n\u003cp>Shandling’s spokesman Alan Nierob said doctors at a hospital where the comedian was pronounced dead said it appeared he died of a heart attack. Nierob said Shandling had no history of heart trouble.\u003c/p>\n\u003cp>Coroner’s Lt. David Smith said it appeared Shandling died of natural causes, but an official cause of death determination had not yet been made. Smith said no autopsy was planned, but officials would determine Shandling’s cause of death based on medical records and his medical history.\u003c/p>\n\u003cp>Shandling was taken to a hospital after paramedics were dispatched to his Brentwood home around 10:40 a.m. Thursday, police and fire officials said.\u003c/p>\n\u003cp>His death stunned the comedy community, who praised Shandling’s humor, kindness and efforts to support and promote them and their craft.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An innovative and eccentric humorist with pillowy lips and a voice that always seemed on the verge of a whine, Shandling claimed to disdain too much logic cluttering his life.\u003c/p>\n\u003cp>“The answer isn’t gonna be in the facts,” he told The Associated Press in 2009. “It’s gonna be in intuition. That’s how I work creatively. I’m always teaching people that the answer to that creative question is right here, in the room, between us here.”\u003c/p>\n\u003cp>More to the point, it was dealing with the questions he confronted in himself.\u003c/p>\n\u003cp>Born on Nov. 29, 1949 in Chicago, Shandling was raised in Tucson, Arizona. On arriving in Los Angeles as a young adult, it was a short hop from a brief stint in the advertising business to comedy writing and stand-up.\u003c/p>\n\u003cp>Then in the 1980s, he began to experiment with TV comedy, and to toy with the sitcom form, with his first series, \u003ci>It’s Garry Shandling’s Show,\u003c/i> a Showtime project that made no bones about its inherently artificial nature: The actors in this otherwise standard domestic comedy routinely broke the fourth wall to comment on what they were up to. Even the theme song began with the explanatory lyrics, “The theme to Garry’s show….”\u003c/p>\n\u003cp>In 1992, he created his comic masterpiece with \u003cem>The Larry Sanders Show\u003c/em>, which starred him as an egomaniacal late-night TV host with an anxiety-ridden show-biz life behind the scenes. The show help start the careers of Judd Apatow (\u003ci>Freaks and Geeks\u003c/i>, \u003ci>40-Year-Old Virgin\u003c/i>) Jeffrey Tambor (\u003ci>Arrested Development,\u003c/i> \u003ci>Transparent\u003c/i>) and Jeremy Piven (\u003ci>Entourage\u003c/i>). \u003c/p>\n\u003cp>It was just three months after Johnny Carson had retired from “The Tonight Show,” where Shandling had appeared as a stand-up and occasional Carson stand-in. It seemed a wry but deeply felt homage to the King of Late Night.\u003c/p>\n\u003cp>But it was more. “Larry Sanders” proved to be an act of courage, a brave effort led by someone portraying a character dangerously close to himself. As Larry, Garry dug deep to confront his own demons, and did it brilliantly as the series teetered between dual realities: public and private; make-believe and painfully true.\u003c/p>\n\u003cp>Real-life celebrities appeared as guests on Larry’s show-within-the-show, and also interacted with him “off the air.”\u003c/p>\n\u003cp>David Duchovny, agreeing to come on the show, also came on to Larry romantically once he got the chance.\u003c/p>\n\u003cp>Jim Carrey delivered a rip-roaring comic tribute to his host on the final broadcast, then, during a commercial break, turned on him in rage over a long-ago slight.\u003c/p>\n\u003cp>“Are you doing a bit, now?” asked Larry, perplexed.\u003c/p>\n\u003cp>“We’re OFF the air,” Carrey hissed. “This is real life now.”\u003c/p>\n\u003cp>The show explored the fuzzy distinction between TV life and real life, and the loneliness of someone at its crossing. The closest thing Larry had to friends were his chronically needy announcer Hank (Jeffrey Tambor) and his Napoleonic producer, Artie (Rip Torn). Together the three actors were among TV’s best-ever trios.\u003c/p>\n\u003cp>“Garry was my dear friend and was and always will be my teacher,” Tambor wrote in a statement. “Garry redesigned the wheel of comedy and he was the kindest and funniest of Geniuses. I will miss him so much.”\u003c/p>\n\u003cp>Torn also expressed deep sadness about Shandling’s death. “Working with him was one of the great privileges of my career,” he wrote. “He was a comic talent of immense originality who enthusiastically encouraged and responded to the originality of others.”\u003c/p>\n\u003cp>After “Sanders” ended in 1998, Shandling’s public appearances were few.\u003c/p>\n\u003cp>He was mentioned as a candidate to follow David Letterman as a bona fide late-night host for CBS’ 12:30 a.m. slot, but no deal was made.\u003c/p>\n\u003cp>“I would not do a show where you just sit and talk to somebody,” Shandling had said back in 1993 when he was courted by NBC to take over for Letterman on “Late Night.”\u003c/p>\n\u003cp>His films included “Hurlyburly” in 1998, “What Planet Are You From?” in 2000 and “Zoolander” in 2001.\u003c/p>\n\u003cp>He hosted the Emmy Awards in 2000 and 2004.\u003c/p>\n\u003cp>On the latter occasion, he spotted Donald Trump in the audience and congratulated the billionaire developer for hosting the Emmy-nominated “The Apprentice.”\u003c/p>\n\u003cp>“Nice to see a man who’s paid his dues, worked hard,” Shandling said. “We all know what it feels like to have to build 80-story condos and gambling casinos just to get our foot in the door in show business.”\u003c/p>\n\u003cp>Jamie Masada, owner of comedy club the Laugh Factory, said he met with Shandling a few weeks ago and the comedian didn’t appear to have any health problems.\u003c/p>\n\u003cp>“He looked healthy as could be,” Masada said.\u003c/p>\n\u003cp>“Garry Shandling, besides being a comedian, I always said he was a doctor of soul. He had a lot of kindness in him. He was a very generous person,” Masada said.\u003c/p>\n\u003cp>In his own business dealings, Shandling became one of the rich and famous targeted by private eye Anthony Pellicano, who was sentenced to prison in 2008 on convictions of racketeering and more than six dozen other counts, including conspiracy, wire fraud and wiretapping in the Hollywood wiretaps case.\u003c/p>\n\u003cp>Pellicano was accused of wiretapping stars such as Sylvester Stallone and bribing police officers to run names of people, including Shandling, through law enforcement databases.\u003c/p>\n\u003cp>While Shandling never married, his most public romance was with “Sanders” co-star and fiancee Linda Doucett, who played Hank’s comely assistant in the series’ early seasons.\u003c/p>\n\u003cp>Doucett sued Shandling after he fired her following their breakup in the mid-1990s, receiving a reported $1 million settlement, The New York Times reported in 2006.\u003c/p>\n\u003cp>Several comedians expressed their remorse and respect for Shandling on Social Media.\u003c/p>\n\u003cp>https://twitter.com/paulfeig/status/713105344981966848\u003c/p>\n\u003cp>https://twitter.com/rickygervais/status/713102199325388802\u003c/p>\n\u003cp>https://twitter.com/eddieizzard/status/713128047742959616\u003c/p>\n\u003cp>https://twitter.com/marcmaron/status/713103263239839745\u003c/p>\n\u003cp>\u003ci>Watch this clip of \u003cb>The Larry Sanders Show\u003c/b> where Shandling, as Sanders, speaks to Tambor (sidekick Hank Kingsley) about the catchphrase “Hey Now!”\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4AdHpQW-pEs\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP television writer Frazier Moore in New York contributed to this story.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Garry Shandling, who as an actor and comedian pioneered a pretend brand of self-focused docudrama with \u003cem>the Larry Sanders Show\u003c/em>, has died of an apparent heart attack.\u003c/p>\n\u003cp>Shandling’s spokesman Alan Nierob said doctors at a hospital where the comedian was pronounced dead said it appeared he died of a heart attack. Nierob said Shandling had no history of heart trouble.\u003c/p>\n\u003cp>Coroner’s Lt. David Smith said it appeared Shandling died of natural causes, but an official cause of death determination had not yet been made. Smith said no autopsy was planned, but officials would determine Shandling’s cause of death based on medical records and his medical history.\u003c/p>\n\u003cp>Shandling was taken to a hospital after paramedics were dispatched to his Brentwood home around 10:40 a.m. Thursday, police and fire officials said.\u003c/p>\n\u003cp>His death stunned the comedy community, who praised Shandling’s humor, kindness and efforts to support and promote them and their craft.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An innovative and eccentric humorist with pillowy lips and a voice that always seemed on the verge of a whine, Shandling claimed to disdain too much logic cluttering his life.\u003c/p>\n\u003cp>“The answer isn’t gonna be in the facts,” he told The Associated Press in 2009. “It’s gonna be in intuition. That’s how I work creatively. I’m always teaching people that the answer to that creative question is right here, in the room, between us here.”\u003c/p>\n\u003cp>More to the point, it was dealing with the questions he confronted in himself.\u003c/p>\n\u003cp>Born on Nov. 29, 1949 in Chicago, Shandling was raised in Tucson, Arizona. On arriving in Los Angeles as a young adult, it was a short hop from a brief stint in the advertising business to comedy writing and stand-up.\u003c/p>\n\u003cp>Then in the 1980s, he began to experiment with TV comedy, and to toy with the sitcom form, with his first series, \u003ci>It’s Garry Shandling’s Show,\u003c/i> a Showtime project that made no bones about its inherently artificial nature: The actors in this otherwise standard domestic comedy routinely broke the fourth wall to comment on what they were up to. Even the theme song began with the explanatory lyrics, “The theme to Garry’s show….”\u003c/p>\n\u003cp>In 1992, he created his comic masterpiece with \u003cem>The Larry Sanders Show\u003c/em>, which starred him as an egomaniacal late-night TV host with an anxiety-ridden show-biz life behind the scenes. The show help start the careers of Judd Apatow (\u003ci>Freaks and Geeks\u003c/i>, \u003ci>40-Year-Old Virgin\u003c/i>) Jeffrey Tambor (\u003ci>Arrested Development,\u003c/i> \u003ci>Transparent\u003c/i>) and Jeremy Piven (\u003ci>Entourage\u003c/i>). \u003c/p>\n\u003cp>It was just three months after Johnny Carson had retired from “The Tonight Show,” where Shandling had appeared as a stand-up and occasional Carson stand-in. It seemed a wry but deeply felt homage to the King of Late Night.\u003c/p>\n\u003cp>But it was more. “Larry Sanders” proved to be an act of courage, a brave effort led by someone portraying a character dangerously close to himself. As Larry, Garry dug deep to confront his own demons, and did it brilliantly as the series teetered between dual realities: public and private; make-believe and painfully true.\u003c/p>\n\u003cp>Real-life celebrities appeared as guests on Larry’s show-within-the-show, and also interacted with him “off the air.”\u003c/p>\n\u003cp>David Duchovny, agreeing to come on the show, also came on to Larry romantically once he got the chance.\u003c/p>\n\u003cp>Jim Carrey delivered a rip-roaring comic tribute to his host on the final broadcast, then, during a commercial break, turned on him in rage over a long-ago slight.\u003c/p>\n\u003cp>“Are you doing a bit, now?” asked Larry, perplexed.\u003c/p>\n\u003cp>“We’re OFF the air,” Carrey hissed. “This is real life now.”\u003c/p>\n\u003cp>The show explored the fuzzy distinction between TV life and real life, and the loneliness of someone at its crossing. The closest thing Larry had to friends were his chronically needy announcer Hank (Jeffrey Tambor) and his Napoleonic producer, Artie (Rip Torn). Together the three actors were among TV’s best-ever trios.\u003c/p>\n\u003cp>“Garry was my dear friend and was and always will be my teacher,” Tambor wrote in a statement. “Garry redesigned the wheel of comedy and he was the kindest and funniest of Geniuses. I will miss him so much.”\u003c/p>\n\u003cp>Torn also expressed deep sadness about Shandling’s death. “Working with him was one of the great privileges of my career,” he wrote. “He was a comic talent of immense originality who enthusiastically encouraged and responded to the originality of others.”\u003c/p>\n\u003cp>After “Sanders” ended in 1998, Shandling’s public appearances were few.\u003c/p>\n\u003cp>He was mentioned as a candidate to follow David Letterman as a bona fide late-night host for CBS’ 12:30 a.m. slot, but no deal was made.\u003c/p>\n\u003cp>“I would not do a show where you just sit and talk to somebody,” Shandling had said back in 1993 when he was courted by NBC to take over for Letterman on “Late Night.”\u003c/p>\n\u003cp>His films included “Hurlyburly” in 1998, “What Planet Are You From?” in 2000 and “Zoolander” in 2001.\u003c/p>\n\u003cp>He hosted the Emmy Awards in 2000 and 2004.\u003c/p>\n\u003cp>On the latter occasion, he spotted Donald Trump in the audience and congratulated the billionaire developer for hosting the Emmy-nominated “The Apprentice.”\u003c/p>\n\u003cp>“Nice to see a man who’s paid his dues, worked hard,” Shandling said. “We all know what it feels like to have to build 80-story condos and gambling casinos just to get our foot in the door in show business.”\u003c/p>\n\u003cp>Jamie Masada, owner of comedy club the Laugh Factory, said he met with Shandling a few weeks ago and the comedian didn’t appear to have any health problems.\u003c/p>\n\u003cp>“He looked healthy as could be,” Masada said.\u003c/p>\n\u003cp>“Garry Shandling, besides being a comedian, I always said he was a doctor of soul. He had a lot of kindness in him. He was a very generous person,” Masada said.\u003c/p>\n\u003cp>In his own business dealings, Shandling became one of the rich and famous targeted by private eye Anthony Pellicano, who was sentenced to prison in 2008 on convictions of racketeering and more than six dozen other counts, including conspiracy, wire fraud and wiretapping in the Hollywood wiretaps case.\u003c/p>\n\u003cp>Pellicano was accused of wiretapping stars such as Sylvester Stallone and bribing police officers to run names of people, including Shandling, through law enforcement databases.\u003c/p>\n\u003cp>While Shandling never married, his most public romance was with “Sanders” co-star and fiancee Linda Doucett, who played Hank’s comely assistant in the series’ early seasons.\u003c/p>\n\u003cp>Doucett sued Shandling after he fired her following their breakup in the mid-1990s, receiving a reported $1 million settlement, The New York Times reported in 2006.\u003c/p>\n\u003cp>Several comedians expressed their remorse and respect for Shandling on Social Media.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ci>Watch this clip of \u003cb>The Larry Sanders Show\u003c/b> where Shandling, as Sanders, speaks to Tambor (sidekick Hank Kingsley) about the catchphrase “Hey Now!”\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4AdHpQW-pEs'\n title='//www.youtube.com/embed/4AdHpQW-pEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>___\u003c/p>\n\u003cp>AP television writer Frazier Moore in New York contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week, it's all about an animated animal allegory for race relations, Britney Spears' feminist film and money money money.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/03/zootopia.mp3\" title=\"Zootopia and Crossroads: The Most Woke Movies of 2016 and 2002?\" 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>This week, we talk about how \u003cem>Zootopia\u003c/em> is surprisingly the most woke movie of the year:\u003c/p>\n\u003cp>http://www.npr.org/sections/codeswitch/2016/03/14/469914141/in-tackling-bias-in-policing-zootopia-veers-into-the-uncanny-valley\u003c/p>\n\u003cp>We talk about what everyone shies away from talking about: money!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/RdLa_f-maxage-0_s-200x150.gif\" rel=\"attachment wp-att-21267\">\u003cimg class=\"aligncenter size-full wp-image-21267\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/RdLa_f-maxage-0_s-200x150.gif\" alt=\"mariah money gif\" width=\"200\" height=\"150\">\u003c/a>\u003c/p>\n\u003cp>We discover how feminist the production behind Britney Spears' \u003cem>Crossroads\u003c/em> was:\u003c/p>\n\u003cp>https://broadly.vice.com/en_us/article/shonda-rhimes-on-the-making-of-crossroads-britney-spears\u003c/p>\n\u003cp>\u003cstrong>Extra credit homework:\u003c/strong> Read my live blog of the clunker masterpiece:\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2015/11/23/crossroads-a-live-blog-of-britney-spears-one-and-only-movie/\u003c/p>\n\u003cp>And we cap things off with not one, but two pop diva throwbacks:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-0wbtk6_vpE\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oEauWw9ZGrA\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\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>\u003cp>And we cap things off with not one, but two pop diva throwbacks:\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/-0wbtk6_vpE'\n title='//www.youtube.com/embed/-0wbtk6_vpE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=oEauWw9ZGrA\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\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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"content": "\u003cp>A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm’s way.\u003c/p>\n\u003cp>On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves.\u003c/p>\n\u003cp>Some cartoonists drew “too soon” criticism for depicting the stars of the comic series The \u003cem>Adventures of Tintin\u003c/em> — made into a movie in 2011 by Steven Spielberg — as bloodied and battered.\u003c/p>\n\u003cp>Others on social media borrowed from the January 2015 Charlie Hebdo tragedy, using the hashtag #JeSuisBruxelles, or “I am Brussels,” just as those after the Paris attacks did when spreading the sentiment “JeSuisCharlie.”\u003c/p>\n\u003cp>Facebook, meanwhile, activated its “safety check” system yet again to help Tuesday within hours of the three deadly explosions at the Brussels airport and a metro station.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The system can provide an easy way for people to mark themselves as “safe” after a major disaster or crisis so that people searching for them will know they are unharmed. It has been used recently to help people communicate after major floods, earthquakes and other deadly attacks.\u003c/p>\n\u003cp>Facebook first deployed the service after the 2011 Fukushima tsunami and nuclear disaster in Japan. The company said it is still “working through” how and when it should be used. It was activated six times last year, providing notifications to more than 950 million people.\u003c/p>\n\u003cp>The Tintin cartoon books have been translated into 70-plus languages, from Chinese to Armenian, English to Spanish, just as social media users are lending their languages and voices of outrage, fear, defiance and concern to the cacophony following the blasts in Brussels.\u003c/p>\n\u003cp>The books have sold in the tens of millions of copies, but only in Belgium has the fearless reporter and his dog been ingrained in the DNA of most youngsters since the 1950s. Herge died in 1983 and is considered a national treasure in his native Belgium.\u003c/p>\n\u003cp>A more popular version of the Tintin meme in response to the explosions has him shedding a single tear as he hovers over a newspaper with a headline about the explosions, pal Snowy shaking nearby. Tintin utters “Mon Dieu,” or “My God.”\u003c/p>\n\u003cp>Accompanying Tintin in the flood of social media sentiment were altered images of Manneken Pis, a bronze statue of a naked boy urinating into a fountain’s basin not far from Brussels Town Hall.\u003c/p>\n\u003cp>One showed the boy as a simple red line drawing against a black background as he urinated from on high onto a machine gun. Another had him doing the same on taped-together sticks of dynamite with the words: “Pis and Love,” a peace sign drawn into the letter o.\u003c/p>\n\u003cp>The boy, dating to around 1619, was created by Brussels sculptor Hieronimus Duquesnoy the Elder. He’s the father of sculptor François Duquesnoy. The statue has been repeatedly stolen and replaced. It is dressed in costumes on a regular weekly schedule, his wardrobe of several hundred outfits permanently housed in a museum.\u003c/p>\n\u003cp>Elsewhere around the Web, kind-hearted Belgians were tweeting offers of shelter to stranded travelers using the hashtag “PorteOuverte” or “OpenHouse” for non-French speakers. One in Antwerp threw in “food and Belgian beers for 1-3 people.”\u003c/p>\n\u003cp>Others taking to social media found comfort in sharing YouTube clips, photos and drawings of another famous figure in Belgium, singer-songwriter-actor Jacques Brel, who was known for his soothing ballads.\u003c/p>\n\u003cp>The straightforward hashtag “Brussels” continued with “JeSuisBruxelles” through the day on Twitter around the world, also accompanied by “PrayForBelgium.” Comment threads included “Tous Ensemble,” or “All Together,” but some social media users were more defiant.\u003c/p>\n\u003cp>An image of a cluster of Belgium’s famous “frites,” with one French fry standing above the others in a middle-finger salute, was accompanied by “I dont pray #jesuisbelge,” the latter for “I Am Belgian.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Raf Casert in Brussels and Brandon Bailey in San Francisco contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"title": "Social Media Users Share Crying Tintin in Brussels Aftermath | KQED",
"description": "A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm's way. On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves. Some cartoonists drew "too soon" criticism for depicting the stars of the comic",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm’s way.\u003c/p>\n\u003cp>On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves.\u003c/p>\n\u003cp>Some cartoonists drew “too soon” criticism for depicting the stars of the comic series The \u003cem>Adventures of Tintin\u003c/em> — made into a movie in 2011 by Steven Spielberg — as bloodied and battered.\u003c/p>\n\u003cp>Others on social media borrowed from the January 2015 Charlie Hebdo tragedy, using the hashtag #JeSuisBruxelles, or “I am Brussels,” just as those after the Paris attacks did when spreading the sentiment “JeSuisCharlie.”\u003c/p>\n\u003cp>Facebook, meanwhile, activated its “safety check” system yet again to help Tuesday within hours of the three deadly explosions at the Brussels airport and a metro station.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The system can provide an easy way for people to mark themselves as “safe” after a major disaster or crisis so that people searching for them will know they are unharmed. It has been used recently to help people communicate after major floods, earthquakes and other deadly attacks.\u003c/p>\n\u003cp>Facebook first deployed the service after the 2011 Fukushima tsunami and nuclear disaster in Japan. The company said it is still “working through” how and when it should be used. It was activated six times last year, providing notifications to more than 950 million people.\u003c/p>\n\u003cp>The Tintin cartoon books have been translated into 70-plus languages, from Chinese to Armenian, English to Spanish, just as social media users are lending their languages and voices of outrage, fear, defiance and concern to the cacophony following the blasts in Brussels.\u003c/p>\n\u003cp>The books have sold in the tens of millions of copies, but only in Belgium has the fearless reporter and his dog been ingrained in the DNA of most youngsters since the 1950s. Herge died in 1983 and is considered a national treasure in his native Belgium.\u003c/p>\n\u003cp>A more popular version of the Tintin meme in response to the explosions has him shedding a single tear as he hovers over a newspaper with a headline about the explosions, pal Snowy shaking nearby. Tintin utters “Mon Dieu,” or “My God.”\u003c/p>\n\u003cp>Accompanying Tintin in the flood of social media sentiment were altered images of Manneken Pis, a bronze statue of a naked boy urinating into a fountain’s basin not far from Brussels Town Hall.\u003c/p>\n\u003cp>One showed the boy as a simple red line drawing against a black background as he urinated from on high onto a machine gun. Another had him doing the same on taped-together sticks of dynamite with the words: “Pis and Love,” a peace sign drawn into the letter o.\u003c/p>\n\u003cp>The boy, dating to around 1619, was created by Brussels sculptor Hieronimus Duquesnoy the Elder. He’s the father of sculptor François Duquesnoy. The statue has been repeatedly stolen and replaced. It is dressed in costumes on a regular weekly schedule, his wardrobe of several hundred outfits permanently housed in a museum.\u003c/p>\n\u003cp>Elsewhere around the Web, kind-hearted Belgians were tweeting offers of shelter to stranded travelers using the hashtag “PorteOuverte” or “OpenHouse” for non-French speakers. One in Antwerp threw in “food and Belgian beers for 1-3 people.”\u003c/p>\n\u003cp>Others taking to social media found comfort in sharing YouTube clips, photos and drawings of another famous figure in Belgium, singer-songwriter-actor Jacques Brel, who was known for his soothing ballads.\u003c/p>\n\u003cp>The straightforward hashtag “Brussels” continued with “JeSuisBruxelles” through the day on Twitter around the world, also accompanied by “PrayForBelgium.” Comment threads included “Tous Ensemble,” or “All Together,” but some social media users were more defiant.\u003c/p>\n\u003cp>An image of a cluster of Belgium’s famous “frites,” with one French fry standing above the others in a middle-finger salute, was accompanied by “I dont pray #jesuisbelge,” the latter for “I Am Belgian.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Raf Casert in Brussels and Brandon Bailey in San Francisco contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Moments after a Florida jury hit Gawker Media and its founder with $25 million in punitive damages for publishing a sex tape of Hulk Hogan, the former pro wrestler told a gaggle of reporters that he and his legal team “made history.”\u003c/p>\n\u003cp>Hogan said Monday evening that he thought “we’ve protected a lot of people from going through what I went through.”\u003c/p>\n\u003cp>The smiling 62-year-old, who wore all black throughout the three-week trial, added that he’s been overwhelmed with support by fans.\u003c/p>\n\u003cp>“Everywhere I show up, people treat me like I’m still the champ,” he said.\u003c/p>\n\u003cp>On Monday, the jury hit Gawker Media with a $15 million judgment and its owner, Nick Denton, with $10 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It also assessed $100,000 against A.J. Daulerio, the Gawker editor who decided to post the edited sex video and wrote the post that accompanied it.\u003c/p>\n\u003cp>The punitive damages come on top of $115 million the jury imposed Friday after two weeks of trial.\u003c/p>\n\u003cp>Hogan sued Gawker after it posted a video of him having sex with his then-best friend’s wife. Hogan said he didn’t know he was being taped.\u003c/p>\n\u003cp>The president and general counsel of Gawker Media said in a statement that the media company expects the multimillion dollar award will be overturned by an appeals court.\u003c/p>\n\u003cp>Heather Dietrick said in an email Monday night that because the jury was prohibited from knowing about “prior court rulings in favor of Gawker, prohibited from seeing critical evidence gathered by the FBI and prohibited from hearing from the most important witness, Bubba Clem,” that an appeals court could overturn the case.\u003c/p>\n\u003cp>“We are confident we will win this case ultimately based on not only on the law but also on the truth,” she said.\u003c/p>\n\u003cp>Hogan’s lawyer had asked jurors Monday to add punitive damages to the $115 million judgment. Gawker’s lawyer pleaded that the existing verdict was already “debilitating” for the company.\u003c/p>\n\u003cp>During brief closing arguments Monday, Hogan’s lawyer Kenneth Turkel said Gawker Media’s gross revenues in 2015 were $48.7 million and that founder Nick Denton has a total of $121 million, including a $3.6 million Manhattan condo. Gawker Media is worth $83 million, the lawyers said.\u003c/p>\n\u003cp>Daulerio, the editor, has no assets, the lawyers said. They said Daulerio has $27,000 in student loan debt.\u003c/p>\n\u003cp>Turkel had asked the jury to decide on a punitive amount as both punishment to Gawker and a deterrent to other media companies.\u003c/p>\n\u003cp>Jurors have “an ability to send a message,” Turkel said, adding that Gawker acted with reckless disregard when it posted an edited version of the sex video.\u003c/p>\n\u003cp>Michael Sullivan, representing Gawker, said, “The $115 million judgment “is punishment enough” and “is already far beyond their means.”\u003c/p>\n\u003cp>“The amount of that verdict could already be debilitating for Gawker Media,” Sullivan said.\u003c/p>\n\u003cp>“Your verdict will send a chill down the spine of writers, producers and publishers,” he added.\u003c/p>\n\u003cp>One juror, 35-year-old Salina Stevens, told reporters that watching the video posted by Gawker finally convinced her to find for Hogan.\u003c/p>\n\u003cp>“I believe his privacy was violated, and that’s not OK,” she said. “The video was worse than I expected … not so much the sex part of it but the conversation. I just feel like if he knew he was being videotaped, he would not have spoken about the things he spoke about.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"description": "Moments after a Florida jury hit Gawker Media and its founder with $25 million in punitive damages for publishing a sex tape of Hulk Hogan, the former pro wrestler told a gaggle of reporters that he and his legal team "made history." Hogan said Monday evening that he thought "we've protected a lot of people from going through what I went through." The smiling 62-year-old, who wore all black throughout the three-week trial, added that he's been overwhelmed with support by fans. "Everywhere I show up, people treat me like I'm still the champ," he said. On Monday, the jury",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moments after a Florida jury hit Gawker Media and its founder with $25 million in punitive damages for publishing a sex tape of Hulk Hogan, the former pro wrestler told a gaggle of reporters that he and his legal team “made history.”\u003c/p>\n\u003cp>Hogan said Monday evening that he thought “we’ve protected a lot of people from going through what I went through.”\u003c/p>\n\u003cp>The smiling 62-year-old, who wore all black throughout the three-week trial, added that he’s been overwhelmed with support by fans.\u003c/p>\n\u003cp>“Everywhere I show up, people treat me like I’m still the champ,” he said.\u003c/p>\n\u003cp>On Monday, the jury hit Gawker Media with a $15 million judgment and its owner, Nick Denton, with $10 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It also assessed $100,000 against A.J. Daulerio, the Gawker editor who decided to post the edited sex video and wrote the post that accompanied it.\u003c/p>\n\u003cp>The punitive damages come on top of $115 million the jury imposed Friday after two weeks of trial.\u003c/p>\n\u003cp>Hogan sued Gawker after it posted a video of him having sex with his then-best friend’s wife. Hogan said he didn’t know he was being taped.\u003c/p>\n\u003cp>The president and general counsel of Gawker Media said in a statement that the media company expects the multimillion dollar award will be overturned by an appeals court.\u003c/p>\n\u003cp>Heather Dietrick said in an email Monday night that because the jury was prohibited from knowing about “prior court rulings in favor of Gawker, prohibited from seeing critical evidence gathered by the FBI and prohibited from hearing from the most important witness, Bubba Clem,” that an appeals court could overturn the case.\u003c/p>\n\u003cp>“We are confident we will win this case ultimately based on not only on the law but also on the truth,” she said.\u003c/p>\n\u003cp>Hogan’s lawyer had asked jurors Monday to add punitive damages to the $115 million judgment. Gawker’s lawyer pleaded that the existing verdict was already “debilitating” for the company.\u003c/p>\n\u003cp>During brief closing arguments Monday, Hogan’s lawyer Kenneth Turkel said Gawker Media’s gross revenues in 2015 were $48.7 million and that founder Nick Denton has a total of $121 million, including a $3.6 million Manhattan condo. Gawker Media is worth $83 million, the lawyers said.\u003c/p>\n\u003cp>Daulerio, the editor, has no assets, the lawyers said. They said Daulerio has $27,000 in student loan debt.\u003c/p>\n\u003cp>Turkel had asked the jury to decide on a punitive amount as both punishment to Gawker and a deterrent to other media companies.\u003c/p>\n\u003cp>Jurors have “an ability to send a message,” Turkel said, adding that Gawker acted with reckless disregard when it posted an edited version of the sex video.\u003c/p>\n\u003cp>Michael Sullivan, representing Gawker, said, “The $115 million judgment “is punishment enough” and “is already far beyond their means.”\u003c/p>\n\u003cp>“The amount of that verdict could already be debilitating for Gawker Media,” Sullivan said.\u003c/p>\n\u003cp>“Your verdict will send a chill down the spine of writers, producers and publishers,” he added.\u003c/p>\n\u003cp>One juror, 35-year-old Salina Stevens, told reporters that watching the video posted by Gawker finally convinced her to find for Hogan.\u003c/p>\n\u003cp>“I believe his privacy was violated, and that’s not OK,” she said. “The video was worse than I expected … not so much the sex part of it but the conversation. I just feel like if he knew he was being videotaped, he would not have spoken about the things he spoke about.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ta-Nehisi Coates On The Fight Over 'Nina Simone's Face'",
"title": "Ta-Nehisi Coates On The Fight Over 'Nina Simone's Face'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Lots of people are fuming about \u003cem>Nina\u003c/em>, an upcoming biopic about legendary singer Nina Simone. According to its critics, the filmmakers butcher important parts of Simone's biography (in part, by attributing much of her success to the men in her life), but that their larger sin was casting actress Zoe Saldana, who plays the lead role with the help of skin-darkening makeup and a prosthetic nose.\u003c/p>\n\u003cp>Many argue that casting the lighter skinned Afro-Latina actress, rather than someone who better resembled Simone, was an attempt to make the film more marketable instead of staying true to the singer and the life that inspired her art. The makeup and prosthetic nose, they also charge, were sloppy and poorly executed. In one of the more gentle critiques, singer India.Arie called the casting move \"\u003ca href=\"http://www.theroot.com/blogs/the_grapevine/2016/03/india_arie_calls_zoe_saldana_as_nina_simone_tone_deaf_casting.html?utm_content=bufferf2a7d&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer\" target=\"_blank\">tone deaf\u003c/a>.\" Others went with \"\u003ca href=\"https://twitter.com/Amaku_Dancer/status/708076918315347968\">disrespectful\u003c/a>,\" \"\u003ca href=\"https://twitter.com/SonikMudi/status/705141228250206209\">deplorable\u003c/a>,\" and \"\u003ca href=\"https://twitter.com/MrjBmg_/status/708964425202601984\">embarrassing\u003c/a>.\"\u003c/p>\n\u003cfigure id=\"attachment_21446\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5.jpg\" rel=\"attachment wp-att-21446\">\u003cimg class=\"size-thumbnail wp-image-21446\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-400x300.jpg\" alt=\"In this composite image, a comparison has been made between Nina Simone and actress Zoe Saldana.\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-960x720.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In this composite image, a comparison has been made between Nina Simone and actress Zoe Saldana. (Photo: David Redfern/Frazer Harrison/Redferns/Getty Images for Relativity Media)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Buzzfeed\u003c/em> rounded up some of the \u003ca href=\"http://www.buzzfeed.com/essencegant/zoe-saldana-is-playing-nina-simone?bftw&utm_term=.eimd06qjw#.jcQ9eRyW3\">Twitter reactions\u003c/a> to the film's trailer. \u003cem>Jezebel\u003c/em> highlighted the \u003ca href=\"http://jezebel.com/meet-the-team-behind-nina-1762401564\">overwhelmingly white team\u003c/a> behind the production. \u003cem>Time\u003c/em> magazine talked to \u003ca href=\"http://time.com/4246449/nina-simone-zoe-saldana/\">Simone's daughter, Lisa Simone Kelly,\u003c/a> about the movie's narrative flaws, and the Guardian chronicled some of the \u003ca href=\"http://www.theguardian.com/lifeandstyle/2016/mar/12/race-in-movies-row-nina-simone-oscars-hadley-freeman?CMP=twt_gu\">offensive backlash\u003c/a> to people's complaints about the film. \u003cem>Vox\u003c/em> also \u003ca href=\"http://www.vox.com/2016/3/4/11161980/nina-simone-saldana\">voxsplained the whole controversy\u003c/a>, from \u003ca href=\"http://www.npr.org/2012/11/20/165346202/controversial-casting-for-a-nina-simone-biopic\">pre-production\u003c/a> to the release of the first trailer.\u003c/p>\n\u003cp>But more than any other, \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/03/nina-simone-face/472107/\">Ta-Nehisi Coates' recently published essay\u003c/a> seems to capture the full emotional depth of all this frustration. He suggests this wasn't just another questionable casting choice involving a person of color in a \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/01/28/464691819/let-twitter-be-your-guide-through-this-michael-jackson-casting-mess\">long line\u003c/a> of \u003ca href=\"http://screenrant.com/worst-examples-whitewashing-movies/?view=all\">such casting choices\u003c/a>. To explain, Coates gets personal:\u003c/p>\n\u003cblockquote>\u003cp>\"When I was kid, I knew what the worst parts of me were—my hair and my mouth. My hair was nappy. My lips were big. Nearly every kid around me knew something similar of themselves because nearly every one of us had some sort of physical defect—dark skin, nappy hair, broad nose, full lips—that opened us up to ridicule from one another. That each of these \"defects\" were representative of all the Africa that ran through us was never lost on anyone. \"Africa\" was an insult—African bush-boogie, African bootie-scratcher etc. Ethiopian famine jokes were all the rage back then...\u003c/p>\n\u003cp>...[Nina] Simone was in possession of nearly every feature that we denigrated as children. And yet somehow she willed herself into a goddess.\"\u003c/p>\u003c/blockquote>\n\u003cp>Coates goes on to explain how Simone's appearance, as well as her music, helped him view his childhood musings on race in a larger context:\u003c/p>\n\u003cblockquote>\u003cp>\"Simone is something more than a female Bob Marley. It is not simply the voice: It is the world that made that voice, all the hurt and pain of denigration, forged into something otherworldly. That voice, inevitably, calls us to look at Nina Simone's face, and for a brief moment, understand that the hate we felt, that the mockery we dispensed, was unnatural, was the fruit of conjurations and the shadow of plunder. We look at Nina Simone's face and the lie is exposed and we are shamed. We look at Nina Simone's face and a terrible truth comes into view—there was nothing wrong with her. But there is something deeply wrong with us.\"\u003c/p>\u003c/blockquote>\n\u003cp>Finally, Coates takes us through what all of this means, both for the potential audience and \u003cem>Nina\u003c/em>'s creators:\u003c/p>\n\u003cblockquote>\u003cp>\"It's here that the term 'appropriation' bears some usage. We're not talking about someone inspired by the deeper lessons of Simone's life and her music. We are talking about people who think it's fine to profit off her music while heedlessly contributing to the kind of pain that brought that music into being. To acknowledge that pain, to consider it in casting, would be inconvenient—as anti-racist action always is. It would mean giving an opportunity to someone who's actively experienced the kind of pain that plagued Simone. That would doubtlessly mean a diminished chance at garnering funds for such a film. And that, in turn, would court years of delays and the possibility of the film never coming into being. That would be unfortunate—but less so for Nina Simone than for the agents who feel themselves entitled to profit her story.\"\u003c/p>\u003c/blockquote>\n\u003cp>The whole piece is worth reading and thinking about. You can \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/03/nina-simone-face/472107/\">check it out\u003c/a> over at \u003cem>The Atlantic\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ta-Nehisi+Coates+On+The+Fight+Over+%27Nina+Simone%27s+Face%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lots of people are fuming about \u003cem>Nina\u003c/em>, an upcoming biopic about legendary singer Nina Simone. According to its critics, the filmmakers butcher important parts of Simone's biography (in part, by attributing much of her success to the men in her life), but that their larger sin was casting actress Zoe Saldana, who plays the lead role with the help of skin-darkening makeup and a prosthetic nose.\u003c/p>\n\u003cp>Many argue that casting the lighter skinned Afro-Latina actress, rather than someone who better resembled Simone, was an attempt to make the film more marketable instead of staying true to the singer and the life that inspired her art. The makeup and prosthetic nose, they also charge, were sloppy and poorly executed. In one of the more gentle critiques, singer India.Arie called the casting move \"\u003ca href=\"http://www.theroot.com/blogs/the_grapevine/2016/03/india_arie_calls_zoe_saldana_as_nina_simone_tone_deaf_casting.html?utm_content=bufferf2a7d&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer\" target=\"_blank\">tone deaf\u003c/a>.\" Others went with \"\u003ca href=\"https://twitter.com/Amaku_Dancer/status/708076918315347968\">disrespectful\u003c/a>,\" \"\u003ca href=\"https://twitter.com/SonikMudi/status/705141228250206209\">deplorable\u003c/a>,\" and \"\u003ca href=\"https://twitter.com/MrjBmg_/status/708964425202601984\">embarrassing\u003c/a>.\"\u003c/p>\n\u003cfigure id=\"attachment_21446\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5.jpg\" rel=\"attachment wp-att-21446\">\u003cimg class=\"size-thumbnail wp-image-21446\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-400x300.jpg\" alt=\"In this composite image, a comparison has been made between Nina Simone and actress Zoe Saldana.\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/gettyimages-152092748-270a7688786447e9bd0039f1e23b09cf9ba221e5-960x720.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In this composite image, a comparison has been made between Nina Simone and actress Zoe Saldana. (Photo: David Redfern/Frazer Harrison/Redferns/Getty Images for Relativity Media)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Buzzfeed\u003c/em> rounded up some of the \u003ca href=\"http://www.buzzfeed.com/essencegant/zoe-saldana-is-playing-nina-simone?bftw&utm_term=.eimd06qjw#.jcQ9eRyW3\">Twitter reactions\u003c/a> to the film's trailer. \u003cem>Jezebel\u003c/em> highlighted the \u003ca href=\"http://jezebel.com/meet-the-team-behind-nina-1762401564\">overwhelmingly white team\u003c/a> behind the production. \u003cem>Time\u003c/em> magazine talked to \u003ca href=\"http://time.com/4246449/nina-simone-zoe-saldana/\">Simone's daughter, Lisa Simone Kelly,\u003c/a> about the movie's narrative flaws, and the Guardian chronicled some of the \u003ca href=\"http://www.theguardian.com/lifeandstyle/2016/mar/12/race-in-movies-row-nina-simone-oscars-hadley-freeman?CMP=twt_gu\">offensive backlash\u003c/a> to people's complaints about the film. \u003cem>Vox\u003c/em> also \u003ca href=\"http://www.vox.com/2016/3/4/11161980/nina-simone-saldana\">voxsplained the whole controversy\u003c/a>, from \u003ca href=\"http://www.npr.org/2012/11/20/165346202/controversial-casting-for-a-nina-simone-biopic\">pre-production\u003c/a> to the release of the first trailer.\u003c/p>\n\u003cp>But more than any other, \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/03/nina-simone-face/472107/\">Ta-Nehisi Coates' recently published essay\u003c/a> seems to capture the full emotional depth of all this frustration. He suggests this wasn't just another questionable casting choice involving a person of color in a \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/01/28/464691819/let-twitter-be-your-guide-through-this-michael-jackson-casting-mess\">long line\u003c/a> of \u003ca href=\"http://screenrant.com/worst-examples-whitewashing-movies/?view=all\">such casting choices\u003c/a>. To explain, Coates gets personal:\u003c/p>\n\u003cblockquote>\u003cp>\"When I was kid, I knew what the worst parts of me were—my hair and my mouth. My hair was nappy. My lips were big. Nearly every kid around me knew something similar of themselves because nearly every one of us had some sort of physical defect—dark skin, nappy hair, broad nose, full lips—that opened us up to ridicule from one another. That each of these \"defects\" were representative of all the Africa that ran through us was never lost on anyone. \"Africa\" was an insult—African bush-boogie, African bootie-scratcher etc. Ethiopian famine jokes were all the rage back then...\u003c/p>\n\u003cp>...[Nina] Simone was in possession of nearly every feature that we denigrated as children. And yet somehow she willed herself into a goddess.\"\u003c/p>\u003c/blockquote>\n\u003cp>Coates goes on to explain how Simone's appearance, as well as her music, helped him view his childhood musings on race in a larger context:\u003c/p>\n\u003cblockquote>\u003cp>\"Simone is something more than a female Bob Marley. It is not simply the voice: It is the world that made that voice, all the hurt and pain of denigration, forged into something otherworldly. That voice, inevitably, calls us to look at Nina Simone's face, and for a brief moment, understand that the hate we felt, that the mockery we dispensed, was unnatural, was the fruit of conjurations and the shadow of plunder. We look at Nina Simone's face and the lie is exposed and we are shamed. We look at Nina Simone's face and a terrible truth comes into view—there was nothing wrong with her. But there is something deeply wrong with us.\"\u003c/p>\u003c/blockquote>\n\u003cp>Finally, Coates takes us through what all of this means, both for the potential audience and \u003cem>Nina\u003c/em>'s creators:\u003c/p>\n\u003cblockquote>\u003cp>\"It's here that the term 'appropriation' bears some usage. We're not talking about someone inspired by the deeper lessons of Simone's life and her music. We are talking about people who think it's fine to profit off her music while heedlessly contributing to the kind of pain that brought that music into being. To acknowledge that pain, to consider it in casting, would be inconvenient—as anti-racist action always is. It would mean giving an opportunity to someone who's actively experienced the kind of pain that plagued Simone. That would doubtlessly mean a diminished chance at garnering funds for such a film. And that, in turn, would court years of delays and the possibility of the film never coming into being. That would be unfortunate—but less so for Nina Simone than for the agents who feel themselves entitled to profit her story.\"\u003c/p>\u003c/blockquote>\n\u003cp>The whole piece is worth reading and thinking about. You can \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/03/nina-simone-face/472107/\">check it out\u003c/a> over at \u003cem>The Atlantic\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ta-Nehisi+Coates+On+The+Fight+Over+%27Nina+Simone%27s+Face%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'",
"title": "Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>It's a cliché because it's true: Life can change in an instant. Often, of course, we can’t tell which choices will shape our lives until they’re years away in the rearview mirror, given weight and color by the present. So it’s oddly fitting, perhaps, that \u003cem>\u003ca href=\"http://www.fantagraphics.com/patience/\" target=\"_blank\">Patience\u003c/a>\u003c/em>, Daniel Clowes’ first book in a half-decade -- the renowned graphic novelist’s most ambitious, reflective, weighty work yet, and one that took him five long years to birth -- is obsessed with events that take place in a matter of seconds.\u003c/p>\n\u003cp>Clowes was one of the first comics artists to propel the graphic novel into the mainstream literary world. Though a devoted, far-flung fan base had been following his delightfully weird \u003ca href=\"http://www.fantagraphics.com/complete8ball/\" target=\"_blank\">\u003cem>Eightball\u003c/em> series\u003c/a> for a nearly a decade, it was the bleak comedy of 1997's coming-of-age story \u003cem>Ghost World\u003c/em> that, for many, cast a whole new light on what comics could be. (The screenplay adaptation of that book earned Clowes an Oscar nomination, revealing a new talent of his, as well.)\u003c/p>\n\u003cp>In the nearly two decades since, Clowes has become something of a \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\">respected elder figure within the comics scene\u003c/a> (no matter how uncomfortable that delineation might make the 54-year-old) as his art fills retrospectives and museum exhibits alongside current \u003cem>New Yorker \u003c/em>covers. But his hallmark remains: an uncanny ability to imbue a seemingly dull interaction between characters with a level of nuance that leaps off the page, not in spite of but because of its quietude: the simple melancholia and hilarity of everyday existence, the hopes and pitfalls of loners and weirdos, are rendered with as much urgency as any bank robbery or high-speed car chase.\u003c/p>\n\u003cfigure id=\"attachment_21317\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg class=\"wp-image-21317 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc3.jpg\" alt=\"dc3\" width=\"650\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3-400x268.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>In a departure from much of his earlier work, \u003cem>Patience\u003c/em> (Fantagraphics; $29.99) sees Clowes blending literal action -- ray-gun fight scenes, seedy gambling dens straight out of\u003cem> Blade Runner\u003c/em> -- with his usual subtle human drama. Over the course of 180 bright, color-saturated pages, the reader follows a couple (the titular Patience and her husband Jack) on a surrealist, time-traveling adventure; Jack fixates on the past, attempting to change the course of history in order to ensure his family’s future.\u003c/p>\n\u003cp>Clowes, who lives in Piedmont with his own wife and son, made some time to chat about the book ahead of \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">his appearance on Wednesday, March 23 at Green Apple Books on the Park in San Francisco\u003c/a>. (This interview has been edited and condensed, if you can believe that.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>KQED Pop: One thing I’ve always admired about your earlier work is the degree to which you experimented and changed styles between comics, even within a single issue of \u003cem>Eightball\u003c/em>. So I’m curious what it felt like to work on one cohesive project for five long years?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daniel Clowes:\u003c/strong> You put the proper gravitas in that question. It’s funny, because I know the book looks fairly uniform, but I’ve gotten to the point where there are all these subtle shifts in style that made it seem jarringly different from page to page, and that’s in no way perceptible to anybody but me. But that was enough to keep me from feeling like I was stuck in a method I got bored with.\u003c/p>\n\u003cp>Also somehow I knew that this was going to be a book that was all about the coloring. In the past, all my color books started out, like, ‘This could still be black and white, or maybe just one color,’ and then I morphed into color mode by the end. In this one, I knew what I wanted it to look like. I think the color brings it all together and you don’t really notice the slight stylistic shifts from scene to scene.\u003c/p>\n\u003cp>[In terms of the narrative], carrying all the initial inspirations all the way through over five years really was that feeling of carrying a lit match across a windstorm.\u003c/p>\n\u003cfigure id=\"attachment_21314\" class=\"wp-caption aligncenter\" style=\"max-width: 538px\">\u003cimg class=\"size-full wp-image-21314\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc1.jpg\" alt=\"Panels from 'Patience'\" width=\"538\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1.jpg 538w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1-400x360.jpg 400w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Panels from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With some of the action sequences, I was thinking about in \u003cem>Calvin and Hobbes\u003c/em>, when Bill Watterson would use Spaceman Spiff to let out that adventure-action comic strip he always wanted to do. Are these images things you’d been wanting to draw for years, and this was your chance?\u003c/strong>\u003c/p>\n\u003cp>There are a few things I’ve wanted to [do] for a long time -- not necessarily specific images in my head that I wanted to get on paper. But I love that idea of seeing a little bit of the workings of the universe behind the visual reality that we all see every day. I’ve always felt that presence, that there’s some infinite mathematical void that’s in the wings behind the stage, behind that play that we’re looking at as our reality, and thought about how to best depict that. There are [other] comic artists that allude to that -- mostly guys from the '50s, post-war guys with PTSD, looking at the world in a bigger way than their stories would indicate. I was always very inspired by that.\u003c/p>\n\u003cp>\u003cstrong>The time-travel stuff, the ability to go back and change a specific moment in the past -- did that come out of anything in particular for you?\u003c/strong>\u003c/p>\n\u003cp>Well, the notion of examining your past very carefully ... the last 10 years or so, I’ve had a whole bunch of retrospective projects, which are the kind of thing I normally just run from. I really don’t want to go back in time. But I got roped into doing a museum show of my work, and that led to a monograph, and then at the same time I had agreed to do a reprint of all the early \u003cem>Eightball\u003c/em>s, and that box set. It was all stuff that I thought, ‘Okay, I’ll let somebody else do that and I’ll work on my own thing.’ Then, of course, I got really drawn into the whole process and found myself in this odd dialogue with this younger version of myself. And in some ways it seemed like no time had passed at all, and in other ways it seemed like I was talking to a different person, in a different era, and it wasn’t myself at all. I didn’t even recognize myself in some of it.\u003c/p>\n\u003cfigure id=\"attachment_21272\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-21272 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg\" alt=\"Patience, in 'Patience.'\" width=\"500\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500-400x265.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Patience, in 'Patience.' \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I heard that \u003ca href=\"http://museumca.org/exhibit/modern-cartoonist-art-daniel-clowes\" target=\"_blank\">Oakland Museum exhibition\u003c/a> was great, but it also sounds a little bit like being eulogized before your time?\u003c/strong>\u003c/p>\n\u003cp>It absolutely felt like that. It was like attending your own funeral and hearing what people say about you -- which was all very nice. There’s a movie called \u003cem>Scarlet Street\u003c/em> that opens with Edward G. Robinson going to his retirement dinner, and he’s presented with this gold watch and everybody pats him on his back and then that’s it. He leaves and he has no friends or life after that. It really did feel like that. It was weird. I disassociated myself from it and started to just think of myself as a collector of Daniel Clowes artwork after a while, because you’d see name tags on things like they were on loan from a collector -- but it was ‘on loan from Daniel and Erica Clowes.’ I would be so proud. Like, wow, I have artwork loaned to a museum!\u003c/p>\n\u003cp>\u003cstrong>Are there works you specifically noticed that, if you could go back, you would change?\u003c/strong>\u003c/p>\n\u003cp>The time in my life I most thought about going back and changing things was when I was much younger. Like, “I wish I could go back to Thursday and not have said that stupid thing in class.” You know, the whole “If I could only do it again, I’d have the perfect comeback for that guy.” Stuff like that. And then as you get older, you have so many of those moments you couldn’t really pick one. It would be your entire life. [Laughs.]\u003c/p>\n\u003cp>I also sometimes think, when I look at my old comics, “If I could redo that now, I could make it really perfect.” But that would be such a terrible idea. A, it would make it worse, no matter how well you drew it or wrote it, and B, it would crush your life as it is now. It’s just not a good way to think. The more I got into the story, the more I realized that I have no desire whatsoever to do that, and I embraced the way that events unfold in a way you can’t really imagine.\u003c/p>\n\u003cfigure id=\"attachment_21275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-21275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg\" alt=\"Dan Clowes, a self-portrait.\" width=\"800\" height=\"963\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-400x482.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-768x925.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1440x1734.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1920x2312.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1180x1421.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-960x1156.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Clowes, a self-portrait. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With a lot of artistic depictions of dystopian futures, there’s usually a nostalgia about the past, a romanticism about decades gone by, and I really didn’t get that in \u003cem>Patience\u003c/em>. It seems like Jack is pissed off to be in the '70s or whatever. “This sh*t, really?”\u003c/strong>\u003c/p>\n\u003cp>[Laughs.] Yeah, if somebody sent me back to 1985, I would just be \u003cem>so sad\u003c/em>. It’s funny, because I really love certain past aesthetics, and I’ve always felt that the way history just steamrolls the past, especially art history -- the way there’ll be a perfectly good method of painting or writing or something and then the next thing will come along and destroy that. I’ve always been interested in going back and finding these old modes that were cast aside too soon and seeing what there is in them and combining them with other modes, things like that. I’m certainly not someone who’s 100 percent forward-minded. But I don’t have any desire to go back to any other time. I think as crazy and chaotic as things are, things are always slightly improving in some way.\u003c/p>\n\u003cp>\u003cstrong>That’s a message I think a lot of people could use right now.\u003c/strong>\u003c/p>\n\u003cp>And I didn’t really want to depict the future as a dystopia. I think people always have the feeling that they’re in the end times and everything is crumbling. I don’t know that that’s necessarily true. I feel like it’s just getting more fragmented and hard to grasp.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-21319\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Patience-24-650x371.jpg\" alt=\"Patience-24-650x371\" width=\"650\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371-400x228.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/p>\n\u003cp>\u003cstrong>Since you mentioned the, uh, end times: there’s a kind of blowhard evangelical political TV personality in the book. Was that based on anyone in particular?\u003c/strong>\u003c/p>\n\u003cp>I just like that kind of American demagogue character. Of course, now it seems really prescient that we’ve got actual people like that vying for the White House. At the time, I was writing it and I thought ‘What would it take for a guy like this to become president?’ I thought that seemed really far-fetched, and now it seems much less so. But yeah, he came out of guys like Glenn Beck and people like that, who are clearly not speaking truthfully to their audience, projecting an image that’s not necessarily true in any way.\u003c/p>\n\u003cp>\u003cstrong>I’ve read that you didn’t show this to anyone as you worked?\u003c/strong>\u003c/p>\n\u003cp>I did not let anybody read it. People come in and out of my studio all the time, and pages are out; pages are there. People who saw it had no idea what was going on, and I think a lot of them thought I had lost my mind when they were just looking at the art. My wife wants to read it all at once -- which, I would never want her to be reading something and go “hmm.” That would throw me off so intensely. Just a little “what?” And then that’s all I would think about. Zero response is the best. Then when it’s done, I’m more than happy to hear anything, negative or positive, but not while I’m in the throes of it.\u003c/p>\n\u003cfigure id=\"attachment_21276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg class=\"size-full wp-image-21276\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/clowes_eightball15.jpg\" alt=\"From 'Caricature,' Eightball #5. \" width=\"750\" height=\"648\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15.jpg 750w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15-400x346.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">From 'Caricature,' Eightball #5.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m interested in your relationship to feedback in general, because the reader feedback you used to publish -- the letters section in \u003cem>Eightball\u003c/em> -- was always so entertaining. Even the hateful letters made it such a hilarious little community to be a part of.\u003c/strong>\u003c/p>\n\u003cp>That was such a fun era. And I felt a responsibility back then, because there was no internet; there was no forum where people who read these comics or were interested in this stuff could connect with each other. I would set people up -- literally, I’d get letters from two different people in Danbury, Connecticut, and I would [write back] saying “There’s this girl who lives in town. You should call her.” I felt like I had to write back to everybody. Anybody who did any comics at all, I’d write them encouraging letters.\u003c/p>\n\u003cp>When I talk to other artists from my era, like the Hernandez Brothers [of \u003cem>Love and Rockets\u003c/em>], we all talk about how we basically knew 40 percent of our readers by name. On this recent tour a woman came out who had been at a signing I did in 1993, and I completely remembered her name, because she’d written me.\u003c/p>\n\u003cp>\u003cstrong>Is there a modern version of that? Do you keep up with what fans are saying on the internet? It seems like once you open that door it’s another thing entirely.\u003c/strong>\u003c/p>\n\u003cp>Yeah, it’s too overwhelming. I can’t get involved in it. It’s just different: there was an ease to it. You’d send a letter and then you’d wait three weeks and get a letter back… every Sunday I spent an hour doing it. I wish I could go back to the old way. It was the ideal scenario, and it was fun: I’d go to my mailbox once a week and it was like Christmas every time. Now, I just have no connection because it’d be too much. But that’s why I really do actually enjoy going on book tours and signings, because you see the demographics. You see, \"Oh, good, I still have young people showing up.\"\u003c/p>\n\u003cp>\u003cstrong>You \u003ca href=\"http://boingboing.net/2016/02/17/daniel-clowes-remembers-publis.html\" target=\"_blank\">posted a sweet piece about your friend and assistant Alvin\u003c/a>, who recently passed away. I thought it was such a great note to end on that he took your social media passwords with him.\u003c/strong>\u003c/p>\n\u003cp>Yeah. He was a wonderful guy, just a kind soul and a really good friend of mine. I miss him every minute. And yeah, he was very protective of that stuff. He took it on himself --\"I'm making you an Instagram page.\" \"Okay.\" I never asked for any of it. And he hated social media!\u003c/p>\n\u003cfigure id=\"attachment_21277\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg class=\" wp-image-21277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg\" alt=\"Detail from a New Yorker cover by Clowes, May 2009. \" width=\"504\" height=\"365\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut-400x290.jpg 400w\" sizes=\"(max-width: 504px) 100vw, 504px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a New Yorker cover by Clowes, May 2009.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have you had to wade into the social media waters yourself since then?\u003c/strong>\u003c/p>\n\u003cp>No, I immediately tried to get somebody else to take over. [Laughs.] I want people who are looking for info about the book to be able to find it, but I have no desire to craft little jokes and post four times a day or whatever. That seems hopelessly sad to me, to imagine people I really like and respect sitting there and racking their brains to think of a little joke, to get that little jolt of dopamine or whatever. I just feel bad for them that they feel like they have to do that. And you see people who have done 200,000 tweets and you think, that’s just all gone. That’s buried. Nobody will ever, ever look at anything before yesterday. I couldn’t face that. It seems really Sisyphean.\u003c/p>\n\u003cp>\u003cstrong>I wanted to talk about setting a bit -- I know you live in Oakland, and your love for it came through so clearly in \u003cem>Wilson\u003c/em>, your last book. But the city’s obviously changed a lot since that came out in 2010, even.\u003c/strong>\u003c/p>\n\u003cp>Right. So, they’re working on a movie of \u003cem>Wilson\u003c/em> -- it’s pretty much done, actually -- and I tried so hard to get them to shoot in Oakland. I wrote the whole script with specific Oakland locations; every one is a real place. But because of regulations it was almost impossible to shoot a movie here. So they shot in St. Paul, Minnesota, which is really weirdly like a version of Oakland from about five or six years ago, before it got the five-star restaurants and all that. It was a good solution, but disappointing.\u003c/p>\n\u003cfigure id=\"attachment_21316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-21316 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg\" alt=\"A panel from 'Wilson,' set at Lake Merritt. \" width=\"800\" height=\"771\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-400x386.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-768x740.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Wilson,' set at Lake Merritt.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel like the city’s changes have seeped into your work at all?\u003c/strong>\u003c/p>\n\u003cp>Well, I’m always responding to stuff much later than it’s actually happened. If I were doing a daily strip or something I’m sure it’d be all about the weird developments in Oakland, but it’s stuff that seeps into the work after the fact. I’m guessing my next book will have quite a bit of that, because every single day I find I’m talking to my friends about, “Oh my god, that place went out business and now there’s this new thing.” It’s bizarre, because Oakland seemed so stagnant for the first 15 years I lived here. I used to go downtown all the time and just walk around the abandoned parts of downtown Oakland and think \"How can this be? How can this big structure for commerce just be sitting empty?\"\u003c/p>\n\u003cp>\u003cstrong>Can you imagine having moved here now? There’s obviously a different situation than you moved into, for artists and creative people trying to make a living.\u003c/strong>\u003c/p>\n\u003cp>I’m pretty aware that there will probably never be a community of young cartoonists here, which really bothers me. You go to a place like Portland, which I’m sure will wind up like Oakland in about five years, but there’s just hundreds of cartoonists there, and it feels like this real community. Here, it’s just daunting. I wouldn’t even recommend anybody who wants to do something like cartooning live here. You can do it anywhere! I guess if you’re somebody who’s really skilled with tech stuff you could get an easy job and then do it in your spare time or something... but most cartoonists aren’t really tech people. It’s a very different part of your brain.\u003c/p>\n\u003cp>\u003cstrong>Do you have a sense of what’s next for you after the tours for this book are over? Do you have the itch do shorter things after working on something so lengthy?\u003c/strong>\u003c/p>\n\u003cp>My whole goal after this was to take a month off, not think about anything, just read books and hang out. And after about two days of that, I was going insane. I started to feel like, I have this limited time on the planet and every day is precious. I have that Midwestern work ethic drummed into me, I think. So I started jotting down ideas for a new story. I always look through my old notebooks and see if anything pops out that I maybe dismissed earlier, and I came up with a couple things that hold my interest. I’m piecing something together. But it’ll probably be a while! We’ll see.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Daniel Clowes discusses \u003c/em>Patience\u003cem> at Green Apple Books on the Park on Wednesday, March 23 at at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "On the heels of his first new book in five years, the renowned comics artist takes stock -- of his own work, his home, and his (lack of) desire to change the past. ",
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"description": "On the heels of his first new book in five years, the renowned comics artist takes stock -- of his own work, his home, and his (lack of) desire to change the past. ",
"title": "Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience' | KQED",
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"headline": "Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's a cliché because it's true: Life can change in an instant. Often, of course, we can’t tell which choices will shape our lives until they’re years away in the rearview mirror, given weight and color by the present. So it’s oddly fitting, perhaps, that \u003cem>\u003ca href=\"http://www.fantagraphics.com/patience/\" target=\"_blank\">Patience\u003c/a>\u003c/em>, Daniel Clowes’ first book in a half-decade -- the renowned graphic novelist’s most ambitious, reflective, weighty work yet, and one that took him five long years to birth -- is obsessed with events that take place in a matter of seconds.\u003c/p>\n\u003cp>Clowes was one of the first comics artists to propel the graphic novel into the mainstream literary world. Though a devoted, far-flung fan base had been following his delightfully weird \u003ca href=\"http://www.fantagraphics.com/complete8ball/\" target=\"_blank\">\u003cem>Eightball\u003c/em> series\u003c/a> for a nearly a decade, it was the bleak comedy of 1997's coming-of-age story \u003cem>Ghost World\u003c/em> that, for many, cast a whole new light on what comics could be. (The screenplay adaptation of that book earned Clowes an Oscar nomination, revealing a new talent of his, as well.)\u003c/p>\n\u003cp>In the nearly two decades since, Clowes has become something of a \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\">respected elder figure within the comics scene\u003c/a> (no matter how uncomfortable that delineation might make the 54-year-old) as his art fills retrospectives and museum exhibits alongside current \u003cem>New Yorker \u003c/em>covers. But his hallmark remains: an uncanny ability to imbue a seemingly dull interaction between characters with a level of nuance that leaps off the page, not in spite of but because of its quietude: the simple melancholia and hilarity of everyday existence, the hopes and pitfalls of loners and weirdos, are rendered with as much urgency as any bank robbery or high-speed car chase.\u003c/p>\n\u003cfigure id=\"attachment_21317\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg class=\"wp-image-21317 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc3.jpg\" alt=\"dc3\" width=\"650\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3-400x268.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>In a departure from much of his earlier work, \u003cem>Patience\u003c/em> (Fantagraphics; $29.99) sees Clowes blending literal action -- ray-gun fight scenes, seedy gambling dens straight out of\u003cem> Blade Runner\u003c/em> -- with his usual subtle human drama. Over the course of 180 bright, color-saturated pages, the reader follows a couple (the titular Patience and her husband Jack) on a surrealist, time-traveling adventure; Jack fixates on the past, attempting to change the course of history in order to ensure his family’s future.\u003c/p>\n\u003cp>Clowes, who lives in Piedmont with his own wife and son, made some time to chat about the book ahead of \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">his appearance on Wednesday, March 23 at Green Apple Books on the Park in San Francisco\u003c/a>. (This interview has been edited and condensed, if you can believe that.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>KQED Pop: One thing I’ve always admired about your earlier work is the degree to which you experimented and changed styles between comics, even within a single issue of \u003cem>Eightball\u003c/em>. So I’m curious what it felt like to work on one cohesive project for five long years?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daniel Clowes:\u003c/strong> You put the proper gravitas in that question. It’s funny, because I know the book looks fairly uniform, but I’ve gotten to the point where there are all these subtle shifts in style that made it seem jarringly different from page to page, and that’s in no way perceptible to anybody but me. But that was enough to keep me from feeling like I was stuck in a method I got bored with.\u003c/p>\n\u003cp>Also somehow I knew that this was going to be a book that was all about the coloring. In the past, all my color books started out, like, ‘This could still be black and white, or maybe just one color,’ and then I morphed into color mode by the end. In this one, I knew what I wanted it to look like. I think the color brings it all together and you don’t really notice the slight stylistic shifts from scene to scene.\u003c/p>\n\u003cp>[In terms of the narrative], carrying all the initial inspirations all the way through over five years really was that feeling of carrying a lit match across a windstorm.\u003c/p>\n\u003cfigure id=\"attachment_21314\" class=\"wp-caption aligncenter\" style=\"max-width: 538px\">\u003cimg class=\"size-full wp-image-21314\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc1.jpg\" alt=\"Panels from 'Patience'\" width=\"538\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1.jpg 538w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1-400x360.jpg 400w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Panels from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With some of the action sequences, I was thinking about in \u003cem>Calvin and Hobbes\u003c/em>, when Bill Watterson would use Spaceman Spiff to let out that adventure-action comic strip he always wanted to do. Are these images things you’d been wanting to draw for years, and this was your chance?\u003c/strong>\u003c/p>\n\u003cp>There are a few things I’ve wanted to [do] for a long time -- not necessarily specific images in my head that I wanted to get on paper. But I love that idea of seeing a little bit of the workings of the universe behind the visual reality that we all see every day. I’ve always felt that presence, that there’s some infinite mathematical void that’s in the wings behind the stage, behind that play that we’re looking at as our reality, and thought about how to best depict that. There are [other] comic artists that allude to that -- mostly guys from the '50s, post-war guys with PTSD, looking at the world in a bigger way than their stories would indicate. I was always very inspired by that.\u003c/p>\n\u003cp>\u003cstrong>The time-travel stuff, the ability to go back and change a specific moment in the past -- did that come out of anything in particular for you?\u003c/strong>\u003c/p>\n\u003cp>Well, the notion of examining your past very carefully ... the last 10 years or so, I’ve had a whole bunch of retrospective projects, which are the kind of thing I normally just run from. I really don’t want to go back in time. But I got roped into doing a museum show of my work, and that led to a monograph, and then at the same time I had agreed to do a reprint of all the early \u003cem>Eightball\u003c/em>s, and that box set. It was all stuff that I thought, ‘Okay, I’ll let somebody else do that and I’ll work on my own thing.’ Then, of course, I got really drawn into the whole process and found myself in this odd dialogue with this younger version of myself. And in some ways it seemed like no time had passed at all, and in other ways it seemed like I was talking to a different person, in a different era, and it wasn’t myself at all. I didn’t even recognize myself in some of it.\u003c/p>\n\u003cfigure id=\"attachment_21272\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-21272 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg\" alt=\"Patience, in 'Patience.'\" width=\"500\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500-400x265.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Patience, in 'Patience.' \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I heard that \u003ca href=\"http://museumca.org/exhibit/modern-cartoonist-art-daniel-clowes\" target=\"_blank\">Oakland Museum exhibition\u003c/a> was great, but it also sounds a little bit like being eulogized before your time?\u003c/strong>\u003c/p>\n\u003cp>It absolutely felt like that. It was like attending your own funeral and hearing what people say about you -- which was all very nice. There’s a movie called \u003cem>Scarlet Street\u003c/em> that opens with Edward G. Robinson going to his retirement dinner, and he’s presented with this gold watch and everybody pats him on his back and then that’s it. He leaves and he has no friends or life after that. It really did feel like that. It was weird. I disassociated myself from it and started to just think of myself as a collector of Daniel Clowes artwork after a while, because you’d see name tags on things like they were on loan from a collector -- but it was ‘on loan from Daniel and Erica Clowes.’ I would be so proud. Like, wow, I have artwork loaned to a museum!\u003c/p>\n\u003cp>\u003cstrong>Are there works you specifically noticed that, if you could go back, you would change?\u003c/strong>\u003c/p>\n\u003cp>The time in my life I most thought about going back and changing things was when I was much younger. Like, “I wish I could go back to Thursday and not have said that stupid thing in class.” You know, the whole “If I could only do it again, I’d have the perfect comeback for that guy.” Stuff like that. And then as you get older, you have so many of those moments you couldn’t really pick one. It would be your entire life. [Laughs.]\u003c/p>\n\u003cp>I also sometimes think, when I look at my old comics, “If I could redo that now, I could make it really perfect.” But that would be such a terrible idea. A, it would make it worse, no matter how well you drew it or wrote it, and B, it would crush your life as it is now. It’s just not a good way to think. The more I got into the story, the more I realized that I have no desire whatsoever to do that, and I embraced the way that events unfold in a way you can’t really imagine.\u003c/p>\n\u003cfigure id=\"attachment_21275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-21275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg\" alt=\"Dan Clowes, a self-portrait.\" width=\"800\" height=\"963\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-400x482.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-768x925.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1440x1734.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1920x2312.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1180x1421.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-960x1156.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Clowes, a self-portrait. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With a lot of artistic depictions of dystopian futures, there’s usually a nostalgia about the past, a romanticism about decades gone by, and I really didn’t get that in \u003cem>Patience\u003c/em>. It seems like Jack is pissed off to be in the '70s or whatever. “This sh*t, really?”\u003c/strong>\u003c/p>\n\u003cp>[Laughs.] Yeah, if somebody sent me back to 1985, I would just be \u003cem>so sad\u003c/em>. It’s funny, because I really love certain past aesthetics, and I’ve always felt that the way history just steamrolls the past, especially art history -- the way there’ll be a perfectly good method of painting or writing or something and then the next thing will come along and destroy that. I’ve always been interested in going back and finding these old modes that were cast aside too soon and seeing what there is in them and combining them with other modes, things like that. I’m certainly not someone who’s 100 percent forward-minded. But I don’t have any desire to go back to any other time. I think as crazy and chaotic as things are, things are always slightly improving in some way.\u003c/p>\n\u003cp>\u003cstrong>That’s a message I think a lot of people could use right now.\u003c/strong>\u003c/p>\n\u003cp>And I didn’t really want to depict the future as a dystopia. I think people always have the feeling that they’re in the end times and everything is crumbling. I don’t know that that’s necessarily true. I feel like it’s just getting more fragmented and hard to grasp.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-21319\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Patience-24-650x371.jpg\" alt=\"Patience-24-650x371\" width=\"650\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371-400x228.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/p>\n\u003cp>\u003cstrong>Since you mentioned the, uh, end times: there’s a kind of blowhard evangelical political TV personality in the book. Was that based on anyone in particular?\u003c/strong>\u003c/p>\n\u003cp>I just like that kind of American demagogue character. Of course, now it seems really prescient that we’ve got actual people like that vying for the White House. At the time, I was writing it and I thought ‘What would it take for a guy like this to become president?’ I thought that seemed really far-fetched, and now it seems much less so. But yeah, he came out of guys like Glenn Beck and people like that, who are clearly not speaking truthfully to their audience, projecting an image that’s not necessarily true in any way.\u003c/p>\n\u003cp>\u003cstrong>I’ve read that you didn’t show this to anyone as you worked?\u003c/strong>\u003c/p>\n\u003cp>I did not let anybody read it. People come in and out of my studio all the time, and pages are out; pages are there. People who saw it had no idea what was going on, and I think a lot of them thought I had lost my mind when they were just looking at the art. My wife wants to read it all at once -- which, I would never want her to be reading something and go “hmm.” That would throw me off so intensely. Just a little “what?” And then that’s all I would think about. Zero response is the best. Then when it’s done, I’m more than happy to hear anything, negative or positive, but not while I’m in the throes of it.\u003c/p>\n\u003cfigure id=\"attachment_21276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg class=\"size-full wp-image-21276\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/clowes_eightball15.jpg\" alt=\"From 'Caricature,' Eightball #5. \" width=\"750\" height=\"648\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15.jpg 750w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15-400x346.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">From 'Caricature,' Eightball #5.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m interested in your relationship to feedback in general, because the reader feedback you used to publish -- the letters section in \u003cem>Eightball\u003c/em> -- was always so entertaining. Even the hateful letters made it such a hilarious little community to be a part of.\u003c/strong>\u003c/p>\n\u003cp>That was such a fun era. And I felt a responsibility back then, because there was no internet; there was no forum where people who read these comics or were interested in this stuff could connect with each other. I would set people up -- literally, I’d get letters from two different people in Danbury, Connecticut, and I would [write back] saying “There’s this girl who lives in town. You should call her.” I felt like I had to write back to everybody. Anybody who did any comics at all, I’d write them encouraging letters.\u003c/p>\n\u003cp>When I talk to other artists from my era, like the Hernandez Brothers [of \u003cem>Love and Rockets\u003c/em>], we all talk about how we basically knew 40 percent of our readers by name. On this recent tour a woman came out who had been at a signing I did in 1993, and I completely remembered her name, because she’d written me.\u003c/p>\n\u003cp>\u003cstrong>Is there a modern version of that? Do you keep up with what fans are saying on the internet? It seems like once you open that door it’s another thing entirely.\u003c/strong>\u003c/p>\n\u003cp>Yeah, it’s too overwhelming. I can’t get involved in it. It’s just different: there was an ease to it. You’d send a letter and then you’d wait three weeks and get a letter back… every Sunday I spent an hour doing it. I wish I could go back to the old way. It was the ideal scenario, and it was fun: I’d go to my mailbox once a week and it was like Christmas every time. Now, I just have no connection because it’d be too much. But that’s why I really do actually enjoy going on book tours and signings, because you see the demographics. You see, \"Oh, good, I still have young people showing up.\"\u003c/p>\n\u003cp>\u003cstrong>You \u003ca href=\"http://boingboing.net/2016/02/17/daniel-clowes-remembers-publis.html\" target=\"_blank\">posted a sweet piece about your friend and assistant Alvin\u003c/a>, who recently passed away. I thought it was such a great note to end on that he took your social media passwords with him.\u003c/strong>\u003c/p>\n\u003cp>Yeah. He was a wonderful guy, just a kind soul and a really good friend of mine. I miss him every minute. And yeah, he was very protective of that stuff. He took it on himself --\"I'm making you an Instagram page.\" \"Okay.\" I never asked for any of it. And he hated social media!\u003c/p>\n\u003cfigure id=\"attachment_21277\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg class=\" wp-image-21277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg\" alt=\"Detail from a New Yorker cover by Clowes, May 2009. \" width=\"504\" height=\"365\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut-400x290.jpg 400w\" sizes=\"(max-width: 504px) 100vw, 504px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a New Yorker cover by Clowes, May 2009.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have you had to wade into the social media waters yourself since then?\u003c/strong>\u003c/p>\n\u003cp>No, I immediately tried to get somebody else to take over. [Laughs.] I want people who are looking for info about the book to be able to find it, but I have no desire to craft little jokes and post four times a day or whatever. That seems hopelessly sad to me, to imagine people I really like and respect sitting there and racking their brains to think of a little joke, to get that little jolt of dopamine or whatever. I just feel bad for them that they feel like they have to do that. And you see people who have done 200,000 tweets and you think, that’s just all gone. That’s buried. Nobody will ever, ever look at anything before yesterday. I couldn’t face that. It seems really Sisyphean.\u003c/p>\n\u003cp>\u003cstrong>I wanted to talk about setting a bit -- I know you live in Oakland, and your love for it came through so clearly in \u003cem>Wilson\u003c/em>, your last book. But the city’s obviously changed a lot since that came out in 2010, even.\u003c/strong>\u003c/p>\n\u003cp>Right. So, they’re working on a movie of \u003cem>Wilson\u003c/em> -- it’s pretty much done, actually -- and I tried so hard to get them to shoot in Oakland. I wrote the whole script with specific Oakland locations; every one is a real place. But because of regulations it was almost impossible to shoot a movie here. So they shot in St. Paul, Minnesota, which is really weirdly like a version of Oakland from about five or six years ago, before it got the five-star restaurants and all that. It was a good solution, but disappointing.\u003c/p>\n\u003cfigure id=\"attachment_21316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-21316 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg\" alt=\"A panel from 'Wilson,' set at Lake Merritt. \" width=\"800\" height=\"771\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-400x386.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-768x740.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Wilson,' set at Lake Merritt.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel like the city’s changes have seeped into your work at all?\u003c/strong>\u003c/p>\n\u003cp>Well, I’m always responding to stuff much later than it’s actually happened. If I were doing a daily strip or something I’m sure it’d be all about the weird developments in Oakland, but it’s stuff that seeps into the work after the fact. I’m guessing my next book will have quite a bit of that, because every single day I find I’m talking to my friends about, “Oh my god, that place went out business and now there’s this new thing.” It’s bizarre, because Oakland seemed so stagnant for the first 15 years I lived here. I used to go downtown all the time and just walk around the abandoned parts of downtown Oakland and think \"How can this be? How can this big structure for commerce just be sitting empty?\"\u003c/p>\n\u003cp>\u003cstrong>Can you imagine having moved here now? There’s obviously a different situation than you moved into, for artists and creative people trying to make a living.\u003c/strong>\u003c/p>\n\u003cp>I’m pretty aware that there will probably never be a community of young cartoonists here, which really bothers me. You go to a place like Portland, which I’m sure will wind up like Oakland in about five years, but there’s just hundreds of cartoonists there, and it feels like this real community. Here, it’s just daunting. I wouldn’t even recommend anybody who wants to do something like cartooning live here. You can do it anywhere! I guess if you’re somebody who’s really skilled with tech stuff you could get an easy job and then do it in your spare time or something... but most cartoonists aren’t really tech people. It’s a very different part of your brain.\u003c/p>\n\u003cp>\u003cstrong>Do you have a sense of what’s next for you after the tours for this book are over? Do you have the itch do shorter things after working on something so lengthy?\u003c/strong>\u003c/p>\n\u003cp>My whole goal after this was to take a month off, not think about anything, just read books and hang out. And after about two days of that, I was going insane. I started to feel like, I have this limited time on the planet and every day is precious. I have that Midwestern work ethic drummed into me, I think. So I started jotting down ideas for a new story. I always look through my old notebooks and see if anything pops out that I maybe dismissed earlier, and I came up with a couple things that hold my interest. I’m piecing something together. But it’ll probably be a while! We’ll see.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Daniel Clowes discusses \u003c/em>Patience\u003cem> at Green Apple Books on the Park on Wednesday, March 23 at at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thor, Spock and other assorted sci-fi and fantasy characters are wandering the halls of the San Jose Convention Center this weekend for \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>.\u003c/p>\n\u003cp>As you’d expect, the people-watching will be a big draw. Not only will spectators get to ogle pint-sized superheroes in their Halloween costumes, they’ll eve catch glimpses of tech icons like Apple co founder Steve Wozniak.\u003c/p>\n\u003cp>Wozniak is a sci-fi fan boy and he wanted a new Comic Con close to home. “I go back 30, 40 years driving down to Los Angeles to see Star Trek conventions and see those people, and I’m going to actually get to meet William Shatner. I heard that he wants to have a dinner with me. Wow. I mean I’m real nervous over that.”\u003c/p>\n\u003cp>[contextly_sidebar id=”OqkPYrEeyYXdAIKZH4Hw8kkM9mCYknKd”]\u003c/p>\n\u003cp>Dinner with Capt. Kirk may be the real reason Wozniak helped rally the people and capital to spawn another spinoff of the original Comic Con in San Diego. But the event is more than another opportunity to appreciate Hollywood franchises.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local artists are displaying their work here before a genuinely enthusiastic crowd of thousands, an estimated 30,000 per day.\u003c/p>\n\u003cfigure id=\"attachment_11418693\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11418693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg\" alt=\"This is Hannah McGill's best-seller. "A lot of people think he's singing opera."\" width=\"400\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-470x600.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1.jpg 626w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">This is Hannah McGill’s best-seller. “A lot of people think he’s singing opera.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One such artist on display is illustrator \u003ca href=\"http://www.hannahmcgill.com/\" target=\"_blank\" rel=\"noopener\">Hannah McGill\u003c/a> from Mountain View. Her passion is paleontology and her take on it is decidedly humorous. “I loved going to the science museum growing up,” she says. “I love the people I’ve met through it. Including paleontologists.”\u003c/p>\n\u003cp>Laurie Gee from Foster City likes to buy art and books at conventions like this, because she can get the artists to sign their work. “I’m downsizing, but I can’t help it sometimes,” she says before heading back to browse the display booths.\u003c/p>\n\u003cfigure id=\"attachment_11418694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11418694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg\" alt=\"Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but "It's also just fun to hang out with friends. "\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but “It’s also just fun to hang out with friends. “\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>The Silicon Valley Comic Con runs through Sunday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thor, Spock and other assorted sci-fi and fantasy characters are wandering the halls of the San Jose Convention Center this weekend for \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>.\u003c/p>\n\u003cp>As you’d expect, the people-watching will be a big draw. Not only will spectators get to ogle pint-sized superheroes in their Halloween costumes, they’ll eve catch glimpses of tech icons like Apple co founder Steve Wozniak.\u003c/p>\n\u003cp>Wozniak is a sci-fi fan boy and he wanted a new Comic Con close to home. “I go back 30, 40 years driving down to Los Angeles to see Star Trek conventions and see those people, and I’m going to actually get to meet William Shatner. I heard that he wants to have a dinner with me. Wow. I mean I’m real nervous over that.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dinner with Capt. Kirk may be the real reason Wozniak helped rally the people and capital to spawn another spinoff of the original Comic Con in San Diego. But the event is more than another opportunity to appreciate Hollywood franchises.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local artists are displaying their work here before a genuinely enthusiastic crowd of thousands, an estimated 30,000 per day.\u003c/p>\n\u003cfigure id=\"attachment_11418693\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11418693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg\" alt=\"This is Hannah McGill's best-seller. "A lot of people think he's singing opera."\" width=\"400\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-470x600.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1.jpg 626w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">This is Hannah McGill’s best-seller. “A lot of people think he’s singing opera.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One such artist on display is illustrator \u003ca href=\"http://www.hannahmcgill.com/\" target=\"_blank\" rel=\"noopener\">Hannah McGill\u003c/a> from Mountain View. Her passion is paleontology and her take on it is decidedly humorous. “I loved going to the science museum growing up,” she says. “I love the people I’ve met through it. Including paleontologists.”\u003c/p>\n\u003cp>Laurie Gee from Foster City likes to buy art and books at conventions like this, because she can get the artists to sign their work. “I’m downsizing, but I can’t help it sometimes,” she says before heading back to browse the display booths.\u003c/p>\n\u003cfigure id=\"attachment_11418694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11418694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg\" alt=\"Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but "It's also just fun to hang out with friends. "\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but “It’s also just fun to hang out with friends. “\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>The Silicon Valley Comic Con runs through Sunday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "video-learn-graffiti-lettering-basics-from-apexer",
"title": "Video: Learn Graffiti Lettering Basics from Apexer",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003ca href=\"http://theapexer.com/\" target=\"_blank\" rel=\"noopener\">Apexer\u003c/a> is a street artist who creates colorful, spray-painted murals around the world.\u003c/p>\n\u003cp>Using a visual foundation based in graffiti art and Chinese calligraphy, Apexer abstracts letterforms to create complex, dynamic compositions for his street art projects. Often creating artworks that communicate the vibe of the neighborhood where they are on view, Apexer’s painted gestures are accessible to a wide audience, and are constantly expanding upon the core element of his work: the letters of his nickname.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch Apexer describe some of the basics of his art form:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to be a Street Artist with Apexer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qV2OTD5fMvk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[contextly_sidebar id=”aHjVUZeNzortdB1EUa0fbU51J4yHH6Mx”]\u003c/p>\n\u003cp>Listen here to \u003ca href=\"http://ww2.kqed.org/arts/2016/03/18/audio-diary-11-year-old-graffiti-artists-passion-starts-with-street-signs/\" target=\"_blank\" rel=\"noopener\">the story of Cave\u003c/a>, an 11-year-old graffiti artist based in San Francisco who started creating lettering since before his hands were big enough to hold a spray can. Cave now interns for Apexer.\u003c/p>\n\u003cfigure id=\"attachment_11411679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-800x540.jpg\" alt=\"11-year-old graffiti artist Cave adorns a wall\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-960x648.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">11-year-old graffiti artist Cave adorns a wall \u003ccite>(Photo: Courtesy of Cave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of graffiti lettering:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://1amsf.com/\" target=\"_blank\" rel=\"noopener\">1AM\u003c/a>, Oakland/San Francisco\u003c/strong>\u003cbr>\nA teaching gallery that offers graffiti classes, workshops and tours.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener\">Precita Eyes\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nOffers a workshop on the third Tuesday of every month. For two hours you’ll learn how to plan, organize, budget and design a mural with a community.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.eastsideartsalliance.com/youth/ve.php\" target=\"_blank\" rel=\"noopener\">Visual Element\u003c/a>, East Oakland\u003c/strong>\u003cbr>\nA mural arts program that serves high school youth. Offers spray can techniques, social activism, graphic design, and portfolio development.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thearsenalsj/\" target=\"_blank\" rel=\"noopener\">The Arsenal\u003c/a>, San Jose\u003c/strong>\u003cbr>\nOffers youth spray can technique classes during the summer. For adults, spray can technique is woven into some of the drawing and painting classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.newbohemiasigns.com/\" target=\"_blank\" rel=\"noopener\">New Bohemia Signs\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nOffers a two-day class on sign painting. You’ll learn the basics of brush lettering, and at the end of the class you’ll receive a lettering quill and a finished small sign of your own design.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003ca href=\"http://theapexer.com/\" target=\"_blank\" rel=\"noopener\">Apexer\u003c/a> is a street artist who creates colorful, spray-painted murals around the world.\u003c/p>\n\u003cp>Using a visual foundation based in graffiti art and Chinese calligraphy, Apexer abstracts letterforms to create complex, dynamic compositions for his street art projects. Often creating artworks that communicate the vibe of the neighborhood where they are on view, Apexer’s painted gestures are accessible to a wide audience, and are constantly expanding upon the core element of his work: the letters of his nickname.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch Apexer describe some of the basics of his art form:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to be a Street Artist with Apexer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qV2OTD5fMvk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Listen here to \u003ca href=\"http://ww2.kqed.org/arts/2016/03/18/audio-diary-11-year-old-graffiti-artists-passion-starts-with-street-signs/\" target=\"_blank\" rel=\"noopener\">the story of Cave\u003c/a>, an 11-year-old graffiti artist based in San Francisco who started creating lettering since before his hands were big enough to hold a spray can. Cave now interns for Apexer.\u003c/p>\n\u003cfigure id=\"attachment_11411679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-800x540.jpg\" alt=\"11-year-old graffiti artist Cave adorns a wall\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-960x648.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">11-year-old graffiti artist Cave adorns a wall \u003ccite>(Photo: Courtesy of Cave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of graffiti lettering:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://1amsf.com/\" target=\"_blank\" rel=\"noopener\">1AM\u003c/a>, Oakland/San Francisco\u003c/strong>\u003cbr>\nA teaching gallery that offers graffiti classes, workshops and tours.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener\">Precita Eyes\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nOffers a workshop on the third Tuesday of every month. For two hours you’ll learn how to plan, organize, budget and design a mural with a community.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.eastsideartsalliance.com/youth/ve.php\" target=\"_blank\" rel=\"noopener\">Visual Element\u003c/a>, East Oakland\u003c/strong>\u003cbr>\nA mural arts program that serves high school youth. Offers spray can techniques, social activism, graphic design, and portfolio development.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thearsenalsj/\" target=\"_blank\" rel=\"noopener\">The Arsenal\u003c/a>, San Jose\u003c/strong>\u003cbr>\nOffers youth spray can technique classes during the summer. For adults, spray can technique is woven into some of the drawing and painting classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.newbohemiasigns.com/\" target=\"_blank\" rel=\"noopener\">New Bohemia Signs\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nOffers a two-day class on sign painting. You’ll learn the basics of brush lettering, and at the end of the class you’ll receive a lettering quill and a finished small sign of your own design.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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