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"content": "\u003cp>Of all the sub-species of pseudo-journalism our current media landscape has birthed, the Blog Post Noting a Thing Happening On a Famous Person's Twitter Account is among my least favorite. \u003ca href=\"http://ww2.kqed.org/pop/2016/01/26/its-official-neil-degrasse-tyson-and-b-o-b-are-in-a-rap-beef-about-the-shape-of-the-earth/\" target=\"_blank\">I've written 'em\u003c/a>, you've read 'em; Kanye's account alone is responsible for god knows how many clicks, dollars of ad revenue, and minutes of time that could have been spent curing cancer or writing the next great American novel or you know what, let's not think about this too hard right now. It's Monday.\u003c/p>\n\u003cp>But one particular post caught my eye today, when \u003ca href=\"http://www.avclub.com/article/comedian-jen-kirkman-retweets-womens-tales-harassm-234769\" target=\"_blank\">The AV Club\u003c/a> directed readers to comedian \u003ca href=\"https://twitter.com/JenKirkman\" target=\"_blank\">Jen Kirkman's Twitter\u003c/a> feed. Kirkman -- who in addition to being a very funny person has long been outspoken about sexism within her industry and beyond -- invited women to share their stories of street harassment, then appears to have spent most of her day retweeting them.\u003c/p>\n\u003cp>https://twitter.com/TaylorMorley/status/716976886597877760\u003c/p>\n\u003cp>The 140-character-or-less anecdotes are nothing new, of course: They're everything from 9-year-old girls being told to smile because they'll look prettier to stories of straight-up sexual assault. Unless you currently live in a secluded cabin on Walden Pond, you are probably aware of this thing called street harassment that has happened, and in fact happens with some regularity, to literally every female human you know. Truly. I would bet my life's savings on this (I'm a writer, remember; joke's on you!).\u003c/p>\n\u003cp>The act of scrolling through Kirkman's feed, then, is not exactly a learning experience. The feeling is more like being crushed to death by one thousand tiny, sharp pebbles -- a lot of them thrown out car windows by strangers, or lobbed at you by the people who sign your paycheck. Maybe it's more fun if you think of it as a video game: Try to avoid all the tiny, sharp pebbles! But also, haha, good luck, the world is \u003cem>made of them.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/JesBolduc/status/716969290470174720\u003c/p>\n\u003cp>And here is where I admit that, though I greatly admire Kirkman's use of her celebrity platform, this turn of internet-events would not have piqued my interest quite so acutely had I not experienced a weird and uncomfortable thing this past weekend -- a thing I am now going to tell you about despite both an urge to couch it in caveats (like \"I realize this story isn't that bad compared to a lot of stories\") and a good deal of trepidation regarding the comments I will get from the street harasser's basement-dwelling cousin, the internet troll. (See how this works? The fun never ends.)\u003c/p>\n\u003cp>So. Sunday afternoon, around 5 pm, I was walking home from the grocery store wearing jeans, a hoodie, and a mild hangover, struggling with multiple heavy bags. As I finished walking across a street a few blocks from my house, the man in the car stopped at the crosswalk stuck his head out the window and hollered at me. I turned around to see if it was someone I knew. It was not. It was just a man hollering at me. He wanted to let me know he found me attractive and would like to spend some time with me, though not in those exact words. Cool. I kept walking.\u003c/p>\n\u003cp>About a block and a half later, this same car pulled up to round a different corner, in a different direction than it had been going before. This time, my new friend stuck half his body out the window in order to holler at me more effectively. Upon realizing it was the same person, I made eye contact, made a not-happy face, said \u003cem>\"Seriously!?\"\u003c/em> and kept walking.\u003c/p>\n\u003cp>Thirty seconds later, I became aware that someone was running up behind me. I turned to find that this man had exited his car -- left it running? no one parks that quickly around 16th and Dolores -- and was now planning to convince me to talk to and/or sleep with him by walking alongside me, putting his face inches from mine, and continuing to tell me his thoughts about my appearance.\u003c/p>\n\u003cfigure id=\"attachment_21844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-21844\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/img_8196-800x533.jpg\" alt=\"Paste by Philadelphia artist Tatyana Fazlalizadeh\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paste by Philadelphia artist Tatyana Fazlalizadeh.\u003c/figcaption>\u003c/figure>\n\u003cp>Here is where, as any female-bodied person will tell you, a few different things take place over the course of about 10 seconds. One is you scan the surrounding area. It was broad daylight, and the Mission was full of people leaving Dolores Park after a beautiful Sunday afternoon. He would have had to be insane to try something -- though, with the car-leaving and all, insanity did seem like a possibility. More importantly, if something happened, there were lots of people around to see it.\u003c/p>\n\u003cp>The other thing you do is probably what bothers me most: Surprisingly little. For a variety of reasons, not limited to but including a fear of this person physically hurting me if I did not respond in a way he appreciated, while I tried to calculate precisely when it might be necessary to drop my bags and free up my hands, my outward reaction to all of this was to laugh and say no, sorry, no, thanks, no, I'm not single, and keep moving. This is true -- I am not single -- but it also bothers me beyond words to rely on that as an escape route from harassment; it's infuriating that it's one of the few \"no\"s men will actually hear. So, factor in a moment of deep resentment and a tinge of self-loathing about that.\u003c/p>\n\u003cp>https://twitter.com/oddlyshannon/status/716971679990333442\u003c/p>\n\u003cp>After about a minute of walking with me, trying to get my number, asking if I instead had a sister or any friends for him (definitely! here are their phone numbers!) and -- as a parting thought, a coup de grâce, really -- \u003cem>telling me to follow him on Instagram\u003c/em>, he went away. Five minutes later, I was home, making dinner, perfectly fine. I wasn't exactly traumatized by this event, but still couldn't help replaying the entire thing in my head.\u003c/p>\n\u003cp>What was his ideal end result to that interaction, and just how likely did he find said conclusion? How could I have handled it differently? Did I just miss a teaching moment? Will I ever just scream \u003cem>\"Get the f*\u003c/em>\u003cem>ck away from me!\"\u003c/em>? And maybe most importantly: Why am \u003cem>I\u003c/em> the one mulling over how to modify my behavior in the first place?\u003c/p>\n\u003cp>I am also intrigued by the possibility that I was just the unwitting target of a really avant-garde guerrilla marketing technique by an up-and-coming social media star in the making.\u003c/p>\n\u003cp>Regardless: Thanks, Jen Kirkman, for the reminder that while we may be accustomed to such interactions, it's not actually totally natural to live in a world that is constantly chucking small sharp objects at you. Believe me, I'm tired of reading about it. I've pretty much only written this post on the topic, but I'm also already tired of writing about it.\u003c/p>\n\u003cp>Unfortunately, logic will tell you that such blog posts shall only cease when the world offers us some better material. Talk to your sons, people. I hope everyone has a lovely walk home.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of all the sub-species of pseudo-journalism our current media landscape has birthed, the Blog Post Noting a Thing Happening On a Famous Person's Twitter Account is among my least favorite. \u003ca href=\"http://ww2.kqed.org/pop/2016/01/26/its-official-neil-degrasse-tyson-and-b-o-b-are-in-a-rap-beef-about-the-shape-of-the-earth/\" target=\"_blank\">I've written 'em\u003c/a>, you've read 'em; Kanye's account alone is responsible for god knows how many clicks, dollars of ad revenue, and minutes of time that could have been spent curing cancer or writing the next great American novel or you know what, let's not think about this too hard right now. It's Monday.\u003c/p>\n\u003cp>But one particular post caught my eye today, when \u003ca href=\"http://www.avclub.com/article/comedian-jen-kirkman-retweets-womens-tales-harassm-234769\" target=\"_blank\">The AV Club\u003c/a> directed readers to comedian \u003ca href=\"https://twitter.com/JenKirkman\" target=\"_blank\">Jen Kirkman's Twitter\u003c/a> feed. Kirkman -- who in addition to being a very funny person has long been outspoken about sexism within her industry and beyond -- invited women to share their stories of street harassment, then appears to have spent most of her day retweeting them.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The 140-character-or-less anecdotes are nothing new, of course: They're everything from 9-year-old girls being told to smile because they'll look prettier to stories of straight-up sexual assault. Unless you currently live in a secluded cabin on Walden Pond, you are probably aware of this thing called street harassment that has happened, and in fact happens with some regularity, to literally every female human you know. Truly. I would bet my life's savings on this (I'm a writer, remember; joke's on you!).\u003c/p>\n\u003cp>The act of scrolling through Kirkman's feed, then, is not exactly a learning experience. The feeling is more like being crushed to death by one thousand tiny, sharp pebbles -- a lot of them thrown out car windows by strangers, or lobbed at you by the people who sign your paycheck. Maybe it's more fun if you think of it as a video game: Try to avoid all the tiny, sharp pebbles! But also, haha, good luck, the world is \u003cem>made of them.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And here is where I admit that, though I greatly admire Kirkman's use of her celebrity platform, this turn of internet-events would not have piqued my interest quite so acutely had I not experienced a weird and uncomfortable thing this past weekend -- a thing I am now going to tell you about despite both an urge to couch it in caveats (like \"I realize this story isn't that bad compared to a lot of stories\") and a good deal of trepidation regarding the comments I will get from the street harasser's basement-dwelling cousin, the internet troll. (See how this works? The fun never ends.)\u003c/p>\n\u003cp>So. Sunday afternoon, around 5 pm, I was walking home from the grocery store wearing jeans, a hoodie, and a mild hangover, struggling with multiple heavy bags. As I finished walking across a street a few blocks from my house, the man in the car stopped at the crosswalk stuck his head out the window and hollered at me. I turned around to see if it was someone I knew. It was not. It was just a man hollering at me. He wanted to let me know he found me attractive and would like to spend some time with me, though not in those exact words. Cool. I kept walking.\u003c/p>\n\u003cp>About a block and a half later, this same car pulled up to round a different corner, in a different direction than it had been going before. This time, my new friend stuck half his body out the window in order to holler at me more effectively. Upon realizing it was the same person, I made eye contact, made a not-happy face, said \u003cem>\"Seriously!?\"\u003c/em> and kept walking.\u003c/p>\n\u003cp>Thirty seconds later, I became aware that someone was running up behind me. I turned to find that this man had exited his car -- left it running? no one parks that quickly around 16th and Dolores -- and was now planning to convince me to talk to and/or sleep with him by walking alongside me, putting his face inches from mine, and continuing to tell me his thoughts about my appearance.\u003c/p>\n\u003cfigure id=\"attachment_21844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-21844\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/img_8196-800x533.jpg\" alt=\"Paste by Philadelphia artist Tatyana Fazlalizadeh\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_8196-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paste by Philadelphia artist Tatyana Fazlalizadeh.\u003c/figcaption>\u003c/figure>\n\u003cp>Here is where, as any female-bodied person will tell you, a few different things take place over the course of about 10 seconds. One is you scan the surrounding area. It was broad daylight, and the Mission was full of people leaving Dolores Park after a beautiful Sunday afternoon. He would have had to be insane to try something -- though, with the car-leaving and all, insanity did seem like a possibility. More importantly, if something happened, there were lots of people around to see it.\u003c/p>\n\u003cp>The other thing you do is probably what bothers me most: Surprisingly little. For a variety of reasons, not limited to but including a fear of this person physically hurting me if I did not respond in a way he appreciated, while I tried to calculate precisely when it might be necessary to drop my bags and free up my hands, my outward reaction to all of this was to laugh and say no, sorry, no, thanks, no, I'm not single, and keep moving. This is true -- I am not single -- but it also bothers me beyond words to rely on that as an escape route from harassment; it's infuriating that it's one of the few \"no\"s men will actually hear. So, factor in a moment of deep resentment and a tinge of self-loathing about that.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After about a minute of walking with me, trying to get my number, asking if I instead had a sister or any friends for him (definitely! here are their phone numbers!) and -- as a parting thought, a coup de grâce, really -- \u003cem>telling me to follow him on Instagram\u003c/em>, he went away. Five minutes later, I was home, making dinner, perfectly fine. I wasn't exactly traumatized by this event, but still couldn't help replaying the entire thing in my head.\u003c/p>\n\u003cp>What was his ideal end result to that interaction, and just how likely did he find said conclusion? How could I have handled it differently? Did I just miss a teaching moment? Will I ever just scream \u003cem>\"Get the f*\u003c/em>\u003cem>ck away from me!\"\u003c/em>? And maybe most importantly: Why am \u003cem>I\u003c/em> the one mulling over how to modify my behavior in the first place?\u003c/p>\n\u003cp>I am also intrigued by the possibility that I was just the unwitting target of a really avant-garde guerrilla marketing technique by an up-and-coming social media star in the making.\u003c/p>\n\u003cp>Regardless: Thanks, Jen Kirkman, for the reminder that while we may be accustomed to such interactions, it's not actually totally natural to live in a world that is constantly chucking small sharp objects at you. Believe me, I'm tired of reading about it. I've pretty much only written this post on the topic, but I'm also already tired of writing about it.\u003c/p>\n\u003cp>Unfortunately, logic will tell you that such blog posts shall only cease when the world offers us some better material. Talk to your sons, people. I hope everyone has a lovely walk home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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>Paula Miller has been hearing about steppin’ for years. Last year, the retired social worker made the jump and joined Ron Brown’s class in Antioch.\u003c/p>\n\u003cp>“Now that I’m in this part of my life, recovering from cancer, stepping seems like a perfect thing to do,” says Miller. “I’m discovering my body and feeling all the muscles awakening.”\u003c/p>\n\u003cp>Steppin’ is a type of partner dance that hails from Chicago. The form is accompanied by old-school R&B and is popular among African-American communities. “Steppin’ is everywhere, in Southern California, Texas, Georgia and all over the Bay,” says Miller. “I want to be ready to go to all of these steppin’ events. They’re just everywhere.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Miller talk about how steppin’ helped her and her daughter recover from cancer:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/256354190″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>In 2014, Miller’s daughter called to tell her she’d been diagnosed with breast cancer. “I immediately flew back out to California to take care of her,” Miller says. Then, six months later, Miller herself was diagnosed with breast cancer. “My daughter went from patient to caretaker and I went from caretaker to patient,” Miller says. “We both became each other’s caretaker.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch Mitzi Mock’s video for KQED Arts about the history, basics and pleasure of steppin’:\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Steppin' Keeps Social Dance Alive | KQED Arts\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/o038-PkJ0YU?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>\u003cstrong>Bouncing back from cancer\u003c/strong>\u003c/p>\n\u003cp>Miller ended her chemotherapy treatment in May 2015. But the treatment gave her memory loss and left her physically depleted. Her therapist recommended a regimen of weight bearing exercise, like walking. But Miller came up with another idea. “I thought, steppin’ can take the place of walking!” Miller says. \u003cspan style=\"line-height: 1.5\">“Sometimes I’m tired and the fatigue level is very high. But because the stepping is so fun, I just don’t want to stop.”\u003c/span>\u003c/p>\n\u003cp>Miller and her daughter joined the steppin’ class together. Currently, her daughter is taking a break from the class to act in a play, but she still dances in the living room with her mom to remember the steps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Few people in Miller’s steppin’ class know about her condition. “I’m so happy I joined the steppin’ class,” Miller says. “Getting into steppin’ has opened my world up to a whole new family. Everyone is so welcoming and patient, even though they don’t know my story.”\u003c/p>\n\u003cfigure id=\"attachment_11456111\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11456111\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-800x450.jpg\" alt=\"Paula Miller spinning at her steppin' class\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paula Miller spinning at her steppin’ class \u003ccite>(Photo: Mitzi Mock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout aligncenter\">\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\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>Paula Miller has been hearing about steppin’ for years. Last year, the retired social worker made the jump and joined Ron Brown’s class in Antioch.\u003c/p>\n\u003cp>“Now that I’m in this part of my life, recovering from cancer, stepping seems like a perfect thing to do,” says Miller. “I’m discovering my body and feeling all the muscles awakening.”\u003c/p>\n\u003cp>Steppin’ is a type of partner dance that hails from Chicago. The form is accompanied by old-school R&B and is popular among African-American communities. “Steppin’ is everywhere, in Southern California, Texas, Georgia and all over the Bay,” says Miller. “I want to be ready to go to all of these steppin’ events. They’re just everywhere.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Miller talk about how steppin’ helped her and her daughter recover from cancer:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/256354190″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/256354190″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In 2014, Miller’s daughter called to tell her she’d been diagnosed with breast cancer. “I immediately flew back out to California to take care of her,” Miller says. Then, six months later, Miller herself was diagnosed with breast cancer. “My daughter went from patient to caretaker and I went from caretaker to patient,” Miller says. “We both became each other’s caretaker.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch Mitzi Mock’s video for KQED Arts about the history, basics and pleasure of steppin’:\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Steppin' Keeps Social Dance Alive | KQED Arts\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/o038-PkJ0YU?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>\u003cstrong>Bouncing back from cancer\u003c/strong>\u003c/p>\n\u003cp>Miller ended her chemotherapy treatment in May 2015. But the treatment gave her memory loss and left her physically depleted. Her therapist recommended a regimen of weight bearing exercise, like walking. But Miller came up with another idea. “I thought, steppin’ can take the place of walking!” Miller says. \u003cspan style=\"line-height: 1.5\">“Sometimes I’m tired and the fatigue level is very high. But because the stepping is so fun, I just don’t want to stop.”\u003c/span>\u003c/p>\n\u003cp>Miller and her daughter joined the steppin’ class together. Currently, her daughter is taking a break from the class to act in a play, but she still dances in the living room with her mom to remember the steps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Few people in Miller’s steppin’ class know about her condition. “I’m so happy I joined the steppin’ class,” Miller says. “Getting into steppin’ has opened my world up to a whole new family. Everyone is so welcoming and patient, even though they don’t know my story.”\u003c/p>\n\u003cfigure id=\"attachment_11456111\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11456111\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-800x450.jpg\" alt=\"Paula Miller spinning at her steppin' class\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PaulaMiller_3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paula Miller spinning at her steppin’ class \u003ccite>(Photo: Mitzi Mock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout aligncenter\">\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\n\u003c/div>\u003c/p>",
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"slug": "3-reasons-why-louis-c-k-s-horace-and-pete-is-the-best-series-of-our-time",
"title": "3 Reasons Why Louis C.K.'s 'Horace and Pete' Might be the Best Series of Our Time",
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"headTitle": "3 Reasons Why Louis C.K.’s ‘Horace and Pete’ Might be the Best Series of Our Time | KQED",
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"content": "\u003cp>If there’s any show that can be said to symbolize our present “golden era” of TV, it’s \u003cem>\u003ca href=\"https://louisck.net/show/horace-and-pete\" target=\"_blank\" rel=\"noopener\">Horace and Pete\u003c/a>\u003c/em>, the comedian Louis C.K.’s new series set in a Brooklyn bar. C.K. unveiled the 10th and final episode this weekend. This is is an odd thing to say when you consider the fact that C.K. released the series via his website without the need of a network, and that \u003cem>Horace and Pete\u003c/em> feels more like a docudrama or an episodic piece of theater than anything I’ve ever witnessed on a small screen.\u003c/p>\n\u003cp>Nevertheless, here are three reasons why \u003cem>Horace and Pete\u003c/em> is brilliant:\u003c/p>\n\u003cp>\u003cstrong>1. It tells a story that feels old and new all at once.\u003c/strong>\u003cbr>\nI read a tongue-in-cheek elevator pitch-style description of the show in \u003ca href=\"http://www.newyorker.com/culture/culture-desk/horace-and-pete-is-louis-c-k-s-most-audacious-independent-creation-yet\" target=\"_blank\" rel=\"noopener\">The New Yorker\u003c/a> which I thought was right on the nose when it said Horace and Pete was “\u003cem>Cheers\u003c/em> meets \u003cem>The Iceman Cometh\u003c/em>.” And with its story about a group of blood relations destined to repeat their cycle of woes into perpetuity, a tragic hero who ultimately falls despite striving to do the right thing (C.K.’s role as bar co-owner Horace), and “chorus” of barflies, the series veers into the terrain of Greek tragedy.\u003c/p>\n\u003cp>Yet at the same time, the plot bubbles and spews with today’s headlines; Donald Trump’s campaign is an intermittent discussion point throughout. And it grapples in an explosive but still non-heavy-handed way with the issues of our time.\u003c/p>\n\u003cp>One of the most thoughtful scenes, for example, presents a side of transgender politics I’ve never given much thought to before: the question of whether it’s ethical for a transgender person to keep silent about their former gender identity to a person they’re sleeping with. Horace, who’s resolutely straight, has a happy one-night stand with a beautiful alcoholic. In the morning over eggs and coffee — well, Horace has coffee; his date Rhonda (played by Karen Pittman) asks for something a little stronger and her gracious host obliges — the conversation takes a left turn when Horace finds out Rhonda used to be a guy. At least, the possibility of a sex change is strongly inferred, though never explicitly stated. As non-judgmental as Horace is about people who make a habit of drinking whiskey before breakfast, he gets flustered and accusatory at the thought he’s somehow been “duped” into a “homosexual” encounter. Fascinating stuff.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CbUMqNBO-W8\">https://www.youtube.com/watch?v=CbUMqNBO-W8\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. It refuses to conform to tried-and-tested formats.\u003c/strong>\u003cbr>\nThe series exists in a liminal space at the intersection of TV, theater, documentary and feature film and strikes an unusual balance between the structural and content mores of these formats. Louis C.K. has created what feels like an entirely fresh way to tell a story by carefully weaving together elements from different traditions.\u003c/p>\n\u003cp>The series has the cuts and close-ups of a TV serial. It brings in the actualities of the documentary format. And it has the epic, sweeping quality of a movie. The theatricality of the series is what interests me the most though, like C.K.’s penchant for splicing the action with long monologues. My favorite of these is a bonkers-foulmouthed explanation of the famous Biblical story of \u003cem>Sodom and Gomorrah \u003c/em>told by Kurt Metzger playing one of the bar’s regular customers.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=1wbfWfwh6HE\">https://www.youtube.com/watch?v=1wbfWfwh6HE\u003c/a>\u003c/p>\n\u003cp>There’s even an intermission to break up the longer episodes and the entire cast takes a bow at the end of the final show.\u003c/p>\n\u003cp>Oh, and even though \u003cem>Horace and Pete\u003c/em> is the work of one of the funniest comedians around today, there are few opportunities for laughter. Unless you count comedy in the sense of the great cosmic joke of which all humankind is a part. C.K. knows all about that, and with this series captures its essence in a bottle.\u003c/p>\n\u003cp>\u003cstrong>3. It features some of the most prescient writing and best performances I’ve ever seen in any format. Period.\u003c/strong>\u003cbr>\nWhat’s masterful about \u003cem>Horace and Pete\u003c/em> is the casting and the writing. It seems like the two are so closely intertwined (viz Metzger’s \u003cem>Sodom\u003c/em> monologue mentioned above, which, judging by the reactions of the other cast members in the scene, strikes me as having been partly or fully improvised) that I need to tackle them both at once.\u003c/p>\n\u003cp>The blend of standup comedians and dramatic actors is an unusual and powerful one. And each performer brings pathos, shadows and moments of levity to his or her role. I cannot speak highly enough of C.K., Steve Buscemi, and Edie Falco as the bar-owning brothers and their sister. Here we have a trio who show us plenty of fallibility and ugliness while at the same commanding our respect.\u003c/p>\n\u003cp>And how tightly wound and carefully controlled the writing feels: C.K. reveals dramatic information to us incrementally, doling out hard-to-digest news about the family’s troubled past in lean teaspoonfuls of strong medicine. Yet despite the economy of the dramaturgy, abetted by the claustrophobic indoor setting of the Brooklyn bar with its flat lighting and ugly furniture, C.K. somehow makes his drama feel airy and spacious.\u003c/p>\n\u003cp>Witness the final episode, which begins suddenly and without explanation in 1976. Here, the principal performers whom we’ve grown to know and love in the present-day setting — C. K., Buscemi, Falco — play their forebears. The scenes are without a doubt the nastiest and most suffocating of the whole series. But then we jump forward to 2016, to find Amy Sedaris, in the role of a sweetly unhinged wannabe bartender, lightening things up. When she skips over to the bar’s old jukebox and puts Simon and Garfunkel’s famous song “America,” about a journey to find meaning in a country that’s lost its way, it’s as if a feather duster had temporarily fluffed away all the creepy-crawlies from a cobwebby corner.\u003c/p>\n\u003cp>Speaking of which, Paul Simon’s ghostly little theme song for the series, with its sparsely-chorded guitar riff and far-off lament of a vocal line, captures the “high lonesome sound” of the great roots musicians that have been singing about this country’s dashed hopes and failures since the dawn of the Republic. The tune, together with this formidable series, leaves us feeling emotionally drained yet strangely complete.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Paul Simon - Louis CK's Horace and Pete theme song\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/yWpYtjil6Js?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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s any show that can be said to symbolize our present “golden era” of TV, it’s \u003cem>\u003ca href=\"https://louisck.net/show/horace-and-pete\" target=\"_blank\" rel=\"noopener\">Horace and Pete\u003c/a>\u003c/em>, the comedian Louis C.K.’s new series set in a Brooklyn bar. C.K. unveiled the 10th and final episode this weekend. This is is an odd thing to say when you consider the fact that C.K. released the series via his website without the need of a network, and that \u003cem>Horace and Pete\u003c/em> feels more like a docudrama or an episodic piece of theater than anything I’ve ever witnessed on a small screen.\u003c/p>\n\u003cp>Nevertheless, here are three reasons why \u003cem>Horace and Pete\u003c/em> is brilliant:\u003c/p>\n\u003cp>\u003cstrong>1. It tells a story that feels old and new all at once.\u003c/strong>\u003cbr>\nI read a tongue-in-cheek elevator pitch-style description of the show in \u003ca href=\"http://www.newyorker.com/culture/culture-desk/horace-and-pete-is-louis-c-k-s-most-audacious-independent-creation-yet\" target=\"_blank\" rel=\"noopener\">The New Yorker\u003c/a> which I thought was right on the nose when it said Horace and Pete was “\u003cem>Cheers\u003c/em> meets \u003cem>The Iceman Cometh\u003c/em>.” And with its story about a group of blood relations destined to repeat their cycle of woes into perpetuity, a tragic hero who ultimately falls despite striving to do the right thing (C.K.’s role as bar co-owner Horace), and “chorus” of barflies, the series veers into the terrain of Greek tragedy.\u003c/p>\n\u003cp>Yet at the same time, the plot bubbles and spews with today’s headlines; Donald Trump’s campaign is an intermittent discussion point throughout. And it grapples in an explosive but still non-heavy-handed way with the issues of our time.\u003c/p>\n\u003cp>One of the most thoughtful scenes, for example, presents a side of transgender politics I’ve never given much thought to before: the question of whether it’s ethical for a transgender person to keep silent about their former gender identity to a person they’re sleeping with. Horace, who’s resolutely straight, has a happy one-night stand with a beautiful alcoholic. In the morning over eggs and coffee — well, Horace has coffee; his date Rhonda (played by Karen Pittman) asks for something a little stronger and her gracious host obliges — the conversation takes a left turn when Horace finds out Rhonda used to be a guy. At least, the possibility of a sex change is strongly inferred, though never explicitly stated. As non-judgmental as Horace is about people who make a habit of drinking whiskey before breakfast, he gets flustered and accusatory at the thought he’s somehow been “duped” into a “homosexual” encounter. Fascinating stuff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CbUMqNBO-W8\">https://www.youtube.com/watch?v=CbUMqNBO-W8\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. It refuses to conform to tried-and-tested formats.\u003c/strong>\u003cbr>\nThe series exists in a liminal space at the intersection of TV, theater, documentary and feature film and strikes an unusual balance between the structural and content mores of these formats. Louis C.K. has created what feels like an entirely fresh way to tell a story by carefully weaving together elements from different traditions.\u003c/p>\n\u003cp>The series has the cuts and close-ups of a TV serial. It brings in the actualities of the documentary format. And it has the epic, sweeping quality of a movie. The theatricality of the series is what interests me the most though, like C.K.’s penchant for splicing the action with long monologues. My favorite of these is a bonkers-foulmouthed explanation of the famous Biblical story of \u003cem>Sodom and Gomorrah \u003c/em>told by Kurt Metzger playing one of the bar’s regular customers.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=1wbfWfwh6HE\">https://www.youtube.com/watch?v=1wbfWfwh6HE\u003c/a>\u003c/p>\n\u003cp>There’s even an intermission to break up the longer episodes and the entire cast takes a bow at the end of the final show.\u003c/p>\n\u003cp>Oh, and even though \u003cem>Horace and Pete\u003c/em> is the work of one of the funniest comedians around today, there are few opportunities for laughter. Unless you count comedy in the sense of the great cosmic joke of which all humankind is a part. C.K. knows all about that, and with this series captures its essence in a bottle.\u003c/p>\n\u003cp>\u003cstrong>3. It features some of the most prescient writing and best performances I’ve ever seen in any format. Period.\u003c/strong>\u003cbr>\nWhat’s masterful about \u003cem>Horace and Pete\u003c/em> is the casting and the writing. It seems like the two are so closely intertwined (viz Metzger’s \u003cem>Sodom\u003c/em> monologue mentioned above, which, judging by the reactions of the other cast members in the scene, strikes me as having been partly or fully improvised) that I need to tackle them both at once.\u003c/p>\n\u003cp>The blend of standup comedians and dramatic actors is an unusual and powerful one. And each performer brings pathos, shadows and moments of levity to his or her role. I cannot speak highly enough of C.K., Steve Buscemi, and Edie Falco as the bar-owning brothers and their sister. Here we have a trio who show us plenty of fallibility and ugliness while at the same commanding our respect.\u003c/p>\n\u003cp>And how tightly wound and carefully controlled the writing feels: C.K. reveals dramatic information to us incrementally, doling out hard-to-digest news about the family’s troubled past in lean teaspoonfuls of strong medicine. Yet despite the economy of the dramaturgy, abetted by the claustrophobic indoor setting of the Brooklyn bar with its flat lighting and ugly furniture, C.K. somehow makes his drama feel airy and spacious.\u003c/p>\n\u003cp>Witness the final episode, which begins suddenly and without explanation in 1976. Here, the principal performers whom we’ve grown to know and love in the present-day setting — C. K., Buscemi, Falco — play their forebears. The scenes are without a doubt the nastiest and most suffocating of the whole series. But then we jump forward to 2016, to find Amy Sedaris, in the role of a sweetly unhinged wannabe bartender, lightening things up. When she skips over to the bar’s old jukebox and puts Simon and Garfunkel’s famous song “America,” about a journey to find meaning in a country that’s lost its way, it’s as if a feather duster had temporarily fluffed away all the creepy-crawlies from a cobwebby corner.\u003c/p>\n\u003cp>Speaking of which, Paul Simon’s ghostly little theme song for the series, with its sparsely-chorded guitar riff and far-off lament of a vocal line, captures the “high lonesome sound” of the great roots musicians that have been singing about this country’s dashed hopes and failures since the dawn of the Republic. The tune, together with this formidable series, leaves us feeling emotionally drained yet strangely complete.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Chances are you’re \u003ca target=\"_blank\" href=\"http://media3.giphy.com/media/bFFMvx5vhCIDu/giphy.gif\" rel=\"noopener\">saying this\u003c/a> right now or making \u003ca target=\"_blank\" href=\"http://annaleawest.files.wordpress.com/2013/12/kristen-wiig-mad.gif\" rel=\"noopener\">this face\u003c/a>. I’m not crazy about pranks either, but I \u003cem>am\u003c/em> a fan of looking to history to find out why every April 1, we all trick and lie to each other. Here’s what I found:\u003c/p>\n\u003cp>The origins of the \u003ca href=\"http://ww2.kqed.org/pop/beyonce-drops-new-album-fear-with-13-music-videos-on-tidal-b6\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/beyonce-drops-new-album-fear-with-13-music-videos-on-tidal-b6\" target=\"_blank\" title=\"Beyonce Stealth Drops New Album ‘F.E.A.R.’ with 13 Music Videos on TIDAL!\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003c/p>\n\u003cp>Chances are you're \u003ca target=\"_blank\" href=\"http://media3.giphy.com/media/bFFMvx5vhCIDu/giphy.gif\" rel=\"noopener\">saying this\u003c/a> right now or making \u003ca target=\"_blank\" href=\"http://annaleawest.files.wordpress.com/2013/12/kristen-wiig-mad.gif\" rel=\"noopener\">this face\u003c/a>. I'm not crazy about pranks either, but I \u003cem>am\u003c/em> a fan of looking to history to find out why every April 1, we all trick and lie to each other. Here's what I found:\u003c/p>\n\u003cp>The origins of the \u003ca href=\"http://ww2.kqed.org/pop/beyonce-drops-new-album-fear-with-13-music-videos-on-tidal-b6\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chances are you’re \u003ca target=\"_blank\" href=\"http://media3.giphy.com/media/bFFMvx5vhCIDu/giphy.gif\" rel=\"noopener\">saying this\u003c/a> right now or making \u003ca target=\"_blank\" href=\"http://annaleawest.files.wordpress.com/2013/12/kristen-wiig-mad.gif\" rel=\"noopener\">this face\u003c/a>. I’m not crazy about pranks either, but I \u003cem>am\u003c/em> a fan of looking to history to find out why every April 1, we all trick and lie to each other. Here’s what I found:\u003c/p>\n\u003cp>The origins of the \u003ca href=\"http://ww2.kqed.org/pop/beyonce-drops-new-album-fear-with-13-music-videos-on-tidal-b6\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/beyonce-drops-new-album-fear-with-13-music-videos-on-tidal-b6\" target=\"_blank\" title=\"Beyonce Stealth Drops New Album ‘F.E.A.R.’ with 13 Music Videos on TIDAL!\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco is still a terrifically irreverent city, despite the near-deafening chorus of those who would have you believe otherwise, and -- if you know where to look -- there are still pockets of weirdo magic tucked all over the map.\u003c/p>\n\u003cp>The Financial District is not usually one of those places. Here is a little story about the FiDi: When I worked in the FiDi, I would hurry home from the office each evening like I was escaping the jaws of death.\u003c/p>\n\u003cp>There is one day per year, however, when the continuous gray of the office buildings is interrupted by a bang of color and noise, in what I'm going to argue here is the most San Franciscan holiday of them all. Forget Bay to Breakers. All hail St. Stupid's Day.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-21718\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/slide_218353_835462_free-800x532.jpg\" alt=\"slide_218353_835462_free\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-960x638.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The annual St. Stupid's Day Parade, held each year on April 1st, is a march through the most typically serious, businesslike part of our fair city -- and it's a celebration whose entire objective is to take the wind out of all things serious and businesslike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now in its 38th year, the parade was founded by retired SF Mime Troupe mainstay Ed Holmes, aka Bishop Joey of the First Church of the Last Laugh. \u003ca href=\"http://www.saintstupid.com/faq.html\" target=\"_blank\">The church's website\u003c/a>, if you're in need of a laugh, offers a helpful FAQ section with tidbits like \"...the one thing that unites the species across all differences of color, creed, nationality, zip code and beverage preference is stupidity.\" Can't argue with that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Xr6LyMD0x2E\u003c/p>\n\u003cp>As for the parade itself: Since it falls on a weekday, it will start around noon at the foot of Market Street (Justin Herman Plaza), then continue throughout the Financial District with stops at the Stock Exchange (where participants are encouraged to bring and trade one's solo socks, \"the sock exchange,\" GET IT?) -- the \"Banker's Heart\" sculpture (where paraders are encouraged to throw pennies), the \"Tomb of Stupid\" (the office building at 101 California), the Federal Reserve Headquarters (bring losing lottery tickets to toss), and more.\u003c/p>\n\u003cp>No tickets, no VIP bullsh*t, no nothin. Just good old-fashioned debauchery. Costumes, instruments and accessories -- especially those that mock \"the business of religion or the religion of business\" -- are highly encouraged.\u003c/p>\n\u003cp>And if you're one of the many hapless souls in the city who's a freak at heart but has to suffer in a businessperson costume all day? Your attendance is \u003cem>extra\u003c/em> encouraged -- nay, required. Please leave your cufflinks and company card at the door.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco is still a terrifically irreverent city, despite the near-deafening chorus of those who would have you believe otherwise, and -- if you know where to look -- there are still pockets of weirdo magic tucked all over the map.\u003c/p>\n\u003cp>The Financial District is not usually one of those places. Here is a little story about the FiDi: When I worked in the FiDi, I would hurry home from the office each evening like I was escaping the jaws of death.\u003c/p>\n\u003cp>There is one day per year, however, when the continuous gray of the office buildings is interrupted by a bang of color and noise, in what I'm going to argue here is the most San Franciscan holiday of them all. Forget Bay to Breakers. All hail St. Stupid's Day.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-21718\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/slide_218353_835462_free-800x532.jpg\" alt=\"slide_218353_835462_free\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-960x638.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The annual St. Stupid's Day Parade, held each year on April 1st, is a march through the most typically serious, businesslike part of our fair city -- and it's a celebration whose entire objective is to take the wind out of all things serious and businesslike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now in its 38th year, the parade was founded by retired SF Mime Troupe mainstay Ed Holmes, aka Bishop Joey of the First Church of the Last Laugh. \u003ca href=\"http://www.saintstupid.com/faq.html\" target=\"_blank\">The church's website\u003c/a>, if you're in need of a laugh, offers a helpful FAQ section with tidbits like \"...the one thing that unites the species across all differences of color, creed, nationality, zip code and beverage preference is stupidity.\" Can't argue with that.\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/Xr6LyMD0x2E'\n title='//www.youtube.com/embed/Xr6LyMD0x2E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for the parade itself: Since it falls on a weekday, it will start around noon at the foot of Market Street (Justin Herman Plaza), then continue throughout the Financial District with stops at the Stock Exchange (where participants are encouraged to bring and trade one's solo socks, \"the sock exchange,\" GET IT?) -- the \"Banker's Heart\" sculpture (where paraders are encouraged to throw pennies), the \"Tomb of Stupid\" (the office building at 101 California), the Federal Reserve Headquarters (bring losing lottery tickets to toss), and more.\u003c/p>\n\u003cp>No tickets, no VIP bullsh*t, no nothin. Just good old-fashioned debauchery. Costumes, instruments and accessories -- especially those that mock \"the business of religion or the religion of business\" -- are highly encouraged.\u003c/p>\n\u003cp>And if you're one of the many hapless souls in the city who's a freak at heart but has to suffer in a businessperson costume all day? Your attendance is \u003cem>extra\u003c/em> encouraged -- nay, required. Please leave your cufflinks and company card at the door.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The EquiTable app creator chats with us about everything from racism in the Bay Area to why playing Bone Thugs-N-Harmony will not get you to second base.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/03/LunaMalbroux.mp3\" title=\"Luna Malbroux on Her Wage Gap App and Why It's Tricky to Be Black and into BDSM\" 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're joined by \u003cspan style=\"font-weight: 400\"> \u003ca href=\"http://www.lunaisfunny.com/\" target=\"_blank\">Luna Malbroux\u003c/a>, a diversity consultant for schools and workplaces by day, a hilarious comedian by night, an app creator sometime in between, and also potentially the love child of Tyler Perry and Oprah Winfrey. \u003c/span>\u003c/p>\n\u003cp>We talk to Luna about EquiTable, her app that uses comedy to raise awareness around the wage gap:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r2ybupRgffE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We then switch gears to get the lowdown on why it's complicated for some black people to explore BDSM:\u003c/p>\n\u003cp>http://fusion.net/story/281403/bdsm-while-black/\u003c/p>\n\u003cp>We pay homage to the still-relevant Samantha Jones:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/giphy.gif\" rel=\"attachment wp-att-21690\">\u003cimg class=\"size-full wp-image-21690 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/giphy.gif\" alt=\"giphy\" width=\"400\" height=\"272\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with a song of Luna's choice: FKA Twigs' \"Two Weeks\":\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3yDP9MKVhZc\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": "\u003cp>Imagine \u003cem>Sex and the City\u003c/em>, but instead of New York City, the action takes place in Accra, Ghana.\u003c/p>\n\u003cp>This remix is called \u003cem>An African City\u003c/em>, a Ghanaian series that debuted on YouTube two years ago. The girlfriends are five \u003ca href=\"https://www.youtube.com/watch?v=LfnIpZjvPlY\">fashionable\u003c/a> African women raised abroad who have returned home to continue high-powered careers, look for love and have sex. Lots of sex.\u003c/p>\n\u003cp>The very first episode opens with passengers deplaning at Ghana's Kotoka International Airport at dusk. Among them is the show's main character, Nana Yaa, who's returning to \"the continent\" after growing up in New York since age 7.\u003c/p>\n\u003cp>Dressed in a white tank top, dark denim jeans and a perfectly tailored black jacket perched atop her shoulders, Nana Yaa strides over to the customs agent. But before she has time to take her passport from her designer handbag, he tells her she's in the wrong line.\u003c/p>\n\u003cp>\"The line for the non-Ghanaians is at the other side,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She pushes her passport through the opening in the bulletproof glass with that \"I told you so\" cock of the head and declares in broken Twi, a local language, \"I \u003cem>am\u003c/em> Ghanaian.\"\u003c/p>\n\u003cp>Christabel Nsiah-Buadi is a journalist and writer living in Los Angeles who identifies as a British-born Ghanaian. She has watched \u003cem>An African City\u003c/em> and says that airport scene drew her right in.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kg7hUuWKe2U\u003c/p>\n\u003cp>\"I cracked up because that's exactly what happened to me,\" Nsiah-Buadi says. \"You identify as Ghanaian and someone who you know you look like is saying to you, 'No, no, no, you don't belong in this line, you belong in that line.' \"\u003c/p>\n\u003cp>Nsiah-Buadi explains that these kinds of assumptions, based on how you're dressed or the language you speak, can immediately shatter the romantic illusion of coming back \"home.\"\u003c/p>\n\u003cp>The show's creator, Nicole Amarteifio, who was born in Ghana and raised in New York, says she wrote \u003cem>An African City\u003c/em> for women just like Nsiah-Buadi: Africans who came of age abroad, in the U.S. or Britain.\u003c/p>\n\u003cp>\"I felt that they couldn't really relate to Nollywood,\" says Amarteifio, referring to West Africa's film capital, located in Nigeria. \"But there was a lot about Hollywood they could relate to, so that gap between Nollywood and Hollywood, I was trying to fill it for that audience.\"\u003c/p>\n\u003cp>Amarteifio says she hoped to tell a story about Africa that had nothing to do with war, poverty and famine. She wanted to capture the present: a moment when young professionals, like herself, are coming back to start businesses, work for NGOs or as executives for international companies. She holds a bachelor's degree from Brandeis and a master's from Georgetown, and came back to Ghana as a social media strategist for the World Bank.\u003c/p>\n\u003cp>She says the way to tell that story — her story — came to her while lounging on her couch in Accra, watching an episode of \u003cem>Sex and the City\u003c/em>. \"What would the show be like set in Accra?\" she wondered. \"That would be the way to fight the \u003ca href=\"https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story?language=en\">single story\u003c/a>,\" she says.\u003c/p>\n\u003cp>\u003cem>An African City\u003c/em>'s \"Carrie Bradshaw\" is Nana Yaa, a journalist with her own radio show. And, like Bradshaw, Nana Yaa acts as narrator, cluing us into her love drama and that of her best girlfriends: Ngozi, Makena, Sade and Zainab.\u003c/p>\n\u003cfigure id=\"attachment_21642\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/nanayaa_custom-144c19bd098bdcbb78e4ed28b8a575b195577162-s400-c85.jpg\" rel=\"attachment wp-att-21642\">\u003cimg class=\"size-full wp-image-21642\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/nanayaa_custom-144c19bd098bdcbb78e4ed28b8a575b195577162-s400-c85.jpg\" alt=\"Nana Yaa, An African City‘s protagonist, is played by New York-based actress MaameYaa Boafo. (Photo: Emmanuel Bobbie/An African City Ltd.)\" width=\"400\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nana Yaa, An African City‘s protagonist, is played by New York-based actress MaameYaa Boafo. (Photo: Emmanuel Bobbie/An African City Ltd.)\u003c/figcaption>\u003c/figure>\n\u003cp>These women and the men they date are Africa's 1 percent. They're highly educated and come from families with connections. Nana Yaa's father is the minister of energy in Ghana, and Sade's dad is the pastor of a megachurch in Nigeria. The ladies dress fabulously and are always perfectly coiffed and accessorized.\u003c/p>\n\u003cp>\"They're very privileged young women,\" says Nsiah-Buadi, the LA-based fan of the show. \"On that level, that's not realistic, to me anyway. Maybe to someone else, but that's not the life that I live.\"\u003c/p>\n\u003cp>Nsiah-Buadi says the characters's bourgie ways can irritate her at times, like when they talk down to waiters and manicurists, or blame their missing bras on \"the help.\"\u003c/p>\n\u003cp>Nsiah-Buadi chatted about the show recently with her friend and fellow Ghanaian Essie Blankson-Turner, an entrepreneur living in Los Angeles. Blankson-Turner says overall, the show's good outweighs the bad. \"I like seeing Ghanaian women on the screen, I like the fact that our stories are being told, and I like the fact that I can relate to it in some aspect,\" she says.\u003c/p>\n\u003cp>\"I love the fact that they're gorgeous,\" says Nsiah-Buadi.\u003c/p>\n\u003cp>\"Yes!\" replies Blankson-Turner.\u003c/p>\n\u003cp>\"I love the fact that they get to wear the most amazing clothes,\" adds Nsiah-Buadi.\u003c/p>\n\u003cp>\"All the time!\" returns Blankson-Turner, laughing.\u003c/p>\n\u003cp>\"I'm literally, like, I want that lipstick, I want those earrings. I mean, even that — how often do we get to do that?\" says Nsiah-Buadi.\u003c/p>\n\u003cp>And both women add: When do you ever get to see African women talk about sex so openly and see them enjoy it on screen? They told me that's just not acceptable, broadly speaking, in the larger conservative — and predominantly Christian — Ghanaian culture, where you know better than to talk about such things publicly.\u003c/p>\n\u003cfigure id=\"attachment_21640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/sade_custom-6c3e8d3470735137189ffbb3d0246c3cf2ddbb61-s800-c85.jpg\" rel=\"attachment wp-att-21640\">\u003cimg class=\"size-full wp-image-21640\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/sade_custom-6c3e8d3470735137189ffbb3d0246c3cf2ddbb61-s800-c85.jpg\" alt=\"Sade of <em>An African City</em> is played by Ghanaian-American actress Nana Mensah. (Photo: Emmanuel Bobbie/An African City Ltd.)\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/sade_custom-6c3e8d3470735137189ffbb3d0246c3cf2ddbb61-s800-c85.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/sade_custom-6c3e8d3470735137189ffbb3d0246c3cf2ddbb61-s800-c85-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/sade_custom-6c3e8d3470735137189ffbb3d0246c3cf2ddbb61-s800-c85-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sade of \u003cem>An African City\u003c/em> is played by Ghanaian-American actress Nana Mensah. (Photo: Emmanuel Bobbie/An African City Ltd.)\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, Sade (the sexually liberated, Samantha Jones-esque character in \u003cem>An African City\u003c/em>) lets it all hang out. In one scene, the girls are lounging poolside, counseling their friend Makena on the best way to ask her boyfriend to use a condom. Sade whips out a stack to show she's always prepared.\u003c/p>\n\u003cp>\"Trojans, Durex, Fiesta, Rockdoms — pick your poison, baby!\" she says to Makena, who asks if Sade really uses all of those condoms. \"Indeed,\" Sade replies matter-of-factly. \"Take as many as you want, but leave the Rockdoms for me. I'm seeing Kwame later tonight.\"\u003c/p>\n\u003cp>Sade is played by actress Nana Mensah, whose parents immigrated from Ghana to America's East Coast, where she was raised. Mensah says she loves it when other first-generation women come up to her and say they identify with the show. And she adds that she's heard positive responses to her character, Sade, from both contemporaries and women her mom's age.\u003c/p>\n\u003cp>\"Somebody even said, 'Can Sade do a spinoff?' \" laughs Mensah. \"Yeah ... that sounds like a lot of work.\"\u003c/p>\n\u003cp>A spinoff is not in\u003cem> An\u003c/em> \u003cem>African City\u003c/em>'s future. But the show that started as a free Web series on YouTube, backed by $75,000 out of creator Amarteifio's World Bank-job savings, is now a money-making venture. You can buy an online subscription for Season 2, and the show's got licensing deals with networks in Africa.\u003c/p>\n\u003cp>Mensah hopes that in future seasons her character, Sade, will stop obsessing over the married men she's bedding and start using that degree from Harvard Business School. \"Get your own man, Sade, come on!\" she says. \"I'm feeling a little bit ready to let that go. I'd like to focus on more of Sade's work life, maybe?\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nicole Amarteifio says she's not sure what's next for her characters, but she knows one thing \u003cem>won't\u003c/em> be changing: She's not going to take any of the steam out of the scenes.\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=Sex+And+%27An+African+City%27%3A+A+Steamy+Ghanaian+Show+You+Don%27t+Want+To+Miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine \u003cem>Sex and the City\u003c/em>, but instead of New York City, the action takes place in Accra, Ghana.\u003c/p>\n\u003cp>This remix is called \u003cem>An African City\u003c/em>, a Ghanaian series that debuted on YouTube two years ago. The girlfriends are five \u003ca href=\"https://www.youtube.com/watch?v=LfnIpZjvPlY\">fashionable\u003c/a> African women raised abroad who have returned home to continue high-powered careers, look for love and have sex. Lots of sex.\u003c/p>\n\u003cp>The very first episode opens with passengers deplaning at Ghana's Kotoka International Airport at dusk. Among them is the show's main character, Nana Yaa, who's returning to \"the continent\" after growing up in New York since age 7.\u003c/p>\n\u003cp>Dressed in a white tank top, dark denim jeans and a perfectly tailored black jacket perched atop her shoulders, Nana Yaa strides over to the customs agent. But before she has time to take her passport from her designer handbag, he tells her she's in the wrong line.\u003c/p>\n\u003cp>\"The line for the non-Ghanaians is at the other side,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She pushes her passport through the opening in the bulletproof glass with that \"I told you so\" cock of the head and declares in broken Twi, a local language, \"I \u003cem>am\u003c/em> Ghanaian.\"\u003c/p>\n\u003cp>Christabel Nsiah-Buadi is a journalist and writer living in Los Angeles who identifies as a British-born Ghanaian. She has watched \u003cem>An African City\u003c/em> and says that airport scene drew her right in.\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/kg7hUuWKe2U'\n title='//www.youtube.com/embed/kg7hUuWKe2U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"I cracked up because that's exactly what happened to me,\" Nsiah-Buadi says. \"You identify as Ghanaian and someone who you know you look like is saying to you, 'No, no, no, you don't belong in this line, you belong in that line.' \"\u003c/p>\n\u003cp>Nsiah-Buadi explains that these kinds of assumptions, based on how you're dressed or the language you speak, can immediately shatter the romantic illusion of coming back \"home.\"\u003c/p>\n\u003cp>The show's creator, Nicole Amarteifio, who was born in Ghana and raised in New York, says she wrote \u003cem>An African City\u003c/em> for women just like Nsiah-Buadi: Africans who came of age abroad, in the U.S. or Britain.\u003c/p>\n\u003cp>\"I felt that they couldn't really relate to Nollywood,\" says Amarteifio, referring to West Africa's film capital, located in Nigeria. \"But there was a lot about Hollywood they could relate to, so that gap between Nollywood and Hollywood, I was trying to fill it for that audience.\"\u003c/p>\n\u003cp>Amarteifio says she hoped to tell a story about Africa that had nothing to do with war, poverty and famine. She wanted to capture the present: a moment when young professionals, like herself, are coming back to start businesses, work for NGOs or as executives for international companies. She holds a bachelor's degree from Brandeis and a master's from Georgetown, and came back to Ghana as a social media strategist for the World Bank.\u003c/p>\n\u003cp>She says the way to tell that story — her story — came to her while lounging on her couch in Accra, watching an episode of \u003cem>Sex and the City\u003c/em>. \"What would the show be like set in Accra?\" she wondered. \"That would be the way to fight the \u003ca href=\"https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story?language=en\">single story\u003c/a>,\" she says.\u003c/p>\n\u003cp>\u003cem>An African City\u003c/em>'s \"Carrie Bradshaw\" is Nana Yaa, a journalist with her own radio show. And, like Bradshaw, Nana Yaa acts as narrator, cluing us into her love drama and that of her best girlfriends: Ngozi, Makena, Sade and Zainab.\u003c/p>\n\u003cfigure id=\"attachment_21642\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/nanayaa_custom-144c19bd098bdcbb78e4ed28b8a575b195577162-s400-c85.jpg\" rel=\"attachment wp-att-21642\">\u003cimg class=\"size-full wp-image-21642\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/nanayaa_custom-144c19bd098bdcbb78e4ed28b8a575b195577162-s400-c85.jpg\" alt=\"Nana Yaa, An African City‘s protagonist, is played by New York-based actress MaameYaa Boafo. (Photo: Emmanuel Bobbie/An African City Ltd.)\" width=\"400\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nana Yaa, An African City‘s protagonist, is played by New York-based actress MaameYaa Boafo. (Photo: Emmanuel Bobbie/An African City Ltd.)\u003c/figcaption>\u003c/figure>\n\u003cp>These women and the men they date are Africa's 1 percent. They're highly educated and come from families with connections. Nana Yaa's father is the minister of energy in Ghana, and Sade's dad is the pastor of a megachurch in Nigeria. The ladies dress fabulously and are always perfectly coiffed and accessorized.\u003c/p>\n\u003cp>\"They're very privileged young women,\" says Nsiah-Buadi, the LA-based fan of the show. \"On that level, that's not realistic, to me anyway. Maybe to someone else, but that's not the life that I live.\"\u003c/p>\n\u003cp>Nsiah-Buadi says the characters's bourgie ways can irritate her at times, like when they talk down to waiters and manicurists, or blame their missing bras on \"the help.\"\u003c/p>\n\u003cp>Nsiah-Buadi chatted about the show recently with her friend and fellow Ghanaian Essie Blankson-Turner, an entrepreneur living in Los Angeles. Blankson-Turner says overall, the show's good outweighs the bad. \"I like seeing Ghanaian women on the screen, I like the fact that our stories are being told, and I like the fact that I can relate to it in some aspect,\" she says.\u003c/p>\n\u003cp>\"I love the fact that they're gorgeous,\" says Nsiah-Buadi.\u003c/p>\n\u003cp>\"Yes!\" replies Blankson-Turner.\u003c/p>\n\u003cp>\"I love the fact that they get to wear the most amazing clothes,\" adds Nsiah-Buadi.\u003c/p>\n\u003cp>\"All the time!\" returns Blankson-Turner, laughing.\u003c/p>\n\u003cp>\"I'm literally, like, I want that lipstick, I want those earrings. I mean, even that — how often do we get to do that?\" says Nsiah-Buadi.\u003c/p>\n\u003cp>And both women add: When do you ever get to see African women talk about sex so openly and see them enjoy it on screen? They told me that's just not acceptable, broadly speaking, in the larger conservative — and predominantly Christian — Ghanaian culture, where you know better than to talk about such things publicly.\u003c/p>\n\u003cfigure id=\"attachment_21640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/sade_custom-6c3e8d3470735137189ffbb3d0246c3cf2ddbb61-s800-c85.jpg\" rel=\"attachment wp-att-21640\">\u003cimg class=\"size-full wp-image-21640\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/sade_custom-6c3e8d3470735137189ffbb3d0246c3cf2ddbb61-s800-c85.jpg\" alt=\"Sade of <em>An African City</em> is played by Ghanaian-American actress Nana Mensah. (Photo: Emmanuel Bobbie/An African City Ltd.)\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/sade_custom-6c3e8d3470735137189ffbb3d0246c3cf2ddbb61-s800-c85.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/sade_custom-6c3e8d3470735137189ffbb3d0246c3cf2ddbb61-s800-c85-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/sade_custom-6c3e8d3470735137189ffbb3d0246c3cf2ddbb61-s800-c85-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sade of \u003cem>An African City\u003c/em> is played by Ghanaian-American actress Nana Mensah. (Photo: Emmanuel Bobbie/An African City Ltd.)\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, Sade (the sexually liberated, Samantha Jones-esque character in \u003cem>An African City\u003c/em>) lets it all hang out. In one scene, the girls are lounging poolside, counseling their friend Makena on the best way to ask her boyfriend to use a condom. Sade whips out a stack to show she's always prepared.\u003c/p>\n\u003cp>\"Trojans, Durex, Fiesta, Rockdoms — pick your poison, baby!\" she says to Makena, who asks if Sade really uses all of those condoms. \"Indeed,\" Sade replies matter-of-factly. \"Take as many as you want, but leave the Rockdoms for me. I'm seeing Kwame later tonight.\"\u003c/p>\n\u003cp>Sade is played by actress Nana Mensah, whose parents immigrated from Ghana to America's East Coast, where she was raised. Mensah says she loves it when other first-generation women come up to her and say they identify with the show. And she adds that she's heard positive responses to her character, Sade, from both contemporaries and women her mom's age.\u003c/p>\n\u003cp>\"Somebody even said, 'Can Sade do a spinoff?' \" laughs Mensah. \"Yeah ... that sounds like a lot of work.\"\u003c/p>\n\u003cp>A spinoff is not in\u003cem> An\u003c/em> \u003cem>African City\u003c/em>'s future. But the show that started as a free Web series on YouTube, backed by $75,000 out of creator Amarteifio's World Bank-job savings, is now a money-making venture. You can buy an online subscription for Season 2, and the show's got licensing deals with networks in Africa.\u003c/p>\n\u003cp>Mensah hopes that in future seasons her character, Sade, will stop obsessing over the married men she's bedding and start using that degree from Harvard Business School. \"Get your own man, Sade, come on!\" she says. \"I'm feeling a little bit ready to let that go. I'd like to focus on more of Sade's work life, maybe?\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicole Amarteifio says she's not sure what's next for her characters, but she knows one thing \u003cem>won't\u003c/em> be changing: She's not going to take any of the steam out of the scenes.\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=Sex+And+%27An+African+City%27%3A+A+Steamy+Ghanaian+Show+You+Don%27t+Want+To+Miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When you step into the House of Eternal Return, it feels a bit like walking into your family home — and finding yourself lost in a PeeWee’s Playhouse on steroids. Or amphetamines. Or better yet, some undiscovered alien narcotic.\u003c/p>\n\u003cp>Set up in the industrial district of Santa Fe, N.M., the new permanent art exhibition is a far cry from the fine arts galleries and museums for which Santa Fe is known. Think of it instead as a kind of art amusement park, built by an arts collective called Meow Wolf and largely funded by a surprising benefactor: George R.R. Martin.\u003c/p>\n\u003cp>But before we get ahead of ourselves, let’s start with the tour: When I arrive around 10 the night before the exhibition opens, dozens of Meow Wolf’s 135 artists are scrambling to put the finishing touches on their meticulously crafted installations.\u003c/p>\n\u003cp>One of those installations, a two-story Victorian house built from scratch, marks the entrance to the exhibition. All around it are uncanny reminders of the Seligs — the fictional family ostensibly lived here. I’m told the family has curiously disappeared after a break in the space-time continuum, and like all visitors, I’m set loose by the artists to explore the interdimensional mystery.\u003c/p>\n\u003cp>“It’s not art that you stand back from and look at,” says Chadney Everett, the painter and former film prop-maker who designed the house. “It’s art that you interact with and you experience in a very visceral way.”\u003c/p>\n\u003cfigure id=\"attachment_11444590\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg\" alt='\"The Aquarium\", by Matt King — with fish sculpted by Sarah Bradle' width=\"640\" height=\"427\" class=\"size-large wp-image-11444590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Aquarium”, by Matt King — with fish sculpted by Sarah Bradle \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like most of the people I meet here, he’s got a cultlike dedication to Meow Wolf’s vision of immersive, interactive art — and to making it accessible to everyone. Despite suffering from a herniated disk, he’s been putting in 14 hours a day to finish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s been really hard, but it’s so worth it. We’re gonna be open in a couple days, and then I’ll rest and fix my spine,” he laughs.\u003c/p>\n\u003cp>I opt to crawl through the family fireplace into a series of prehistoric caves, with a glowing, 12-foot mastodon skeleton at their center. Sculptor Matt Crimmins turned its rib cage into a radiant makeshift marimba.\u003c/p>\n\u003cp>“We’re still trying to work out the kinks, but it’s getting there,” he says.\u003c/p>\n\u003cp>The same could be said of Meow Wolf as a whole. Founding member Vince Kadlubek explains that when the collective started eight years ago, it was just a small band of creative 20-somethings who felt out of place in Santa Fe’s high-brow art establishment.\u003c/p>\n\u003cp>“We kind of always felt like we were on the outside looking in.”\u003c/p>\n\u003cp>So, they started their own DIY venue in a defunct barbershop. As the collective grew in size and popularity, Kadlubek says, their immersive shows grew more elaborate.\u003c/p>\n\u003cp>But they still didn’t have a large space of their own.\u003c/p>\n\u003cp>“We all knew that it could work, but we just didn’t have the heavy hitter,” Kadlubek says. “We needed somebody to take a risk on us.”\u003c/p>\n\u003cp>That’s where George R.R. Martin comes in. The mastermind behind A\u003cem> Song of Ice and Fire\u003c/em> — the massively popular book series that spawned the massively popular \u003cem>Game of Thrones\u003c/em> TV series — has become something of a latter-day Medici in his adopted hometown of Santa Fe. He has already reopened an old art house movie theater and converted a vacant high school into artist studios.\u003c/p>\n\u003cp>Martin didn’t plan on buying an old bowling alley — but when Meow Wolf showed him the space and told him what they planned to do with it, he couldn’t resist.\u003c/p>\n\u003cp>“They explained this vision of a Victorian house, unmoored in time and space with a haunted forest and a magical cave system, and portals to other worlds,” Martin says. “And of course, it pushed all my buttons. I love that kind of stuff.”\u003c/p>\n\u003cp>Martin bought and leased the place to Meow Wolf for 10 years, and spent an additional $2.5 million in renovations. That was enough to help Meow Wolf raise more money from investors to build their art complex, which includes a nonprofit education center for children and a makerspace, offering artists training and access to expensive equipment.\u003c/p>\n\u003cfigure id=\"attachment_11444591\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg\" alt=\"A wood mosaic wall and door, created by Lance Ryan McGoldrick.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11444591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wood mosaic wall and door, created by Lance Ryan McGoldrick. \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the process, Meow Wolf has gone from DIY collective to a for-profit company. Now, in addition to solving problems like how to cut a bus in half or rig animatronic eyeballs to follow passersby, Meow Wolf must focus on ticket sales, too. The group’s future depends on its ability to bring in enough new and repeat visitors to sustain and grow the business.\u003c/p>\n\u003cp>Artist Megan Ronniger says the complex brings something unique to the city’s art ecosystem.\u003c/p>\n\u003cp>“You’ve got these large institutions, museums and universities, you’ve got your commercial galleries, and then you have the experimental spaces. And they’re all hopefully informing one another,” she says.\u003c/p>\n\u003cp>With investors and city officials and one internationally famous fantasy author backing them, Meow Wolf is playing in a different league than it did in in its early days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps for that reason, when I leave the House of Eternal Return — as I’d expect of any art establishment worth its salt — I exit through the gift shop. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=DIY+Artists+Paint+The+Town+Strange%2C+With+Some+Help+From+George+R.R.+Martin&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you step into the House of Eternal Return, it feels a bit like walking into your family home — and finding yourself lost in a PeeWee’s Playhouse on steroids. Or amphetamines. Or better yet, some undiscovered alien narcotic.\u003c/p>\n\u003cp>Set up in the industrial district of Santa Fe, N.M., the new permanent art exhibition is a far cry from the fine arts galleries and museums for which Santa Fe is known. Think of it instead as a kind of art amusement park, built by an arts collective called Meow Wolf and largely funded by a surprising benefactor: George R.R. Martin.\u003c/p>\n\u003cp>But before we get ahead of ourselves, let’s start with the tour: When I arrive around 10 the night before the exhibition opens, dozens of Meow Wolf’s 135 artists are scrambling to put the finishing touches on their meticulously crafted installations.\u003c/p>\n\u003cp>One of those installations, a two-story Victorian house built from scratch, marks the entrance to the exhibition. All around it are uncanny reminders of the Seligs — the fictional family ostensibly lived here. I’m told the family has curiously disappeared after a break in the space-time continuum, and like all visitors, I’m set loose by the artists to explore the interdimensional mystery.\u003c/p>\n\u003cp>“It’s not art that you stand back from and look at,” says Chadney Everett, the painter and former film prop-maker who designed the house. “It’s art that you interact with and you experience in a very visceral way.”\u003c/p>\n\u003cfigure id=\"attachment_11444590\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg\" alt='\"The Aquarium\", by Matt King — with fish sculpted by Sarah Bradle' width=\"640\" height=\"427\" class=\"size-large wp-image-11444590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Aquarium”, by Matt King — with fish sculpted by Sarah Bradle \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like most of the people I meet here, he’s got a cultlike dedication to Meow Wolf’s vision of immersive, interactive art — and to making it accessible to everyone. Despite suffering from a herniated disk, he’s been putting in 14 hours a day to finish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s been really hard, but it’s so worth it. We’re gonna be open in a couple days, and then I’ll rest and fix my spine,” he laughs.\u003c/p>\n\u003cp>I opt to crawl through the family fireplace into a series of prehistoric caves, with a glowing, 12-foot mastodon skeleton at their center. Sculptor Matt Crimmins turned its rib cage into a radiant makeshift marimba.\u003c/p>\n\u003cp>“We’re still trying to work out the kinks, but it’s getting there,” he says.\u003c/p>\n\u003cp>The same could be said of Meow Wolf as a whole. Founding member Vince Kadlubek explains that when the collective started eight years ago, it was just a small band of creative 20-somethings who felt out of place in Santa Fe’s high-brow art establishment.\u003c/p>\n\u003cp>“We kind of always felt like we were on the outside looking in.”\u003c/p>\n\u003cp>So, they started their own DIY venue in a defunct barbershop. As the collective grew in size and popularity, Kadlubek says, their immersive shows grew more elaborate.\u003c/p>\n\u003cp>But they still didn’t have a large space of their own.\u003c/p>\n\u003cp>“We all knew that it could work, but we just didn’t have the heavy hitter,” Kadlubek says. “We needed somebody to take a risk on us.”\u003c/p>\n\u003cp>That’s where George R.R. Martin comes in. The mastermind behind A\u003cem> Song of Ice and Fire\u003c/em> — the massively popular book series that spawned the massively popular \u003cem>Game of Thrones\u003c/em> TV series — has become something of a latter-day Medici in his adopted hometown of Santa Fe. He has already reopened an old art house movie theater and converted a vacant high school into artist studios.\u003c/p>\n\u003cp>Martin didn’t plan on buying an old bowling alley — but when Meow Wolf showed him the space and told him what they planned to do with it, he couldn’t resist.\u003c/p>\n\u003cp>“They explained this vision of a Victorian house, unmoored in time and space with a haunted forest and a magical cave system, and portals to other worlds,” Martin says. “And of course, it pushed all my buttons. I love that kind of stuff.”\u003c/p>\n\u003cp>Martin bought and leased the place to Meow Wolf for 10 years, and spent an additional $2.5 million in renovations. That was enough to help Meow Wolf raise more money from investors to build their art complex, which includes a nonprofit education center for children and a makerspace, offering artists training and access to expensive equipment.\u003c/p>\n\u003cfigure id=\"attachment_11444591\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg\" alt=\"A wood mosaic wall and door, created by Lance Ryan McGoldrick.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11444591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wood mosaic wall and door, created by Lance Ryan McGoldrick. \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the process, Meow Wolf has gone from DIY collective to a for-profit company. Now, in addition to solving problems like how to cut a bus in half or rig animatronic eyeballs to follow passersby, Meow Wolf must focus on ticket sales, too. The group’s future depends on its ability to bring in enough new and repeat visitors to sustain and grow the business.\u003c/p>\n\u003cp>Artist Megan Ronniger says the complex brings something unique to the city’s art ecosystem.\u003c/p>\n\u003cp>“You’ve got these large institutions, museums and universities, you’ve got your commercial galleries, and then you have the experimental spaces. And they’re all hopefully informing one another,” she says.\u003c/p>\n\u003cp>With investors and city officials and one internationally famous fantasy author backing them, Meow Wolf is playing in a different league than it did in in its early days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps for that reason, when I leave the House of Eternal Return — as I’d expect of any art establishment worth its salt — I exit through the gift shop. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=DIY+Artists+Paint+The+Town+Strange%2C+With+Some+Help+From+George+R.R.+Martin&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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"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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"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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"headTitle": "Garry Shandling, Comic Who Created ‘Larry Sanders Show’, Dead at 66 | KQED",
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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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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