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"title": "‘Eileen,’ a Wonderful Novel About an ‘Invisible’ Young Lady Becomes an Oddball Film",
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"content": "\u003cp>Something strange has happened to Eileen Dunlop, and we don’t just mean the plot of \u003cem>Eileen\u003c/em>. The adaptation of novelist Ottessa Moshfegh’s delicious coming-of-age heroine has had a weird birth onto film.\u003c/p>\n\u003cp>The plot and setting haven’t changed: It’s late 1964 in a frigid coastal town in Massachusetts. “Everybody’s kind of angry here — it’s Massachusetts,” Eileen explains in one her best lines. She works as a clerk at a juvenile corrections facility, goes home to an alcoholic dad and repeats. Her whole world is a prison.\u003c/p>\n\u003cp>[aside postid='arts_13938358']In print, she is dark and self-obsessed and deliciously willing to poke into every squeamish horror, even her own “folds and caverns.” On celluloid, she is just a plain, anti-social Jane. In print in one scene, she scratches her nether regions and pointedly uses the unwashed fingers to shake hands with a boss. In the film, she just walks away. Eileen has been neutered.\u003c/p>\n\u003cp>It’s not clear what has happened since Moshfegh — along with Luke Goebel — is a screenwriter as well as a producer. Moshfegh’s original creation is a “fabulous shoplifter” who keeps a dead field mouse in the glove box of her smoky Dodge Coronet and loves \u003cem>National Geographic\u003c/em> issues that feature unusual, painful tribal rituals. None of that made it to the film. That leaves her too inert, too passive — wide-eyed without the naughty.\u003c/p>\n\u003cp>\u003cem>Eileen\u003c/em> was always going to be a hard book to adapt, especially since it’s so internal. It’s really a character study for most of the way, then events get jolted by an unexpected outsider — a real deus ex machina — and then it evolves into a low-stakes noir thriller, right down to the film’s too heavy Hitchcockian end credits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1PYJIBoBPtU\u003c/p>\n\u003cp>Thomasin McKenzie playing the titular character has a lot to do and she does it admirably, appearing mouse-ish from the outside, pulling pubic hair out of a bar of soap with delightful glee and taking the occasional flight of fancy by dreaming of executing her dad or having a hot and heavy tryst with a guard. “Get a life, Eileen. Get a clue,” says her unamusing dad.\u003c/p>\n\u003cp>The deus ex machina here is Anne Hathaway as the glamorous Harvard-trained psychiatrist Rebecca Saint John, who drinks cocktails, smokes furiously — “It’s a nasty habit. That’s why I like it” — dances alone in bars and doesn’t buy any ’50s conventions. “I don’t get what’s popular,” she says. Hathaway could have pulled back the throttle a little, often overawing McKenzie’s mouse.\u003c/p>\n\u003cp>Hathaway’s sophisticated character is the key to unlocking Eileen, and the young woman begins mimicking the older, often wearing her dead mother’s clothes as she smokes or drinks martinis. They have a sort of flirtation — game recognizing game. “You really think you’re a normal person?” the psychiatrist asks Eileen.\u003c/p>\n\u003cp>[aside postid='arts_13938143']While director William Oldroyd often gets lost in the heavy darkness of noir, the screenwriters have some fabulous lines, like when Saint John tells Eileen: “You remind me of a girl in a Dutch painting. You have a strange face. It’s plain but fascinating — with a beautiful turbulence.”\u003c/p>\n\u003cp>Or when gin-soaked dad — a great Shea Whigham — calmly destroys his daughter: “Some people, they’re the real people. Like in a movie. They’re the ones you watch, they’re the ones making moves. And other people, they’re just there, filling the space,” he says. “That’s you, Eileen. You’re one of them.”\u003c/p>\n\u003cp>And that’s the fate of \u003cem>Eileen\u003c/em>, too, unfortunately. By sanding off all the dark human quirks from their deeply human heroine, the filmmakers have left us a film that’s just filling the space.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Eileen’ is released nationwide on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While director William Oldroyd often gets lost in the heavy darkness of noir, the screenwriters have some fabulous lines, like when Saint John tells Eileen: “You remind me of a girl in a Dutch painting. You have a strange face. It’s plain but fascinating — with a beautiful turbulence.”\u003c/p>\n\u003cp>Or when gin-soaked dad — a great Shea Whigham — calmly destroys his daughter: “Some people, they’re the real people. Like in a movie. They’re the ones you watch, they’re the ones making moves. And other people, they’re just there, filling the space,” he says. “That’s you, Eileen. You’re one of them.”\u003c/p>\n\u003cp>And that’s the fate of \u003cem>Eileen\u003c/em>, too, unfortunately. By sanding off all the dark human quirks from their deeply human heroine, the filmmakers have left us a film that’s just filling the space.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Eileen’ is released nationwide on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"headTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies | KQED",
"content": "\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>[aside postid='arts_13910810']That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlPxt33aC_4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>[aside postid='pop_97337']Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A new film explores the controversial star’s cultural impact — and what it took to make the best-selling album of all time.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\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/YlPxt33aC_4'\n title='//www.youtube.com/embed/YlPxt33aC_4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fill Your Holiday With New Albums by Cher, Andrea Bocelli, Brandy and More",
"headTitle": "Fill Your Holiday With New Albums by Cher, Andrea Bocelli, Brandy and More | KQED",
"content": "\u003cp>What is a holiday season without festive music? The classics are great, but the classics performed by some of the best performers across pop, R&B, rock, opera, soul and beyond? That’s a real reason to celebrate.\u003c/p>\n\u003cp>In honor of the most wonderful time of the year, The Associated Press’ Music Writer Maria Sherman has compiled some of the best new holiday releases for your listening pleasure. Because sometimes the best thing that can happen to an old classic is revitalizing it with a new performance.\u003c/p>\n\u003ch2>Ella Fitzgerald, \u003cem>Ella Wishes You a Swinging Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938431\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM.png\" alt=\"\" width=\"1280\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-768x766.png 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Ella Fitzgerald, ‘Ella Wishes You A Swinging Christmas.’ \u003ccite>(UMG via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t bore us, get to the chorus — or in the case of this collectible vinyl release of \u003cem>Ella Wishes You A Swinging Christmas\u003c/em>, give us the hits! Ella Fitzgerald ‘s 1960 holiday record is largely considered by critics to be one of the greatest of all time — so why not celebrate the best of the best on a new piece of wax? It’s not a bad gift idea, either.\u003c/p>\n\u003ch2>Cher, \u003cem>Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938432\" class=\"wp-caption aligncenter\" style=\"max-width: 1274px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM.png\" alt=\"\" width=\"1274\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM.png 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-800x801.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-1020x1022.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-768x769.png 768w\" sizes=\"(max-width: 1274px) 100vw, 1274px\">\u003cfigcaption class=\"wp-caption-text\">Cher, ‘Christmas.’ \u003ccite>(Warner via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, \u003cem>Christmas\u003c/em> is Cher’s first holiday album — not that she hasn’t been asked to do one in the past. “I just didn’t want to do one,” she told the AP. “I didn’t know how I was going to make it a ‘Cher Christmas album.’” The secret, it turns out, was to get a bunch of A-list collaborators on her album, something she’s never done before. There’s Cyndi Lauper on “Put a Little Holiday In Your Heart,” Stevie Wonder on “What Christmas Means to Me,” Darlene Love on “Christmas (Baby, Please Come Home),” Michael Bublé on “Home,” and even the rapper Tyga on “Drop Top Sleigh Ride.” There’s something for everyone, and then some.\u003c/p>\n\u003ch2>Brandy, \u003cem>Christmas With Brandy\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938433\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM.png\" alt=\"\" width=\"1278\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-768x768.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Brandy, ‘Christmas with Brandy.’ \u003ccite>(Motown via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those looking for a seductive holiday album: the search is over. R&B great Brandy has released \u003cem>Christmas with Brandy\u003c/em>, a collection of sultry — and in other moments, soulful — imaginations of Christmas classics and originals. Like on “Christmas Gift,” which features her daughter Sy’Rai, and “Feels Different.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13938263']Elsewhere, Brandy offers a PG-13 holiday special. “Help me undress, oh, yes / I’ll be your present / Just give me your presence / That’s all that I’m askin’ of you,” she sings on chorus of the lead single, “Christmas Party for Two.” “Take my body / Boy, you know you got it / Just look what you started / It’s a Christmas party for two.”\u003c/p>\n\u003ch2>Chicago, \u003cem>Chicago Greatest Christmas Hits\u003c/em>\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13938434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM.png\" alt=\"\" width=\"956\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM.png 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-800x802.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-768x770.png 768w\" sizes=\"(max-width: 956px) 100vw, 956px\">\u003c/p>\n\u003cp>Lifelong fans of the rock band with horns are familiar with Chicago’s extensive holiday discography: starting with 1998’s \u003cem>Chicago XXV: The Christmas Album\u003c/em>, (reissued in 2003 as \u003cem>Chicago Christmas: What’s It Gonna Be Santa\u003c/em> with six additional tracks), 2011’s \u003cem>Chicago XXXIII: O Christmas Three\u003c/em>, and 2019’s \u003cem>Chicago XXXVII: Chicago Christmas\u003c/em>. But the only way to complete the collection — or begin your own, and with just the singles — is to check out \u003cem>Chicago Greatest Christmas Hits\u003c/em>, which pulls from all those releases and is sold in festive red and green vinyl.\u003c/p>\n\u003ch2>Andrea, Matteo and Virginia Bocelli, \u003cem>A Family Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938435\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM.png\" alt=\"\" width=\"1278\" height=\"1266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-800x792.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-1020x1010.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-768x761.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Andrea, Matteo and Virginia Bocelli, ‘A Family Christmas.’ \u003ccite>(Decca/ Capitol/ UMG via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Italian opera singer Andrea Bocelli got the whole family together for a new, deluxe edition of their first album together, \u003cem>A Family Christmas\u003c/em>. Andrea, his 26-year-old son Matteo and his 11-year-old daughter Virginia teamed up for the release, adding four new recordings to the collection: “Let It Snow,” “Silver Bells,” “E’ Natale!” and “Winter Wonderland.” If you can listen to the famed tenor harmonize with his children and not shed a tear, you’re a stronger person than most.\u003c/p>\n\u003ch2>Wheatus, \u003cem>Just a Dirtbag Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938436\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938436\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM.png\" alt=\"\" width=\"1276\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-768x768.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Wheatus, ‘Just A Dirtbag Christmas.’ \u003ccite>(Sony via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Far too often, holiday albums carry an air of seriousness. But the most wonderful time of the year requires moments of levity — as well as deep existential thought about the nature of love and family and what really matters on this Earth. Enter Wheatus, the ‘90s radio rock band best known for their ubiquitous hit, “Teenage Dirtbag.” \u003cem>Just a Dirtbag Christmas\u003c/em> plays into the single’s popularity, featuring a string quartet version of “Teenage Dirtbag,” as well as a rewritten, holiday-appropriate version of the song. Humor abounds, like in the pop-rocking comedic additions of “You Made Me Believe in Christmas,” “Feels Like Christmas,” “Mean Christmas.” Break out the bucket hat and the Yule log for this one.\u003c/p>\n\u003ch2>David Foster and Katharine McPhee, \u003cem>Christmas Songs\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938437\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM.png\" alt=\"\" width=\"1278\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-768x768.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">David Foster and Katharine McPhee, ‘Christmas Songs.’ \u003ccite>(Loma Vista/ Concord via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No strangers to holiday albums, the dynamic duo of David Foster and Katharine McPhee released their completed \u003cem>Christmas Songs\u003c/em> collection earlier this year. This is one for the traditionalists among us: jazz-y, theatrical interpretations of Christmas classics that deliver a nostalgic satisfaction, amplified by their combined, immense talent. Well, theirs, and the skills of The Tabernacle Choir at Temple Square, whose reimagined “Amazing Grace,” arranged by Foster, is a song to behold.\u003c/p>\n\u003ch2>Luther Vandross, \u003cem>Luther Vandross Classic Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938439\" class=\"wp-caption aligncenter\" style=\"max-width: 1116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM.png\" alt=\"\" width=\"1116\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM.png 1116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-800x797.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-1020x1016.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-768x765.png 768w\" sizes=\"(max-width: 1116px) 100vw, 1116px\">\u003cfigcaption class=\"wp-caption-text\">Luther Vandross, ‘Classic Christmas.’\u003c/figcaption>\u003c/figure>\n\u003cp>Released nearly two decades after the R&B and soul giant’s death, \u003cem>Classic Christmas\u003c/em> is a short but memorable modern day Christmas classic: a three-track EP built off the never before released “At Christmas Time,” “May Christmas Bring You Happiness,” and a special bonus a cappella mix of “At Christmas Time.” There’s no better time of the year to hear the velvet voice do what he does best.\u003c/p>\n\u003ch2>Ally Brooke, \u003cem>Under the Tree\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938438\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM.png\" alt=\"\" width=\"1276\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-768x768.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Ally Brooke, ‘Under the Tree.’ \u003ccite>(Snafu Records via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All is fair in love and war and girl groups. Emmy Award winner Ally Brooke, formerly of Fifth Harmony, is back with a brand-spanking-new Christmas EP titled \u003cem>Under the Tree\u003c/em>. Anchored by the shimmery retro-pop title track, “Under the Tree” is a Brooke original that has her repeating “You can find me under the tree (Under the tree) / I’ll be waitin’ on Christmas Eve (Christmas Eve) / Baby, unwrap me,” in its cheeky chorus. It is light-hearted, amorous fun. And it quickly does a 180, rounding out the tracklist with “White Christmas,” “I’ll Be Home for Christmas,” and of course, the classic, “Have Yourself a Merry Little Christmas.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What is a holiday season without festive music? The classics are great, but the classics performed by some of the best performers across pop, R&B, rock, opera, soul and beyond? That’s a real reason to celebrate.\u003c/p>\n\u003cp>In honor of the most wonderful time of the year, The Associated Press’ Music Writer Maria Sherman has compiled some of the best new holiday releases for your listening pleasure. Because sometimes the best thing that can happen to an old classic is revitalizing it with a new performance.\u003c/p>\n\u003ch2>Ella Fitzgerald, \u003cem>Ella Wishes You a Swinging Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938431\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM.png\" alt=\"\" width=\"1280\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-768x766.png 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Ella Fitzgerald, ‘Ella Wishes You A Swinging Christmas.’ \u003ccite>(UMG via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t bore us, get to the chorus — or in the case of this collectible vinyl release of \u003cem>Ella Wishes You A Swinging Christmas\u003c/em>, give us the hits! Ella Fitzgerald ‘s 1960 holiday record is largely considered by critics to be one of the greatest of all time — so why not celebrate the best of the best on a new piece of wax? It’s not a bad gift idea, either.\u003c/p>\n\u003ch2>Cher, \u003cem>Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938432\" class=\"wp-caption aligncenter\" style=\"max-width: 1274px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM.png\" alt=\"\" width=\"1274\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM.png 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-800x801.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-1020x1022.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-768x769.png 768w\" sizes=\"(max-width: 1274px) 100vw, 1274px\">\u003cfigcaption class=\"wp-caption-text\">Cher, ‘Christmas.’ \u003ccite>(Warner via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, \u003cem>Christmas\u003c/em> is Cher’s first holiday album — not that she hasn’t been asked to do one in the past. “I just didn’t want to do one,” she told the AP. “I didn’t know how I was going to make it a ‘Cher Christmas album.’” The secret, it turns out, was to get a bunch of A-list collaborators on her album, something she’s never done before. There’s Cyndi Lauper on “Put a Little Holiday In Your Heart,” Stevie Wonder on “What Christmas Means to Me,” Darlene Love on “Christmas (Baby, Please Come Home),” Michael Bublé on “Home,” and even the rapper Tyga on “Drop Top Sleigh Ride.” There’s something for everyone, and then some.\u003c/p>\n\u003ch2>Brandy, \u003cem>Christmas With Brandy\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938433\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM.png\" alt=\"\" width=\"1278\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-768x768.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Brandy, ‘Christmas with Brandy.’ \u003ccite>(Motown via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those looking for a seductive holiday album: the search is over. R&B great Brandy has released \u003cem>Christmas with Brandy\u003c/em>, a collection of sultry — and in other moments, soulful — imaginations of Christmas classics and originals. Like on “Christmas Gift,” which features her daughter Sy’Rai, and “Feels Different.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Elsewhere, Brandy offers a PG-13 holiday special. “Help me undress, oh, yes / I’ll be your present / Just give me your presence / That’s all that I’m askin’ of you,” she sings on chorus of the lead single, “Christmas Party for Two.” “Take my body / Boy, you know you got it / Just look what you started / It’s a Christmas party for two.”\u003c/p>\n\u003ch2>Chicago, \u003cem>Chicago Greatest Christmas Hits\u003c/em>\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13938434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM.png\" alt=\"\" width=\"956\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM.png 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-800x802.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-768x770.png 768w\" sizes=\"(max-width: 956px) 100vw, 956px\">\u003c/p>\n\u003cp>Lifelong fans of the rock band with horns are familiar with Chicago’s extensive holiday discography: starting with 1998’s \u003cem>Chicago XXV: The Christmas Album\u003c/em>, (reissued in 2003 as \u003cem>Chicago Christmas: What’s It Gonna Be Santa\u003c/em> with six additional tracks), 2011’s \u003cem>Chicago XXXIII: O Christmas Three\u003c/em>, and 2019’s \u003cem>Chicago XXXVII: Chicago Christmas\u003c/em>. But the only way to complete the collection — or begin your own, and with just the singles — is to check out \u003cem>Chicago Greatest Christmas Hits\u003c/em>, which pulls from all those releases and is sold in festive red and green vinyl.\u003c/p>\n\u003ch2>Andrea, Matteo and Virginia Bocelli, \u003cem>A Family Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938435\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM.png\" alt=\"\" width=\"1278\" height=\"1266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-800x792.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-1020x1010.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-768x761.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Andrea, Matteo and Virginia Bocelli, ‘A Family Christmas.’ \u003ccite>(Decca/ Capitol/ UMG via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Italian opera singer Andrea Bocelli got the whole family together for a new, deluxe edition of their first album together, \u003cem>A Family Christmas\u003c/em>. Andrea, his 26-year-old son Matteo and his 11-year-old daughter Virginia teamed up for the release, adding four new recordings to the collection: “Let It Snow,” “Silver Bells,” “E’ Natale!” and “Winter Wonderland.” If you can listen to the famed tenor harmonize with his children and not shed a tear, you’re a stronger person than most.\u003c/p>\n\u003ch2>Wheatus, \u003cem>Just a Dirtbag Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938436\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938436\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM.png\" alt=\"\" width=\"1276\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-768x768.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Wheatus, ‘Just A Dirtbag Christmas.’ \u003ccite>(Sony via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Far too often, holiday albums carry an air of seriousness. But the most wonderful time of the year requires moments of levity — as well as deep existential thought about the nature of love and family and what really matters on this Earth. Enter Wheatus, the ‘90s radio rock band best known for their ubiquitous hit, “Teenage Dirtbag.” \u003cem>Just a Dirtbag Christmas\u003c/em> plays into the single’s popularity, featuring a string quartet version of “Teenage Dirtbag,” as well as a rewritten, holiday-appropriate version of the song. Humor abounds, like in the pop-rocking comedic additions of “You Made Me Believe in Christmas,” “Feels Like Christmas,” “Mean Christmas.” Break out the bucket hat and the Yule log for this one.\u003c/p>\n\u003ch2>David Foster and Katharine McPhee, \u003cem>Christmas Songs\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938437\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM.png\" alt=\"\" width=\"1278\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-768x768.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">David Foster and Katharine McPhee, ‘Christmas Songs.’ \u003ccite>(Loma Vista/ Concord via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No strangers to holiday albums, the dynamic duo of David Foster and Katharine McPhee released their completed \u003cem>Christmas Songs\u003c/em> collection earlier this year. This is one for the traditionalists among us: jazz-y, theatrical interpretations of Christmas classics that deliver a nostalgic satisfaction, amplified by their combined, immense talent. Well, theirs, and the skills of The Tabernacle Choir at Temple Square, whose reimagined “Amazing Grace,” arranged by Foster, is a song to behold.\u003c/p>\n\u003ch2>Luther Vandross, \u003cem>Luther Vandross Classic Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938439\" class=\"wp-caption aligncenter\" style=\"max-width: 1116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM.png\" alt=\"\" width=\"1116\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM.png 1116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-800x797.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-1020x1016.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-768x765.png 768w\" sizes=\"(max-width: 1116px) 100vw, 1116px\">\u003cfigcaption class=\"wp-caption-text\">Luther Vandross, ‘Classic Christmas.’\u003c/figcaption>\u003c/figure>\n\u003cp>Released nearly two decades after the R&B and soul giant’s death, \u003cem>Classic Christmas\u003c/em> is a short but memorable modern day Christmas classic: a three-track EP built off the never before released “At Christmas Time,” “May Christmas Bring You Happiness,” and a special bonus a cappella mix of “At Christmas Time.” There’s no better time of the year to hear the velvet voice do what he does best.\u003c/p>\n\u003ch2>Ally Brooke, \u003cem>Under the Tree\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938438\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM.png\" alt=\"\" width=\"1276\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-768x768.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Ally Brooke, ‘Under the Tree.’ \u003ccite>(Snafu Records via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All is fair in love and war and girl groups. Emmy Award winner Ally Brooke, formerly of Fifth Harmony, is back with a brand-spanking-new Christmas EP titled \u003cem>Under the Tree\u003c/em>. Anchored by the shimmery retro-pop title track, “Under the Tree” is a Brooke original that has her repeating “You can find me under the tree (Under the tree) / I’ll be waitin’ on Christmas Eve (Christmas Eve) / Baby, unwrap me,” in its cheeky chorus. It is light-hearted, amorous fun. And it quickly does a 180, rounding out the tracklist with “White Christmas,” “I’ll Be Home for Christmas,” and of course, the classic, “Have Yourself a Merry Little Christmas.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘A Charlie Brown Thanksgiving’ Turns 50 This Year. How Has It Held Up?",
"headTitle": "‘A Charlie Brown Thanksgiving’ Turns 50 This Year. How Has It Held Up? | KQED",
"content": "\u003cp>The 50\u003csup>th\u003c/sup> anniversary of the classic \u003cem>Peanuts\u003c/em> holiday special, \u003cem>A Charlie Brown Thanksgiving, \u003c/em>has arrived. These days, the show, which first aired on CBS in 1973, feels like a bittersweet relic from the era of the Vietnam War.\u003c/p>\n\u003cp>Its age creeps through the soft watercolors of its autumnal landscapes and in the tone of some characters. (“Sally, Thanksgiving is a very important holiday,” Linus drones in what we now commonly recognize as “mansplaining.”)\u003c/p>\n\u003cp>[aside postid='arts_13937608']Poor Charlie Brown, who wants to go to his grandmother’s for dinner, has to manage his bossy friend, Peppermint Patty. Today, many viewers celebrate the athletic, confident character as a beacon of non-normative girlhood; she is swaggering and subversive.\u003c/p>\n\u003cp>Peppermint Patty invites herself over to Charlie Brown’s for dinner, along with her very best friend, Marcie, and Franklin, the only Black character in \u003cem>Peanuts\u003c/em>. Franklin was added to the strip in 1968, in the immediate aftermath of the assassination of Dr. Martin Luther King Jr., at the suggestion of a schoolteacher. \u003cem>Peanuts\u003c/em> creator Charles Schulz later said at least one newspaper editor in the South balked at running comics that showed a Black child attending school along with the rest of the \u003cem>Peanuts\u003c/em> gang.\u003c/p>\n\u003cp>Schulz had very little to do with the animated television specials. During the dinner scene in \u003cem>A Charlie Brown Thanksgiving,\u003c/em> Franklin is seated alone in a sagging lawn chair at one side of the table. To our eyes today, it seems jarring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s so very easy to get offended or upset … but we have to remember that at that time, that actually represented progress,” said Robin Reed \u003ca href=\"https://www.msnbc.com/gibson-reiser/watch/lindsey-reiser-talks-to-the-voice-behind-franklin-126784581956\">in a 2021 MSNBC interview\u003c/a>. He voiced the character of Franklin when he was only 11. Reed said he’s still proud of the special and the character.\u003c/p>\n\u003cp>“I’m glad he’s at the table!” Bryant Keith Alexander told NPR. “Does it matter that he’s sitting in a lawn chair, isolated on one side of the table? Yeah, because that’s symbolic of the time. … His positionality at the table is secondary to the fact that he’s at the table.”\u003c/p>\n\u003cp>[aside postid='arts_10870599']Now, \u003ca href=\"https://www.lmu.edu/about/academicdeans/bryantkeithalexander/\">dean of Loyola Marymount College of Communication and Fine Arts\u003c/a>, Alexander says he adored Franklin as a child growing up in Louisiana.\u003c/p>\n\u003cp>“Dear Franklin, you have always been my hero,” Alexander wrote in an essay in the 2022 collection \u003ca href=\"https://www.routledge.com/Performative-Intergenerational-Dialogues-of-a-Black-Quartet-Qualitative/Alexander-Weems-Hill-Callier/p/book/9781032228181\">\u003cem>Performative Intergenerational Dialogues of a Black Quartet: Qualitative Inquiries on Race, Gender, Sexualities, and Culture\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Oh, how lonely it must have been as the first, and only Black Peanut on the Charlie Brown cartoon series, being the perpetual other. But you always presented with such style, grace, insight and character. I wanted to be you when I was growing up. You gave me great joy. A boy with few words but great presence. ”\u003c/p>\n\u003cp>As someone who often finds himself the only Black man sitting at the table, Alexander says Franklin was the first to show him what it’s like and modeled that position with dignity.\u003c/p>\n\u003cp>The widow of \u003cem>Peanuts\u003c/em>‘ creator addressed the dinner scene in \u003cem>A Charlie Brown Thanksgiving \u003c/em>in her blog, which is on \u003ca href=\"https://schulzmuseum.org/\">the Charles M. Schulz Museum website\u003c/a>.\u003c/p>\n\u003cp>“While it can’t be known now which animator drew that particular scene, you can be sure there was no ulterior motive,” Jean Schulz \u003ca href=\"https://schulzmuseum.org/the-pumpkins-are-out/\">wrote in 2019\u003c/a>, reflecting on how her husband created Franklin’s character out of sincerity and an intention of inclusiveness.\u003c/p>\n\u003cp>[aside postid='pop_7560']“I fall back on Peppermint Patty’s apology to Charlie Brown, explaining she meant no harm when she criticized his poor Thanksgiving offering, which goes something like: ‘There are enough problems in the world already without these misunderstandings.’ To suggest the show had any other messages than the importance of family, sharing, and gratitude is to look for an issue where there is none.”\u003c/p>\n\u003cp>The takeaway from this \u003cem>Peanuts\u003c/em> Thanksgiving, adds Bryant Keith Alexander, should be that we’re learning how to make room at the table for everyone. And he’s especially grateful to Franklin, he says, for taking space at the pop culture table.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Charlie Brown Thanksgiving\u003c/em> \u003ca href=\"https://tv.apple.com/us/movie/a-charlie-brown-thanksgiving/umc.cmc.7grdgbjdq3tiy37f4dc3yeyms\">can be streamed for free\u003c/a> on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Thanksgiving%27+turns+50+this+year.+How+has+it+held+up%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 50\u003csup>th\u003c/sup> anniversary of the classic \u003cem>Peanuts\u003c/em> holiday special, \u003cem>A Charlie Brown Thanksgiving, \u003c/em>has arrived. These days, the show, which first aired on CBS in 1973, feels like a bittersweet relic from the era of the Vietnam War.\u003c/p>\n\u003cp>Its age creeps through the soft watercolors of its autumnal landscapes and in the tone of some characters. (“Sally, Thanksgiving is a very important holiday,” Linus drones in what we now commonly recognize as “mansplaining.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, \u003ca href=\"https://www.lmu.edu/about/academicdeans/bryantkeithalexander/\">dean of Loyola Marymount College of Communication and Fine Arts\u003c/a>, Alexander says he adored Franklin as a child growing up in Louisiana.\u003c/p>\n\u003cp>“Dear Franklin, you have always been my hero,” Alexander wrote in an essay in the 2022 collection \u003ca href=\"https://www.routledge.com/Performative-Intergenerational-Dialogues-of-a-Black-Quartet-Qualitative/Alexander-Weems-Hill-Callier/p/book/9781032228181\">\u003cem>Performative Intergenerational Dialogues of a Black Quartet: Qualitative Inquiries on Race, Gender, Sexualities, and Culture\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Oh, how lonely it must have been as the first, and only Black Peanut on the Charlie Brown cartoon series, being the perpetual other. But you always presented with such style, grace, insight and character. I wanted to be you when I was growing up. You gave me great joy. A boy with few words but great presence. ”\u003c/p>\n\u003cp>As someone who often finds himself the only Black man sitting at the table, Alexander says Franklin was the first to show him what it’s like and modeled that position with dignity.\u003c/p>\n\u003cp>The widow of \u003cem>Peanuts\u003c/em>‘ creator addressed the dinner scene in \u003cem>A Charlie Brown Thanksgiving \u003c/em>in her blog, which is on \u003ca href=\"https://schulzmuseum.org/\">the Charles M. Schulz Museum website\u003c/a>.\u003c/p>\n\u003cp>“While it can’t be known now which animator drew that particular scene, you can be sure there was no ulterior motive,” Jean Schulz \u003ca href=\"https://schulzmuseum.org/the-pumpkins-are-out/\">wrote in 2019\u003c/a>, reflecting on how her husband created Franklin’s character out of sincerity and an intention of inclusiveness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I fall back on Peppermint Patty’s apology to Charlie Brown, explaining she meant no harm when she criticized his poor Thanksgiving offering, which goes something like: ‘There are enough problems in the world already without these misunderstandings.’ To suggest the show had any other messages than the importance of family, sharing, and gratitude is to look for an issue where there is none.”\u003c/p>\n\u003cp>The takeaway from this \u003cem>Peanuts\u003c/em> Thanksgiving, adds Bryant Keith Alexander, should be that we’re learning how to make room at the table for everyone. And he’s especially grateful to Franklin, he says, for taking space at the pop culture table.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Charlie Brown Thanksgiving\u003c/em> \u003ca href=\"https://tv.apple.com/us/movie/a-charlie-brown-thanksgiving/umc.cmc.7grdgbjdq3tiy37f4dc3yeyms\">can be streamed for free\u003c/a> on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Thanksgiving%27+turns+50+this+year.+How+has+it+held+up%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco has birthed and lost a ridiculous number of punk rock venues over the years. There are recent favorites like \u003ca href=\"https://www.invisibleoranges.com/rip-pound-sf/\">The Pound\u003c/a> and \u003ca href=\"https://www.sfgate.com/entertainment/article/farewell-cocodrie-north-beach-club-shutting-down-2748469.php\">Club Cocodrie\u003c/a>, both closed in the early 2000s. There are the short-lived little nightclubs of the 1980s, including \u003ca href=\"https://www.dnalounge.com/backstage/log/19xx/AAC-0697.html\">Club Nine\u003c/a> (which later turned into The Stud), \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">The Offensive, Club Foot and Attitude\u003c/a>. Most famously of all, there was the legendary \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay Gardens\u003c/a>, a home-away-from-home for the most popular punk bands of the ’80s.\u003c/p>\n\u003cp>That same time period also inspired the creation of a handful of venues that were particularly strange and magnificent. Here are five of the most fascinating that we wish still existed today.\u003c/p>\n\u003ch2>The Deaf Club\u003c/h2>\n\u003cp>\u003cstrong>530 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>It may have only lasted 18 months, but the lore of the Mission District’s Deaf Club will live on forever. Its first show was the result of Daphne Hanrahan — then-manager of The Offs — confusing the San Francisco Club of the Deaf with a new punk venue. Soon, by renting out the space herself, she had turned it into one.\u003c/p>\n\u003cp>In February 1979, the \u003cem>San Francisco Examiner\u003c/em> declared:\u003c/p>\n\u003cblockquote>\u003cp>The latest club on the local punk scene is called the Deaf Club. The joke is that the name is no joke … Since December, Walking Dead Productions has sponsored two or three concerts at the club each week, featuring local punk outfits like Crime and the Dils, plus occasional imports from Los Angeles … At the shows, punk followers mingle with the deaf club members.\u003c/p>\u003c/blockquote>\n\u003cp>In \u003ca href=\"https://bookshop.org/p/books/gimme-something-better-the-profound-progressive-and-occasionally-pointless-history-of-bay-area-punk-from-dead-kennedys-to-green-day-jack-boulware/11716732?ean=9780143113805&ref=&source=IndieBound&title=Gimme+Something+Better%3A+The+Profound%2C+Progressive%2C+and+Occasionally+Pointless+History+of+Bay+Area+Punk+from+Dead+Kennedys+to+Green+Day\">\u003cem>Gimme Something Better\u003c/em>\u003c/a>, Jack Boulware and Silke Tudor’s 2009 tome on Bay Area punk, Penelope Houston of The Avengers recalled: “It was kind of amazing. I think [deaf attendees] were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2004, Dead Kennedys reminded the world of the club’s existence with the release of \u003ca href=\"https://en.wikipedia.org/wiki/Live_at_the_Deaf_Club\">\u003cem>Live at the Deaf Club\u003c/em>\u003c/a>, an album of live material recorded at the second floor venue in March 1979. Nothing, however, quite captures the worlds colliding and camaraderie inside the place quite like Richard Gaikowski’s 1980 film, \u003ca href=\"https://www.imdb.com/title/tt8652820/\">\u003cem>Deaf/Punk\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7L4NxRqb6Fk\u003c/p>\n\u003ch2>The Farm\u003c/h2>\n\u003cp>\u003cstrong>1499 Potrero Ave.\u003c/strong>\u003c/p>\n\u003cp>Long before it was \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a>, the green expanse around the intersection at Potrero and Cesar Chavez was The Farm — a community center, art space, active farm and, most bizarrely of all, a punk venue. The likes of Bad Brains, 7 Seconds, Black Flag, Circle Jerks, Descendents and DOA all came through here in the early ’80s, much to the delight of the San Francisco underground.\u003c/p>\n\u003cp>[aside postid='arts_13899031']Though the aggressive music seemed totally out of step with the hippie commune vibes that had been cultivated at The Farm throughout the late 1970s, members of its board of directors expressed an openness towards — and fascination with — the bands and fans that came through.\u003c/p>\n\u003cp>“Even when the punks were there, I remember going,” noted artist and board member René Yañez in a documentary about The Farm, “and the toilets were broken and they were hanging this kid out the window and the police coming … But I found it interesting.”\u003c/p>\n\u003cp>At the time, fellow board member Gail Feldman said: “[Folks] see people with hair sticking straight up and they get a little worried. But actually there hasn’t been that much of a problem…”\u003c/p>\n\u003cp>The Farm’s “punk era” can be seen in this documentary about the space, starting from 26:40:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fpfD_3AvH8Y\u003c/p>\n\u003ch2>Valencia Tool & Die\u003c/h2>\n\u003cp>\u003cstrong>974 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>Today, it’s\u003ca href=\"https://www.lolosf.com/\"> Loló\u003c/a>: A restaurant with a noisy ambiance and carnival-inspired decor. This is fairly fitting once you realize that, between 1980 and 1983, 974 Valencia St. was a supremely weird gallery, indie movie theater, performance art space and, yes, excellent punk venue.\u003c/p>\n\u003cp>[aside postid='arts_13894169']During its short tenure, the venue managed to host the likes of Minor Threat, Social Distortion, Hüsker Dü, Fang and even \u003ca href=\"https://www.youtube.com/watch?v=2SCIJlMTR7A\">Allen Ginsberg performing with a New Wave band called The Job\u003c/a>. Performances happened on the street level and in the cellar — a space that was soundproofed with sand, only accessible via trap door and entirely lacking in a stage. Sometimes shows happened on both floors simultaneously. Sometimes they happened on Sunday afternoons. And sometimes (fairly frequently, actually) they happened entirely out of hours, in the middle of the night.\u003c/p>\n\u003cp>In the end, the venue was shut down for a number of violations, including some that were fire code-related. But while it existed, Valencia Tool & Die was a space where musicians could experiment without filter, find community and share ideas. Consider the band in the video below, Faith. No Man. Here they are playing a perfectly good set in Tool & Die’s basement in 1983. A couple of months after this was filmed, however, the rhythm section — bassist Billy Gould and drummer Mike Bordin — decided they could do better. They struck out on their own and formed a little band called Faith No More. So that’s nice.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E6G1bWKNjJY\u003c/p>\n\u003ch2>The Sound of Music\u003c/h2>\n\u003cp>\u003cstrong>162 Turk St.\u003c/strong>\u003c/p>\n\u003cp>Today, it looks like any other nondescript, three-story building in the Tenderloin. But between 1980 and 1987, the Sound of Music was a punk rock venue and nightclub that hosted bands like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=VxoiN7c2UYU&list=RDEMS9VV4IqCH_18L_Bgf2Xxew&start_radio=1\">Boy Trouble\u003c/a> and, later on, Romeo Void. (Agnostic Front also once played the tiny club after their show at Mabuhay Gardens got canceled at the last minute.)\u003c/p>\n\u003cp>[aside postid='arts_13902953']Owned by Celso Ruperto — a photographer best known for \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8jh3tvx/\">documenting the dancers of North Beach’s strip clubs\u003c/a> — the club was only-partially-controlled chaos. It also had a reputation for being very lackadaisical when it came to checking IDs; Frightwig guitarist Mia d’Bruzzi started bartending there when she was only 17. “Everyone was broke, pissed off about everything and having the time of their lives,” d’Bruzzi told \u003ca href=\"https://hoodline.com/2015/10/punks-tenderloin-roots-and-the-sound-of-music/\">\u003cem>Central City Extra\u003c/em>\u003c/a> in 2015. “If I didn’t like a band, I would throw half-full beer cans at them from the bar.”\u003c/p>\n\u003cp>Ruperto decided to let the venue go in 1986. It was listed for sale in newspapers that year for $65,000. The final show happened there in 1987.\u003c/p>\n\u003cp>“The Sound of Music was a dump,” \u003ca href=\"https://en.wikipedia.org/wiki/White_Trash_Debutantes\">White Trash Debutantes\u003c/a> singer Ginger Coyote recalled in 2015. “The sound system sucked, but it was a club where about anyone could play and most people could get in free or cheap.”\u003c/p>\n\u003cp>Looks like a good time to us…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HWp79_YFODw\u003c/p>\n\u003ch2>Target Video\u003c/h2>\n\u003cp>\u003cstrong>678 South Van Ness Ave.\u003c/strong>\u003c/p>\n\u003cp>In 1983, two years after it had closed, the \u003cem>Examiner\u003c/em> described Target Video as “a black building on South Van Ness Ave.” and “a national flashpoint of new culture in the making.”\u003c/p>\n\u003cp>[aside postid='arts_13927137']The man behind that cultural earthquake was Joe Rees, a sculptor, videographer and one-man punk archive. Rees videotaped over 500 bands, all over the country, starting in 1976, documenting the underground scene like no one else. And it wasn’t just the sheer volume of footage that made Rees stand out, it was what he did with it. Rees spliced his films of punk shows with news and documentary clips that often added a gravitas — and impending sense of doom — to already intense songs.\u003c/p>\n\u003cp>It made sense for Rees, then, to start his own venue in 1978. He could record bands at \u003ca href=\"https://www.youtube.com/watch?v=cpbeu7szjkE\">Target Video, turn those sets into short films\u003c/a>, then hold screenings of those in the building too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.artforum.com/events/joe-rees-228192/\">An article in \u003cem>Artforum\u003c/em>\u003c/a> once described Rees’ work as “art for TV fans, rather than TV for art fans.” For the punks who frequented Target Video shows, it was simply TV for them — disaffected, angry, with one hell of a soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_13938380\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg\" alt=\"A group of four young men clamber down a very steep wall, laughing and at strange angles. One of them is holding a pool cue. Two of them are holding cans of beer.\" width=\"2560\" height=\"1841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1536x1105.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-2048x1473.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1920x1381.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Let’s close this out with a photo of Flipper — a band that played literally all of these venues — on a San Francisco railway embankment in 1981. Just because. \u003ccite>(Ruby Ray/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has birthed and lost a ridiculous number of punk rock venues over the years. There are recent favorites like \u003ca href=\"https://www.invisibleoranges.com/rip-pound-sf/\">The Pound\u003c/a> and \u003ca href=\"https://www.sfgate.com/entertainment/article/farewell-cocodrie-north-beach-club-shutting-down-2748469.php\">Club Cocodrie\u003c/a>, both closed in the early 2000s. There are the short-lived little nightclubs of the 1980s, including \u003ca href=\"https://www.dnalounge.com/backstage/log/19xx/AAC-0697.html\">Club Nine\u003c/a> (which later turned into The Stud), \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">The Offensive, Club Foot and Attitude\u003c/a>. Most famously of all, there was the legendary \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay Gardens\u003c/a>, a home-away-from-home for the most popular punk bands of the ’80s.\u003c/p>\n\u003cp>That same time period also inspired the creation of a handful of venues that were particularly strange and magnificent. Here are five of the most fascinating that we wish still existed today.\u003c/p>\n\u003ch2>The Deaf Club\u003c/h2>\n\u003cp>\u003cstrong>530 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>It may have only lasted 18 months, but the lore of the Mission District’s Deaf Club will live on forever. Its first show was the result of Daphne Hanrahan — then-manager of The Offs — confusing the San Francisco Club of the Deaf with a new punk venue. Soon, by renting out the space herself, she had turned it into one.\u003c/p>\n\u003cp>In February 1979, the \u003cem>San Francisco Examiner\u003c/em> declared:\u003c/p>\n\u003cblockquote>\u003cp>The latest club on the local punk scene is called the Deaf Club. The joke is that the name is no joke … Since December, Walking Dead Productions has sponsored two or three concerts at the club each week, featuring local punk outfits like Crime and the Dils, plus occasional imports from Los Angeles … At the shows, punk followers mingle with the deaf club members.\u003c/p>\u003c/blockquote>\n\u003cp>In \u003ca href=\"https://bookshop.org/p/books/gimme-something-better-the-profound-progressive-and-occasionally-pointless-history-of-bay-area-punk-from-dead-kennedys-to-green-day-jack-boulware/11716732?ean=9780143113805&ref=&source=IndieBound&title=Gimme+Something+Better%3A+The+Profound%2C+Progressive%2C+and+Occasionally+Pointless+History+of+Bay+Area+Punk+from+Dead+Kennedys+to+Green+Day\">\u003cem>Gimme Something Better\u003c/em>\u003c/a>, Jack Boulware and Silke Tudor’s 2009 tome on Bay Area punk, Penelope Houston of The Avengers recalled: “It was kind of amazing. I think [deaf attendees] were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2004, Dead Kennedys reminded the world of the club’s existence with the release of \u003ca href=\"https://en.wikipedia.org/wiki/Live_at_the_Deaf_Club\">\u003cem>Live at the Deaf Club\u003c/em>\u003c/a>, an album of live material recorded at the second floor venue in March 1979. Nothing, however, quite captures the worlds colliding and camaraderie inside the place quite like Richard Gaikowski’s 1980 film, \u003ca href=\"https://www.imdb.com/title/tt8652820/\">\u003cem>Deaf/Punk\u003c/em>\u003c/a>:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7L4NxRqb6Fk'\n title='//www.youtube.com/embed/7L4NxRqb6Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Farm\u003c/h2>\n\u003cp>\u003cstrong>1499 Potrero Ave.\u003c/strong>\u003c/p>\n\u003cp>Long before it was \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a>, the green expanse around the intersection at Potrero and Cesar Chavez was The Farm — a community center, art space, active farm and, most bizarrely of all, a punk venue. The likes of Bad Brains, 7 Seconds, Black Flag, Circle Jerks, Descendents and DOA all came through here in the early ’80s, much to the delight of the San Francisco underground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though the aggressive music seemed totally out of step with the hippie commune vibes that had been cultivated at The Farm throughout the late 1970s, members of its board of directors expressed an openness towards — and fascination with — the bands and fans that came through.\u003c/p>\n\u003cp>“Even when the punks were there, I remember going,” noted artist and board member René Yañez in a documentary about The Farm, “and the toilets were broken and they were hanging this kid out the window and the police coming … But I found it interesting.”\u003c/p>\n\u003cp>At the time, fellow board member Gail Feldman said: “[Folks] see people with hair sticking straight up and they get a little worried. But actually there hasn’t been that much of a problem…”\u003c/p>\n\u003cp>The Farm’s “punk era” can be seen in this documentary about the space, starting from 26:40:\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/fpfD_3AvH8Y'\n title='//www.youtube.com/embed/fpfD_3AvH8Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Valencia Tool & Die\u003c/h2>\n\u003cp>\u003cstrong>974 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>Today, it’s\u003ca href=\"https://www.lolosf.com/\"> Loló\u003c/a>: A restaurant with a noisy ambiance and carnival-inspired decor. This is fairly fitting once you realize that, between 1980 and 1983, 974 Valencia St. was a supremely weird gallery, indie movie theater, performance art space and, yes, excellent punk venue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During its short tenure, the venue managed to host the likes of Minor Threat, Social Distortion, Hüsker Dü, Fang and even \u003ca href=\"https://www.youtube.com/watch?v=2SCIJlMTR7A\">Allen Ginsberg performing with a New Wave band called The Job\u003c/a>. Performances happened on the street level and in the cellar — a space that was soundproofed with sand, only accessible via trap door and entirely lacking in a stage. Sometimes shows happened on both floors simultaneously. Sometimes they happened on Sunday afternoons. And sometimes (fairly frequently, actually) they happened entirely out of hours, in the middle of the night.\u003c/p>\n\u003cp>In the end, the venue was shut down for a number of violations, including some that were fire code-related. But while it existed, Valencia Tool & Die was a space where musicians could experiment without filter, find community and share ideas. Consider the band in the video below, Faith. No Man. Here they are playing a perfectly good set in Tool & Die’s basement in 1983. A couple of months after this was filmed, however, the rhythm section — bassist Billy Gould and drummer Mike Bordin — decided they could do better. They struck out on their own and formed a little band called Faith No More. So that’s nice.\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/E6G1bWKNjJY'\n title='//www.youtube.com/embed/E6G1bWKNjJY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Sound of Music\u003c/h2>\n\u003cp>\u003cstrong>162 Turk St.\u003c/strong>\u003c/p>\n\u003cp>Today, it looks like any other nondescript, three-story building in the Tenderloin. But between 1980 and 1987, the Sound of Music was a punk rock venue and nightclub that hosted bands like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=VxoiN7c2UYU&list=RDEMS9VV4IqCH_18L_Bgf2Xxew&start_radio=1\">Boy Trouble\u003c/a> and, later on, Romeo Void. (Agnostic Front also once played the tiny club after their show at Mabuhay Gardens got canceled at the last minute.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Owned by Celso Ruperto — a photographer best known for \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8jh3tvx/\">documenting the dancers of North Beach’s strip clubs\u003c/a> — the club was only-partially-controlled chaos. It also had a reputation for being very lackadaisical when it came to checking IDs; Frightwig guitarist Mia d’Bruzzi started bartending there when she was only 17. “Everyone was broke, pissed off about everything and having the time of their lives,” d’Bruzzi told \u003ca href=\"https://hoodline.com/2015/10/punks-tenderloin-roots-and-the-sound-of-music/\">\u003cem>Central City Extra\u003c/em>\u003c/a> in 2015. “If I didn’t like a band, I would throw half-full beer cans at them from the bar.”\u003c/p>\n\u003cp>Ruperto decided to let the venue go in 1986. It was listed for sale in newspapers that year for $65,000. The final show happened there in 1987.\u003c/p>\n\u003cp>“The Sound of Music was a dump,” \u003ca href=\"https://en.wikipedia.org/wiki/White_Trash_Debutantes\">White Trash Debutantes\u003c/a> singer Ginger Coyote recalled in 2015. “The sound system sucked, but it was a club where about anyone could play and most people could get in free or cheap.”\u003c/p>\n\u003cp>Looks like a good time to us…\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/HWp79_YFODw'\n title='//www.youtube.com/embed/HWp79_YFODw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Target Video\u003c/h2>\n\u003cp>\u003cstrong>678 South Van Ness Ave.\u003c/strong>\u003c/p>\n\u003cp>In 1983, two years after it had closed, the \u003cem>Examiner\u003c/em> described Target Video as “a black building on South Van Ness Ave.” and “a national flashpoint of new culture in the making.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The man behind that cultural earthquake was Joe Rees, a sculptor, videographer and one-man punk archive. Rees videotaped over 500 bands, all over the country, starting in 1976, documenting the underground scene like no one else. And it wasn’t just the sheer volume of footage that made Rees stand out, it was what he did with it. Rees spliced his films of punk shows with news and documentary clips that often added a gravitas — and impending sense of doom — to already intense songs.\u003c/p>\n\u003cp>It made sense for Rees, then, to start his own venue in 1978. He could record bands at \u003ca href=\"https://www.youtube.com/watch?v=cpbeu7szjkE\">Target Video, turn those sets into short films\u003c/a>, then hold screenings of those in the building too.\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.artforum.com/events/joe-rees-228192/\">An article in \u003cem>Artforum\u003c/em>\u003c/a> once described Rees’ work as “art for TV fans, rather than TV for art fans.” For the punks who frequented Target Video shows, it was simply TV for them — disaffected, angry, with one hell of a soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_13938380\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg\" alt=\"A group of four young men clamber down a very steep wall, laughing and at strange angles. One of them is holding a pool cue. Two of them are holding cans of beer.\" width=\"2560\" height=\"1841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1536x1105.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-2048x1473.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1920x1381.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Let’s close this out with a photo of Flipper — a band that played literally all of these venues — on a San Francisco railway embankment in 1981. Just because. \u003ccite>(Ruby Ray/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Emerald Fennell Chronicles a Promising Young Man in Shock-Filled ‘Saltburn’",
"headTitle": "Emerald Fennell Chronicles a Promising Young Man in Shock-Filled ‘Saltburn’ | KQED",
"content": "\u003cp>Two years ago Emerald Fennell stood on the Oscars stage hoisting her writing trophy for\u003ca href=\"https://www.kqed.org/arts/13895652/emerald-fennells-promising-young-woman-doesnt-let-anyone-off-the-hook\">\u003cem> Promising Young Woman\u003c/em>\u003c/a>, a scathing look at rape culture and a balancing act of wit, style, shock value, audacity, great acting and pitch-black humor — plus a timely #MeToo message.\u003c/p>\n\u003cp>That’s a lot for a debut film, and we didn’t even mention the best director nomination. Not surprisingly, anticipation has been hot for the writer-director’s next effort (as an actor, she’s already graced a little film this year called \u003cem>Barbie\u003c/em>, in the suitably dark role of pregnant, discontinued Midge).\u003c/p>\n\u003cp>[aside postid='arts_13895652']Now \u003cem>Saltburn\u003c/em> is here, and the results are enticing but decidedly mixed — perhaps because Fennell seems to be trying to one-up herself by leaning on the shock value, at the eventual expense of other storytelling elements.\u003c/p>\n\u003cp>Make no mistake, the clever writing is here, as is the style, the sleek technique, and some terrific performances (Rosamund Pike is especially delicious in a supporting role). What’s missing, or muddled, is the message — and perhaps even more, the heart. After two hours of cringing and gasping in both awe and discomfort, we’re left admiring the “how” of what she’s doing but still figuring out the “why.”\u003c/p>\n\u003cp>One thing that’s not lacking: beauty. Unsurprisingly, Fennell excels at lush production values, especially in presenting the imposing, seductive and somewhat debauched Saltburn — no, not a person, but a country manor! This is England, and a story of class dynamics, so it’s surely fitting that the star be a piece of real estate. (And let’s just say, the phrase “real estate porn” takes on an added dimension here.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lALMdJf6UUE&t=61s\u003c/p>\n\u003cp>We start, though, at Oxford. Here we meet our main character, Oliver Quick (and if that doesn’t take you straight back to Dickens, nothing will). It’s 2006, and Oliver (Barry Keoghan, ever-watchable and unpredictable) is a freshman on scholarship, feeling out of his league. At his first tutorial, he announces he read all 50 books on the summer reading list. His bemused teacher tells him nobody does that.\u003c/p>\n\u003cp>[aside postid='arts_13938168']Oliver soon learns that life at Oxford isn’t about what you’ve read, but who you know. In the Hogwarts-style dining hall, he can barely find someone to sit with — only a needy mathematics major. He has no earthly connection to the rest of the privileged, entitled (and in some cases, titled) student body, but aches to fit in.\u003c/p>\n\u003cp>And then aristocratic golden boy Felix appears, like a Greek god. Played by Jacob Elordi, currently appearing as Elvis in \u003cem>Priscilla\u003c/em>, Felix is gorgeous and effortlessly rakish; he seems to have never encountered hardship. Unless you count a flat tire on his bike, which is how Oliver meets him, lending his own bike so Felix can get to class.\u003c/p>\n\u003cp>The two become friends. It’s obvious what’s in it for Oliver, but what’s in it for Felix? That’s less clear, but Oliver’s home life has been hard. So, when Oliver tells Felix a tragedy has occurred involving his drug-addicted parents, Felix invites him to spend the summer at his family palace, er, home.\u003c/p>\n\u003cp>The family includes Felix’s beautiful but unstable sister, Venetia (Alison Oliver), his comically out-of-touch father, Sir James (Richard E. Grant, very funny), and the terrifically droll Pike as Elspeth, Felix’s glamorous, clueless mother. Also spending the summer is cousin Farleigh (Archie Madekwe, excellent) a Saltburn outsider himself — American-born, a person of color — but compared to Oliver an insider, which is crucial. The great Carey Mulligan, Oscar-nominated for \u003cem>Promising Young Woman\u003c/em>, has a welcome cameo as an unwelcome guest.\u003c/p>\n\u003cp>The early Saltburn days are intoxicating. Felix points out the various Rubens portraits, the original Shakespeare folios, that sort of thing. Days are spent lounging languidly on the lawn by the mossy pond. Dinner is black tie, so Oliver needs a loaner jacket and cufflinks. These people even play tennis in tuxes.\u003c/p>\n\u003cp>Then the really crazy stuff starts happening.\u003c/p>\n\u003cp>[aside postid='arts_13897161']And we mean Fennell-level crazy. In \u003cem>Promising Young Woman\u003c/em> there was a slow burn to the \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">shocking, graphic ending\u003c/a>. Here, the shocks come early. A few involve bodily fluids. Fennell knows how to startle the most jaded of film audiences — guests at the screening I attended either gasped or giggled in embarrassment.\u003c/p>\n\u003cp>Fennell is also comfortable with the world she seeks to paint. Even if you didn’t know beforehand, it’s pretty clear from the vividly rendered Oxford scenes that the director attended Oxford herself, and her scenes of student life at that storied institution, seen through outsider Oliver, form the most authentic-feeling part of the film.\u003c/p>\n\u003cp>But how long will Oliver remain an outsider? Will this uncertain and complicated young man, who arrives at the Saltburn gates too early and too naive to have waited for the footmen to collect him at the station, ever fit in, something he covets above all else? That’s the question the rest of the movie answers, taking increasingly sinister twists and turns.\u003c/p>\n\u003cp>As if in a garden maze, perhaps? Like any self-respecting, spectacular period mansion, Saltburn has one of those, too, where some key action takes place. More broadly, though, the maze seems to symbolize the effect of this film: pretty, seductive, challenging, forbidding and ultimately confounding.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Saltburn’ was released on Nov. 17, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years ago Emerald Fennell stood on the Oscars stage hoisting her writing trophy for\u003ca href=\"https://www.kqed.org/arts/13895652/emerald-fennells-promising-young-woman-doesnt-let-anyone-off-the-hook\">\u003cem> Promising Young Woman\u003c/em>\u003c/a>, a scathing look at rape culture and a balancing act of wit, style, shock value, audacity, great acting and pitch-black humor — plus a timely #MeToo message.\u003c/p>\n\u003cp>That’s a lot for a debut film, and we didn’t even mention the best director nomination. Not surprisingly, anticipation has been hot for the writer-director’s next effort (as an actor, she’s already graced a little film this year called \u003cem>Barbie\u003c/em>, in the suitably dark role of pregnant, discontinued Midge).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now \u003cem>Saltburn\u003c/em> is here, and the results are enticing but decidedly mixed — perhaps because Fennell seems to be trying to one-up herself by leaning on the shock value, at the eventual expense of other storytelling elements.\u003c/p>\n\u003cp>Make no mistake, the clever writing is here, as is the style, the sleek technique, and some terrific performances (Rosamund Pike is especially delicious in a supporting role). What’s missing, or muddled, is the message — and perhaps even more, the heart. After two hours of cringing and gasping in both awe and discomfort, we’re left admiring the “how” of what she’s doing but still figuring out the “why.”\u003c/p>\n\u003cp>One thing that’s not lacking: beauty. Unsurprisingly, Fennell excels at lush production values, especially in presenting the imposing, seductive and somewhat debauched Saltburn — no, not a person, but a country manor! This is England, and a story of class dynamics, so it’s surely fitting that the star be a piece of real estate. (And let’s just say, the phrase “real estate porn” takes on an added dimension here.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lALMdJf6UUE'\n title='//www.youtube.com/embed/lALMdJf6UUE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We start, though, at Oxford. Here we meet our main character, Oliver Quick (and if that doesn’t take you straight back to Dickens, nothing will). It’s 2006, and Oliver (Barry Keoghan, ever-watchable and unpredictable) is a freshman on scholarship, feeling out of his league. At his first tutorial, he announces he read all 50 books on the summer reading list. His bemused teacher tells him nobody does that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oliver soon learns that life at Oxford isn’t about what you’ve read, but who you know. In the Hogwarts-style dining hall, he can barely find someone to sit with — only a needy mathematics major. He has no earthly connection to the rest of the privileged, entitled (and in some cases, titled) student body, but aches to fit in.\u003c/p>\n\u003cp>And then aristocratic golden boy Felix appears, like a Greek god. Played by Jacob Elordi, currently appearing as Elvis in \u003cem>Priscilla\u003c/em>, Felix is gorgeous and effortlessly rakish; he seems to have never encountered hardship. Unless you count a flat tire on his bike, which is how Oliver meets him, lending his own bike so Felix can get to class.\u003c/p>\n\u003cp>The two become friends. It’s obvious what’s in it for Oliver, but what’s in it for Felix? That’s less clear, but Oliver’s home life has been hard. So, when Oliver tells Felix a tragedy has occurred involving his drug-addicted parents, Felix invites him to spend the summer at his family palace, er, home.\u003c/p>\n\u003cp>The family includes Felix’s beautiful but unstable sister, Venetia (Alison Oliver), his comically out-of-touch father, Sir James (Richard E. Grant, very funny), and the terrifically droll Pike as Elspeth, Felix’s glamorous, clueless mother. Also spending the summer is cousin Farleigh (Archie Madekwe, excellent) a Saltburn outsider himself — American-born, a person of color — but compared to Oliver an insider, which is crucial. The great Carey Mulligan, Oscar-nominated for \u003cem>Promising Young Woman\u003c/em>, has a welcome cameo as an unwelcome guest.\u003c/p>\n\u003cp>The early Saltburn days are intoxicating. Felix points out the various Rubens portraits, the original Shakespeare folios, that sort of thing. Days are spent lounging languidly on the lawn by the mossy pond. Dinner is black tie, so Oliver needs a loaner jacket and cufflinks. These people even play tennis in tuxes.\u003c/p>\n\u003cp>Then the really crazy stuff starts happening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And we mean Fennell-level crazy. In \u003cem>Promising Young Woman\u003c/em> there was a slow burn to the \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">shocking, graphic ending\u003c/a>. Here, the shocks come early. A few involve bodily fluids. Fennell knows how to startle the most jaded of film audiences — guests at the screening I attended either gasped or giggled in embarrassment.\u003c/p>\n\u003cp>Fennell is also comfortable with the world she seeks to paint. Even if you didn’t know beforehand, it’s pretty clear from the vividly rendered Oxford scenes that the director attended Oxford herself, and her scenes of student life at that storied institution, seen through outsider Oliver, form the most authentic-feeling part of the film.\u003c/p>\n\u003cp>But how long will Oliver remain an outsider? Will this uncertain and complicated young man, who arrives at the Saltburn gates too early and too naive to have waited for the footmen to collect him at the station, ever fit in, something he covets above all else? That’s the question the rest of the movie answers, taking increasingly sinister twists and turns.\u003c/p>\n\u003cp>As if in a garden maze, perhaps? Like any self-respecting, spectacular period mansion, Saltburn has one of those, too, where some key action takes place. More broadly, though, the maze seems to symbolize the effect of this film: pretty, seductive, challenging, forbidding and ultimately confounding.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Saltburn’ was released on Nov. 17, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Reach for a Nonfiction Read When Choosing Holiday Gifts, Pop Art to Ballet",
"headTitle": "Reach for a Nonfiction Read When Choosing Holiday Gifts, Pop Art to Ballet | KQED",
"content": "\u003cp>A good book packs power. A good book thoughtfully chosen as a gift can add a layer of joy.\u003c/p>\n\u003cp>The holidays are a great time to track down just the right coffee table reads for loved ones. There’s a wide array this time of year. Some options:\u003c/p>\n\u003cfigure id=\"attachment_13938293\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_.jpg\" alt=\"A book cover featuring people sunbathing on a stark white roof in front of an expanse of blue ocean and trees on the shoreline.\" width=\"900\" height=\"1140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-800x1013.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-768x973.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘Slim Aarons: The Essential Collection,’ photographs by Slim Aarons \u003ccite>(Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://store.abramsbooks.com/products/slim-aarons\">\u003cem>Slim Aarons: The Essential Collection\u003c/em>\u003c/a>, photographs by Slim Aarons, text by Shawn Waldron.\u003c/h2>\n\u003cp>The World War II photographer turned Hollywood insider had incredible access to the uber rich, from the pools of Palm Beach to the ski slopes of Gstaad. But he was so much more, shooting war orphans in Rome to tailgaters in Aiken, South Carolina. This hefty career-spanning collection has meaty text and includes more than 100 previously unpublished photos. Getty Images purchased his archive in 1997.\u003c/p>\n\u003cp>(Abrams, $175.)\u003c/p>\n\u003cfigure id=\"attachment_13938294\" class=\"wp-caption aligncenter\" style=\"max-width: 1293px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_.jpg\" alt=\"A red book cover depicting simple dotted artwork that resembles a Christmas tree covered with gold baubles.\" width=\"1293\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_.jpg 1293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-800x928.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-1020x1183.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-768x891.jpg 768w\" sizes=\"(max-width: 1293px) 100vw, 1293px\">\u003cfigcaption class=\"wp-caption-text\">‘The Christmas Book,’ by Phaidon editors. \u003ccite>(Phaidon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.phaidon.com/store/fashion-and-pop-culture/the-christmas-book-9781838665968/\">The Christmas Book\u003c/a>\u003c/em>, by Phaidon editors, with essays by David Trigg, Sam Bilton and Dolph Gotelli.\u003c/h2>\n\u003cp>The holiday, in festive cultural imagery. This is a jolly look at Christmas via design and artifacts. There’s a history of Christmas pudding charms, to be hidden within the holiday treat. And there’s an angel made of beads by an artisan in the Woza Moya collective of South Africa. Picasso’s Dove of Peace is included along with a Lego Santa’s Visit set.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Phaidon, $49.95.)\u003c/p>\n\u003cfigure id=\"attachment_13938295\" class=\"wp-caption aligncenter\" style=\"max-width: 1144px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_.jpg\" alt=\"A book cover depicting an elegant and beautiful Black woman posing on a staircase wearing a white one-shouldered gown.\" width=\"1144\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-1020x1337.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-768x1007.jpg 768w\" sizes=\"(max-width: 1144px) 100vw, 1144px\">\u003cfigcaption class=\"wp-caption-text\">‘Lena Horne: Goddess Reclaimed,’ by Donald Bogle. \u003ccite>(Running Press Adult)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/donald-bogle/lena-horne/9780762475209/\">Lena Horne: Goddess Reclaimed\u003c/a>\u003c/em>, by Donald Bogle.\u003c/h2>\n\u003cp>The authority on Black representation in film and entertainment history based this biography on decades of research. Bogle dug deep into Horne’s chaotic childhood, which took her from Brooklyn to the Deep South and beyond. He spells out in detail her Cotton Club start as a teen and her years as a racial justice activist. He doesn’t smooth over the star’s bitter disappointments. Plenty of photos included.\u003c/p>\n\u003cp>(Running Press, $35.)\u003c/p>\n\u003cfigure id=\"attachment_13938297\" class=\"wp-caption aligncenter\" style=\"max-width: 1208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_.jpg\" alt=\"A young Black woman stands in side profile, arm raised above her head.\" width=\"1208\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_.jpg 1208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-768x954.jpg 768w\" sizes=\"(max-width: 1208px) 100vw, 1208px\">\u003cfigcaption class=\"wp-caption-text\">‘The Color of Dance,’ by TaKiyah Wallace-McMillian. \u003ccite>(Black Dog & Leventhal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/takiyah-wallace-mcmillian/the-color-of-dance/9780762479559/?lens=black-dog-leventhal\">The Color of Dance\u003c/a>\u003c/em>, by TaKiyah Wallace-McMillian.\u003c/h2>\n\u003cp>The photographer behind the Instagram account \u003ca href=\"https://www.instagram.com/browngirlsdoballet/?hl=en\">Brown Girls Do Ballet\u003c/a> has put together a celebratory essay in images of just that. Filled with insights from inside the dance world and hopeful girls in training, her portraits are set indoors and out with her subjects speaking for themselves. One young ballerina, Kailyn Scales, says of her craft: “I am small but mighty. When I dance, I feel powerful. I don’t feel like the smallest person in the room.”\u003c/p>\n\u003cp>(Black Dog & Leventhal, $30.)\u003c/p>\n\u003cfigure id=\"attachment_13938299\" class=\"wp-caption aligncenter\" style=\"max-width: 1246px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_.jpg\" alt=\"A book cover depicting photos of a variety of fresh foods over a large 'Y.'\" width=\"1246\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_.jpg 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-800x963.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-1020x1228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-768x925.jpg 768w\" sizes=\"(max-width: 1246px) 100vw, 1246px\">\u003cfigcaption class=\"wp-caption-text\">‘Yellowstone: The Official Dutton Ranch Family Cookbook,’ by Chef Gabriel ‘Gator’ Guilbeau with Kim Laidlaw. \u003ccite>(Insight Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://insighteditions.com/products/yellowstone-the-official-dutton-ranch-family-cookbook\">Yellowstone: The Official Dutton Ranch Family Cookbook\u003c/a>\u003c/em>, by Chef Gabriel “Gator” Guilbeau with Kim Laidlaw.\u003c/h2>\n\u003cp>Guilbeau was the set caterer for \u003cem>Yellowstone\u003c/em> and played the Dutton family’s cook on the hit series. This book is filled with more than 55 recipes beloved by the cast and featured on screen, some inspired by Guilbeau’s Cajun roots. Showrunner Taylor Sheridan is a fan of his Louisiana fried shrimp. Anybody remember that octopus Gator set in front of John, Kayce and Beth in Season 2? It didn’t go over well, but it looks delicious with lemon and roasted potatoes.\u003c/p>\n\u003cp>(Insight Editions, $34.99.)\u003c/p>\n\u003cfigure id=\"attachment_13938300\" class=\"wp-caption aligncenter\" style=\"max-width: 1104px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_.jpg\" alt=\"A book cover depicting a woman in 1950s-era clothing. She is wearing yellow heels and a green raincoat. \" width=\"1104\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-800x1087.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-1020x1386.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-768x1043.jpg 768w\" sizes=\"(max-width: 1104px) 100vw, 1104px\">\u003cfigcaption class=\"wp-caption-text\">‘Dressing the Part: Television’s Most Stylish Shows,’ by Hal Rubenstein. \u003ccite>(Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/dressing-the-part-hal-rubenstein?variant=40991772639266\">Dressing the Part: Television’s Most Stylish Shows\u003c/a>\u003c/em>, by Hal Rubenstein.\u003c/h2>\n\u003cp>In interviews, images and commentary, this frank, veteran fashion expert takes readers through the cultural significance of clothes in 50 top TV shows dating to the dawn of the medium. There’s the predictable period dramas. And there’s Mary Tyler Moore’s black capris pants as Laura Petrie. On \u003cem>The Dick Van Dyke Show\u003c/em>, Moore insisted on dumping the TV practice of wearing cocktail attire to vacuum, and met 1960s network pushback. Within a month, Rubenstein writes, there was a nationwide run on capris. Within two years, Dawn Wells was wearing second-skin short shorts as Mary Ann on \u003cem>Gilligan’s Island\u003c/em>. The network for both? CBS.\u003c/p>\n\u003cp>(HarperCollins, $40.)\u003c/p>\n\u003cfigure id=\"attachment_13938302\" class=\"wp-caption aligncenter\" style=\"max-width: 1036px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81EOruS2TL._SL1500_.jpg\" alt=\"A book cover depicting a yellow bird hanging from a tangled round nest.\" width=\"1036\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_.jpg 1036w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-1020x1477.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-768x1112.jpg 768w\" sizes=\"(max-width: 1036px) 100vw, 1036px\">\u003cfigcaption class=\"wp-caption-text\">‘Birding for a Better World,’ by Molly Adams and Sydney Golden Anderson. \u003ccite>(Princeton Architectural Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://papress.com/products/birding-for-a-better-world\">Birding for a Better World\u003c/a>\u003c/em>, by Molly Adams and Sydney Golden Anderson.\u003c/h2>\n\u003cp>Adams, founder of the Feminist Bird Club, and Golden Anderson, a habitat coordinator for the National Wildlife Federation, have produced a helpful primer on birding for all. It includes basic vocabulary and equipment use, and ways to make birding safer and more inclusive. They’ve included journal prompts and blank pages to record observations.\u003c/p>\n\u003cp>(Princeton Architectural Press, $22.95.)\u003c/p>\n\u003cfigure id=\"attachment_13938303\" class=\"wp-caption aligncenter\" style=\"max-width: 1121px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_.jpg\" alt=\"A plain grey book cover with the words Thom Browne on it.\" width=\"1121\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_.jpg 1121w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-768x1028.jpg 768w\" sizes=\"(max-width: 1121px) 100vw, 1121px\">\u003cfigcaption class=\"wp-caption-text\">‘Thom Browne,’ by Thom Browne and Andrew Bolton. \u003ccite>(Phaidon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.phaidon.com/store/signed-editions/thom-browne--9781838667474/\">\u003cem>Thom Browne\u003c/em>\u003c/a>, by Thom Browne and Andrew Bolton.\u003c/h2>\n\u003cp>Marking the 20th anniversary of the designer’s eponymous brand, this 420-page tome lets his clothes speak for themselves. Set against white backgrounds, images in this comprehensive book include commissioned photography by Johnny Dufort that was curated by the Met’s Bolton, Browne’s husband. It also includes glimpses of Browne’s conceptual fashion shows.\u003c/p>\n\u003cp>(Phaidon, $150.)\u003c/p>\n\u003cfigure id=\"attachment_13938304\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938304\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_.jpg\" alt=\"A book cover depicting a little Black girl wearing a frilled and lace gown with prominent shoulders. She is standing proudly.\" width=\"1250\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-800x960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-1020x1224.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-768x922.jpg 768w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">‘The New Brownies’ Book: A Love Letter to Black Families,’ by Karida L. Brown and Charly Palmer. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.chroniclebooks.com/products/new-brownies-book\">The New Brownies’ Book: A Love Letter to Black Families\u003c/a>\u003c/em>, by Karida L. Brown and Charly Palmer.\u003c/h2>\n\u003cp>This husband-and-wife team have created an homage to the monthly children’s magazine founded by W.E.B. Du Bois in 1920. They’ve mixed poems of Langston Hughes and other works that ran in \u003cem>The Brownies’ Book\u003c/em> with stunning new short stories, art, poetry and plays of leading Black artists today. The mission then and now: To serve and inspire Black youth.\u003c/p>\n\u003cp>(Chronicle Books, $40.)\u003c/p>\n\u003cfigure id=\"attachment_13938305\" class=\"wp-caption aligncenter\" style=\"max-width: 993px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_.jpg\" alt=\"A beige book cover with pink and black lettering.\" width=\"993\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_.jpg 993w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-768x1160.jpg 768w\" sizes=\"(max-width: 993px) 100vw, 993px\">\u003cfigcaption class=\"wp-caption-text\">‘Dressing the Part: Television’s Most Stylish Shows,’ by Hal Rubenstein. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/678235/mother-tongue-by-jenni-nuttall/\">Mother Tongue: The Surprising History of Women’s Words\u003c/a>\u003c/em>, by Jenni Nuttall.\u003c/h2>\n\u003cp>This lecturer in English at Exeter College has investigated dictionaries, manuals, poems, letters and more to lend an exacting analysis to today’s conversation over the words used to discuss and perceive the female experience. What surprised her most? “For every sexist idea which leaves its traces in our vocabulary, you can usually find a contemporary voice in the past challenging or even making fun of the extremes of misogyny.”\u003c/p>\n\u003cp>(Viking, $29.)\u003c/p>\n\u003cfigure id=\"attachment_13938307\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_.jpg\" alt=\"A black cover with gold lettering.\" width=\"900\" height=\"1159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-800x1030.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-768x989.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘Vanity Fair: Oscar Night Sessions,’ photos by Mark Seliger. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.abramsbooks.com/product/vanity-fair-oscar-night-sessions_9781419754784/\">Vanity Fair: Oscar Night Sessions\u003c/a>\u003c/em>, photos by Mark Seliger.\u003c/h2>\n\u003cp>For a decade, Seliger has set up a pop-up studio inside the \u003cem>Vanity Fair\u003c/em> after-party on Oscar night. This stunning collection of his A-list portraits over the years is telling and bittersweet. Couples have split (Joe Jonas and Sophie Turner). Stars have passed (Chadwick Boseman). Controversies later unfolded (Will Smith and Jada Pinkett Smith). Others have carried on (Robert De Niro). “Everything captured by a camera is ephemeral,” Seliger writes in an introduction. “It’s the art that lives on.”\u003c/p>\n\u003cp>(Abrams, $80.)\u003c/p>\n\u003cfigure id=\"attachment_13938309\" class=\"wp-caption aligncenter\" style=\"max-width: 1224px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71uId8H07jL._SL1500_.jpg\" alt=\"A book cover depicting a painting of a glass vase of tulips.\" width=\"1224\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-800x980.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-768x941.jpg 768w\" sizes=\"(max-width: 1224px) 100vw, 1224px\">\u003cfigcaption class=\"wp-caption-text\">‘Art in Flower,’ by Lindsey Taylor. \u003ccite>(The Monacelli Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.phaidon.com/monacelli/art-in-flower-finding-inspiration-in-art-and-nature-9781580936200/\">Art in Flower\u003c/a>\u003c/em>, by Lindsey Taylor.\u003c/h2>\n\u003cp>The floral and garden designer behind the \u003cem>Wall Street Journal\u003c/em> column “Flower School” has collected 40 of her floral arrangements with the art that inspired them. And they’re all wonders. Her column ran from 2014 to 2019. She takes readers through her thoughtful process for choosing vessels, along with flower gathering. On foraging, for instance, Taylor writes: “Try not to be greedy. The shrub or tree we’re cutting from is more important than our fleeting arrangement.”\u003c/p>\n\u003cp>(Monacelli, $60.)\u003c/p>\n\u003cfigure id=\"attachment_13938311\" class=\"wp-caption aligncenter\" style=\"max-width: 1301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938311\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_.jpg\" alt=\"A pink book cover depicting a colorful and surrealist rendition of a group of people. \" width=\"1301\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_.jpg 1301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-1020x1176.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-768x885.jpg 768w\" sizes=\"(max-width: 1301px) 100vw, 1301px\">\u003cfigcaption class=\"wp-caption-text\">‘Milton Glaser: Pop,’ by Steven Heller. \u003ccite>(The Monacelli Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.phaidon.com/monacelli/art-and-photography/milton-glaser-pop-9781580936132/\">\u003cem>Milton Glaser: Pop\u003c/em>\u003c/a>, by Steven Heller, Mirko Ilić and Beth Kleber.\u003c/h2>\n\u003cp>Glaser, the graphic designer who gave the world the I (Heart) New York logo, was at his best in the 1960s and ‘70s. Amid a revolution in graphic design, Glaser busied himself on book, magazine and album covers. He also created typefaces that endure today. More than 1,100 color images included in this broad overview, Glaser’s wit ever-present.\u003c/p>\n\u003cp>(Monacelli, $65.)\u003c/p>\n\u003cfigure id=\"attachment_13938313\" class=\"wp-caption aligncenter\" style=\"max-width: 1036px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938313\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/818MspA5HlL._SL1500_.jpg\" alt=\"A book cover depicting a wall of boom boxes.\" width=\"1036\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_.jpg 1036w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-1020x1477.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-768x1112.jpg 768w\" sizes=\"(max-width: 1036px) 100vw, 1036px\">\u003cfigcaption class=\"wp-caption-text\">‘LL Cool J Presents the Streets Win,’ by LL Cool J, Vikki Tobak and Alec Banks. \u003ccite>(Rizzoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.rizzoliusa.com/book/9780847873166/\">LL Cool J Presents the Streets Win\u003c/a>\u003c/em>, by LL Cool J, Vikki Tobak and Alec Banks.\u003c/h2>\n\u003cp>A beautifully illustrated homage to 50 years of hip-hop in the words of the icons who were there at the beginning. Includes rarely seen images and recollections from Salt-N-Pepa, Public Enemy, Run-D.M.C., Mary J. Blige and more. Peep Ludacris as a cutie child on page 288.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>(Rizzoli New York, $55.)\u003c/p>\n\n",
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"excerpt": "Fourteen coffee table books that could make great presents for loved ones this holiday season.",
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"description": "Fourteen coffee table books that could make great presents for loved ones this holiday season.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A good book packs power. A good book thoughtfully chosen as a gift can add a layer of joy.\u003c/p>\n\u003cp>The holidays are a great time to track down just the right coffee table reads for loved ones. There’s a wide array this time of year. Some options:\u003c/p>\n\u003cfigure id=\"attachment_13938293\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_.jpg\" alt=\"A book cover featuring people sunbathing on a stark white roof in front of an expanse of blue ocean and trees on the shoreline.\" width=\"900\" height=\"1140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-800x1013.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-768x973.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘Slim Aarons: The Essential Collection,’ photographs by Slim Aarons \u003ccite>(Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://store.abramsbooks.com/products/slim-aarons\">\u003cem>Slim Aarons: The Essential Collection\u003c/em>\u003c/a>, photographs by Slim Aarons, text by Shawn Waldron.\u003c/h2>\n\u003cp>The World War II photographer turned Hollywood insider had incredible access to the uber rich, from the pools of Palm Beach to the ski slopes of Gstaad. But he was so much more, shooting war orphans in Rome to tailgaters in Aiken, South Carolina. This hefty career-spanning collection has meaty text and includes more than 100 previously unpublished photos. Getty Images purchased his archive in 1997.\u003c/p>\n\u003cp>(Abrams, $175.)\u003c/p>\n\u003cfigure id=\"attachment_13938294\" class=\"wp-caption aligncenter\" style=\"max-width: 1293px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_.jpg\" alt=\"A red book cover depicting simple dotted artwork that resembles a Christmas tree covered with gold baubles.\" width=\"1293\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_.jpg 1293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-800x928.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-1020x1183.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-768x891.jpg 768w\" sizes=\"(max-width: 1293px) 100vw, 1293px\">\u003cfigcaption class=\"wp-caption-text\">‘The Christmas Book,’ by Phaidon editors. \u003ccite>(Phaidon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.phaidon.com/store/fashion-and-pop-culture/the-christmas-book-9781838665968/\">The Christmas Book\u003c/a>\u003c/em>, by Phaidon editors, with essays by David Trigg, Sam Bilton and Dolph Gotelli.\u003c/h2>\n\u003cp>The holiday, in festive cultural imagery. This is a jolly look at Christmas via design and artifacts. There’s a history of Christmas pudding charms, to be hidden within the holiday treat. And there’s an angel made of beads by an artisan in the Woza Moya collective of South Africa. Picasso’s Dove of Peace is included along with a Lego Santa’s Visit set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Phaidon, $49.95.)\u003c/p>\n\u003cfigure id=\"attachment_13938295\" class=\"wp-caption aligncenter\" style=\"max-width: 1144px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_.jpg\" alt=\"A book cover depicting an elegant and beautiful Black woman posing on a staircase wearing a white one-shouldered gown.\" width=\"1144\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-1020x1337.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-768x1007.jpg 768w\" sizes=\"(max-width: 1144px) 100vw, 1144px\">\u003cfigcaption class=\"wp-caption-text\">‘Lena Horne: Goddess Reclaimed,’ by Donald Bogle. \u003ccite>(Running Press Adult)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/donald-bogle/lena-horne/9780762475209/\">Lena Horne: Goddess Reclaimed\u003c/a>\u003c/em>, by Donald Bogle.\u003c/h2>\n\u003cp>The authority on Black representation in film and entertainment history based this biography on decades of research. Bogle dug deep into Horne’s chaotic childhood, which took her from Brooklyn to the Deep South and beyond. He spells out in detail her Cotton Club start as a teen and her years as a racial justice activist. He doesn’t smooth over the star’s bitter disappointments. Plenty of photos included.\u003c/p>\n\u003cp>(Running Press, $35.)\u003c/p>\n\u003cfigure id=\"attachment_13938297\" class=\"wp-caption aligncenter\" style=\"max-width: 1208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_.jpg\" alt=\"A young Black woman stands in side profile, arm raised above her head.\" width=\"1208\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_.jpg 1208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-768x954.jpg 768w\" sizes=\"(max-width: 1208px) 100vw, 1208px\">\u003cfigcaption class=\"wp-caption-text\">‘The Color of Dance,’ by TaKiyah Wallace-McMillian. \u003ccite>(Black Dog & Leventhal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/takiyah-wallace-mcmillian/the-color-of-dance/9780762479559/?lens=black-dog-leventhal\">The Color of Dance\u003c/a>\u003c/em>, by TaKiyah Wallace-McMillian.\u003c/h2>\n\u003cp>The photographer behind the Instagram account \u003ca href=\"https://www.instagram.com/browngirlsdoballet/?hl=en\">Brown Girls Do Ballet\u003c/a> has put together a celebratory essay in images of just that. Filled with insights from inside the dance world and hopeful girls in training, her portraits are set indoors and out with her subjects speaking for themselves. One young ballerina, Kailyn Scales, says of her craft: “I am small but mighty. When I dance, I feel powerful. I don’t feel like the smallest person in the room.”\u003c/p>\n\u003cp>(Black Dog & Leventhal, $30.)\u003c/p>\n\u003cfigure id=\"attachment_13938299\" class=\"wp-caption aligncenter\" style=\"max-width: 1246px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_.jpg\" alt=\"A book cover depicting photos of a variety of fresh foods over a large 'Y.'\" width=\"1246\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_.jpg 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-800x963.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-1020x1228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-768x925.jpg 768w\" sizes=\"(max-width: 1246px) 100vw, 1246px\">\u003cfigcaption class=\"wp-caption-text\">‘Yellowstone: The Official Dutton Ranch Family Cookbook,’ by Chef Gabriel ‘Gator’ Guilbeau with Kim Laidlaw. \u003ccite>(Insight Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://insighteditions.com/products/yellowstone-the-official-dutton-ranch-family-cookbook\">Yellowstone: The Official Dutton Ranch Family Cookbook\u003c/a>\u003c/em>, by Chef Gabriel “Gator” Guilbeau with Kim Laidlaw.\u003c/h2>\n\u003cp>Guilbeau was the set caterer for \u003cem>Yellowstone\u003c/em> and played the Dutton family’s cook on the hit series. This book is filled with more than 55 recipes beloved by the cast and featured on screen, some inspired by Guilbeau’s Cajun roots. Showrunner Taylor Sheridan is a fan of his Louisiana fried shrimp. Anybody remember that octopus Gator set in front of John, Kayce and Beth in Season 2? It didn’t go over well, but it looks delicious with lemon and roasted potatoes.\u003c/p>\n\u003cp>(Insight Editions, $34.99.)\u003c/p>\n\u003cfigure id=\"attachment_13938300\" class=\"wp-caption aligncenter\" style=\"max-width: 1104px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_.jpg\" alt=\"A book cover depicting a woman in 1950s-era clothing. She is wearing yellow heels and a green raincoat. \" width=\"1104\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-800x1087.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-1020x1386.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-768x1043.jpg 768w\" sizes=\"(max-width: 1104px) 100vw, 1104px\">\u003cfigcaption class=\"wp-caption-text\">‘Dressing the Part: Television’s Most Stylish Shows,’ by Hal Rubenstein. \u003ccite>(Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/dressing-the-part-hal-rubenstein?variant=40991772639266\">Dressing the Part: Television’s Most Stylish Shows\u003c/a>\u003c/em>, by Hal Rubenstein.\u003c/h2>\n\u003cp>In interviews, images and commentary, this frank, veteran fashion expert takes readers through the cultural significance of clothes in 50 top TV shows dating to the dawn of the medium. There’s the predictable period dramas. And there’s Mary Tyler Moore’s black capris pants as Laura Petrie. On \u003cem>The Dick Van Dyke Show\u003c/em>, Moore insisted on dumping the TV practice of wearing cocktail attire to vacuum, and met 1960s network pushback. Within a month, Rubenstein writes, there was a nationwide run on capris. Within two years, Dawn Wells was wearing second-skin short shorts as Mary Ann on \u003cem>Gilligan’s Island\u003c/em>. The network for both? CBS.\u003c/p>\n\u003cp>(HarperCollins, $40.)\u003c/p>\n\u003cfigure id=\"attachment_13938302\" class=\"wp-caption aligncenter\" style=\"max-width: 1036px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81EOruS2TL._SL1500_.jpg\" alt=\"A book cover depicting a yellow bird hanging from a tangled round nest.\" width=\"1036\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_.jpg 1036w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-1020x1477.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-768x1112.jpg 768w\" sizes=\"(max-width: 1036px) 100vw, 1036px\">\u003cfigcaption class=\"wp-caption-text\">‘Birding for a Better World,’ by Molly Adams and Sydney Golden Anderson. \u003ccite>(Princeton Architectural Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://papress.com/products/birding-for-a-better-world\">Birding for a Better World\u003c/a>\u003c/em>, by Molly Adams and Sydney Golden Anderson.\u003c/h2>\n\u003cp>Adams, founder of the Feminist Bird Club, and Golden Anderson, a habitat coordinator for the National Wildlife Federation, have produced a helpful primer on birding for all. It includes basic vocabulary and equipment use, and ways to make birding safer and more inclusive. They’ve included journal prompts and blank pages to record observations.\u003c/p>\n\u003cp>(Princeton Architectural Press, $22.95.)\u003c/p>\n\u003cfigure id=\"attachment_13938303\" class=\"wp-caption aligncenter\" style=\"max-width: 1121px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_.jpg\" alt=\"A plain grey book cover with the words Thom Browne on it.\" width=\"1121\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_.jpg 1121w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-768x1028.jpg 768w\" sizes=\"(max-width: 1121px) 100vw, 1121px\">\u003cfigcaption class=\"wp-caption-text\">‘Thom Browne,’ by Thom Browne and Andrew Bolton. \u003ccite>(Phaidon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.phaidon.com/store/signed-editions/thom-browne--9781838667474/\">\u003cem>Thom Browne\u003c/em>\u003c/a>, by Thom Browne and Andrew Bolton.\u003c/h2>\n\u003cp>Marking the 20th anniversary of the designer’s eponymous brand, this 420-page tome lets his clothes speak for themselves. Set against white backgrounds, images in this comprehensive book include commissioned photography by Johnny Dufort that was curated by the Met’s Bolton, Browne’s husband. It also includes glimpses of Browne’s conceptual fashion shows.\u003c/p>\n\u003cp>(Phaidon, $150.)\u003c/p>\n\u003cfigure id=\"attachment_13938304\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938304\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_.jpg\" alt=\"A book cover depicting a little Black girl wearing a frilled and lace gown with prominent shoulders. She is standing proudly.\" width=\"1250\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-800x960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-1020x1224.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-768x922.jpg 768w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">‘The New Brownies’ Book: A Love Letter to Black Families,’ by Karida L. Brown and Charly Palmer. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.chroniclebooks.com/products/new-brownies-book\">The New Brownies’ Book: A Love Letter to Black Families\u003c/a>\u003c/em>, by Karida L. Brown and Charly Palmer.\u003c/h2>\n\u003cp>This husband-and-wife team have created an homage to the monthly children’s magazine founded by W.E.B. Du Bois in 1920. They’ve mixed poems of Langston Hughes and other works that ran in \u003cem>The Brownies’ Book\u003c/em> with stunning new short stories, art, poetry and plays of leading Black artists today. The mission then and now: To serve and inspire Black youth.\u003c/p>\n\u003cp>(Chronicle Books, $40.)\u003c/p>\n\u003cfigure id=\"attachment_13938305\" class=\"wp-caption aligncenter\" style=\"max-width: 993px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_.jpg\" alt=\"A beige book cover with pink and black lettering.\" width=\"993\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_.jpg 993w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-768x1160.jpg 768w\" sizes=\"(max-width: 993px) 100vw, 993px\">\u003cfigcaption class=\"wp-caption-text\">‘Dressing the Part: Television’s Most Stylish Shows,’ by Hal Rubenstein. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/678235/mother-tongue-by-jenni-nuttall/\">Mother Tongue: The Surprising History of Women’s Words\u003c/a>\u003c/em>, by Jenni Nuttall.\u003c/h2>\n\u003cp>This lecturer in English at Exeter College has investigated dictionaries, manuals, poems, letters and more to lend an exacting analysis to today’s conversation over the words used to discuss and perceive the female experience. What surprised her most? “For every sexist idea which leaves its traces in our vocabulary, you can usually find a contemporary voice in the past challenging or even making fun of the extremes of misogyny.”\u003c/p>\n\u003cp>(Viking, $29.)\u003c/p>\n\u003cfigure id=\"attachment_13938307\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_.jpg\" alt=\"A black cover with gold lettering.\" width=\"900\" height=\"1159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-800x1030.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-768x989.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘Vanity Fair: Oscar Night Sessions,’ photos by Mark Seliger. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.abramsbooks.com/product/vanity-fair-oscar-night-sessions_9781419754784/\">Vanity Fair: Oscar Night Sessions\u003c/a>\u003c/em>, photos by Mark Seliger.\u003c/h2>\n\u003cp>For a decade, Seliger has set up a pop-up studio inside the \u003cem>Vanity Fair\u003c/em> after-party on Oscar night. This stunning collection of his A-list portraits over the years is telling and bittersweet. Couples have split (Joe Jonas and Sophie Turner). Stars have passed (Chadwick Boseman). Controversies later unfolded (Will Smith and Jada Pinkett Smith). Others have carried on (Robert De Niro). “Everything captured by a camera is ephemeral,” Seliger writes in an introduction. “It’s the art that lives on.”\u003c/p>\n\u003cp>(Abrams, $80.)\u003c/p>\n\u003cfigure id=\"attachment_13938309\" class=\"wp-caption aligncenter\" style=\"max-width: 1224px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71uId8H07jL._SL1500_.jpg\" alt=\"A book cover depicting a painting of a glass vase of tulips.\" width=\"1224\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-800x980.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-768x941.jpg 768w\" sizes=\"(max-width: 1224px) 100vw, 1224px\">\u003cfigcaption class=\"wp-caption-text\">‘Art in Flower,’ by Lindsey Taylor. \u003ccite>(The Monacelli Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.phaidon.com/monacelli/art-in-flower-finding-inspiration-in-art-and-nature-9781580936200/\">Art in Flower\u003c/a>\u003c/em>, by Lindsey Taylor.\u003c/h2>\n\u003cp>The floral and garden designer behind the \u003cem>Wall Street Journal\u003c/em> column “Flower School” has collected 40 of her floral arrangements with the art that inspired them. And they’re all wonders. Her column ran from 2014 to 2019. She takes readers through her thoughtful process for choosing vessels, along with flower gathering. On foraging, for instance, Taylor writes: “Try not to be greedy. The shrub or tree we’re cutting from is more important than our fleeting arrangement.”\u003c/p>\n\u003cp>(Monacelli, $60.)\u003c/p>\n\u003cfigure id=\"attachment_13938311\" class=\"wp-caption aligncenter\" style=\"max-width: 1301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938311\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_.jpg\" alt=\"A pink book cover depicting a colorful and surrealist rendition of a group of people. \" width=\"1301\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_.jpg 1301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-1020x1176.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-768x885.jpg 768w\" sizes=\"(max-width: 1301px) 100vw, 1301px\">\u003cfigcaption class=\"wp-caption-text\">‘Milton Glaser: Pop,’ by Steven Heller. \u003ccite>(The Monacelli Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.phaidon.com/monacelli/art-and-photography/milton-glaser-pop-9781580936132/\">\u003cem>Milton Glaser: Pop\u003c/em>\u003c/a>, by Steven Heller, Mirko Ilić and Beth Kleber.\u003c/h2>\n\u003cp>Glaser, the graphic designer who gave the world the I (Heart) New York logo, was at his best in the 1960s and ‘70s. Amid a revolution in graphic design, Glaser busied himself on book, magazine and album covers. He also created typefaces that endure today. More than 1,100 color images included in this broad overview, Glaser’s wit ever-present.\u003c/p>\n\u003cp>(Monacelli, $65.)\u003c/p>\n\u003cfigure id=\"attachment_13938313\" class=\"wp-caption aligncenter\" style=\"max-width: 1036px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938313\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/818MspA5HlL._SL1500_.jpg\" alt=\"A book cover depicting a wall of boom boxes.\" width=\"1036\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_.jpg 1036w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-1020x1477.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-768x1112.jpg 768w\" sizes=\"(max-width: 1036px) 100vw, 1036px\">\u003cfigcaption class=\"wp-caption-text\">‘LL Cool J Presents the Streets Win,’ by LL Cool J, Vikki Tobak and Alec Banks. \u003ccite>(Rizzoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.rizzoliusa.com/book/9780847873166/\">LL Cool J Presents the Streets Win\u003c/a>\u003c/em>, by LL Cool J, Vikki Tobak and Alec Banks.\u003c/h2>\n\u003cp>A beautifully illustrated homage to 50 years of hip-hop in the words of the icons who were there at the beginning. Includes rarely seen images and recollections from Salt-N-Pepa, Public Enemy, Run-D.M.C., Mary J. Blige and more. Peep Ludacris as a cutie child on page 288.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "stamped-from-the-beginning-documentary-review-netflix-racism",
"title": "‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism",
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"headTitle": "‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism | KQED",
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"content": "\u003cp>The Netflix documentary \u003cem>Stamped from the Beginning\u003c/em> kicks off with a provocative question from antiracism advocate, author and professor Ibram X. Kendi:\u003c/p>\n\u003cp>What is wrong with Black people?\u003c/p>\n\u003cp>[aside postid='arts_13934736']As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HMYLFQbyIu4\u003c/p>\n\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>[aside postid='arts_13931196']The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>[aside postid='arts_13935208']Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Netflix documentary \u003cem>Stamped from the Beginning\u003c/em> kicks off with a provocative question from antiracism advocate, author and professor Ibram X. Kendi:\u003c/p>\n\u003cp>What is wrong with Black people?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\u003c/em>.\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/HMYLFQbyIu4'\n title='//www.youtube.com/embed/HMYLFQbyIu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Crown’ Shines in Its Final Season — Just Remember It's Not the History Channel",
"headTitle": "‘The Crown’ Shines in Its Final Season — Just Remember It’s Not the History Channel | KQED",
"content": "\u003cp>\u003cem>(Be warned: this review discusses key details from the first four episodes of The Crown’s sixth and final season)\u003c/em>\u003c/p>\n\u003cp>From the opening scene in the first episode — with cars speeding down a Paris street moments before sounds of an off-screen crash — \u003cem>The Crown\u003c/em> makes plain that its sixth and final season will finally depict a seismic moment.\u003c/p>\n\u003cp>[aside postid='arts_13923613']Namely, the 1997 deaths of Diana, Princess of Wales, her companion Dodi Fayed, and their driver in a car accident while fleeing paparazzi.\u003c/p>\n\u003cp>Along the way, the season’s first four episodes deftly reflect the series’ ongoing examination of the tension between the royal family’s private lives and public duty.\u003c/p>\n\u003cp>Viewers see the struggle to manage shattering grief in a family dedicated to maintaining a stoic public presence, outlining how Diana’s demise pulled the British monarchy — especially Queen Elizabeth — into a more modern understanding of how they could connect with the people of England.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1weI6ICx-hg\u003c/p>\n\u003ch3>Documenting a historic relationship\u003c/h3>\n\u003cp>But before fully diving into the details of that fateful day, \u003cem>The Crown\u003c/em> flashes back to show her relationship evolve with Dodi Fayed, the son of billionaire Mohamed Al-Fayed. By the third episode, Diana — played with stunning allure and sensitivity by Elizabeth Debicki — admits a growing ambivalence about their romance, speaking by phone in a presumably private conversation with her therapist.\u003c/p>\n\u003cp>[aside postid='arts_13918461']The therapist, Susie Orbach, is shown suggesting that Diana might want to distance herself from Dodi, who the therapist says is caught in a difficult relationship with a domineering father.\u003c/p>\n\u003cp>“The risk is, one normalizes the abnormal and becomes accustomed to living in the madness,” Orbach says. “That’s when things really go wrong.”\u003c/p>\n\u003cp>Not too much foreshadowing there. But this is an example of a staple of \u003cem>The Crown\u003c/em>: Personal conversations shown in ways that may confuse viewers about how much of the moment they are watching has been invented or assumed.\u003c/p>\n\u003cfigure id=\"attachment_13938191\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe\" alt=\"An older white woman's face close-up and in profile. Next to her is a younger white woman with blonde, cropped hair, looking pensive.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Imelda Staunton as Queen Elizabeth and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Depicting a key moment from their last day\u003c/h3>\n\u003cp>That issue surfaces again in another key moment from the third episode (yet another spoiler alert that I’m about to mention an important detail).\u003c/p>\n\u003cp>The scene in question centers on whether Dodi proposed marriage to Diana on the day they died and how she reacts.\u003c/p>\n\u003cp>It’s a fascinating, well-told moment, buoyed by fantastic performances from Debicki and Khalid Abdalla, who plays Dodi. Abdalla renders Dodi as a sensitive man pressured by his father to marry Diana to elevate their family — nevertheless, close enough to her to speak frankly when she asks him what’s wrong with her life.\u003c/p>\n\u003cp>[aside postid='arts_13916622']“Look what you’ve managed to achieve, in the year since you’ve been divorced,” Dodi tells Diana. “A global anti-land mine campaign … raising millions for charity … and yet you’re still not satisfied. Stop being in such a mad hurry to find whatever it is you’ve been looking for.”\u003c/p>\n\u003cp>A representative for Mohamed Al-Fayed, who died in August at age 94,\u003ca href=\"http://news.bbc.co.uk/2/hi/uk_news/7182228.stm\"> has said publicly \u003c/a>in the past the two were engaged. More recently, \u003ca href=\"https://deadline.com/2023/11/the-crown-princess-diana-mohamed-dodi-fayed-relationship-netflix-1235612740/\">the representative denied \u003c/a>Al-Fayed pushed the couple together. But I asked longtime royal filmmaker Nick Bullen of True Royalty TV — a platform with loads of documentaries on the British monarchy — for his perspective. He told me that Diana had been hinting to friends that she was reconsidering their relationship.\u003c/p>\n\u003cp>“I think [the proposal] is probably artistic license,” Bullen said. “She definitely wasn’t in a place where she wanted to get married.”\u003c/p>\n\u003cp>Then I talked with Emily Burack, a news writer at \u003cem>Town & Country\u003c/em> who has extensively covered the royal family and \u003cem>The Crown\u003c/em>. She said that the show does flesh out Dodi’s story in a way that depicts him as more than just a wealthy playboy who died in a car next to Diana.\u003c/p>\n\u003cp>“It gives you a fuller portrait of Dodi as a person,” Burack said. “People only think of Dodi in his death. They never think about this fun summer he had with Diana or the person he was.”\u003c/p>\n\u003cp>Drawing distinctions between fact and fiction here may sound nitpicky. But their story could be important to people who anticipated a possibly historic union between an Egyptian man and the mother of a future King of England.\u003c/p>\n\u003cfigure id=\"attachment_13938189\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe\" alt=\"A man of Arabic descent in his thirties walks side by side with a tall, slender white woman with short blonde hair. They are smiling at each other.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Khalid Abdalla as Dodi Fayed and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Showing conflict over Diana’s funeral\u003c/h3>\n\u003cp>Both Bullen and Burack also said that another private moment shown in \u003cem>The Crown\u003c/em> likely did happen in some way: when then-Prince Charles, played by Dominic West, pushes a reluctant Queen Elizabeth to show grief over Diana’s death publicly and give her a public funeral.\u003c/p>\n\u003cp>“It’s always been hard for us to understand the connection that Diana has with people,” Charles tells his mother in an emotional scene. “But the fact that it’s inexplicable, shouldn’t lead us to deny it … I’ve seen it for myself. People taking to the streets. Not just here, all over the world … And they will expect us to show grief and compassion and for you to be mother to the nation.”\u003c/p>\n\u003cp>[aside postid='arts_13866072']There has already \u003ca href=\"https://www.radiotimes.com/tv/drama/the-crown-diana-ghost-scenes-newsupdate/\">been some criticism \u003c/a>of scenes which depict Diana appearing to both Charles and Queen Elizabeth to have conversations with them after her death. While it may seem as if her ghost were visiting them — Dodi is also shown having a post-death conversation with his father — for me, the scenes played as if these people were working through their feelings by imagining conversations with Diana and Dodi that they were no longer able to have.\u003c/p>\n\u003cp>These first four episodes of the season — the final six will drop next month, concluding the series — also provide another chance to re-evaluate Diana’s legacy, just as the world is re-considering how many famous women were treated in the 1990s, from Britney Spears to Tina Turner.\u003c/p>\n\u003cp>As a critic, I have always been uneasy with how \u003cem>The Crown\u003c/em> shifts seamlessly from highly accurate depictions to invented moments. And last season, which featured a detailed portrayal of how Diana and Charles’ marriage fell apart, \u003ca href=\"https://www.npr.org/2022/11/08/1135076997/netflixs-new-season-of-the-crown-debuts-at-a-controversial-moment\">was criticized by\u003c/a> actress Dame Judi Dench and former British Prime Minister John Major.\u003c/p>\n\u003cp>Still, there is no denying these episodes of \u003cem>The Crown\u003c/em> are incredibly well done, fleshing out an important moment for the family in a creative, telling way.\u003c/p>\n\u003cp>Just so long as viewers remember they’re watching a TV drama, not a program on the History channel.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Crown%27+shines+in+its+final+season+%E2%80%94+just+remember+it%27s+not+the+History+Channel+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>The first four episodes of the sixth season of ‘The Crown’ are streaming on Netflix now. The final six episodes of the series will arrive on the channel on Dec. 14, 2023.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>(Be warned: this review discusses key details from the first four episodes of The Crown’s sixth and final season)\u003c/em>\u003c/p>\n\u003cp>From the opening scene in the first episode — with cars speeding down a Paris street moments before sounds of an off-screen crash — \u003cem>The Crown\u003c/em> makes plain that its sixth and final season will finally depict a seismic moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Namely, the 1997 deaths of Diana, Princess of Wales, her companion Dodi Fayed, and their driver in a car accident while fleeing paparazzi.\u003c/p>\n\u003cp>Along the way, the season’s first four episodes deftly reflect the series’ ongoing examination of the tension between the royal family’s private lives and public duty.\u003c/p>\n\u003cp>Viewers see the struggle to manage shattering grief in a family dedicated to maintaining a stoic public presence, outlining how Diana’s demise pulled the British monarchy — especially Queen Elizabeth — into a more modern understanding of how they could connect with the people of England.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The therapist, Susie Orbach, is shown suggesting that Diana might want to distance herself from Dodi, who the therapist says is caught in a difficult relationship with a domineering father.\u003c/p>\n\u003cp>“The risk is, one normalizes the abnormal and becomes accustomed to living in the madness,” Orbach says. “That’s when things really go wrong.”\u003c/p>\n\u003cp>Not too much foreshadowing there. But this is an example of a staple of \u003cem>The Crown\u003c/em>: Personal conversations shown in ways that may confuse viewers about how much of the moment they are watching has been invented or assumed.\u003c/p>\n\u003cfigure id=\"attachment_13938191\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe\" alt=\"An older white woman's face close-up and in profile. Next to her is a younger white woman with blonde, cropped hair, looking pensive.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Imelda Staunton as Queen Elizabeth and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Depicting a key moment from their last day\u003c/h3>\n\u003cp>That issue surfaces again in another key moment from the third episode (yet another spoiler alert that I’m about to mention an important detail).\u003c/p>\n\u003cp>The scene in question centers on whether Dodi proposed marriage to Diana on the day they died and how she reacts.\u003c/p>\n\u003cp>It’s a fascinating, well-told moment, buoyed by fantastic performances from Debicki and Khalid Abdalla, who plays Dodi. Abdalla renders Dodi as a sensitive man pressured by his father to marry Diana to elevate their family — nevertheless, close enough to her to speak frankly when she asks him what’s wrong with her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Look what you’ve managed to achieve, in the year since you’ve been divorced,” Dodi tells Diana. “A global anti-land mine campaign … raising millions for charity … and yet you’re still not satisfied. Stop being in such a mad hurry to find whatever it is you’ve been looking for.”\u003c/p>\n\u003cp>A representative for Mohamed Al-Fayed, who died in August at age 94,\u003ca href=\"http://news.bbc.co.uk/2/hi/uk_news/7182228.stm\"> has said publicly \u003c/a>in the past the two were engaged. More recently, \u003ca href=\"https://deadline.com/2023/11/the-crown-princess-diana-mohamed-dodi-fayed-relationship-netflix-1235612740/\">the representative denied \u003c/a>Al-Fayed pushed the couple together. But I asked longtime royal filmmaker Nick Bullen of True Royalty TV — a platform with loads of documentaries on the British monarchy — for his perspective. He told me that Diana had been hinting to friends that she was reconsidering their relationship.\u003c/p>\n\u003cp>“I think [the proposal] is probably artistic license,” Bullen said. “She definitely wasn’t in a place where she wanted to get married.”\u003c/p>\n\u003cp>Then I talked with Emily Burack, a news writer at \u003cem>Town & Country\u003c/em> who has extensively covered the royal family and \u003cem>The Crown\u003c/em>. She said that the show does flesh out Dodi’s story in a way that depicts him as more than just a wealthy playboy who died in a car next to Diana.\u003c/p>\n\u003cp>“It gives you a fuller portrait of Dodi as a person,” Burack said. “People only think of Dodi in his death. They never think about this fun summer he had with Diana or the person he was.”\u003c/p>\n\u003cp>Drawing distinctions between fact and fiction here may sound nitpicky. But their story could be important to people who anticipated a possibly historic union between an Egyptian man and the mother of a future King of England.\u003c/p>\n\u003cfigure id=\"attachment_13938189\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe\" alt=\"A man of Arabic descent in his thirties walks side by side with a tall, slender white woman with short blonde hair. They are smiling at each other.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Khalid Abdalla as Dodi Fayed and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Showing conflict over Diana’s funeral\u003c/h3>\n\u003cp>Both Bullen and Burack also said that another private moment shown in \u003cem>The Crown\u003c/em> likely did happen in some way: when then-Prince Charles, played by Dominic West, pushes a reluctant Queen Elizabeth to show grief over Diana’s death publicly and give her a public funeral.\u003c/p>\n\u003cp>“It’s always been hard for us to understand the connection that Diana has with people,” Charles tells his mother in an emotional scene. “But the fact that it’s inexplicable, shouldn’t lead us to deny it … I’ve seen it for myself. People taking to the streets. Not just here, all over the world … And they will expect us to show grief and compassion and for you to be mother to the nation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There has already \u003ca href=\"https://www.radiotimes.com/tv/drama/the-crown-diana-ghost-scenes-newsupdate/\">been some criticism \u003c/a>of scenes which depict Diana appearing to both Charles and Queen Elizabeth to have conversations with them after her death. While it may seem as if her ghost were visiting them — Dodi is also shown having a post-death conversation with his father — for me, the scenes played as if these people were working through their feelings by imagining conversations with Diana and Dodi that they were no longer able to have.\u003c/p>\n\u003cp>These first four episodes of the season — the final six will drop next month, concluding the series — also provide another chance to re-evaluate Diana’s legacy, just as the world is re-considering how many famous women were treated in the 1990s, from Britney Spears to Tina Turner.\u003c/p>\n\u003cp>As a critic, I have always been uneasy with how \u003cem>The Crown\u003c/em> shifts seamlessly from highly accurate depictions to invented moments. And last season, which featured a detailed portrayal of how Diana and Charles’ marriage fell apart, \u003ca href=\"https://www.npr.org/2022/11/08/1135076997/netflixs-new-season-of-the-crown-debuts-at-a-controversial-moment\">was criticized by\u003c/a> actress Dame Judi Dench and former British Prime Minister John Major.\u003c/p>\n\u003cp>Still, there is no denying these episodes of \u003cem>The Crown\u003c/em> are incredibly well done, fleshing out an important moment for the family in a creative, telling way.\u003c/p>\n\u003cp>Just so long as viewers remember they’re watching a TV drama, not a program on the History channel.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Crown%27+shines+in+its+final+season+%E2%80%94+just+remember+it%27s+not+the+History+Channel+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>The first four episodes of the sixth season of ‘The Crown’ are streaming on Netflix now. The final six episodes of the series will arrive on the channel on Dec. 14, 2023.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "E-40 Discusses New Album, His Cookbook With Snoop, and Being Underrated",
"headTitle": "E-40 Discusses New Album, His Cookbook With Snoop, and Being Underrated | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor\">E-40\u003c/a> built a three decade-plus career on the foundations of an unorthodox rap flow, schooling listeners with life lessons through his streetwise perspective.\u003c/p>\n\u003cp>With a heavy dose of Bay Area slang, E-40 created a lane for his unique hip-hop vernacular that has made him one of the genre’s most revered artists. As a savvy businessman, he’s leveraged his connections in the rap world to the wine, ice cream and food brand industries, including a Filipino food business inside Oracle Park in San Francisco.\u003c/p>\n\u003cp>[aside postid='arts_13927874']Now at 56, there’s no slowing down for E-40, who released his 27th studio album \u003cem>Rule of Thumb: Rule 1\u003c/em> on Friday. His new project comes more than 30 years after his debut, \u003cem>Federal\u003c/em>.\u003c/p>\n\u003cp>The new album — which features NBA YoungBoy, Too Short, Larry June, Gucci Mane, B.G. and E-40’s son Droop-E — is the first installment of the \u003cem>Rule of Thumb\u003c/em> album series. He plans to release the sequel album early next year.\u003c/p>\n\u003cp>In a recent interview, E-40 spoke with The Associated Press about being an underrated legend, his unorthodox rap style and the new cookbook called \u003cem>Snoop Dogg Presents: Goon With the Spoon\u003c/em>, which released earlier this week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Answers have been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Jonathan Landrum, Jr:\u003c/strong> \u003cstrong>What’s the meaning behind your album title?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>E-40:\u003c/strong> I feel like \u003cem>Rule of Thumb\u003c/em> is just common sense. It’s certain rules and regulations that you must just know off top. It doesn’t take a rocket scientist. You don’t have to have a quarter of a brain to comprehend that. I’m teaching life lessons. Giving it to them straight, not fake and not fabricating things. It’s a lot of lightweight storytelling and a lot of life lessons, consequences and repercussions. I mix it up like a gumbo pot. I’m multi-dimensional. I don’t do just one style of rap. My beats aren’t always the same. I’m everywhere like air.\u003c/p>\n\u003cfigure id=\"attachment_13938195\" class=\"wp-caption aligncenter\" style=\"max-width: 1050px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/rule-of-thumb.jpg\" alt=\"An album cover depicting rapper E-40 in miniature. He is sitting on a scroll next to handcuffs, a key and a quill. A courthouse and scales are visible behind him.\" width=\"1050\" height=\"1050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-768x768.jpg 768w\" sizes=\"(max-width: 1050px) 100vw, 1050px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Rule of Thumb: Rule 1.’ \u003ccite>(Heavy on the Grind)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where does your unorthodox rap style and wisdom come from?\u003c/strong>\u003c/p>\n\u003cp>Being chipped from a different cliff, being carved from a different clay, and made from a different fabric. I’m wired different than most. I’m from an era of morals and respect, and we follow guidelines. That’s always been me… I always told stories. I talked about the repercussions and the consequences. If you go do this, you do know that little 30-second decision that you made could cost you 30 years in prison or you might be buried 6 feet deep. I always talked about the consequences if you go do something. I speak the real.\u003c/p>\n\u003cp>\u003cstrong>You’re highly respected within hip-hop, but how does the feeling of being underrated bother you?\u003c/strong>\u003c/p>\n\u003cp>My life is beautiful. I’m very successful. I’m financially set. I’m financially good. I’m still accumulating bread. I’m still breaking boundaries. But anything that’s different is always going to be questionable. There will never be a rapper like E-40, whether you like me or not. You just got to give it to me. I got my own thing. I’ve been successful for 36 years with music since 1988. Let that soak in. I’ve got to be doing something right. Can’t just be no damn luck. I come from the ground up. All your favorite independent CEOs, they respect me because I was first. I laid the foundation for independent music.\u003c/p>\n\u003cp>Do I still feel underrated? Yes, I do. But I know what comes with the package. They like people that’s in the pocket and never go outside the box. That’s not me.\u003c/p>\n\u003cp>\u003cstrong>You have a new cookbook. When did your passion for cooking start?\u003c/strong>\u003c/p>\n\u003cp>I’m the oldest of four. Moms would work two or three jobs. My mom and dad divorced when I was 8 years old. I had a lot of responsibilities being the oldest, so I cooked. We all knew how to cook. We taught ourselves how to cook. I worked at a restaurant when I was a teenager. There was a Caucasian man that I love dearly to this day. His name is Lewis. He taught me how to cook escargot, orange roughy with almonds with lemon butter sauce with white wine. He taught me how to do London Broil and chicken cordon bleu.\u003c/p>\n\u003cfigure id=\"attachment_13938194\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg\" alt=\"A book cover featuring two Black men. One is wearing an apron and chef's hat and holding up a large meat sandwich. The other is wearing a bucket hat, Death Row Records shirt and white spectacles.\" width=\"1294\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-768x890.jpg 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you and Snoop connect on this cookbook?\u003c/strong>\u003c/p>\n\u003cp>Snoop, that’s my guy. He cooks as well. He was like, “Earl, my book was very successful. I sold over a million copies. It’s a bestseller. Let me present it.”\u003c/p>\n\u003cp>I was like “Snoop, I rock with you. You’re legendary. You’re a good friend of mine. I’ve been knowing you for over 30-plus years. We’re family. Thank you. Let’s do it.”\u003c/p>\n\u003cp>When you put your pride to the side, bigger things happen. He’s got some recipes in there. I got some recipes in there. He’s got adult beverages. I have adult beverages. It only makes sense. We both co-pack. We do the whole thing. Teamwork makes the dream work. It’s enough money out there for all of us.\u003c/p>\n\u003cp>\u003cstrong>You’ve met with Vice President Kamala Harris at the White House, received an honorary doctorate from Grambling State University and had a street named after you in your hometown of Vallejo, California. How has hip-hop impacted your life?\u003c/strong>\u003c/p>\n\u003cp>Shout out to DJ Kool Herc, Grandmaster Flash and the Furious Five, Run-DMC. Those dudes really paved the way for people like myself to diversify our portfolios and find other ways to make financial gain on a legitimate note. This beats the streets. You can make more money here than you could ever in the streets.\u003c/p>\n\u003cp>\u003cstrong>Will you ever release a book with your slang terms?\u003c/strong>\u003c/p>\n\u003cp>If I do the book of slang, it’s going to hurt people’s feelings. Because they think that their favorite rapper made the words up, and it came from me. Or if it didn’t come from me, I got it from the soil — the trenches where most rappers that are from the urban community get their (expletive) from.\u003c/p>\n\u003cp>I’ve been around for more than a half a century. I know all this. I’ve got receipts to back it up. One day, I want to sit down and go word-for-word of all the words I’ve coined. I want to go to the year, the song, everything. I want to ask “Who said it before me?” If they try to lie about it, I’ve got receipts. I was the first rapper screaming “Tycoon.” That’s one of many. “Slappin.” “Choppers.” I’ve got so many of them. Just for that, I’m going to do a book of slang. The real way in 2024 style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Rule of Thumb: Rule 1’ is out on Nov. 17, 2023. ‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens (with Photos by Antonis Achilleos) is out now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now at 56, there’s no slowing down for E-40, who released his 27th studio album \u003cem>Rule of Thumb: Rule 1\u003c/em> on Friday. His new project comes more than 30 years after his debut, \u003cem>Federal\u003c/em>.\u003c/p>\n\u003cp>The new album — which features NBA YoungBoy, Too Short, Larry June, Gucci Mane, B.G. and E-40’s son Droop-E — is the first installment of the \u003cem>Rule of Thumb\u003c/em> album series. He plans to release the sequel album early next year.\u003c/p>\n\u003cp>In a recent interview, E-40 spoke with The Associated Press about being an underrated legend, his unorthodox rap style and the new cookbook called \u003cem>Snoop Dogg Presents: Goon With the Spoon\u003c/em>, which released earlier this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Answers have been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Jonathan Landrum, Jr:\u003c/strong> \u003cstrong>What’s the meaning behind your album title?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>E-40:\u003c/strong> I feel like \u003cem>Rule of Thumb\u003c/em> is just common sense. It’s certain rules and regulations that you must just know off top. It doesn’t take a rocket scientist. You don’t have to have a quarter of a brain to comprehend that. I’m teaching life lessons. Giving it to them straight, not fake and not fabricating things. It’s a lot of lightweight storytelling and a lot of life lessons, consequences and repercussions. I mix it up like a gumbo pot. I’m multi-dimensional. I don’t do just one style of rap. My beats aren’t always the same. I’m everywhere like air.\u003c/p>\n\u003cfigure id=\"attachment_13938195\" class=\"wp-caption aligncenter\" style=\"max-width: 1050px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/rule-of-thumb.jpg\" alt=\"An album cover depicting rapper E-40 in miniature. He is sitting on a scroll next to handcuffs, a key and a quill. A courthouse and scales are visible behind him.\" width=\"1050\" height=\"1050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-768x768.jpg 768w\" sizes=\"(max-width: 1050px) 100vw, 1050px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Rule of Thumb: Rule 1.’ \u003ccite>(Heavy on the Grind)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where does your unorthodox rap style and wisdom come from?\u003c/strong>\u003c/p>\n\u003cp>Being chipped from a different cliff, being carved from a different clay, and made from a different fabric. I’m wired different than most. I’m from an era of morals and respect, and we follow guidelines. That’s always been me… I always told stories. I talked about the repercussions and the consequences. If you go do this, you do know that little 30-second decision that you made could cost you 30 years in prison or you might be buried 6 feet deep. I always talked about the consequences if you go do something. I speak the real.\u003c/p>\n\u003cp>\u003cstrong>You’re highly respected within hip-hop, but how does the feeling of being underrated bother you?\u003c/strong>\u003c/p>\n\u003cp>My life is beautiful. I’m very successful. I’m financially set. I’m financially good. I’m still accumulating bread. I’m still breaking boundaries. But anything that’s different is always going to be questionable. There will never be a rapper like E-40, whether you like me or not. You just got to give it to me. I got my own thing. I’ve been successful for 36 years with music since 1988. Let that soak in. I’ve got to be doing something right. Can’t just be no damn luck. I come from the ground up. All your favorite independent CEOs, they respect me because I was first. I laid the foundation for independent music.\u003c/p>\n\u003cp>Do I still feel underrated? Yes, I do. But I know what comes with the package. They like people that’s in the pocket and never go outside the box. That’s not me.\u003c/p>\n\u003cp>\u003cstrong>You have a new cookbook. When did your passion for cooking start?\u003c/strong>\u003c/p>\n\u003cp>I’m the oldest of four. Moms would work two or three jobs. My mom and dad divorced when I was 8 years old. I had a lot of responsibilities being the oldest, so I cooked. We all knew how to cook. We taught ourselves how to cook. I worked at a restaurant when I was a teenager. There was a Caucasian man that I love dearly to this day. His name is Lewis. He taught me how to cook escargot, orange roughy with almonds with lemon butter sauce with white wine. He taught me how to do London Broil and chicken cordon bleu.\u003c/p>\n\u003cfigure id=\"attachment_13938194\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg\" alt=\"A book cover featuring two Black men. One is wearing an apron and chef's hat and holding up a large meat sandwich. The other is wearing a bucket hat, Death Row Records shirt and white spectacles.\" width=\"1294\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-768x890.jpg 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you and Snoop connect on this cookbook?\u003c/strong>\u003c/p>\n\u003cp>Snoop, that’s my guy. He cooks as well. He was like, “Earl, my book was very successful. I sold over a million copies. It’s a bestseller. Let me present it.”\u003c/p>\n\u003cp>I was like “Snoop, I rock with you. You’re legendary. You’re a good friend of mine. I’ve been knowing you for over 30-plus years. We’re family. Thank you. Let’s do it.”\u003c/p>\n\u003cp>When you put your pride to the side, bigger things happen. He’s got some recipes in there. I got some recipes in there. He’s got adult beverages. I have adult beverages. It only makes sense. We both co-pack. We do the whole thing. Teamwork makes the dream work. It’s enough money out there for all of us.\u003c/p>\n\u003cp>\u003cstrong>You’ve met with Vice President Kamala Harris at the White House, received an honorary doctorate from Grambling State University and had a street named after you in your hometown of Vallejo, California. How has hip-hop impacted your life?\u003c/strong>\u003c/p>\n\u003cp>Shout out to DJ Kool Herc, Grandmaster Flash and the Furious Five, Run-DMC. Those dudes really paved the way for people like myself to diversify our portfolios and find other ways to make financial gain on a legitimate note. This beats the streets. You can make more money here than you could ever in the streets.\u003c/p>\n\u003cp>\u003cstrong>Will you ever release a book with your slang terms?\u003c/strong>\u003c/p>\n\u003cp>If I do the book of slang, it’s going to hurt people’s feelings. Because they think that their favorite rapper made the words up, and it came from me. Or if it didn’t come from me, I got it from the soil — the trenches where most rappers that are from the urban community get their (expletive) from.\u003c/p>\n\u003cp>I’ve been around for more than a half a century. I know all this. I’ve got receipts to back it up. One day, I want to sit down and go word-for-word of all the words I’ve coined. I want to go to the year, the song, everything. I want to ask “Who said it before me?” If they try to lie about it, I’ve got receipts. I was the first rapper screaming “Tycoon.” That’s one of many. “Slappin.” “Choppers.” I’ve got so many of them. Just for that, I’m going to do a book of slang. The real way in 2024 style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rule of Thumb: Rule 1’ is out on Nov. 17, 2023. ‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens (with Photos by Antonis Achilleos) is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Ridley Scott’s ‘Napoleon,’ the Emperor Has No Clothes But Plenty of Ego",
"headTitle": "In Ridley Scott’s ‘Napoleon,’ the Emperor Has No Clothes But Plenty of Ego | KQED",
"content": "\u003cp>For such a famed historical figure, Napoleon has made only fleeting appearances in movies since Abel Gance’s 1927 silent film.\u003c/p>\n\u003cp>Stanley Kubrick had grand designs for a Napoleon epic that went unmade. (Steven Spielberg is attempting to revive those plans as a series ). Napoleon and his bicorne hat — more icon of history than a real character — mostly only pops up in time-traveling odysseys like \u003cem>Time Bandits\u003c/em> or \u003ca href=\"https://video.kqed.org/video/bill-and-teds-excellent-adventure-web-extra-zii6ya/\">\u003cem>Bill and Ted’s Excellent Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The party, though, is finally on in Ridley Scott’s \u003cem>Napoleon\u003c/em>, starring Joaquin Phoenix. Scott doesn’t do anything small, not even famously diminutive French emperors. And his two-hour-38-minute big-screen biopic serves up a heaping historical spectacle complete with bloody European battles and massive military maneuvers.\u003c/p>\n\u003cp>[aside postid='arts_13937499']But don’t mistake Napoleon for your average historical epic. Our first sense that this may not be a grand glorification of a Great Man of history comes early in the film, when a 24-year-old Bonaparte leads the siege on the British troops controlling the port city of Toulon. When Napoleon, then a major, charges forward in the fight, he’s visibly terrified, even panting. He looks more like Phoenix’s anxious protagonist in \u003cem>Beau Is Afraid\u003c/em> than the man who would become France’s Caesar. Napoleon doesn’t storm the gates so much as lurch desperately at them.\u003c/p>\n\u003cp>And for the rest of Scott’s film and Phoenix’s riveting performance, Napoleon’s actions are never much more complicated than that. He assumes power cavalierly. His coup d’état against the French Directory in 1799 is a ramshackle farce. He flings his armies around the continent without the slightest concern. He’s prone to petulant rages, screaming at the British: “You think you’re so great because you have boats!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Napoleon\u003c/em> subscribes more to the Not-So-Great Man theory of history. This Napoleon isn’t extraordinary nor is he much of a man. He’s a boyishly impulsive, thin-skinned brute, careening his way through Europe and leaving battlefields of dead soldiers in his wake. When he, while on a campaign in Egypt, is informed over lunch that his wife Joséphine (Vanessa Kirby) is having an affair back in Paris, he responds curtly to the messenger: “No dessert for you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LIsfMO5Jd_w\u003c/p>\n\u003cp>For more than 200 years, characterizations of Napoleon have ranged from genius reformer born out of the French Revolution to marauding tyrant whose wars left three million dead. Napoleon, himself, helped shape his legacy while exiled on St. Helena with a self-serving memoir. Some of the titans of 19th century literature reckoned with him. Victor Hugo wrote Napoleon lost at Waterloo because he had grown “troublesome to God.” Tolstoy, in \u003cem>War and Peace\u003c/em>, was less impressed, calling him, “that most insignificant instrument of history.”\u003c/p>\n\u003cp>[aside postid='arts_13938143']In \u003cem>Napoleon\u003c/em>, which begins with Marie Antoinette at the guillotine and ends with Napoleon on St. Helena where he died at age 51 in 1821, it’s startling how much disregard the movie has for its protagonist. Hollywood historical epics have traditionally leaned toward aggrandizement, not the undressing of fragile, deluded male egos who exclaim over dinner: “Destiny has brought me here! Destiny has brought me this lamb chop!”\u003c/p>\n\u003cp>Here is a sweeping historical tapestry — no one does it better today than Scott — with a damning, almost satirical portrait at its center. That mix — Scott’s spectacle and Phoenix’s the-emperor-has-no-clothes performance — makes \u003cem>Napoleon\u003c/em> a rivetingly off-kilter experience.\u003c/p>\n\u003cp>It’s not always a smooth mix. Phoenix’s characterization may at times have more in common with some of his past depictions of melancholy loners (\u003cem>The Master\u003c/em>, \u003cem>The Joker\u003c/em>) than any factual record of Napoleon. A quality like ambition, you’d think, would be prominent in depicting Napoleon. He was a notorious workaholic, meticulously organized and an energetic intellectual — little of which is present here, making Napoleon’s rise to power sometimes hard to fathom.\u003c/p>\n\u003cp>But that’s also part of the point of \u003cem>Napoleon\u003c/em>, which surely has some contemporary echoes. There are plenty of enablers along the way (a highlight of the supporting cast is Paul Rhys as the scheming diplomat Talleyrand) as the film marches through major events like the fall of Robespierre, the 1799 coup, Napoleon making himself Emperor in 1804 and the triumphant Battle of Austerlitz. The last is Scott’s finest set piece in the film, ending in a rout of the Russian forces as they flee over a frozen pond while the bombardment of cannons plunges them into an icy grave.\u003c/p>\n\u003cp>But in David Scarpa’s screenplay, the real through line in \u003cem>Napoleon\u003c/em> isn’t the string of battles leading up to the downfall we all know is coming at Waterloo. (There, Rupert Everett’s sneering Duke of Wellington enlivens the military tactics.) It’s Napoleon’s relationship with Joséphine that makes the main thread.\u003c/p>\n\u003cp>When he first sees her across a crowded party, he stands transfixed. Anyone would be. The slinky Kirby, sporting a pixie cut, rivals Phoenix for most potent presence in \u003cem>Napoleon\u003c/em>. She has a complete hold on Napoleon, who turns out to be no more suave in the bedroom than he is among society. When he returns from Egypt furious from the well-publicized rumors of her infidelity, they have a prolonged fight that ends with her turning the tables. “You are nothing without me,” she tells him, as he cowers, happily. “Say it.”\u003c/p>\n\u003cp>[aside postid='arts_13937870']There’s a version of the film that could be wholly focused on their dynamic. Joséphine is omnipresent for a long stretch — he writes her constantly from the battlefront in letters narrated to us — but \u003cem>Napoleon\u003c/em> never quite finds its balance in cutting between their life together and the military exploits. Scott is expected to release a four-hour director’s cut on Apple TV+ after the film’s theatrical run, which may offer a more calibrated version.\u003c/p>\n\u003cp>But the 85-year-old Scott — himself a symbol of ceaseless ambition — has made a film that, like his previous \u003cem>The Last Duel\u003c/em>, is a provocative takedown of male power. Scott has made plenty of brawny, swaggering epics in his time — including \u003cem>Gladiator\u003c/em>, with an Oscar-nominated Phoenix as the Roman emperor Commodus. But even though not everything in \u003cem>Napoleon\u003c/em> coheres, it’s appealingly destabilizing. In one of the film’s final images, Napoleon and his hat are in silhouette as he slumps to his death like a keeling ship, going down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Napoleon’ hits theaters nationwide on Nov. 22, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For such a famed historical figure, Napoleon has made only fleeting appearances in movies since Abel Gance’s 1927 silent film.\u003c/p>\n\u003cp>Stanley Kubrick had grand designs for a Napoleon epic that went unmade. (Steven Spielberg is attempting to revive those plans as a series ). Napoleon and his bicorne hat — more icon of history than a real character — mostly only pops up in time-traveling odysseys like \u003cem>Time Bandits\u003c/em> or \u003ca href=\"https://video.kqed.org/video/bill-and-teds-excellent-adventure-web-extra-zii6ya/\">\u003cem>Bill and Ted’s Excellent Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The party, though, is finally on in Ridley Scott’s \u003cem>Napoleon\u003c/em>, starring Joaquin Phoenix. Scott doesn’t do anything small, not even famously diminutive French emperors. And his two-hour-38-minute big-screen biopic serves up a heaping historical spectacle complete with bloody European battles and massive military maneuvers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But don’t mistake Napoleon for your average historical epic. Our first sense that this may not be a grand glorification of a Great Man of history comes early in the film, when a 24-year-old Bonaparte leads the siege on the British troops controlling the port city of Toulon. When Napoleon, then a major, charges forward in the fight, he’s visibly terrified, even panting. He looks more like Phoenix’s anxious protagonist in \u003cem>Beau Is Afraid\u003c/em> than the man who would become France’s Caesar. Napoleon doesn’t storm the gates so much as lurch desperately at them.\u003c/p>\n\u003cp>And for the rest of Scott’s film and Phoenix’s riveting performance, Napoleon’s actions are never much more complicated than that. He assumes power cavalierly. His coup d’état against the French Directory in 1799 is a ramshackle farce. He flings his armies around the continent without the slightest concern. He’s prone to petulant rages, screaming at the British: “You think you’re so great because you have boats!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Napoleon\u003c/em> subscribes more to the Not-So-Great Man theory of history. This Napoleon isn’t extraordinary nor is he much of a man. He’s a boyishly impulsive, thin-skinned brute, careening his way through Europe and leaving battlefields of dead soldiers in his wake. When he, while on a campaign in Egypt, is informed over lunch that his wife Joséphine (Vanessa Kirby) is having an affair back in Paris, he responds curtly to the messenger: “No dessert for you.”\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/LIsfMO5Jd_w'\n title='//www.youtube.com/embed/LIsfMO5Jd_w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For more than 200 years, characterizations of Napoleon have ranged from genius reformer born out of the French Revolution to marauding tyrant whose wars left three million dead. Napoleon, himself, helped shape his legacy while exiled on St. Helena with a self-serving memoir. Some of the titans of 19th century literature reckoned with him. Victor Hugo wrote Napoleon lost at Waterloo because he had grown “troublesome to God.” Tolstoy, in \u003cem>War and Peace\u003c/em>, was less impressed, calling him, “that most insignificant instrument of history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Napoleon\u003c/em>, which begins with Marie Antoinette at the guillotine and ends with Napoleon on St. Helena where he died at age 51 in 1821, it’s startling how much disregard the movie has for its protagonist. Hollywood historical epics have traditionally leaned toward aggrandizement, not the undressing of fragile, deluded male egos who exclaim over dinner: “Destiny has brought me here! Destiny has brought me this lamb chop!”\u003c/p>\n\u003cp>Here is a sweeping historical tapestry — no one does it better today than Scott — with a damning, almost satirical portrait at its center. That mix — Scott’s spectacle and Phoenix’s the-emperor-has-no-clothes performance — makes \u003cem>Napoleon\u003c/em> a rivetingly off-kilter experience.\u003c/p>\n\u003cp>It’s not always a smooth mix. Phoenix’s characterization may at times have more in common with some of his past depictions of melancholy loners (\u003cem>The Master\u003c/em>, \u003cem>The Joker\u003c/em>) than any factual record of Napoleon. A quality like ambition, you’d think, would be prominent in depicting Napoleon. He was a notorious workaholic, meticulously organized and an energetic intellectual — little of which is present here, making Napoleon’s rise to power sometimes hard to fathom.\u003c/p>\n\u003cp>But that’s also part of the point of \u003cem>Napoleon\u003c/em>, which surely has some contemporary echoes. There are plenty of enablers along the way (a highlight of the supporting cast is Paul Rhys as the scheming diplomat Talleyrand) as the film marches through major events like the fall of Robespierre, the 1799 coup, Napoleon making himself Emperor in 1804 and the triumphant Battle of Austerlitz. The last is Scott’s finest set piece in the film, ending in a rout of the Russian forces as they flee over a frozen pond while the bombardment of cannons plunges them into an icy grave.\u003c/p>\n\u003cp>But in David Scarpa’s screenplay, the real through line in \u003cem>Napoleon\u003c/em> isn’t the string of battles leading up to the downfall we all know is coming at Waterloo. (There, Rupert Everett’s sneering Duke of Wellington enlivens the military tactics.) It’s Napoleon’s relationship with Joséphine that makes the main thread.\u003c/p>\n\u003cp>When he first sees her across a crowded party, he stands transfixed. Anyone would be. The slinky Kirby, sporting a pixie cut, rivals Phoenix for most potent presence in \u003cem>Napoleon\u003c/em>. She has a complete hold on Napoleon, who turns out to be no more suave in the bedroom than he is among society. When he returns from Egypt furious from the well-publicized rumors of her infidelity, they have a prolonged fight that ends with her turning the tables. “You are nothing without me,” she tells him, as he cowers, happily. “Say it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s a version of the film that could be wholly focused on their dynamic. Joséphine is omnipresent for a long stretch — he writes her constantly from the battlefront in letters narrated to us — but \u003cem>Napoleon\u003c/em> never quite finds its balance in cutting between their life together and the military exploits. Scott is expected to release a four-hour director’s cut on Apple TV+ after the film’s theatrical run, which may offer a more calibrated version.\u003c/p>\n\u003cp>But the 85-year-old Scott — himself a symbol of ceaseless ambition — has made a film that, like his previous \u003cem>The Last Duel\u003c/em>, is a provocative takedown of male power. Scott has made plenty of brawny, swaggering epics in his time — including \u003cem>Gladiator\u003c/em>, with an Oscar-nominated Phoenix as the Roman emperor Commodus. But even though not everything in \u003cem>Napoleon\u003c/em> coheres, it’s appealingly destabilizing. In one of the film’s final images, Napoleon and his hat are in silhouette as he slumps to his death like a keeling ship, going down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Napoleon’ hits theaters nationwide on Nov. 22, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Inspired by a 1990s Tabloid Story, ‘May December’ Fictionalizes a Real Tragedy",
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"content": "\u003cp>If you were in reach of a TV or a tabloid in the ’90s, you probably remember the case of Mary Kay Letourneau, the Washington state schoolteacher who was convicted of raping her sixth-grade student Vili Fualaau.\u003c/p>\n\u003cp>Fualaau was 12 when Letourneau, 34, first had sex with him. They had two children, one of whom was born while Letourneau was in prison. After her release in 2004, she and the now-adult Fualauu wed and were married for 14 years until their separation. Letourneau died of cancer in 2020.\u003c/p>\n\u003cp>[aside postid='arts_13937866']The dark and sometimes disturbingly funny new movie \u003cem>May December\u003c/em> was inspired by the Letourneau-Fualaau story, though it never mentions them by name. \u003ca href=\"https://www.npr.org/2013/05/23/182597401/julianne-moore-relishing-complicated-characters\">Julianne Moore\u003c/a> plays Gracie Atherton-Yoo, who’s in her late 50s, and Charles Melton plays her husband, Joe Yoo, who’s in his 30s. They have three college-age children and a beautiful home in Savannah, Ga., where their close-knit community has long accepted them despite the scandal that broke out when their relationship came to light two decades earlier.\u003c/p>\n\u003cp>The director \u003ca href=\"https://www.npr.org/2007/11/19/16419557/todd-haynes-exploring-six-degrees-of-dylan\">Todd Haynes\u003c/a>, working from a smart, layered script by Samy Burch, comes at this material from a fascinating angle. A famous TV actor named Elizabeth Berry, played by the famous movie actor \u003ca href=\"https://www.npr.org/2010/11/29/131667596/to-become-a-black-swan-portman-had-to-go-dark\">Natalie Portman\u003c/a>, is set to play Gracie in an independent film. Elizabeth has come to Savannah to do some research by spending time with the couple, who are hoping they’ll be depicted sympathetically. In one scene, Elizabeth attends a barbeque at Gracie and Joe’s house and strikes up a conversation about them with one of their friends, who says what she most loves about Gracie is that she’s an “unapologetic” woman who “always knows what she wants.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4VdAParM4h8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore, who gave two of her greatest performances in Haynes’ earlier dramas \u003cem>Safe\u003c/em> and \u003cem>Far From Heaven\u003c/em>, plays Gracie with an edge of steel and a childlike lisp inspired by Letourneau herself. Although Gracie gives Elizabeth a friendly welcome, over the next few days she turns brittle and a little testy as the actor asks about her and Joe’s relationship. There’s an acid humor to Gracie’s defiance as she refuses to wring her hands over her past misdeeds. In her mind, she and Joe and their kids are a happy and pretty normal family.\u003c/p>\n\u003cp>[aside postid='arts_13937140']But Gracie is clearly deluding herself, and it doesn’t take long for Elizabeth’s presence to drive a wedge between the couple as old, unresolved issues rise to the surface. Melton, best known for the series \u003ca href=\"https://www.npr.org/2017/01/26/511672776/archie-got-hot-is-a-sentence-youll-hear-in-new-noir-riverdale\">\u003cem>Riverdale\u003c/em>\u003c/a>, is quietly revelatory as Joe, a man stuck in a kind of suspended adolescence. We can’t help but notice how closely Joe resembles his teenage kids, not just in appearance but in age. Or how Gracie seems to treat him the way a needy mother might treat her son.\u003c/p>\n\u003cp>But as messed up as Gracie and Joe are, \u003cem>May December\u003c/em> seems to respect them more than it does Elizabeth, who’s clearly working this situation from every possible angle. Portman, doing her best and subtlest work in some time, brilliantly reveals the calculation behind Elizabeth’s polite smiles and gently probing questions. Haynes clearly loves actors, but he isn’t afraid to show how callous and even monstrous some of them can be in pursuit of their art. He’s also critiquing the endless appetite for sensationalized, ripped-from-the-headlines stories and the industry’s willingness to feed it.\u003c/p>\n\u003cp>All this would be rich dramatic fodder even if it were played perfectly straight. But Haynes, one of the most inventive stylists working in American movies, is incapable of being completely straightforward, and here he walks a tricky tonal line between melodrama, realism and camp.\u003c/p>\n\u003cp>[aside postid='arts_13937499']At times he accents key moments with a deliberately overwrought burst of music, as if to give us a glimpse of the soap opera that Elizabeth’s indie film project might well become. Elsewhere his references skew higher-brow: When he positions Moore and Portman side-by-side in closeup, he evokes the dreamy surrealism of Ingmar Bergman’s \u003cem>Persona \u003c/em>and \u003ca href=\"https://www.npr.org/artists/1104241680/david-lynch\">David Lynch\u003c/a>‘s \u003cem>Mulholland Drive\u003c/em>, as if to suggest that Gracie’s and Elizabeth’s identities are blurring together.\u003c/p>\n\u003cp>In shifting among these different modes, Haynes reminds us that we’re watching a movie, and that most movies can only give us a partial understanding of the truth. Still, for all its surface artifice and self-aware humor, what’s striking about \u003cem>May December\u003c/em> is how piercingly sad it becomes as it invites us to feel the full weight of Gracie and Joe’s loneliness and desperation. These characters may be fictionalized constructs, but their tragedy is all too real.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inspired+by+a+1990s+tabloid+story%2C+%27May+December%27+fictionalizes+a+real+tragedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘May December’ is in theaters nationwide from Nov. 17 and begins streaming on Netflix on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The dark and sometimes disturbingly funny new movie \u003cem>May December\u003c/em> was inspired by the Letourneau-Fualaau story, though it never mentions them by name. \u003ca href=\"https://www.npr.org/2013/05/23/182597401/julianne-moore-relishing-complicated-characters\">Julianne Moore\u003c/a> plays Gracie Atherton-Yoo, who’s in her late 50s, and Charles Melton plays her husband, Joe Yoo, who’s in his 30s. They have three college-age children and a beautiful home in Savannah, Ga., where their close-knit community has long accepted them despite the scandal that broke out when their relationship came to light two decades earlier.\u003c/p>\n\u003cp>The director \u003ca href=\"https://www.npr.org/2007/11/19/16419557/todd-haynes-exploring-six-degrees-of-dylan\">Todd Haynes\u003c/a>, working from a smart, layered script by Samy Burch, comes at this material from a fascinating angle. A famous TV actor named Elizabeth Berry, played by the famous movie actor \u003ca href=\"https://www.npr.org/2010/11/29/131667596/to-become-a-black-swan-portman-had-to-go-dark\">Natalie Portman\u003c/a>, is set to play Gracie in an independent film. Elizabeth has come to Savannah to do some research by spending time with the couple, who are hoping they’ll be depicted sympathetically. In one scene, Elizabeth attends a barbeque at Gracie and Joe’s house and strikes up a conversation about them with one of their friends, who says what she most loves about Gracie is that she’s an “unapologetic” woman who “always knows what she wants.”\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/4VdAParM4h8'\n title='//www.youtube.com/embed/4VdAParM4h8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore, who gave two of her greatest performances in Haynes’ earlier dramas \u003cem>Safe\u003c/em> and \u003cem>Far From Heaven\u003c/em>, plays Gracie with an edge of steel and a childlike lisp inspired by Letourneau herself. Although Gracie gives Elizabeth a friendly welcome, over the next few days she turns brittle and a little testy as the actor asks about her and Joe’s relationship. There’s an acid humor to Gracie’s defiance as she refuses to wring her hands over her past misdeeds. In her mind, she and Joe and their kids are a happy and pretty normal family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Gracie is clearly deluding herself, and it doesn’t take long for Elizabeth’s presence to drive a wedge between the couple as old, unresolved issues rise to the surface. Melton, best known for the series \u003ca href=\"https://www.npr.org/2017/01/26/511672776/archie-got-hot-is-a-sentence-youll-hear-in-new-noir-riverdale\">\u003cem>Riverdale\u003c/em>\u003c/a>, is quietly revelatory as Joe, a man stuck in a kind of suspended adolescence. We can’t help but notice how closely Joe resembles his teenage kids, not just in appearance but in age. Or how Gracie seems to treat him the way a needy mother might treat her son.\u003c/p>\n\u003cp>But as messed up as Gracie and Joe are, \u003cem>May December\u003c/em> seems to respect them more than it does Elizabeth, who’s clearly working this situation from every possible angle. Portman, doing her best and subtlest work in some time, brilliantly reveals the calculation behind Elizabeth’s polite smiles and gently probing questions. Haynes clearly loves actors, but he isn’t afraid to show how callous and even monstrous some of them can be in pursuit of their art. He’s also critiquing the endless appetite for sensationalized, ripped-from-the-headlines stories and the industry’s willingness to feed it.\u003c/p>\n\u003cp>All this would be rich dramatic fodder even if it were played perfectly straight. But Haynes, one of the most inventive stylists working in American movies, is incapable of being completely straightforward, and here he walks a tricky tonal line between melodrama, realism and camp.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At times he accents key moments with a deliberately overwrought burst of music, as if to give us a glimpse of the soap opera that Elizabeth’s indie film project might well become. Elsewhere his references skew higher-brow: When he positions Moore and Portman side-by-side in closeup, he evokes the dreamy surrealism of Ingmar Bergman’s \u003cem>Persona \u003c/em>and \u003ca href=\"https://www.npr.org/artists/1104241680/david-lynch\">David Lynch\u003c/a>‘s \u003cem>Mulholland Drive\u003c/em>, as if to suggest that Gracie’s and Elizabeth’s identities are blurring together.\u003c/p>\n\u003cp>In shifting among these different modes, Haynes reminds us that we’re watching a movie, and that most movies can only give us a partial understanding of the truth. Still, for all its surface artifice and self-aware humor, what’s striking about \u003cem>May December\u003c/em> is how piercingly sad it becomes as it invites us to feel the full weight of Gracie and Joe’s loneliness and desperation. These characters may be fictionalized constructs, but their tragedy is all too real.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inspired+by+a+1990s+tabloid+story%2C+%27May+December%27+fictionalizes+a+real+tragedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘May December’ is in theaters nationwide from Nov. 17 and begins streaming on Netflix on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "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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