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"content": "\u003cfigure id=\"attachment_13936552\" class=\"wp-caption aligncenter\" style=\"max-width: 890px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM.png\" alt=\"A book cover showing a shirtless Black man with an afro, wearing patchwork jeans and big ’70s-style sunglasses, kneeling on the ground and smiling.\" width=\"890\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM.png 890w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-800x1212.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-768x1163.png 768w\" sizes=\"(max-width: 890px) 100vw, 890px\">\u003cfigcaption class=\"wp-caption-text\">‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone and Ben Greenman. \u003ccite>(AUWA Books via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While summoning stories from his remarkable yet erratic life in music, Sly Stone admits he occasionally had to depend on the recollections of others because his own memory wasn’t always reliable.\u003c/p>\n\u003cp>At one point in his new memoir, Stone, now 80, remembers that during the hazy excesses of his 1970s rock stardom he briefly shared a Los Angeles mansion with a baboon that had the run of the place. He’s just not sure where the primate came from.\u003c/p>\n\u003cp>[aside postid='arts_13925408']“I forgot where I got him?” Stone muses. “Baboon store?”\u003c/p>\n\u003cp>His book, co-written with Ben Greenman, overflows with wit and wordplay befitting a maestro whose funkiest song with his band the Family Stone was “Thank You (Falettinme Be Mice Elf Agin)” — also the title of the book.\u003c/p>\n\u003cp>Born Sylvester Stewart in Texas and raised in Vallejo, he studied music composition at a junior college while working as a radio DJ, becoming known for his whimsical patter and eclectic playlists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stone clearly recalls his early and evolving vision of a no-barriers style of music that would meld Motown pop-soul, James Brown’s funk, R&B, gospel and psychedelic rock. Shortly after forming in 1966, Sly and the Family Stone produced a string of sunny hits including “Everyday People,” “I Want To Take You Higher,” “Hot Fun in the Summertime” and “Stand!” that captured the hippy spirit of the times.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GY_5CUmvpdw\u003c/p>\n\u003cp>Stone’s band included Black and white musicians while featuring women not just singing but playing instruments — a rarity at the time. \u003ca href=\"https://www.youtube.com/watch?v=me-UKbXOFts\">A triumphant set at Woodstock\u003c/a> and a star turn in the subsequent film of the concert made him a household name.\u003c/p>\n\u003cp>“Rhythm, melody and lyrics carried inspiration to the people,” he writes. That inspiration became a lasting influence for generations of artists including The Jackson 5, Prince and countless hip-hop acts.\u003c/p>\n\u003cp>[aside postid='arts_13936226']Stone’s music took a darker and more cynical turn as drugs took hold and the dream of the ’60s devolved into political assassinations, racial strife and lingering war in Vietnam. He takes readers through the agonizing recording process of his 1971 classic “There’s a Riot Goin’ On,” on which he says he “sacrificed technique for feeling.” The album has an anguished tone, exemplified by the volatile funk of the single “Luv N’ Haight.”\u003c/p>\n\u003cp>Meanwhile at concerts, fans never knew whether they’d get one of his famously ecstatic performances, or if Stone would bother showing up at all.\u003c/p>\n\u003cp>He espoused Black Power, but not loudly enough for Black Panthers, who accused Stone of acquiescing to white America. Meanwhile, some white people thought he was too militant. While unafraid to be political, he remained defiantly nonviolent and never shook the notion that, yes, people can all get along. “We exist to coexist,” he writes.\u003c/p>\n\u003cp>That uplifting spirit returns, if only sporadically, for 1973’s \u003cem>Fresh\u003c/em>, his last great album. The band splintered soon after and Stone entered a decades-long cycle of addiction, middling solo offerings, doomed tours and tax troubles.\u003c/p>\n\u003cp>Predictably, the memoir contains no shortage of occasionally humorous — but mostly bleak — backstage tales of debauchery and drug abuse. While on tour in his glory days Stone carried a violin case filled with cocaine. Later he said he went on PCP binges because “it threw your perspective off, which I liked.” Eventually he was overtaken by a dependence on crack cocaine that drained his talents, ruined relationships and led to regular stints in jail and rehab.\u003c/p>\n\u003cp>[aside postid='arts_13924126']“Arrest records were the new records, and I was hitting the charts,” he writes. “Court dates were my new concerts, and I was still just as good at arriving on time.”\u003c/p>\n\u003cp>Hip-hop empresario Questlove, whose publishing imprint produced the book, writes in the introduction that “Sly has lived a hundred lives, and they are all here.” Fans will certainly appreciate the vivid accounts from recording studios, concert stages and star-studded parties. But readers looking for personal insights will come away disappointed. Stone is self-aware but not particularly self-reflective.\u003c/p>\n\u003cp>However, even during his gloomiest days, Stone said he relied on his compositions to keep the darkness out, always remaining true to “the larger idea of music as a spiritual force.”\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>‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone with Ben Greenman is out Oct. 17, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Arrest records were the new records, and I was hitting the charts,” he writes. “Court dates were my new concerts, and I was still just as good at arriving on time.”\u003c/p>\n\u003cp>Hip-hop empresario Questlove, whose publishing imprint produced the book, writes in the introduction that “Sly has lived a hundred lives, and they are all here.” Fans will certainly appreciate the vivid accounts from recording studios, concert stages and star-studded parties. But readers looking for personal insights will come away disappointed. Stone is self-aware but not particularly self-reflective.\u003c/p>\n\u003cp>However, even during his gloomiest days, Stone said he relied on his compositions to keep the darkness out, always remaining true to “the larger idea of music as a spiritual force.”\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>‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone with Ben Greenman is out Oct. 17, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For years, \u003cem>Moonlighting\u003c/em>, the late-’80s detective/romcom starring Bruce Willis and Cybill Shepherd, has been on a lot of people’s lists of shows that weren’t on streaming and should be on streaming. \u003ca href=\"https://www.hulu.com/series/moonlighting-5ad18eaf-f049-4fa8-8970-44d81773fba0\">Well, now it’s on streaming.\u003c/a> Specifically, it’s on Hulu. All five seasons are there, from the splashy TV movie that served as the pilot to the fourth and fifth rounds when the show was huffing and puffing and rarely delivering the way it did in the beginning. (Sometimes people say this is because they “got together” as a couple and it ruined the show; \u003ca href=\"https://www.npr.org/2009/09/17/112934505/what-really-happened-to-moonlighting\">this is factually incorrect\u003c/a>.)\u003c/p>\n\u003cp>But oh, those first three seasons. Even back in the 1980s, when network television is often too-simply remembered as having been formulaic and desperately in need of the reinvention cable would bring, \u003cem>Moonlighting \u003c/em>was sharp and strange and experimental.\u003c/p>\n\u003cp>[aside postid='arts_13935738']One reason was the stars. It’s immediately obvious why this show shot Bruce Willis, probably then best known as \u003ca href=\"https://www.youtube.com/watch?v=3D4U3W2d0LA\">the guy who sang in a commercial for Seagrams wine coolers\u003c/a> — \u003cem>speaking of the 1980s\u003c/em> — directly to superstar status. He plays David Addison as cocky but insecure, his fast-talking slickness both a method of survival and a lubricant that lets him slide through life without working too hard. Cybill Shepherd plays Maddie Hayes, a wealthy and cool-toned former model (like Shepherd herself) who is scammed out of all her money and discovers that she’s the owner of a ragtag detective agency that was being maintained as a tax writeoff. And so, Maddie and David become partners.\u003c/p>\n\u003cp>On the surface, it’s such a classic pairing that it borders on cliché: He’s a vulgar and wisecracking man-child, she’s a classy tough broad horrified by his shenanigans. But it turns out that he is quite soft-hearted, and that she is whip-smart and fearless, and \u003cem>this \u003c/em>part, you and I have both heard before.\u003c/p>\n\u003cp>But the execution, led by creator Glenn Gordon Caron, took an unfamiliar shape. The most obvious precursors to this show were probably \u003cem>Hart to Hart\u003c/em>, about a glamorous married couple who solve crimes, and \u003cem>Remington Steele\u003c/em>, which is about a woman who invents a fake male partner to lend her detective agency credibility. (The latter, by the way, did for Pierce Brosnan what \u003cem>Moonlighting \u003c/em>did for Bruce Willis.) The difference is that both of those, while certainly wryly funny, had a tone that remained largely tethered to reality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8AhpAzYogOs\u003c/p>\n\u003cp>\u003cem>Moonlighting\u003c/em>, on the other hand, went fully farcical, particularly late in each episode when the climactic action sequences came along. They include \u003ca href=\"https://www.youtube.com/watch?v=GIJdCB0ulZ0&ab_channel=evagrubb\">four identically dressed people running through a hotel to the William Tell Overture\u003c/a>, a \u003ca href=\"https://www.youtube.com/watch?v=_pyb5dpnzig&ab_channel=Nazgul19\">pie-throwing scene\u003c/a>, and a \u003ca href=\"https://www.youtube.com/watch?v=KO42Q6kCQkw&ab_channel=HISTORYCHANNEL23\">chase in a hearse\u003c/a> where the whole funeral procession gets involved. (“David, we’re being followed. By a \u003cem>lot of people\u003c/em>.”) The dialogue was dense with jokes and wordplay; check out this \u003ca href=\"https://www.youtube.com/watch?v=20Mh3n6ffl4&ab_channel=o0Moonlighting0o\">rhyming sequence\u003c/a>, which is thrown in with no explanation at all, and which is only funnier when you \u003ca href=\"https://www.youtube.com/watch?v=mkIBGnzPVzo&ab_channel=o0Moonlighting0o\">watch the bloopers\u003c/a> of the poor actor in the scene with Shepherd and Willis trying to wrap his mouth around it.\u003c/p>\n\u003cp>And, too, there were the format-breakers. “\u003ca href=\"https://www.youtube.com/watch?v=7zz2POIN4ec\">The Dream Sequence Always Rings Twice\u003c/a>,” a black-and-white episode introduced by Orson Welles, was shot on real black-and-white film rather than being simply decolorized, and it’s absolutely gorgeous to look at. The Shakespeare riff \u003ca href=\"https://www.youtube.com/watch?v=blZMk5MklF4\">“Atomic Shakespeare”\u003c/a> is playful and silly, but also clever. Stanley Donen (who directed \u003cem>Singin’ in the Rain\u003c/em>) even choreographed a dream ballet to a Billy Joel song for the episode \u003ca href=\"https://www.youtube.com/watch?v=HXvki5MKPAI\">“Big Man on Mulberry Street.”\u003c/a>\u003c/p>\n\u003cp>[aside postid='arts_13935208']But for all the fast talk (this is the show that made me a fan of banter) and all the experimentation, and for all the production delays and rumored on-set drama, what surprises me when I look back at these episodes is how effectively Willis and Shepherd could turn on a dime and play true, touching, often very simple emotional scenes together that co-existed with that farce and that experimentation. They’re both great in \u003ca href=\"https://www.youtube.com/watch?v=U2XpgYGVjuk\">“Every Daughter’s Father Is a Virgin,” \u003c/a>a deeply bittersweet episode about a visit from Maddie’s parents, played by Robert Webber and Eva Marie Saint. They’re both great in “Big Man on Mulberry Street,” in which they deal with a previously un-discussed episode in David’s past. And they’re both great in \u003ca href=\"https://www.youtube.com/watch?v=75WZdSGubHE\">“Witness for the Execution,”\u003c/a> which is about a difficult case they can’t agree on (and which includes a milestone moment for their relationship).\u003c/p>\n\u003cp>Some things do not age well over a period of nearly 40 years; in particular, David’s unabashed horniness is played for laughs even though it happens at work and amounts to sexual harassment of his boss/partner. But the pleasures of this show that burned very brightly and very chaotically remain well worth revisiting.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\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=%27Moonlighting%2C%27+a+weird%2C+wonderful+%2780s+detective+romcom%2C+is+now+streaming+on+Hulu&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Despite a cliché premise, ‘Moonlighting’ was a sharp, experimental comedy. It’s also the show that shot Bruce Willis to fame.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For years, \u003cem>Moonlighting\u003c/em>, the late-’80s detective/romcom starring Bruce Willis and Cybill Shepherd, has been on a lot of people’s lists of shows that weren’t on streaming and should be on streaming. \u003ca href=\"https://www.hulu.com/series/moonlighting-5ad18eaf-f049-4fa8-8970-44d81773fba0\">Well, now it’s on streaming.\u003c/a> Specifically, it’s on Hulu. All five seasons are there, from the splashy TV movie that served as the pilot to the fourth and fifth rounds when the show was huffing and puffing and rarely delivering the way it did in the beginning. (Sometimes people say this is because they “got together” as a couple and it ruined the show; \u003ca href=\"https://www.npr.org/2009/09/17/112934505/what-really-happened-to-moonlighting\">this is factually incorrect\u003c/a>.)\u003c/p>\n\u003cp>But oh, those first three seasons. Even back in the 1980s, when network television is often too-simply remembered as having been formulaic and desperately in need of the reinvention cable would bring, \u003cem>Moonlighting \u003c/em>was sharp and strange and experimental.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One reason was the stars. It’s immediately obvious why this show shot Bruce Willis, probably then best known as \u003ca href=\"https://www.youtube.com/watch?v=3D4U3W2d0LA\">the guy who sang in a commercial for Seagrams wine coolers\u003c/a> — \u003cem>speaking of the 1980s\u003c/em> — directly to superstar status. He plays David Addison as cocky but insecure, his fast-talking slickness both a method of survival and a lubricant that lets him slide through life without working too hard. Cybill Shepherd plays Maddie Hayes, a wealthy and cool-toned former model (like Shepherd herself) who is scammed out of all her money and discovers that she’s the owner of a ragtag detective agency that was being maintained as a tax writeoff. And so, Maddie and David become partners.\u003c/p>\n\u003cp>On the surface, it’s such a classic pairing that it borders on cliché: He’s a vulgar and wisecracking man-child, she’s a classy tough broad horrified by his shenanigans. But it turns out that he is quite soft-hearted, and that she is whip-smart and fearless, and \u003cem>this \u003c/em>part, you and I have both heard before.\u003c/p>\n\u003cp>But the execution, led by creator Glenn Gordon Caron, took an unfamiliar shape. The most obvious precursors to this show were probably \u003cem>Hart to Hart\u003c/em>, about a glamorous married couple who solve crimes, and \u003cem>Remington Steele\u003c/em>, which is about a woman who invents a fake male partner to lend her detective agency credibility. (The latter, by the way, did for Pierce Brosnan what \u003cem>Moonlighting \u003c/em>did for Bruce Willis.) The difference is that both of those, while certainly wryly funny, had a tone that remained largely tethered to reality.\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/8AhpAzYogOs'\n title='//www.youtube.com/embed/8AhpAzYogOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Moonlighting\u003c/em>, on the other hand, went fully farcical, particularly late in each episode when the climactic action sequences came along. They include \u003ca href=\"https://www.youtube.com/watch?v=GIJdCB0ulZ0&ab_channel=evagrubb\">four identically dressed people running through a hotel to the William Tell Overture\u003c/a>, a \u003ca href=\"https://www.youtube.com/watch?v=_pyb5dpnzig&ab_channel=Nazgul19\">pie-throwing scene\u003c/a>, and a \u003ca href=\"https://www.youtube.com/watch?v=KO42Q6kCQkw&ab_channel=HISTORYCHANNEL23\">chase in a hearse\u003c/a> where the whole funeral procession gets involved. (“David, we’re being followed. By a \u003cem>lot of people\u003c/em>.”) The dialogue was dense with jokes and wordplay; check out this \u003ca href=\"https://www.youtube.com/watch?v=20Mh3n6ffl4&ab_channel=o0Moonlighting0o\">rhyming sequence\u003c/a>, which is thrown in with no explanation at all, and which is only funnier when you \u003ca href=\"https://www.youtube.com/watch?v=mkIBGnzPVzo&ab_channel=o0Moonlighting0o\">watch the bloopers\u003c/a> of the poor actor in the scene with Shepherd and Willis trying to wrap his mouth around it.\u003c/p>\n\u003cp>And, too, there were the format-breakers. “\u003ca href=\"https://www.youtube.com/watch?v=7zz2POIN4ec\">The Dream Sequence Always Rings Twice\u003c/a>,” a black-and-white episode introduced by Orson Welles, was shot on real black-and-white film rather than being simply decolorized, and it’s absolutely gorgeous to look at. The Shakespeare riff \u003ca href=\"https://www.youtube.com/watch?v=blZMk5MklF4\">“Atomic Shakespeare”\u003c/a> is playful and silly, but also clever. Stanley Donen (who directed \u003cem>Singin’ in the Rain\u003c/em>) even choreographed a dream ballet to a Billy Joel song for the episode \u003ca href=\"https://www.youtube.com/watch?v=HXvki5MKPAI\">“Big Man on Mulberry Street.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But for all the fast talk (this is the show that made me a fan of banter) and all the experimentation, and for all the production delays and rumored on-set drama, what surprises me when I look back at these episodes is how effectively Willis and Shepherd could turn on a dime and play true, touching, often very simple emotional scenes together that co-existed with that farce and that experimentation. They’re both great in \u003ca href=\"https://www.youtube.com/watch?v=U2XpgYGVjuk\">“Every Daughter’s Father Is a Virgin,” \u003c/a>a deeply bittersweet episode about a visit from Maddie’s parents, played by Robert Webber and Eva Marie Saint. They’re both great in “Big Man on Mulberry Street,” in which they deal with a previously un-discussed episode in David’s past. And they’re both great in \u003ca href=\"https://www.youtube.com/watch?v=75WZdSGubHE\">“Witness for the Execution,”\u003c/a> which is about a difficult case they can’t agree on (and which includes a milestone moment for their relationship).\u003c/p>\n\u003cp>Some things do not age well over a period of nearly 40 years; in particular, David’s unabashed horniness is played for laughs even though it happens at work and amounts to sexual harassment of his boss/partner. But the pleasures of this show that burned very brightly and very chaotically remain well worth revisiting.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\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=%27Moonlighting%2C%27+a+weird%2C+wonderful+%2780s+detective+romcom%2C+is+now+streaming+on+Hulu&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House",
"headTitle": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House | KQED",
"content": "\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>[aside postid='arts_13874070']As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>[aside postid='arts_13936189']It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\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>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near 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/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\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>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Anatomy of a Fall’ Dissects a Marriage and, Maybe, a Murder",
"headTitle": "‘Anatomy of a Fall’ Dissects a Marriage and, Maybe, a Murder | KQED",
"content": "\u003cp>One reason Sandra Hüller is one of the best actors working today, is that unlike many performers, she doesn’t seem to care if you like her characters or not. Whether she’s playing a tightly wound corporate climber in the brilliant comedy \u003ca href=\"https://www.npr.org/2016/12/28/507227395/toni-erdmann-a-practical-joking-dad-and-his-too-practical-daughter\">\u003cem>Toni Erdmann \u003c/em>\u003c/a>or a Nazi commandant’s wife in the upcoming drama \u003cem>The Zone of Interest, \u003c/em>you never once catch her pleading for the audience’s sympathy.\u003c/p>\n\u003cp>[aside postid='arts_13935857']That fearlessness is partly what makes her so compelling to watch in \u003cem>Anatomy of a Fall\u003c/em>, the absorbingly intricate psychological thriller that won the Palme d’Or at Cannes this year. Hüller plays a successful German-born writer, also named Sandra, who finds herself on trial for her husband’s murder.\u003c/p>\n\u003cp>The movie begins at a chalet in the French Alps, where Sandra and her French husband, Samuel, live with their 11-year-old son, Daniel. Things are tense between Sandra and Samuel, as we can sense from the way he blasts his music while she’s being interviewed by a journalist. The interview gets cut short and the journalist leaves; sometime later, Samuel is found dead outside in the snow, bleeding heavily from a head wound.\u003c/p>\n\u003cp>Did he fall or jump from one of the chalet’s upper stories? Or was he pushed? The director Justine Triet, who wrote the script with Arthur Harari, never reveals the answer. The story is full of intriguing forensic details; Samuel’s fatal fall is diagrammed from every possible angle, and every spatter of blood is analyzed obsessively. But ultimately, Triet is less interested in explaining whodunit — or if anyone dun it — than in conducting an autopsy on Sandra and Samuel’s marriage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MJlpGZuE4R4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Sandra is tried for Samuel’s murder, the history of their troubled relationship comes to light. We learn that Samuel never forgave himself for his role in the accident years ago that left Daniel severely visually impaired. That took an obvious toll on the couple.\u003c/p>\n\u003cp>At one point, Samuel’s therapist takes the stand and testifies that Samuel had described his wife as cold and controlling. But Sandra pushes back against this assessment, saying, “If I’d been seeing a therapist, he could stand here, too, and say very ugly things about Samuel. But would those things be true?”\u003c/p>\n\u003cp>[aside postid='arts_13935897']I don’t know how accurate \u003cem>Anatomy of a Fall\u003c/em> is in its portrayal of the French legal system. But here, as in last year’s excellent courtroom drama \u003ca href=\"https://www.npr.org/2023/01/18/1149654068/saint-omer-movie-review-alice-diop\">\u003cem>Saint Omer\u003c/em>\u003c/a>, it appears to be an extremely different system from ours, more tolerant of extended discussion. At one point, in a scene that even the movie seems to find hilarious, the overly aggressive prosecutor starts mining Sandra’s own books for evidence, briefly turning a criminal trial into a literary debate. Still, Sandra’s career is hardly incidental to the case. Samuel was also a writer, but a much less accomplished one than Sandra, which may have made him jealous.\u003c/p>\n\u003cp>Could Samuel have killed himself in despair? That’s the possibility put forth to the court by Sandra’s attorney — well played by Swann Arlaud — who doesn’t seem entirely convinced of his client’s innocence. Daniel, piercingly played by Milo Machado Graner, also doesn’t know what to believe, as he’s torn apart by the loss of his dad and possibly the loss of his mom.\u003c/p>\n\u003cp>The movie’s emotional centerpiece is a stunningly written and acted flashback to a furious marital argument that took place shortly before Samuel’s death — one of those knock-down, drag-out fights where every source of tension and resentment gets dragged to the surface. They clash over their finances, their differing approaches to parenting, their unsatisfying sex life and Sandra’s past infidelity. Sandra expresses her frustration at the many sacrifices she’s quietly made, including agreeing to live in France.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anatomy of a Fall\u003c/em> persuasively suggests that every marriage is ultimately something of a mystery. The fact that Samuel is no longer alive to defend himself makes it even harder to determine who here is telling the truth. Even so, I couldn’t help but gravitate toward Sandra’s side. There’s something refreshing about the cool pragmatism she shows in the face of Samuel’s insecurity, the way she refuses to short-change her career or coddle her husband for his failures. I left admiring Sandra’s steely resolve, while still wondering if that resolve might have led her to do the unthinkable.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=%27Anatomy+of+a+Fall%27+dissects+a+marriage+and%2C+maybe%2C+a+murder&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One reason Sandra Hüller is one of the best actors working today, is that unlike many performers, she doesn’t seem to care if you like her characters or not. Whether she’s playing a tightly wound corporate climber in the brilliant comedy \u003ca href=\"https://www.npr.org/2016/12/28/507227395/toni-erdmann-a-practical-joking-dad-and-his-too-practical-daughter\">\u003cem>Toni Erdmann \u003c/em>\u003c/a>or a Nazi commandant’s wife in the upcoming drama \u003cem>The Zone of Interest, \u003c/em>you never once catch her pleading for the audience’s sympathy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That fearlessness is partly what makes her so compelling to watch in \u003cem>Anatomy of a Fall\u003c/em>, the absorbingly intricate psychological thriller that won the Palme d’Or at Cannes this year. Hüller plays a successful German-born writer, also named Sandra, who finds herself on trial for her husband’s murder.\u003c/p>\n\u003cp>The movie begins at a chalet in the French Alps, where Sandra and her French husband, Samuel, live with their 11-year-old son, Daniel. Things are tense between Sandra and Samuel, as we can sense from the way he blasts his music while she’s being interviewed by a journalist. The interview gets cut short and the journalist leaves; sometime later, Samuel is found dead outside in the snow, bleeding heavily from a head wound.\u003c/p>\n\u003cp>Did he fall or jump from one of the chalet’s upper stories? Or was he pushed? The director Justine Triet, who wrote the script with Arthur Harari, never reveals the answer. The story is full of intriguing forensic details; Samuel’s fatal fall is diagrammed from every possible angle, and every spatter of blood is analyzed obsessively. But ultimately, Triet is less interested in explaining whodunit — or if anyone dun it — than in conducting an autopsy on Sandra and Samuel’s marriage.\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/MJlpGZuE4R4'\n title='//www.youtube.com/embed/MJlpGZuE4R4'\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>When Sandra is tried for Samuel’s murder, the history of their troubled relationship comes to light. We learn that Samuel never forgave himself for his role in the accident years ago that left Daniel severely visually impaired. That took an obvious toll on the couple.\u003c/p>\n\u003cp>At one point, Samuel’s therapist takes the stand and testifies that Samuel had described his wife as cold and controlling. But Sandra pushes back against this assessment, saying, “If I’d been seeing a therapist, he could stand here, too, and say very ugly things about Samuel. But would those things be true?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I don’t know how accurate \u003cem>Anatomy of a Fall\u003c/em> is in its portrayal of the French legal system. But here, as in last year’s excellent courtroom drama \u003ca href=\"https://www.npr.org/2023/01/18/1149654068/saint-omer-movie-review-alice-diop\">\u003cem>Saint Omer\u003c/em>\u003c/a>, it appears to be an extremely different system from ours, more tolerant of extended discussion. At one point, in a scene that even the movie seems to find hilarious, the overly aggressive prosecutor starts mining Sandra’s own books for evidence, briefly turning a criminal trial into a literary debate. Still, Sandra’s career is hardly incidental to the case. Samuel was also a writer, but a much less accomplished one than Sandra, which may have made him jealous.\u003c/p>\n\u003cp>Could Samuel have killed himself in despair? That’s the possibility put forth to the court by Sandra’s attorney — well played by Swann Arlaud — who doesn’t seem entirely convinced of his client’s innocence. Daniel, piercingly played by Milo Machado Graner, also doesn’t know what to believe, as he’s torn apart by the loss of his dad and possibly the loss of his mom.\u003c/p>\n\u003cp>The movie’s emotional centerpiece is a stunningly written and acted flashback to a furious marital argument that took place shortly before Samuel’s death — one of those knock-down, drag-out fights where every source of tension and resentment gets dragged to the surface. They clash over their finances, their differing approaches to parenting, their unsatisfying sex life and Sandra’s past infidelity. Sandra expresses her frustration at the many sacrifices she’s quietly made, including agreeing to live in France.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anatomy of a Fall\u003c/em> persuasively suggests that every marriage is ultimately something of a mystery. The fact that Samuel is no longer alive to defend himself makes it even harder to determine who here is telling the truth. Even so, I couldn’t help but gravitate toward Sandra’s side. There’s something refreshing about the cool pragmatism she shows in the face of Samuel’s insecurity, the way she refuses to short-change her career or coddle her husband for his failures. I left admiring Sandra’s steely resolve, while still wondering if that resolve might have led her to do the unthinkable.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=%27Anatomy+of+a+Fall%27+dissects+a+marriage+and%2C+maybe%2C+a+murder&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Witches have become ubiquitous in fiction these days, whether they’re being unjustly persecuted in a historical setting, selling love potions in some charming seaside town, or enchanting unsuspecting princesses in a fairytale forest.\u003c/p>\n\u003cp>Whether the witches are good, misunderstood, or just plain wicked doesn’t even matter — there are lots of great options coming out this fall. Here are few:\u003c/p>\n\u003ch3>\u003cem>The Witches of Bone Hill\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936318\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM.png\" alt=\"A dark blue book cover featuring autumnal vines, a creepy house and a flying fox.\" width=\"818\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM.png 818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-768x1138.png 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">‘The Witches of Bone Hill’ by Ava Morgyn.\u003c/figcaption>\u003c/figure>\n\u003cp>Cordelia Bone is dead broke and drowning in the debts her ex-husband left behind when he skipped town, so it seems like a miracle when she finds out that she and her sister have inherited a massive Victorian house and the estate of a great aunt they didn’t even know they had. Upon arriving at Bone Hill, the sisters discover that the inheritance may be more trouble than it’s worth. From crazed bats to mysteriously sexy groundskeepers to creepy family crypts, everything seems to be telling Cordelia to run in the opposite direction. But in order to claim the fortune she so desperately needs, she must follow her great aunt’s wishes and remain at the ancestral seat of the Bone family.\u003c/p>\n\u003cp>[aside postid='arts_13883118']The longer Cordelia stays in the house, the worse her chronic headaches get, and the more she begins to sense that there is some sinister presence seeking to do her harm. But perhaps, if she can get to the bottom of the mystery of why her mother fled Bone Hill and was subsequently murdered years before, she can finally right the wrongs that are haunting her family.\u003c/p>\n\u003cp>Part family epic, part supernatural thriller, and part gothic romance, Ava Morgyn’s \u003cem>The Witches of Bone Hill\u003c/em> is a haunted house book with a witchy twist. Cordelia is an interesting character, because initially she comes across as very distant and self-absorbed, but as she opens herself to her family history and her magical abilities, she also opens up to the reader and becomes someone compelling to root for. The Bone’s magic itself is not warm and fuzzy either, often manifesting in a rather grisly fashion. It reminds me of \u003cem>Practical Magic —\u003c/em> the novel, not the movie — as there is a bite and a bitterness to this family magic and a strength and coldness to the characters that creates a vivid, if sometimes uncomfortable, world where witches commune with the dead and untangle generations of disfunction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s worth noting that this book does have some pretty gruesome moments, and the animals in it do not fare well. This is definitely a gothy, edgy witch book, not a cozy one!\u003c/p>\n\u003ch3>\u003cem>After the Forest\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936319\" class=\"wp-caption aligncenter\" style=\"max-width: 784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM.png\" alt=\"A dark green book cover featuring a woman in a long gown walking down a path into a forest. Gold vines decorate the edges of the image.\" width=\"784\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM.png 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM-768x1172.png 768w\" sizes=\"(max-width: 784px) 100vw, 784px\">\u003cfigcaption class=\"wp-caption-text\">‘After the Forest’ by Kell Woods.\u003c/figcaption>\u003c/figure>\n\u003cp>Greta and her brother Hans survived being abandoned by their father and almost eaten by a wicked witch, but the village has never forgotten that there is something a bit uncanny about them. People whisper that Greta herself is a witch — and the truth is, they aren’t wrong. Greta took a book of spells from the witch when they fled, and now she uses it to bake enchanted gingerbread that even the most suspicious of villagers can’t resist buying.\u003c/p>\n\u003cp>When people begin to disappear and end up torn to pieces, the village blames a rogue bear that Greta encountered in the forest. Greta protects the bear, at first because she feels sorry for it, and then because she realizes that it is not a simple beast at all. Soon the villagers turn on her, and she’ll need all the witchery she can conjure to survive.\u003c/p>\n\u003cp>[aside postid='arts_13872372']Fairytale enthusiasts will find many familiar stories woven throughout this book. While it might seem at first like a retelling of Hansel and Gretel, it quickly departs from that origin and hints at other tales, from the sisters of Snow White and Rose Red to the bear husband of East of the Sun, West of the Moon. It’s very easy to get lost in the whimsy, romance, and transformative magic as Greta navigates the different ways of being a witch and determines which choices might make her wicked.\u003c/p>\n\u003cp>The various tropes of fairytales are retold here more than they are subverted, and in some instances, that feels a bit uncomfortable. Specifically, there is an evil dwarf character in the book, which feels notable because he is the only dwarf character. While I understand that the inclusion of this character type is in keeping with the source material, I think it would have been more interesting to examine (and perhaps subvert) this trope and its origins rather than reinforcing it.\u003c/p>\n\u003cp>That said, the love for and understanding of fairytales runs deep in Kell Woods’ book, and it’s sure to interest anyone who has an appreciation for dark forests, enchanted princes, and clever witches.\u003c/p>\n\u003ch3>\u003cem>Night of the Witch\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936320\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM.png\" alt=\"A dark green book cover featuring the phases of the moon in lime green.\" width=\"824\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-800x1179.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-768x1131.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘Night of the Witch’ by Sara Raasch and Beth Revis.\u003c/figcaption>\u003c/figure>\n\u003cp>When Fritzi’s village is destroyed by witch hunters and her cousin is taken, she follows after them, intent on saving her only surviving family and bringing justice for the dead. When she accidentally catches up with the wrong group of witch hunters, she disappears a witch they’ve captured with her magic, but is then arrested herself by the group’s captain, Otto.\u003c/p>\n\u003cp>[aside postid='arts_13935438']Otto is deep undercover. After his mother was burned by witch hunters, he joined their ranks and became a captain to break them from the inside. He and his sister Hilde have been working on a complex plan to free over 100 people doomed for the pyres. But when he goes to arrest Hilde and put their plan into action, Hilde vanishes, leaving Fritzi in her place, threatening their plans — unless Otto is able to convince Fritizi to help him.\u003c/p>\n\u003cp>Together, they may just be strong enough to take down the witch hunters and their evil commander for good. But first, they’re going to have to learn to trust each other.\u003c/p>\n\u003cp>This historical fantasy, by Sara Raasch and Beth Revis, is technically YA, but it works as a crossover into adult fantasy romance. The main focus is definitely on the relationship that builds between Fritzi and Otto, and they have some very charming moments that makes the romantic plotline feel earnest and satisfying. The connections to actual history and Germanic folk beliefs feel fairly tenuous, and there’s no attempt to make the characters think or talk like anything other than modern teens so, at times, reference to actual historical elements feels a bit jarring. But as long as I kept it in my head that this was full-on fantasy, it clipped along very satisfyingly, delivering on the witch vs. witch hunter trope that is the reason to read it in the first place.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Caitlyn Paxson is a writer and performer. She is a regular reviewer for NPR Books and \u003ca href=\"http://www.quillandquire.com/\">Quill & Quire\u003c/a>.\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=3+witchy+books+for+fall+that+offer+fright+and+delight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Witches have become ubiquitous in fiction these days, whether they’re being unjustly persecuted in a historical setting, selling love potions in some charming seaside town, or enchanting unsuspecting princesses in a fairytale forest.\u003c/p>\n\u003cp>Whether the witches are good, misunderstood, or just plain wicked doesn’t even matter — there are lots of great options coming out this fall. Here are few:\u003c/p>\n\u003ch3>\u003cem>The Witches of Bone Hill\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936318\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM.png\" alt=\"A dark blue book cover featuring autumnal vines, a creepy house and a flying fox.\" width=\"818\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM.png 818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-768x1138.png 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">‘The Witches of Bone Hill’ by Ava Morgyn.\u003c/figcaption>\u003c/figure>\n\u003cp>Cordelia Bone is dead broke and drowning in the debts her ex-husband left behind when he skipped town, so it seems like a miracle when she finds out that she and her sister have inherited a massive Victorian house and the estate of a great aunt they didn’t even know they had. Upon arriving at Bone Hill, the sisters discover that the inheritance may be more trouble than it’s worth. From crazed bats to mysteriously sexy groundskeepers to creepy family crypts, everything seems to be telling Cordelia to run in the opposite direction. But in order to claim the fortune she so desperately needs, she must follow her great aunt’s wishes and remain at the ancestral seat of the Bone family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The longer Cordelia stays in the house, the worse her chronic headaches get, and the more she begins to sense that there is some sinister presence seeking to do her harm. But perhaps, if she can get to the bottom of the mystery of why her mother fled Bone Hill and was subsequently murdered years before, she can finally right the wrongs that are haunting her family.\u003c/p>\n\u003cp>Part family epic, part supernatural thriller, and part gothic romance, Ava Morgyn’s \u003cem>The Witches of Bone Hill\u003c/em> is a haunted house book with a witchy twist. Cordelia is an interesting character, because initially she comes across as very distant and self-absorbed, but as she opens herself to her family history and her magical abilities, she also opens up to the reader and becomes someone compelling to root for. The Bone’s magic itself is not warm and fuzzy either, often manifesting in a rather grisly fashion. It reminds me of \u003cem>Practical Magic —\u003c/em> the novel, not the movie — as there is a bite and a bitterness to this family magic and a strength and coldness to the characters that creates a vivid, if sometimes uncomfortable, world where witches commune with the dead and untangle generations of disfunction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s worth noting that this book does have some pretty gruesome moments, and the animals in it do not fare well. This is definitely a gothy, edgy witch book, not a cozy one!\u003c/p>\n\u003ch3>\u003cem>After the Forest\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936319\" class=\"wp-caption aligncenter\" style=\"max-width: 784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM.png\" alt=\"A dark green book cover featuring a woman in a long gown walking down a path into a forest. Gold vines decorate the edges of the image.\" width=\"784\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM.png 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM-768x1172.png 768w\" sizes=\"(max-width: 784px) 100vw, 784px\">\u003cfigcaption class=\"wp-caption-text\">‘After the Forest’ by Kell Woods.\u003c/figcaption>\u003c/figure>\n\u003cp>Greta and her brother Hans survived being abandoned by their father and almost eaten by a wicked witch, but the village has never forgotten that there is something a bit uncanny about them. People whisper that Greta herself is a witch — and the truth is, they aren’t wrong. Greta took a book of spells from the witch when they fled, and now she uses it to bake enchanted gingerbread that even the most suspicious of villagers can’t resist buying.\u003c/p>\n\u003cp>When people begin to disappear and end up torn to pieces, the village blames a rogue bear that Greta encountered in the forest. Greta protects the bear, at first because she feels sorry for it, and then because she realizes that it is not a simple beast at all. Soon the villagers turn on her, and she’ll need all the witchery she can conjure to survive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fairytale enthusiasts will find many familiar stories woven throughout this book. While it might seem at first like a retelling of Hansel and Gretel, it quickly departs from that origin and hints at other tales, from the sisters of Snow White and Rose Red to the bear husband of East of the Sun, West of the Moon. It’s very easy to get lost in the whimsy, romance, and transformative magic as Greta navigates the different ways of being a witch and determines which choices might make her wicked.\u003c/p>\n\u003cp>The various tropes of fairytales are retold here more than they are subverted, and in some instances, that feels a bit uncomfortable. Specifically, there is an evil dwarf character in the book, which feels notable because he is the only dwarf character. While I understand that the inclusion of this character type is in keeping with the source material, I think it would have been more interesting to examine (and perhaps subvert) this trope and its origins rather than reinforcing it.\u003c/p>\n\u003cp>That said, the love for and understanding of fairytales runs deep in Kell Woods’ book, and it’s sure to interest anyone who has an appreciation for dark forests, enchanted princes, and clever witches.\u003c/p>\n\u003ch3>\u003cem>Night of the Witch\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936320\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM.png\" alt=\"A dark green book cover featuring the phases of the moon in lime green.\" width=\"824\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-800x1179.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-768x1131.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘Night of the Witch’ by Sara Raasch and Beth Revis.\u003c/figcaption>\u003c/figure>\n\u003cp>When Fritzi’s village is destroyed by witch hunters and her cousin is taken, she follows after them, intent on saving her only surviving family and bringing justice for the dead. When she accidentally catches up with the wrong group of witch hunters, she disappears a witch they’ve captured with her magic, but is then arrested herself by the group’s captain, Otto.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Otto is deep undercover. After his mother was burned by witch hunters, he joined their ranks and became a captain to break them from the inside. He and his sister Hilde have been working on a complex plan to free over 100 people doomed for the pyres. But when he goes to arrest Hilde and put their plan into action, Hilde vanishes, leaving Fritzi in her place, threatening their plans — unless Otto is able to convince Fritizi to help him.\u003c/p>\n\u003cp>Together, they may just be strong enough to take down the witch hunters and their evil commander for good. But first, they’re going to have to learn to trust each other.\u003c/p>\n\u003cp>This historical fantasy, by Sara Raasch and Beth Revis, is technically YA, but it works as a crossover into adult fantasy romance. The main focus is definitely on the relationship that builds between Fritzi and Otto, and they have some very charming moments that makes the romantic plotline feel earnest and satisfying. The connections to actual history and Germanic folk beliefs feel fairly tenuous, and there’s no attempt to make the characters think or talk like anything other than modern teens so, at times, reference to actual historical elements feels a bit jarring. But as long as I kept it in my head that this was full-on fantasy, it clipped along very satisfyingly, delivering on the witch vs. witch hunter trope that is the reason to read it in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Caitlyn Paxson is a writer and performer. She is a regular reviewer for NPR Books and \u003ca href=\"http://www.quillandquire.com/\">Quill & Quire\u003c/a>.\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=3+witchy+books+for+fall+that+offer+fright+and+delight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Love Letter to the Tenderloin, In Photographs",
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"content": "\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>[aside postid='arts_13935330']For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\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>\u003cem>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\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>\u003cem>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "sacramento-mothman-tahoe-tessie-antioch-bigfoot-kooki-davis-vampire-halloween",
"title": "5 Real-Life Monsters That Have (Allegedly) Stalked Northern California",
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"content": "\u003cp>Ask Northern Californians what local monsters they think about the most, and invariably you will hear a list of very bad people. \u003ca href=\"https://www.kqed.org/pop/17396/are-you-a-gentrifier-this-quiz-can-tell-you\">Gentrifiers\u003c/a>! The people who spread lies about San Francisco being \u003cem>The Purge\u003c/em> now! That one guy who hoses down homeless people! Folks who move in next door to music venues, then make noise complaints! Erratic \u003ca href=\"https://www.kqed.org/news/11959303/sf-activists-protest-immobilize-driverless-cars-with-traffic-cones\">ghost cars\u003c/a>! You get the gist.\u003c/p>\n\u003cp>It’s Halloween season at the moment, though, so it’s the perfect time to think beyond the usual suspects and venture into our region’s very real history of dealing with \u003cem>actual\u003c/em> monsters. The mysterious kind. The kind that people laugh at witnesses for reporting in the first place.\u003c/p>\n\u003cp>Here are five major ones you might not have realized were ever in our midst.\u003c/p>\n\u003cfigure id=\"attachment_13935927\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg\" alt=\"A mysterious bigfoot figure, walking through a foggy forest and silhouetted against trees.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bigfoot, doing his thing. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bigfoot in Antioch\u003c/h2>\n\u003cp>Back in 1869, an unsuspecting hunter wandered back to his campsite in Antioch one evening to find his belongings in disarray. As he tried to make sense of the scene, he noticed something else — enormous footprints that closely resembled the shape of a man’s foot, rather than an animal’s.\u003c/p>\n\u003cp>The hunter was so confounded that, rather than clean up the mess, he opted to hide out in some bushes 20 yards away and stake out whatever had paid the camp an earlier visit. After two hours, the mysterious beast did indeed come back and the hunter was able to observe a bonafide Bigfoot for about 20 minutes. The hunter later reported that the creature was:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“5 feet high and disproportionately broad and square at the shoulders with arms of great length. The legs were very short and the body long. The head was small compared to the rest of the creature and appeared to be set upon his shoulders without a neck. The whole was covered with dark brown and cinnamon-colored hair.”\u003c/p>\n\u003cp>So… a tall Ewok then? (Sign me up!)\u003c/p>\n\u003cp>[aside postid='arts_13904911']The hunter hung around long enough to see Overgrown Wicket meet up with another Bigfoot that was “unmistakenly female.” (That means boobs, probably?) To his surprise, after telling other hunters in the area what he had witnessed, the Bigfoot-spotter found that almost no one was surprised. Most other folks reported seeing the signature giant footprints and at least one other man had seen the furry fam as well.\u003c/p>\n\u003cp>Rupert Matthews, author of \u003cem>Bigfoot: True-Life Encounters With Legendary Ape-Men\u003c/em> notes that: “This acceptance of the reality of the creatures by those who spent a lot time in the forested hills is a feature of early cases [of Bigfoot sightings] that surfaces again and again. ”\u003c/p>\n\u003cfigure id=\"attachment_13935928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg\" alt=\"A gorgeous blue lake surrounded by green pine trees. A small green island sits in the center of the water.\" width=\"1920\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emerald Bay, Lake Tahoe: May or may not be home to a giant serpent monster. \u003ccite>(Anjelika Gretskaia/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tahoe Tessie\u003c/h2>\n\u003cp>It sounds like a bad joke set-up: Two nuns, a couple of cops, one optometrist and 10 USPS workers walk into the countryside… yadda-yadda-yadda… punchline about a sea serpent.\u003c/p>\n\u003cp>Except, that is the actual list of people who reported seeing some kind of aquatic monster in the waters of Lake Tahoe in the mid-1980s. One of the cops, Reno’s Kris Beebe, said the creature — nicknamed “Tahoe Tessie” for funsies — was “dark gray or black” and “a minimum of 10 feet long.” The other witnesses described a featureless body that was “fast-moving and undulating, but strangely devoid of identifying attributes.”\u003c/p>\n\u003cp>Noting that nothing of that size had ever been proven to live in the 1,590-foot-deep lake, fishing guide Mickey Daniels told the \u003cem>San Francisco Examiner:\u003c/em> “I think there’s something there. I’ve talked to about a hundred people who’ve seen it. What do I do — call them liars?”\u003c/p>\n\u003cfigure id=\"attachment_13935929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg\" alt=\"Female, red vampire lips with dripping blood, viewed in close-up.\" width=\"2560\" height=\"1491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1536x894.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-2048x1193.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1920x1118.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In 1978, a Daly City resident named Kooki Davis claimed publicly to be a full-fledged vampire. \u003ccite>(Remains/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Vampires in Daly City\u003c/h2>\n\u003cp>In 1978, the \u003cem>San Francisco Examiner\u003c/em> dedicated a story to Kooki Davis, a Daly City-dwelling hair stylist from Trinidad, who was living full-time as a vampire. “She has long fangs, razor-sharp fingernails and blood dripping from her lips,” the paper reported, like that was perfectly normal. “She speaks with a Transylvania twang and her ‘come hither’ stare sends icy fingers up and down your spine.”\u003c/p>\n\u003cp>[aside postid='arts_13904118']In the story, Davis explained that she’d become a “certified” vampire five years ago. And if you’re wondering what \u003cem>that\u003c/em> exam involves, she elaborated: “To become a vampire, you have to be bitten by a vampire. Once bitten, you become a victim. Victims have to serve an apprenticeship to learn the ropes … There’s a lot of activity in San Francisco, so you can earn your merit badges pretty fast — as opposed to Dubuque or Wichita.”\u003c/p>\n\u003cp>(This is the value of newspapers, friends. Movies never tell anyone that in order to rid oneself of a vampire problem, moving to Iowa or Kansas will solve it, but here we are.)\u003c/p>\n\u003cp>Of her interactions with the general public, Davis noted that at work, at the end of each haircut, her “trademark” was to give each of her customers a “gentle bite” on the neck.\u003c/p>\n\u003cp>Man, that salon must have had amazing insurance.\u003c/p>\n\u003cfigure id=\"attachment_13935930\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg\" alt=\"A man looks up at a flying mothman figure in the sky that's silhouetted against the moon at night.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Someone spotted this guy on top of Sacramento’s Tower Bridge. Not cool, Mothman. Not cool. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Sacramento Mothman\u003c/h2>\n\u003cp>As all good cryptid nerds know, Mothman primarily enjoys hanging out in West Virginia. (Probably because 80% of the state is forested, and also because approximately 80% of people who don’t live in West Virginia assume that everyone who does is crazy.) For decades there, witnesses have been describing a 7-foot-tall man with red eyes and wings, with a wingspan between 10 and 15 feet wide, who can fly at speeds too fast to catch on camera.\u003c/p>\n\u003cp>Well, Mothman must have had himself a little Californian vacation in 2009, because a photographer named Lamont Greer claims to have seen the humanoid hanging around on top of Sacramento’s Tower Bridge one night. Greer had been taking photos of the bridge at the time and was stunned by what he saw.\u003c/p>\n\u003cp>[aside postid='arts_13933318']“I had just finished filming the back side of the bridge so I was bent down putting my camera back in my camera bag,” Greer told The History Channel’s \u003cem>MonsterQuest\u003c/em>, “and I kind of felt something looking at me. When I first saw it, I didn’t know what it was … but then my eyes kind of focused on it a bit better. It spread wings and then started flying off. It wasn’t a man, it wasn’t a bird. It was absolutely strange and unique. If it wanted to come down and hurt someone — attack — it absolutely could cause damage.”\u003c/p>\n\u003cp>The Sacramento sighting is not the only time Mothman has showed up in a city. In 2017, a bunch of people reported seeing him hanging around Chicago — including at the airport. A moth’s gotta vacation, you guys. A moth’s gotta vacation.\u003c/p>\n\u003cfigure id=\"attachment_13935936\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935936\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg\" alt=\"Two slender sea monsters with long tails and small fins make turns in the ocean as light streams through from the sky.\" width=\"1920\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1536x1106.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Multiple fishermen in Santa Cruz and Monterey used to report a sea serpent lurking in the water. They nicknamed it ‘The Old Man of Monterey Bay’ and also, for some reason, ‘Bobo.’ \u003ccite>( Victor Habbick Visions/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Old Man of Monterey Bay\u003c/h2>\n\u003cp>About a hundred years ago, the fishermen of Monterey Bay and the Santa Cruz waterfront started reporting seeing an alarming dragon-like creature circling their boats. Some witnesses said the strange beast had a very large head, extremely long tail and a series of pointed spines along its back. A Monterey man named Dominic Costanza said the creature was about four feet in width and had “what looked like the face of a very old man or a monkey … with two eyes the size of breakfast buns.”\u003c/p>\n\u003cp>(Never mind the creature — what the hell is a breakfast bun?)\u003c/p>\n\u003cp>By March 1940, the creature had two nicknames — “The Old Man of Monterey Bay” or “Bobo,” depending on your preference — and it had prompted around 30 fishing captains to make reports to the \u003cem>Santa Cruz Sentinel\u003c/em>.\u003c/p>\n\u003cp>Years later, Geoffrey Dunn — a man whose family had been in Santa Cruz for generations — wrote in \u003cem>Santa Cruz Style\u003c/em> that:\u003c/p>\n\u003cblockquote>\u003cp>Several of my uncles and cousins reportedly encountered the monster while fishing in their small, double-ended fishing vessels … My late uncle Mario Stagnaro once recounted for me the afternoon that a badly shaken fisherman, Bill Totten, returned to the docks following a day of fishing in June of 1941. ‘I saw that serpent or monster out there!’ he screamed. ‘Get me out of here!’\u003c/p>\u003c/blockquote>\n\u003cp>Totten apparently did not return to the wharf for some time. Play nice, Bobo!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Be careful out there, folks — and have a happy Halloween.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask Northern Californians what local monsters they think about the most, and invariably you will hear a list of very bad people. \u003ca href=\"https://www.kqed.org/pop/17396/are-you-a-gentrifier-this-quiz-can-tell-you\">Gentrifiers\u003c/a>! The people who spread lies about San Francisco being \u003cem>The Purge\u003c/em> now! That one guy who hoses down homeless people! Folks who move in next door to music venues, then make noise complaints! Erratic \u003ca href=\"https://www.kqed.org/news/11959303/sf-activists-protest-immobilize-driverless-cars-with-traffic-cones\">ghost cars\u003c/a>! You get the gist.\u003c/p>\n\u003cp>It’s Halloween season at the moment, though, so it’s the perfect time to think beyond the usual suspects and venture into our region’s very real history of dealing with \u003cem>actual\u003c/em> monsters. The mysterious kind. The kind that people laugh at witnesses for reporting in the first place.\u003c/p>\n\u003cp>Here are five major ones you might not have realized were ever in our midst.\u003c/p>\n\u003cfigure id=\"attachment_13935927\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg\" alt=\"A mysterious bigfoot figure, walking through a foggy forest and silhouetted against trees.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bigfoot, doing his thing. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bigfoot in Antioch\u003c/h2>\n\u003cp>Back in 1869, an unsuspecting hunter wandered back to his campsite in Antioch one evening to find his belongings in disarray. As he tried to make sense of the scene, he noticed something else — enormous footprints that closely resembled the shape of a man’s foot, rather than an animal’s.\u003c/p>\n\u003cp>The hunter was so confounded that, rather than clean up the mess, he opted to hide out in some bushes 20 yards away and stake out whatever had paid the camp an earlier visit. After two hours, the mysterious beast did indeed come back and the hunter was able to observe a bonafide Bigfoot for about 20 minutes. The hunter later reported that the creature was:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“5 feet high and disproportionately broad and square at the shoulders with arms of great length. The legs were very short and the body long. The head was small compared to the rest of the creature and appeared to be set upon his shoulders without a neck. The whole was covered with dark brown and cinnamon-colored hair.”\u003c/p>\n\u003cp>So… a tall Ewok then? (Sign me up!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hunter hung around long enough to see Overgrown Wicket meet up with another Bigfoot that was “unmistakenly female.” (That means boobs, probably?) To his surprise, after telling other hunters in the area what he had witnessed, the Bigfoot-spotter found that almost no one was surprised. Most other folks reported seeing the signature giant footprints and at least one other man had seen the furry fam as well.\u003c/p>\n\u003cp>Rupert Matthews, author of \u003cem>Bigfoot: True-Life Encounters With Legendary Ape-Men\u003c/em> notes that: “This acceptance of the reality of the creatures by those who spent a lot time in the forested hills is a feature of early cases [of Bigfoot sightings] that surfaces again and again. ”\u003c/p>\n\u003cfigure id=\"attachment_13935928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg\" alt=\"A gorgeous blue lake surrounded by green pine trees. A small green island sits in the center of the water.\" width=\"1920\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emerald Bay, Lake Tahoe: May or may not be home to a giant serpent monster. \u003ccite>(Anjelika Gretskaia/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tahoe Tessie\u003c/h2>\n\u003cp>It sounds like a bad joke set-up: Two nuns, a couple of cops, one optometrist and 10 USPS workers walk into the countryside… yadda-yadda-yadda… punchline about a sea serpent.\u003c/p>\n\u003cp>Except, that is the actual list of people who reported seeing some kind of aquatic monster in the waters of Lake Tahoe in the mid-1980s. One of the cops, Reno’s Kris Beebe, said the creature — nicknamed “Tahoe Tessie” for funsies — was “dark gray or black” and “a minimum of 10 feet long.” The other witnesses described a featureless body that was “fast-moving and undulating, but strangely devoid of identifying attributes.”\u003c/p>\n\u003cp>Noting that nothing of that size had ever been proven to live in the 1,590-foot-deep lake, fishing guide Mickey Daniels told the \u003cem>San Francisco Examiner:\u003c/em> “I think there’s something there. I’ve talked to about a hundred people who’ve seen it. What do I do — call them liars?”\u003c/p>\n\u003cfigure id=\"attachment_13935929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg\" alt=\"Female, red vampire lips with dripping blood, viewed in close-up.\" width=\"2560\" height=\"1491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1536x894.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-2048x1193.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1920x1118.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In 1978, a Daly City resident named Kooki Davis claimed publicly to be a full-fledged vampire. \u003ccite>(Remains/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Vampires in Daly City\u003c/h2>\n\u003cp>In 1978, the \u003cem>San Francisco Examiner\u003c/em> dedicated a story to Kooki Davis, a Daly City-dwelling hair stylist from Trinidad, who was living full-time as a vampire. “She has long fangs, razor-sharp fingernails and blood dripping from her lips,” the paper reported, like that was perfectly normal. “She speaks with a Transylvania twang and her ‘come hither’ stare sends icy fingers up and down your spine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the story, Davis explained that she’d become a “certified” vampire five years ago. And if you’re wondering what \u003cem>that\u003c/em> exam involves, she elaborated: “To become a vampire, you have to be bitten by a vampire. Once bitten, you become a victim. Victims have to serve an apprenticeship to learn the ropes … There’s a lot of activity in San Francisco, so you can earn your merit badges pretty fast — as opposed to Dubuque or Wichita.”\u003c/p>\n\u003cp>(This is the value of newspapers, friends. Movies never tell anyone that in order to rid oneself of a vampire problem, moving to Iowa or Kansas will solve it, but here we are.)\u003c/p>\n\u003cp>Of her interactions with the general public, Davis noted that at work, at the end of each haircut, her “trademark” was to give each of her customers a “gentle bite” on the neck.\u003c/p>\n\u003cp>Man, that salon must have had amazing insurance.\u003c/p>\n\u003cfigure id=\"attachment_13935930\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg\" alt=\"A man looks up at a flying mothman figure in the sky that's silhouetted against the moon at night.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Someone spotted this guy on top of Sacramento’s Tower Bridge. Not cool, Mothman. Not cool. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Sacramento Mothman\u003c/h2>\n\u003cp>As all good cryptid nerds know, Mothman primarily enjoys hanging out in West Virginia. (Probably because 80% of the state is forested, and also because approximately 80% of people who don’t live in West Virginia assume that everyone who does is crazy.) For decades there, witnesses have been describing a 7-foot-tall man with red eyes and wings, with a wingspan between 10 and 15 feet wide, who can fly at speeds too fast to catch on camera.\u003c/p>\n\u003cp>Well, Mothman must have had himself a little Californian vacation in 2009, because a photographer named Lamont Greer claims to have seen the humanoid hanging around on top of Sacramento’s Tower Bridge one night. Greer had been taking photos of the bridge at the time and was stunned by what he saw.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I had just finished filming the back side of the bridge so I was bent down putting my camera back in my camera bag,” Greer told The History Channel’s \u003cem>MonsterQuest\u003c/em>, “and I kind of felt something looking at me. When I first saw it, I didn’t know what it was … but then my eyes kind of focused on it a bit better. It spread wings and then started flying off. It wasn’t a man, it wasn’t a bird. It was absolutely strange and unique. If it wanted to come down and hurt someone — attack — it absolutely could cause damage.”\u003c/p>\n\u003cp>The Sacramento sighting is not the only time Mothman has showed up in a city. In 2017, a bunch of people reported seeing him hanging around Chicago — including at the airport. A moth’s gotta vacation, you guys. A moth’s gotta vacation.\u003c/p>\n\u003cfigure id=\"attachment_13935936\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935936\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg\" alt=\"Two slender sea monsters with long tails and small fins make turns in the ocean as light streams through from the sky.\" width=\"1920\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1536x1106.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Multiple fishermen in Santa Cruz and Monterey used to report a sea serpent lurking in the water. They nicknamed it ‘The Old Man of Monterey Bay’ and also, for some reason, ‘Bobo.’ \u003ccite>( Victor Habbick Visions/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Old Man of Monterey Bay\u003c/h2>\n\u003cp>About a hundred years ago, the fishermen of Monterey Bay and the Santa Cruz waterfront started reporting seeing an alarming dragon-like creature circling their boats. Some witnesses said the strange beast had a very large head, extremely long tail and a series of pointed spines along its back. A Monterey man named Dominic Costanza said the creature was about four feet in width and had “what looked like the face of a very old man or a monkey … with two eyes the size of breakfast buns.”\u003c/p>\n\u003cp>(Never mind the creature — what the hell is a breakfast bun?)\u003c/p>\n\u003cp>By March 1940, the creature had two nicknames — “The Old Man of Monterey Bay” or “Bobo,” depending on your preference — and it had prompted around 30 fishing captains to make reports to the \u003cem>Santa Cruz Sentinel\u003c/em>.\u003c/p>\n\u003cp>Years later, Geoffrey Dunn — a man whose family had been in Santa Cruz for generations — wrote in \u003cem>Santa Cruz Style\u003c/em> that:\u003c/p>\n\u003cblockquote>\u003cp>Several of my uncles and cousins reportedly encountered the monster while fishing in their small, double-ended fishing vessels … My late uncle Mario Stagnaro once recounted for me the afternoon that a badly shaken fisherman, Bill Totten, returned to the docks following a day of fishing in June of 1941. ‘I saw that serpent or monster out there!’ he screamed. ‘Get me out of here!’\u003c/p>\u003c/blockquote>\n\u003cp>Totten apparently did not return to the wharf for some time. Play nice, Bobo!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Be careful out there, folks — and have a happy Halloween.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "joan-baez-documentary-movie-review-i-am-a-noise-folk",
"title": "Joan Baez Has Songs to Sing and Secrets to Tell in New Documentary",
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"headTitle": "Joan Baez Has Songs to Sing and Secrets to Tell in New Documentary | KQED",
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"content": "\u003cfigure id=\"attachment_13936154\" class=\"wp-caption aligncenter\" style=\"max-width: 2108px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png\" alt=\"A young, attractive Latina stands on the edge of a dessert landscape. She is wearing a structured blue top against a blue sky.\" width=\"2108\" height=\"1300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png 2108w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-2048x1263.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1920x1184.png 1920w\" sizes=\"auto, (max-width: 2108px) 100vw, 2108px\">\u003cfigcaption class=\"wp-caption-text\">Joan Baez in a scene from ‘I Am a Noise.’ \u003ccite>(Albert Baez/ Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Dylan called it her “heart-stopping soprano,” and it’s true that when Joan Baez unleashed that pure, angelic voice on the protest song “We Shall Overcome,” you could believe we would, indeed, overcome.\u003c/p>\n\u003cp>The celebrated folk singer and activist was singing about civil rights, of course. But what we learn in the thoughtful, thorough and sometimes harrowingly intimate \u003cem>Joan Baez: I Am a Noise\u003c/em> is that Baez was also seeking to overcome much on a personal scale: anxiety, depression, loneliness and, late in life, troubling repressed memories about her own father.\u003c/p>\n\u003cp>[aside postid='arts_13933809']If that sounds like a lot to cover in 113 minutes, it is — especially because the new documentary, directed by Maeve O’Boyle, Miri Navasky and Karen O’Connor, also recaps a 60-year performing career, with the singer telling her story through interviews and an incredible wealth of archival material. We see Baez entering for the very first time a storage unit filled to the ceiling by her late mother with photos, home films, audio recordings, letters, drawings and even tapes of therapy sessions.\u003c/p>\n\u003cp>And she gave her directors the key. The film was originally intended simply to cover Baez’s last, 2018 “Fare Thee Well” tour, but Baez decided to leave a more thorough legacy.\u003c/p>\n\u003cp>The film begins with novelist Gabriel Garcia Marquez’s quote about how everyone has three lives: public, private and secret. Well, this is certainly apt for Baez, who emerged as a sudden star in 1959, an 18-year-old with a guitar and that bell-like voice, and went on to make some 40 albums, with a 2017 induction into the Rock & Roll Hall of Fame. As we see from her own anguished drawings and letters beginning in youth, her intensely public life masked both a difficult private one and some dark secrets as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there was Dylan, the same age as Baez, that inscrutable genius who stole her heart and then broke it. It was intoxicating being together, recounts Baez, who introduced him lovingly to her audiences, until a painful UK tour when his fame blossomed and “it was horrible.” Then, staring into the camera, she says: “Hi, Bob!” It’s a welcome and rare opportunity to laugh with her.\u003c/p>\n\u003cp>[aside postid='arts_13935703']But back to the beginning, where Baez, on the cusp of 80, is preparing for the tour, rehearsing at home in northern California. Her hair is fully gray; her face has not changed much. “I know I look good for my age, but there is a limit,” she quips of upcoming retirement. As for her voice, it’s there, but definitely lower and more ragged.\u003c/p>\n\u003cp>Amid concert footage, we toggle to scenes of Baez’s youth. We also hear, on and off, a strange (and rather distracting) male voice sounding like a hypnotist. It turns out to be her therapist.\u003c/p>\n\u003cp>The story begins with lovely, black-and-white footage of Joan as a child, dancing in a field with her parents and sisters. Her Mexican-born father was dashing. The scenes look idyllic, but there are signs of trouble ahead when, in an interview from the present, Joan notes mysteriously: “I’m way too conflicted to just have a bunch of happy memories.”\u003c/p>\n\u003cp>We see pages from young Joan’s journal, its copious sketches brought to life by wonderfully inventive animation, and hear how white kids called her “the dumb Mexican” in school. Panic attacks and anxiety set in. Even when she becomes a star, breaking out at the Newport Folk Festival in 1959, her self-image doesn’t seem to thrive. Nestled among the many letters to her parents is a drawing of a very small girl: “This is how I felt on the Carnegie Hall stage.”\u003c/p>\n\u003cp>And then a charismatic singer-songwriter invades her life.\u003c/p>\n\u003cp>”I was just stoned on that talent,” she says of Dylan. One of the best moments of the film has Baez at the mic, during good times, imitating Dylan imitating her.\u003c/p>\n\u003cp>But later, on that tour to Britain, he leaves her in his wake. “Dylan broke my heart,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dhcV1gEat_c\u003c/p>\n\u003cp>A new phase sees Baez deeply engaged in protests against the Vietnam War — even going to jail. There, young activist David Harris visits her. The two will marry, she’ll become pregnant, and then HE will go to jail. When he comes out, the marriage is troubled and doesn’t last. “He was too young and I was too crazy,” she says. Gabriel, her son, plays drums in his mother’s band on the farewell tour.\u003c/p>\n\u003cp>Later scenes have Baez discussing a phase of reliance on Quaaludes, which cause her to make some questionable decisions, including posing for an album cover in huge aviator goggles.\u003c/p>\n\u003cp>[aside postid='arts_13933824']The final act deals with accusations against her father of inappropriate sexual behavior with Joan and one of her sisters, Mimi. Her parents, both deceased, denied it, and Joan’s own memories lack detail. She has said she could not have told this story while her parents were still alive.\u003c/p>\n\u003cp>There’s an excruciating tape of a phone message from her accused dad, and then a tender scene where Baez comforts her aging and dying mother.\u003c/p>\n\u003cp>And then, after footage of a final concert at New York’s Beacon Theater, we see the now-retired Baez dancing in a field near her home. A nod perhaps to the childhood scenes — but also maybe a statement that while she hasn’t overcome it all, she’s overcome a heckuva lot.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joan Baez: I Am a Noise’ opens in wide release on Oct. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936154\" class=\"wp-caption aligncenter\" style=\"max-width: 2108px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png\" alt=\"A young, attractive Latina stands on the edge of a dessert landscape. She is wearing a structured blue top against a blue sky.\" width=\"2108\" height=\"1300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png 2108w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-2048x1263.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1920x1184.png 1920w\" sizes=\"auto, (max-width: 2108px) 100vw, 2108px\">\u003cfigcaption class=\"wp-caption-text\">Joan Baez in a scene from ‘I Am a Noise.’ \u003ccite>(Albert Baez/ Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Dylan called it her “heart-stopping soprano,” and it’s true that when Joan Baez unleashed that pure, angelic voice on the protest song “We Shall Overcome,” you could believe we would, indeed, overcome.\u003c/p>\n\u003cp>The celebrated folk singer and activist was singing about civil rights, of course. But what we learn in the thoughtful, thorough and sometimes harrowingly intimate \u003cem>Joan Baez: I Am a Noise\u003c/em> is that Baez was also seeking to overcome much on a personal scale: anxiety, depression, loneliness and, late in life, troubling repressed memories about her own father.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If that sounds like a lot to cover in 113 minutes, it is — especially because the new documentary, directed by Maeve O’Boyle, Miri Navasky and Karen O’Connor, also recaps a 60-year performing career, with the singer telling her story through interviews and an incredible wealth of archival material. We see Baez entering for the very first time a storage unit filled to the ceiling by her late mother with photos, home films, audio recordings, letters, drawings and even tapes of therapy sessions.\u003c/p>\n\u003cp>And she gave her directors the key. The film was originally intended simply to cover Baez’s last, 2018 “Fare Thee Well” tour, but Baez decided to leave a more thorough legacy.\u003c/p>\n\u003cp>The film begins with novelist Gabriel Garcia Marquez’s quote about how everyone has three lives: public, private and secret. Well, this is certainly apt for Baez, who emerged as a sudden star in 1959, an 18-year-old with a guitar and that bell-like voice, and went on to make some 40 albums, with a 2017 induction into the Rock & Roll Hall of Fame. As we see from her own anguished drawings and letters beginning in youth, her intensely public life masked both a difficult private one and some dark secrets as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there was Dylan, the same age as Baez, that inscrutable genius who stole her heart and then broke it. It was intoxicating being together, recounts Baez, who introduced him lovingly to her audiences, until a painful UK tour when his fame blossomed and “it was horrible.” Then, staring into the camera, she says: “Hi, Bob!” It’s a welcome and rare opportunity to laugh with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But back to the beginning, where Baez, on the cusp of 80, is preparing for the tour, rehearsing at home in northern California. Her hair is fully gray; her face has not changed much. “I know I look good for my age, but there is a limit,” she quips of upcoming retirement. As for her voice, it’s there, but definitely lower and more ragged.\u003c/p>\n\u003cp>Amid concert footage, we toggle to scenes of Baez’s youth. We also hear, on and off, a strange (and rather distracting) male voice sounding like a hypnotist. It turns out to be her therapist.\u003c/p>\n\u003cp>The story begins with lovely, black-and-white footage of Joan as a child, dancing in a field with her parents and sisters. Her Mexican-born father was dashing. The scenes look idyllic, but there are signs of trouble ahead when, in an interview from the present, Joan notes mysteriously: “I’m way too conflicted to just have a bunch of happy memories.”\u003c/p>\n\u003cp>We see pages from young Joan’s journal, its copious sketches brought to life by wonderfully inventive animation, and hear how white kids called her “the dumb Mexican” in school. Panic attacks and anxiety set in. Even when she becomes a star, breaking out at the Newport Folk Festival in 1959, her self-image doesn’t seem to thrive. Nestled among the many letters to her parents is a drawing of a very small girl: “This is how I felt on the Carnegie Hall stage.”\u003c/p>\n\u003cp>And then a charismatic singer-songwriter invades her life.\u003c/p>\n\u003cp>”I was just stoned on that talent,” she says of Dylan. One of the best moments of the film has Baez at the mic, during good times, imitating Dylan imitating her.\u003c/p>\n\u003cp>But later, on that tour to Britain, he leaves her in his wake. “Dylan broke my heart,” she says.\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/dhcV1gEat_c'\n title='//www.youtube.com/embed/dhcV1gEat_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A new phase sees Baez deeply engaged in protests against the Vietnam War — even going to jail. There, young activist David Harris visits her. The two will marry, she’ll become pregnant, and then HE will go to jail. When he comes out, the marriage is troubled and doesn’t last. “He was too young and I was too crazy,” she says. Gabriel, her son, plays drums in his mother’s band on the farewell tour.\u003c/p>\n\u003cp>Later scenes have Baez discussing a phase of reliance on Quaaludes, which cause her to make some questionable decisions, including posing for an album cover in huge aviator goggles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The final act deals with accusations against her father of inappropriate sexual behavior with Joan and one of her sisters, Mimi. Her parents, both deceased, denied it, and Joan’s own memories lack detail. She has said she could not have told this story while her parents were still alive.\u003c/p>\n\u003cp>There’s an excruciating tape of a phone message from her accused dad, and then a tender scene where Baez comforts her aging and dying mother.\u003c/p>\n\u003cp>And then, after footage of a final concert at New York’s Beacon Theater, we see the now-retired Baez dancing in a field near her home. A nod perhaps to the childhood scenes — but also maybe a statement that while she hasn’t overcome it all, she’s overcome a heckuva lot.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joan Baez: I Am a Noise’ opens in wide release on Oct. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Taylor Swift: The Eras Tour’ Might Just Shake Up the Movie Business Now Too",
"headTitle": "‘Taylor Swift: The Eras Tour’ Might Just Shake Up the Movie Business Now Too | KQED",
"content": "\u003cp>Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.\u003c/p>\n\u003cp>But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”\u003c/p>\n\u003cp>Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when \u003cem>Taylor Swift: The Eras Tour\u003c/em> debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>Swifties will descend. Dancing will be encouraged.\u003c/p>\n\u003cp>“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic \u003cem>Stop Making Sense\u003c/em> returned to theaters for a decades-later encore. But \u003cem>The Eras Tour\u003c/em> heralds something new and potentially game-changing in the movie industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two of the biggest stars on the planet — Swift and, in December under \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">a very similar arrangement, Beyoncé\u003c/a> — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.\u003c/p>\n\u003cp>But how did the once declared-for-dead multiplex become the go-to place this fall for a pair of stars previously \u003ca href=\"https://www.kqed.org/pop/111097/what-beyonces-hungry-confession-means-for-women-everywhere\">at home on Netflix\u003c/a>?\u003c/p>\n\u003cp>[aside postid='arts_13935703']When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like \u003cem>Dune: Part Two\u003c/em>.\u003c/p>\n\u003cp>Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.\u003c/p>\n\u003cp>Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But \u003cem>The Eras Tour\u003c/em> could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.\u003c/p>\n\u003cp>“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: ‘This is something I could do.’”\u003c/p>\n\u003cp>Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion,\u003ca href=\"https://www.kqed.org/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance\"> crashed Ticketmaster’s site\u003c/a>, saw sky-high resale mark-ups and left many fans priced out.\u003c/p>\n\u003cp>The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89, a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That’s higher than the average movie ticket but several thousand less than many tickets to see Swift live.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>It’s arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.\u003c/p>\n\u003cp>[aside postid='arts_13931892']The pop star’s \u003ca href=\"https://www.kqed.org/arts/13935566/taylor-swift-travis-kelce-relationship-boosts-nfl-sales-spectators\">apparent relationship with Kansas City Chiefs tight end Travis Kelce\u003c/a> has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)\u003c/p>\n\u003cp>Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion’s share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.\u003c/p>\n\u003cp>Both AMC and representatives for Swift declined to discuss the film’s release.\u003c/p>\n\u003cp>After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.\u003c/p>\n\u003cp>“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”\u003c/p>\n\u003cp>Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.\u003c/p>\n\u003cp>“It really opens up the idea that other types of content can play really well in a movie theater,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13935566']Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.\u003c/p>\n\u003cp>“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.\u003c/p>\n\u003cp>Delrahim believes \u003cem>Taylor Swift: The Eras Tour\u003c/em> — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”\u003c/p>\n\u003cfigure id=\"attachment_13936192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg\" alt=\"Taylor Swift, long blond hair blowing in the breeze stands legs apart and pointing theatrically forward. She is singing into a microphone and wearing a blue tassled body suit, leg garter and knee high black boots.\" width=\"1920\" height=\"1390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1536x1112.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift onstage during her Eras Tour, at SoFi Stadium. \u003ccite>(Kevin Winter/ TAS23/ Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”\u003c/p>\n\u003cp>The sunsetting of the Paramount Decrees does give AMC a leg up on their competitors. As the distributor as well as an exhibitor, \u003ca href=\"https://www.indiewire.com/news/box-office/taylor-swift-the-eras-tour-amc-infuriates-studios-1234901227/\">AMC was able to set their own showtimes and sell tickets for \u003ci data-stringify-type=\"italic\">Taylor Swift: The Eras Tour\u003c/i> before other theaters\u003c/a>, taking the industry by surprise and adversely affecting smaller, independently run movie theaters, in particular.\u003c/p>\n\u003cp>[aside postid='arts_13933011']Meanwhile, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for \u003cem>The Eras Tour\u003c/em> to catch \u003cem>Woodstock\u003c/em>, which grossed $50 million in 1970, a total that translates to nearly $400 million today.\u003c/p>\n\u003cp>In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn’t particularly mind.\u003c/p>\n\u003cp>“I’m just happy it’s there,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">Gabe Meline contributed reporting.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.\u003c/p>\n\u003cp>But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”\u003c/p>\n\u003cp>Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when \u003cem>Taylor Swift: The Eras Tour\u003c/em> debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>Swifties will descend. Dancing will be encouraged.\u003c/p>\n\u003cp>“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic \u003cem>Stop Making Sense\u003c/em> returned to theaters for a decades-later encore. But \u003cem>The Eras Tour\u003c/em> heralds something new and potentially game-changing in the movie industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two of the biggest stars on the planet — Swift and, in December under \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">a very similar arrangement, Beyoncé\u003c/a> — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.\u003c/p>\n\u003cp>But how did the once declared-for-dead multiplex become the go-to place this fall for a pair of stars previously \u003ca href=\"https://www.kqed.org/pop/111097/what-beyonces-hungry-confession-means-for-women-everywhere\">at home on Netflix\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like \u003cem>Dune: Part Two\u003c/em>.\u003c/p>\n\u003cp>Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.\u003c/p>\n\u003cp>Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But \u003cem>The Eras Tour\u003c/em> could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.\u003c/p>\n\u003cp>“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: ‘This is something I could do.’”\u003c/p>\n\u003cp>Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion,\u003ca href=\"https://www.kqed.org/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance\"> crashed Ticketmaster’s site\u003c/a>, saw sky-high resale mark-ups and left many fans priced out.\u003c/p>\n\u003cp>The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89, a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That’s higher than the average movie ticket but several thousand less than many tickets to see Swift live.\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/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The pop star’s \u003ca href=\"https://www.kqed.org/arts/13935566/taylor-swift-travis-kelce-relationship-boosts-nfl-sales-spectators\">apparent relationship with Kansas City Chiefs tight end Travis Kelce\u003c/a> has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)\u003c/p>\n\u003cp>Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion’s share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.\u003c/p>\n\u003cp>Both AMC and representatives for Swift declined to discuss the film’s release.\u003c/p>\n\u003cp>After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.\u003c/p>\n\u003cp>“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”\u003c/p>\n\u003cp>Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.\u003c/p>\n\u003cp>“It really opens up the idea that other types of content can play really well in a movie theater,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.\u003c/p>\n\u003cp>“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.\u003c/p>\n\u003cp>Delrahim believes \u003cem>Taylor Swift: The Eras Tour\u003c/em> — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”\u003c/p>\n\u003cfigure id=\"attachment_13936192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg\" alt=\"Taylor Swift, long blond hair blowing in the breeze stands legs apart and pointing theatrically forward. She is singing into a microphone and wearing a blue tassled body suit, leg garter and knee high black boots.\" width=\"1920\" height=\"1390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1536x1112.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift onstage during her Eras Tour, at SoFi Stadium. \u003ccite>(Kevin Winter/ TAS23/ Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”\u003c/p>\n\u003cp>The sunsetting of the Paramount Decrees does give AMC a leg up on their competitors. As the distributor as well as an exhibitor, \u003ca href=\"https://www.indiewire.com/news/box-office/taylor-swift-the-eras-tour-amc-infuriates-studios-1234901227/\">AMC was able to set their own showtimes and sell tickets for \u003ci data-stringify-type=\"italic\">Taylor Swift: The Eras Tour\u003c/i> before other theaters\u003c/a>, taking the industry by surprise and adversely affecting smaller, independently run movie theaters, in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for \u003cem>The Eras Tour\u003c/em> to catch \u003cem>Woodstock\u003c/em>, which grossed $50 million in 1970, a total that translates to nearly $400 million today.\u003c/p>\n\u003cp>In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn’t particularly mind.\u003c/p>\n\u003cp>“I’m just happy it’s there,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13936092\" class=\"wp-caption aligncenter\" style=\"max-width: 946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM.png\" alt=\"A black and white book cover depicting a blonde starlet wearing a 1950s-era gown.\" width=\"946\" height=\"1432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM.png 946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-800x1211.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-768x1163.png 768w\" sizes=\"(max-width: 946px) 100vw, 946px\">\u003cfigcaption class=\"wp-caption-text\">‘Hitchcock’s Blondes: The Unforgettable Women Behind the Legendary Director’s Dark Obsession’ by Laurence Leamer. \u003ccite>(Putnam via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though often lauded as one of the greatest filmmakers of all time, Alfred Hitchcock was also known for having a dark side, including his authoritarian tendencies as a director and sexually inappropriate behavior toward the women in his films. Tippi Hedren, who starred in \u003ca href=\"https://www.kqed.org/arts/13923159/the-birds-is-turning-60-whats-that-creepy-ass-song-the-kids-were-singing-anyway\">\u003cem>The Birds\u003c/em>\u003c/a> and \u003cem>Marnie\u003c/em>, has even alleged in recent years that the late director sexually assaulted her and threatened her career after she rejected his advances.\u003c/p>\n\u003cp>[aside postid='arts_13904911']For the famed auteur, women, and actors in general, were props to be controlled and molded with the sole purpose of realizing his vision.\u003c/p>\n\u003cp>In \u003cem>Hitchcock’s Blondes: The Unforgettable Women Behind the Legendary Director’s Dark Obsession\u003c/em>, Laurence Leamer seeks to divert the reader from seeing the female actors through the director’s gaze, constructing instead vignettes that attempt to memorialize these women as more than their captivating beauty.\u003c/p>\n\u003cp>\u003cem>Hitchcock’s Blondes\u003c/em> is part biography of the auteur, part crash course into his catalogue of movies. But mostly this book is just what it says it is: a survey of the women on whom Hitchcock relied to bring his artistry to life.\u003c/p>\n\u003cp>Although Leamer betrays a reverence and appreciation for the filmmaker, Hitchcock is very much the complicated antagonist of the story, the women the sympathetic stooges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13923159']His warranted efforts to accentuate Hitchcock’s problematic behavior are sometimes executed at the expense of conveying a holistic picture of reality. Despite occasional references to their narcissism and ambition, Hitchcock’s blondes are often portrayed as wooden innocents with little agency or autonomy — objects at the mercy of the powerful director no matter how hard he pushed them or out of line he became.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though at times meandering, \u003cem>Hitchcock’s Blondes\u003c/em> dishes sufficient old Hollywood gossip to keep interested readers entertained.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His warranted efforts to accentuate Hitchcock’s problematic behavior are sometimes executed at the expense of conveying a holistic picture of reality. Despite occasional references to their narcissism and ambition, Hitchcock’s blondes are often portrayed as wooden innocents with little agency or autonomy — objects at the mercy of the powerful director no matter how hard he pushed them or out of line he became.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though at times meandering, \u003cem>Hitchcock’s Blondes\u003c/em> dishes sufficient old Hollywood gossip to keep interested readers entertained.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How I Learned to Stop Worrying and Love Edgar Allan Poe",
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"content": "\u003cp>Edgar Allan Poe. The Bard of Baltimore.\u003c/p>\n\u003cp>You know him, and you know his work. Admit it: Back in high school, you couldn’t get enough of the guy. His whole \u003ca href=\"https://www.kqed.org/arts/13904118/halloween-bedsheet-ghost-history-spirits-burial-shroud\">haunted\u003c/a>, hollow-eyed vibe perfectly matched your hormonal, moody, indoor-kid energy. He was goth before Dracula, he was emo before Philips.\u003c/p>\n\u003cp>[aside postid='arts_13935438']You devoured his stuff, carefully tucking away his musty-dusty vocabulary words for that longed-for day when you could bust them out, all at once in a raging torrent, to show your bullies and detractors just how smart and dark and cool you were. You kept those words of his — words like \u003cem>fervid \u003c/em>and \u003cem>miasma \u003c/em>and \u003cem>inhume \u003c/em>and \u003cem>surcease —\u003c/em> on a low, steady boil inside your head, waiting. Waiting.\u003c/p>\n\u003cp>You thrilled to his tales of the macabre and mysterious, you pretended to understand all the Classical references in his poetry. He was the perfect companion throughout your teenage years; whenever you’d slam your bedroom door or performatively fling yourself across the furniture or let out one of your long, wet sighs of disaffection and self-pity, he was there to say, \u003cem>Yes, exactly, I get it, you’re special, you’re different, they don’t understand you and they never will\u003c/em>.\u003c/p>\n\u003cp>And then you went away to college, and Poe, suddenly, wasn’t cool anymore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who knows why it happened. Maybe it was your jerk of a Freshman English professor, who sniffily dismissed his prose as overripe and purple and — most woundingly — \u003cem>fervid\u003c/em>. Or maybe it was that time you read one of his poems aloud and realized that the rigid rhyme schemes you’d previously savored for their steady, inexorable drumbeat now made his poetry sound weirdly simplistic, like so many bouncy commercial jingles commissioned by Despar itself. Maybe it was how everyone around you had now moved on to the lurid, gore-flecked immediacy of Stephen King and Clive Barker to get their literary willies, and only rolled their eyes at Poe’s baroque and comparatively prim diversions.\u003c/p>\n\u003cp>Or maybe it was the whole “married his 13-year-old cousin” thing.\u003c/p>\n\u003cp>I was thinking about all this as I watched writer/director Mike Flanagan’s pretty terrific \u003cem>The Fall of the House\u003c/em> \u003cem>of Usher,\u003c/em> all eight episodes of which drop on Netflix next Thursday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yvuAWVzP6wI\u003c/p>\n\u003cp>Like some of Flanagan’s other Netflix work (\u003cem>The Haunting of Hill House, The Haunting of Bly Manor, The Midnight Club\u003c/em>), \u003cem>Usher \u003c/em>takes several works by a given author (in the aforementioned examples, \u003ca href=\"https://www.kqed.org/arts/13935438/scariest-shirley-jackson-short-stories-summer-people-tooth-charles\">Shirley Jackson\u003c/a>, Henry James and uh … Christopher Pike, respectively), tosses them into a narrative blender and presses liquefy.\u003c/p>\n\u003cp>The result is a spooky, darkly funny tale made to get gobbled up over a crisp and chilly October weekend. It follows the rough outline of the Poe short story it’s named for (doomed siblings Roderick and Madeline Usher, an old house, a cursed bloodline, etc.). But Flanagan stuffs every episode with references to other Poe-etical works.\u003c/p>\n\u003cp>A priest delivers a sermon that turns out to be a mashup of several Poe grief poems (which has the knock-on effect of making Catholicism sound … even gothier than usual, if you can imagine). Characters turn up with names like Tamerlane and Prospero and Annabel Lee and — wait for it — Lenore. There’s a deadly masquerade and a black cat and a tell-tale heart and an immurement (which is the walling up of someone in an enclosed space — but you knew that already, having read Poe as a kid).\u003c/p>\n\u003cp>[aside postid='arts_13933318']We big-time professional TV critics have a specific term of art that we reserve for shows like \u003cem>The Fall of the House of Usher\u003c/em>, thusly:\u003c/p>\n\u003cp>Hoot and a half. This show is a hoot and a half.\u003c/p>\n\u003cp>It made me remember how much I love Poe and always have, though I spent far too many years nervously disavowing him. But life’s too short to pretend not to love the things you love. Look, there’s a time and place for the spare, flinty, minimalist, you-can-bounce-a-quarter-off-it prose of your Raymond Carvers and your Lydia Davises. But there’s also a time and place for phantasmagorical miasmas hanging low over the sullen waters of a black and lurid tarn, you know? (A tarn is a small lake.) (But again: You knew that.)\u003c/p>\n\u003cp>It’s October. Treat yourself. Get some apples, walnuts and Stilton cheese, the stinkier the better. Pour yourself a sherry – you can get your hands on a bottle of Amontillado for like 13 bucks. Then grab a cider donut and curl up on the couch to watch \u003cem>The Fall of the House of Usher\u003c/em> and then, as the light just beyond your chamber door starts going all crepuscular (read: around twilight), dive headfirst into one of Poe’s more quaint and curious volumes.\u003c/p>\n\u003cp>You can do that. You may have cruelly and faithlessly ghosted him in college, but he’s still there, waiting for you.\u003c/p>\n\u003cp>Waiting.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\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=How+I+learned+to+stop+worrying+and+love+Edgar+Allan+Poe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You devoured his stuff, carefully tucking away his musty-dusty vocabulary words for that longed-for day when you could bust them out, all at once in a raging torrent, to show your bullies and detractors just how smart and dark and cool you were. You kept those words of his — words like \u003cem>fervid \u003c/em>and \u003cem>miasma \u003c/em>and \u003cem>inhume \u003c/em>and \u003cem>surcease —\u003c/em> on a low, steady boil inside your head, waiting. Waiting.\u003c/p>\n\u003cp>You thrilled to his tales of the macabre and mysterious, you pretended to understand all the Classical references in his poetry. He was the perfect companion throughout your teenage years; whenever you’d slam your bedroom door or performatively fling yourself across the furniture or let out one of your long, wet sighs of disaffection and self-pity, he was there to say, \u003cem>Yes, exactly, I get it, you’re special, you’re different, they don’t understand you and they never will\u003c/em>.\u003c/p>\n\u003cp>And then you went away to college, and Poe, suddenly, wasn’t cool anymore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who knows why it happened. Maybe it was your jerk of a Freshman English professor, who sniffily dismissed his prose as overripe and purple and — most woundingly — \u003cem>fervid\u003c/em>. Or maybe it was that time you read one of his poems aloud and realized that the rigid rhyme schemes you’d previously savored for their steady, inexorable drumbeat now made his poetry sound weirdly simplistic, like so many bouncy commercial jingles commissioned by Despar itself. Maybe it was how everyone around you had now moved on to the lurid, gore-flecked immediacy of Stephen King and Clive Barker to get their literary willies, and only rolled their eyes at Poe’s baroque and comparatively prim diversions.\u003c/p>\n\u003cp>Or maybe it was the whole “married his 13-year-old cousin” thing.\u003c/p>\n\u003cp>I was thinking about all this as I watched writer/director Mike Flanagan’s pretty terrific \u003cem>The Fall of the House\u003c/em> \u003cem>of Usher,\u003c/em> all eight episodes of which drop on Netflix next Thursday.\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/yvuAWVzP6wI'\n title='//www.youtube.com/embed/yvuAWVzP6wI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like some of Flanagan’s other Netflix work (\u003cem>The Haunting of Hill House, The Haunting of Bly Manor, The Midnight Club\u003c/em>), \u003cem>Usher \u003c/em>takes several works by a given author (in the aforementioned examples, \u003ca href=\"https://www.kqed.org/arts/13935438/scariest-shirley-jackson-short-stories-summer-people-tooth-charles\">Shirley Jackson\u003c/a>, Henry James and uh … Christopher Pike, respectively), tosses them into a narrative blender and presses liquefy.\u003c/p>\n\u003cp>The result is a spooky, darkly funny tale made to get gobbled up over a crisp and chilly October weekend. It follows the rough outline of the Poe short story it’s named for (doomed siblings Roderick and Madeline Usher, an old house, a cursed bloodline, etc.). But Flanagan stuffs every episode with references to other Poe-etical works.\u003c/p>\n\u003cp>A priest delivers a sermon that turns out to be a mashup of several Poe grief poems (which has the knock-on effect of making Catholicism sound … even gothier than usual, if you can imagine). Characters turn up with names like Tamerlane and Prospero and Annabel Lee and — wait for it — Lenore. There’s a deadly masquerade and a black cat and a tell-tale heart and an immurement (which is the walling up of someone in an enclosed space — but you knew that already, having read Poe as a kid).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We big-time professional TV critics have a specific term of art that we reserve for shows like \u003cem>The Fall of the House of Usher\u003c/em>, thusly:\u003c/p>\n\u003cp>Hoot and a half. This show is a hoot and a half.\u003c/p>\n\u003cp>It made me remember how much I love Poe and always have, though I spent far too many years nervously disavowing him. But life’s too short to pretend not to love the things you love. Look, there’s a time and place for the spare, flinty, minimalist, you-can-bounce-a-quarter-off-it prose of your Raymond Carvers and your Lydia Davises. But there’s also a time and place for phantasmagorical miasmas hanging low over the sullen waters of a black and lurid tarn, you know? (A tarn is a small lake.) (But again: You knew that.)\u003c/p>\n\u003cp>It’s October. Treat yourself. Get some apples, walnuts and Stilton cheese, the stinkier the better. Pour yourself a sherry – you can get your hands on a bottle of Amontillado for like 13 bucks. Then grab a cider donut and curl up on the couch to watch \u003cem>The Fall of the House of Usher\u003c/em> and then, as the light just beyond your chamber door starts going all crepuscular (read: around twilight), dive headfirst into one of Poe’s more quaint and curious volumes.\u003c/p>\n\u003cp>You can do that. You may have cruelly and faithlessly ghosted him in college, but he’s still there, waiting for you.\u003c/p>\n\u003cp>Waiting.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\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=How+I+learned+to+stop+worrying+and+love+Edgar+Allan+Poe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>D’Wayne Wiggins and Timothy Christian Riley didn’t realize that Raphael Saadiq was planting the seeds for a Tony! Toni! Toné! reunion when he arranged a photoshoot earlier this year.\u003c/p>\n\u003cp>“He said a few times before, so we never paid that much attention to it until this fool put up a big-ass billboard in Oakland, and I had to see it through social media,” said vocalist and bass guitarist Wiggins, who wondered if the image was Photoshopped. “I thought someone was playing tricks, morphing our picture.”\u003c/p>\n\u003cp>[aside postid='arts_13935776']Saadiq, the lead singer and guitarist of the beloved R&B group, gathered the trio together, free of any outside influence.\u003c/p>\n\u003cp>“I didn’t tell any of the managers or team or anybody because I just wanted it to be us … I wanted to be in a room where the only power structure was one, two and three,” said Saadiq of his bandmates who are also family: Wiggins is his brother and Riley is their cousin. “We have to be us first before we could talk to anybody because that’s what happened the last time.”\u003c/p>\n\u003cp>Cut to last month, when Tony! Toni! Toné! kicked off their ‘Raphael Saddiq Revisits Tony! Toni! Tone! Just Me And You Tour 2023,’ the first road trip featuring the three original members in nearly 30 years. The trio, who grew up in Oakland and have remained influential in its music scene, will perform three shows in the Bay Area: Nov. 14 and 15 at Oakland’s Paramount Theatre, and Nov. 17 at the Masonic in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s been really cool, like rehearsals and the actual shows, just playing together again on a stage,” said Riley, who plays drums and keyboard. “A lot of times, we do production and studio work. But just actually being together, you feel the energy, you feel the love.”\u003c/p>\n\u003cp>That’s not all: the Tonyies, as they call themselves, are currently planning a new project.\u003c/p>\n\u003cp>[aside postid='arts_13935441']“There’s going to be another album … but I thought we need to really hone in on what we’re doing for touring and then go home and then take like two days off, and then start on the album,” said Saadiq, who once served as a member of Prince’s touring band.\u003c/p>\n\u003cp>“We got a lot of material and now we just want to make sure that we put out the right energy through our music,” added Wiggins, who founded an Oakland recording studio and helped develop some of the biggest names in modern R&B.\u003c/p>\n\u003cp>Blending R&B, jazz and traces of gospel, the trio — all alumni of Castlemont High School — burst onto the music scene with their 1988 debut album, \u003cem>Who?,\u003c/em> featuring songs like “Baby Doll” and “Little Walter.” But it was their 1990 New Jack Swing-infused track “Feels Good,” off their sophomore LP, \u003cem>The Revival\u003c/em>, that gave the group mainstream success, peaking at No. 9 on Billboard’s Hot 100 chart.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jfoxsfhi-kk\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThey released two more studio projects together, with party hits like “Let’s Get Down,” featuring DJ Quik, and timeless slow jams including “Whatever You Want,” “It Never Rains (In Southern California),” “(Lay Your Head on My) Pillow” and “Anniversary,” a standard in the Black music romance canon.\u003c/p>\n\u003cp>“I’ve always wanted a song like ‘Chestnuts’ like Nat King Cole, something that everybody played at some point, and ‘Anniversary’ was that type of song. I knew the subject matter wasn’t one that I thought was dated, but you couldn’t tell me that it was going to be this type of song,” said Saadiq. “When it comes on and couples grab each other, we know that it took on a whole different life that we couldn’t see.”\u003c/p>\n\u003cp>The blood relatives also couldn’t predict how their success would affect their relationship. The Tonyies went their separate ways after their fourth album, 1996’s platinum-selling \u003cem>House of Music\u003c/em>. Fame, finances, miscommunication and creative differences were unsustainable for the group. However, Saadiq is hesitant to use the word “breakup.”\u003c/p>\n\u003cp>[aside postid='arts_13810633']“I didn’t call them and go, ‘I quit! I’m mad at you guys!’ It wasn’t even like that. We’d been around each other our whole life,” said Saadiq. “What everybody saw as a breakup wasn’t really a breakup; we just noticed that we weren’t making music at that time.”\u003c/p>\n\u003cp>Wiggins and Riley toured under the group’s name between 1998 and 2018, with Amar Khalil taking over lead singing duties. Riley played on tracks for artists like Will Smith and Alicia Keys, and still collaborated with Saadiq on various songs.\u003c/p>\n\u003cp>Wiggins, meanwhile, opened his West Oakland recording studio House of Music, where he produced and helped grow young artists who would become some of today’s brightest young stars, including Zendaya, H.E.R., Kehlani and even Destiny’s Child: he signed the group to his label Grass Roots Entertainment in 1994, back when they were known as Girls’ Tyme. He’s also worked with some of the biggest names in Bay Area hip-hop, including Too Short, Messy Marv and The Coup.\u003c/p>\n\u003cp>Saadiq achieved remarkable solo success with five solo studio albums, fashioning hits like “Ask of You,” “Be Here” featuring D’Angelo, “Get Involved” with Q-Tip and “Love That Girl.” He produced big records like Erykah Badu’s “Love of My Life” and two of D’Angelo’s biggest songs, “Lady” and “Untitled (How Does It Feel),” and also worked with Whitney Houston, Mary J. Blige and TLC. In 2000, he joined En Vogue’s Dawn Robinson and Ali Shaheed Muhammad from A Tribe Called Quest to form the supergroup Lucy Pearl, resulting in the popular song “Dance Tonight.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dYWuAw_aCZY\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nSaadiq has also had hits with both Beyoncé and Solange Knowles: In 2016, he executive produced Solange’s critically acclaimed album \u003cem>A Seat at the Table\u003c/em>. And earlier this year, he was involved in Beyoncé’s \u003cem>Renaissance\u003c/em> project, helping write and produce “PURE/HONEY” and the Grammy-winning “CUFF IT” (its funky guitar rhythm was originally created for a potential Tony! Toni! Toné song, he has said).\u003c/p>\n\u003cp>While their careers have thrived separately, Saadiq and Riley, both 57, and Wiggins, 62, say they’re relishing in their reunion. The family members vow not to let outside influences like managers, record executives and the entertainment business as a whole drive them apart again, realizing that time — at least in the professional sense — is no longer a luxury.\u003c/p>\n\u003cp>“I think it’s been really cool to hear younger kids sample our music and make new songs with our music,” Riley said. “It’s like it lives on and you have a whole new generation that actually knows about you.”\u003c/p>\n\u003cp>Saadiq agrees and is trying to live in the moment.\u003c/p>\n\u003cp>“We did always feel the love from our peers and fans and people just in general — it felt really good,” he said. “But it feels different now — we feel the love. We can actually step outside of who we are, and then actually smell the roses.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">Emma Silvers contributed reporting.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s going to be another album … but I thought we need to really hone in on what we’re doing for touring and then go home and then take like two days off, and then start on the album,” said Saadiq, who once served as a member of Prince’s touring band.\u003c/p>\n\u003cp>“We got a lot of material and now we just want to make sure that we put out the right energy through our music,” added Wiggins, who founded an Oakland recording studio and helped develop some of the biggest names in modern R&B.\u003c/p>\n\u003cp>Blending R&B, jazz and traces of gospel, the trio — all alumni of Castlemont High School — burst onto the music scene with their 1988 debut album, \u003cem>Who?,\u003c/em> featuring songs like “Baby Doll” and “Little Walter.” But it was their 1990 New Jack Swing-infused track “Feels Good,” off their sophomore LP, \u003cem>The Revival\u003c/em>, that gave the group mainstream success, peaking at No. 9 on Billboard’s Hot 100 chart.\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/Jfoxsfhi-kk'\n title='//www.youtube.com/embed/Jfoxsfhi-kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThey released two more studio projects together, with party hits like “Let’s Get Down,” featuring DJ Quik, and timeless slow jams including “Whatever You Want,” “It Never Rains (In Southern California),” “(Lay Your Head on My) Pillow” and “Anniversary,” a standard in the Black music romance canon.\u003c/p>\n\u003cp>“I’ve always wanted a song like ‘Chestnuts’ like Nat King Cole, something that everybody played at some point, and ‘Anniversary’ was that type of song. I knew the subject matter wasn’t one that I thought was dated, but you couldn’t tell me that it was going to be this type of song,” said Saadiq. “When it comes on and couples grab each other, we know that it took on a whole different life that we couldn’t see.”\u003c/p>\n\u003cp>The blood relatives also couldn’t predict how their success would affect their relationship. The Tonyies went their separate ways after their fourth album, 1996’s platinum-selling \u003cem>House of Music\u003c/em>. Fame, finances, miscommunication and creative differences were unsustainable for the group. However, Saadiq is hesitant to use the word “breakup.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I didn’t call them and go, ‘I quit! I’m mad at you guys!’ It wasn’t even like that. We’d been around each other our whole life,” said Saadiq. “What everybody saw as a breakup wasn’t really a breakup; we just noticed that we weren’t making music at that time.”\u003c/p>\n\u003cp>Wiggins and Riley toured under the group’s name between 1998 and 2018, with Amar Khalil taking over lead singing duties. Riley played on tracks for artists like Will Smith and Alicia Keys, and still collaborated with Saadiq on various songs.\u003c/p>\n\u003cp>Wiggins, meanwhile, opened his West Oakland recording studio House of Music, where he produced and helped grow young artists who would become some of today’s brightest young stars, including Zendaya, H.E.R., Kehlani and even Destiny’s Child: he signed the group to his label Grass Roots Entertainment in 1994, back when they were known as Girls’ Tyme. He’s also worked with some of the biggest names in Bay Area hip-hop, including Too Short, Messy Marv and The Coup.\u003c/p>\n\u003cp>Saadiq achieved remarkable solo success with five solo studio albums, fashioning hits like “Ask of You,” “Be Here” featuring D’Angelo, “Get Involved” with Q-Tip and “Love That Girl.” He produced big records like Erykah Badu’s “Love of My Life” and two of D’Angelo’s biggest songs, “Lady” and “Untitled (How Does It Feel),” and also worked with Whitney Houston, Mary J. Blige and TLC. In 2000, he joined En Vogue’s Dawn Robinson and Ali Shaheed Muhammad from A Tribe Called Quest to form the supergroup Lucy Pearl, resulting in the popular song “Dance Tonight.”\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/dYWuAw_aCZY'\n title='//www.youtube.com/embed/dYWuAw_aCZY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nSaadiq has also had hits with both Beyoncé and Solange Knowles: In 2016, he executive produced Solange’s critically acclaimed album \u003cem>A Seat at the Table\u003c/em>. And earlier this year, he was involved in Beyoncé’s \u003cem>Renaissance\u003c/em> project, helping write and produce “PURE/HONEY” and the Grammy-winning “CUFF IT” (its funky guitar rhythm was originally created for a potential Tony! Toni! Toné song, he has said).\u003c/p>\n\u003cp>While their careers have thrived separately, Saadiq and Riley, both 57, and Wiggins, 62, say they’re relishing in their reunion. The family members vow not to let outside influences like managers, record executives and the entertainment business as a whole drive them apart again, realizing that time — at least in the professional sense — is no longer a luxury.\u003c/p>\n\u003cp>“I think it’s been really cool to hear younger kids sample our music and make new songs with our music,” Riley said. “It’s like it lives on and you have a whole new generation that actually knows about you.”\u003c/p>\n\u003cp>Saadiq agrees and is trying to live in the moment.\u003c/p>\n\u003cp>“We did always feel the love from our peers and fans and people just in general — it felt really good,” he said. “But it feels different now — we feel the love. We can actually step outside of who we are, and then actually smell the roses.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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