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"title": "Meet Kimmie Fresh, Who Fired Back at Too Short With Her Own 'Freaky Tales' in 1988",
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"content": "\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>[dropcap]B[/dropcap]efore the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a>, before \u003ca href=\"https://www.kqed.org/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story\">Mystic\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\">Kamaiyah\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13928057/alien-mac-kitty-cougnut-daughter-san-francisco-frisco-rap-legacy\">Alien Mac Kitty\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13917611/life-between-the-stages-lil-kayla-and-san-jose-jazz\">Lil Kayla\u003c/a>, there was Kimmie Fresh, one of the very first female rappers from the Bay Area.\u003c/p>\n\u003cp>She performed at local venues as large as the Henry J. Kaiser Auditorium and as small as Kesha’s Inn. She went on tour opening for Morris Day from The Time, and appeared on local TV. And, in 1988, she recorded the groundbreaking album \u003cem>The Real Freaky Tales: The Girls’ Story\u003c/em>, with its title track, a XXX-rated, woman-centric revenge fantasy response to Too Short’s “Freaky Tales.”\u003c/p>\n\u003cp>[aside postID='arts_13973907']But now, Kimmie Fresh is almost entirely forgotten. Her album is long out of print. She hasn’t been \u003ca href=\"https://www.kqed.org/arts/13934460/mayoral-proclamation-sheng-thao-women-hip-hop\">honored by the mayor\u003c/a> or \u003ca href=\"https://www.instagram.com/p/CwBtpcjJFuj/\">inducted into a formal archive\u003c/a> like other women in hip-hop who came after her. Her name was in \u003cem>The Source\u003c/em> just once, in the background of a record store advertisement. No interviews with her exist online. For years, I wondered if I’d ever locate her at all.\u003c/p>\n\u003cp>When I eventually caught up with Kimmie Fresh, this important early Bay Area hip-hop artist, it was at a place not far from where she made history in the 1980s: \u003ca href=\"https://www.instagram.com/kimmieskitchin/\">Kimmie’s Kitchin\u003c/a>, her soul food counter she now runs inside an East Oakland liquor store.\u003c/p>\n\u003cfigure id=\"attachment_13934701\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-scaled.jpg\" alt=\"A Black woman in black tank top and apron holds a record album, and looks down on it reflectingly.\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13934701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kimmie Fresh today, holding a copy of ‘The Real Freaky Tales: The Girls’ Story.’ She remembers receiving royalty checks in amounts up to $16,000 for the album. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Turning the Tables With ‘The Real Freaky Tales’\u003c/h2>\n\u003cp>To hear Kimmie Fresh tell it, “The Real Freaky Tales” started as a simple answer record, in the mold of Roxanne Shanté’s “Roxanne’s Revenge.” At 21, she heard Too Short’s exaggerated sexual braggadocio and simply turned the tables, firing back by writing an eight-minute song using the same girls’ names from his explicit street hit “\u003ca href=\"https://www.youtube.com/watch?v=YwVJTvOO4yY\">Freaky Tales\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And instead of what he was doing to them,” she says of the song today, sitting at Kimmie’s Kitchin inside Two Star Market, “\u003cem>they\u003c/em> were doing to \u003cem>him\u003c/em>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TJZ1hVfdBso\u003c/p>\n\u003cp>In “The Real Freaky Tales,” Too Short is objectified. He’s used for cunnilingus by the women, and then pimped out by them. He’s thrown in a car trunk and driven to a house full of women who force him into sexually pleasing them at gunpoint. Against his will, he’s violated by a foreign object — and comes to enjoy it. He stops being a rapper and becomes a streetwalker. It was more than an answer record – in the hyper-masculine world of Oakland pimp rap, this was a wholesale murder.\u003c/p>\n\u003cp>What did Too Short think when he heard it? “He laughed! When he heard the full song, he laughed,” says Kimmie Fresh. “And then he said, ‘We gon’ make some money.’”\u003c/p>\n\u003cp>Even in the mid-’80s, Short knew the mutual benefit to be had from a public rap beef. He invited Kimmie to open for him at the Turf Club, at Golden Gate Fields in Albany, she recalls, “and the crowd just went crazy.” While he worked out a major-label deal for her with Jive Records, she recorded songs with affiliates of his \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-forms-dangerous-music\">Dangerous Music\u003c/a> label at Different Fur studios in San Francisco. At the time, no female rapper in the Bay Area had ever released a full album.\u003c/p>\n\u003cfigure id=\"attachment_13934697\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-scaled.jpg\" alt=\"A group of Black teenagers in large jackets and faded jeans pose in front of a lake.\" width=\"2560\" height=\"1908\" class=\"size-full wp-image-13934697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-1536x1145.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-2048x1526.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-1920x1431.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The album cover photo for ‘The Real Freaky Tales’ was shot on the west shore of Lake Merritt. L-R: Rachel Deprizio, Paul Dancer, Kimmie Fresh, Donald Barrett, Ashley, and Tracie Edmonds.\u003cbr> \u003ccite>(Larry Henderson/75 Girls Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then she got impatient. As the months dragged on, she ran into Dean Hodges, owner of the small local label \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#75-girls-records-formed\">75 Girls\u003c/a>, which his top-selling artist Too Short had just left. Hodges relished the idea of releasing a Too Short diss track. Having already started working with another young female rapper from Oakland named Cassidine, he offered to pay to re-record the songs and release a Kimmie Fresh album with the quickness.\u003c/p>\n\u003cp>At her food counter, Kimmie Fresh pulls up \u003ca href=\"https://www.youtube.com/live/g0ybaf3Indo?si=-CyxkXTO2vGC01sO&t=1089\">vintage home video footage\u003c/a> on her iPad, rescued from a VHS tape bought at a garage sale, which captures the excitement of her 75 Girls deal. She and her friends shoot photos for the album at Lake Merritt and Eastmont Mall; MC Hammer even stops by and lends his support. They rehearse in her small living room on 75th Avenue, dancing and rapping in formation. They hold up a banner in the street advertising their four-city tour in the south opening for Morris Day and Pebbles, giddy with disbelief.\u003c/p>\n\u003cp>One person, though, didn’t appear too happy. On the back cover of his next LP, Too Short concluded his liner notes with a none-too-subtle message: “Kimmie Fresh, THANKS FOR NOTHING. Biiiiiiiitch!!!”\u003c/p>\n\u003cfigure id=\"attachment_13934699\" class=\"wp-caption aligncenter\" style=\"max-width: 946px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/KimmieFresh.Short_.2.jpg\" alt=\"A Black man and Black woman pose for a selfie, smiling at the camera\" width=\"946\" height=\"960\" class=\"size-full wp-image-13934699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Short_.2.jpg 946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Short_.2-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Short_.2-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Short_.2-768x779.jpg 768w\" sizes=\"auto, (max-width: 946px) 100vw, 946px\">\u003cfigcaption class=\"wp-caption-text\">Too Short and Kimmie Fresh still see each other periodically. Of their sparring in the 1980s, which brought attention to both of them, ‘it was game recognize game,’ she says. \u003ccite>(Courtesy Kimmie Fresh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pimp Rap and the Crack Epidemic\u003c/h2>\n\u003cp>Remember the power of a public rap beef? These days, Short and Kimmie are cool, and still see each other periodically. Part of it may be because Kimmie Fresh was more than a novelty, but a genuinely fierce rapper.\u003c/p>\n\u003cp>If you can find a copy of \u003cem>The Real Freaky Tales\u003c/em> — now a collectors’ item that has sold for as much as $300 — you’ll hear a vivid portrait of Oakland in the 1980s. “\u003ca href=\"https://www.youtube.com/watch?v=oCSdG_187UY\">I Love My Microphone\u003c/a>” is a high-speed litany of boasts. “\u003ca href=\"https://www.youtube.com/watch?v=-vJFltVGDeg\">Tear the Roof Off\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=fyanRV2I2CU\">The Crowd Be Lovin’ Me\u003c/a>” take on challenges and pickup attempts from men, shouting out Jody Watley, Janet Jackson and women in Kimmie’s own crew from 75th Avenue.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DE0drk3Uk_U\u003c/p>\n\u003cp>Then there’s “\u003ca href=\"https://www.youtube.com/watch?v=DE0drk3Uk_U\">Don’t Let That Be the Reason\u003c/a>,” which chronicles the rise and fall of a wealthy Mercedes Benz-driving player who gets hooked on crack and lands in jail. The judge asks him to snitch, but he refuses, even though his friends won’t bail him out. After prison, he loses everything, and watches old associates walk by while he sleeps in the gutter.\u003c/p>\n\u003cp>As we talk, Kimmie Fresh spontaneously raps these songs at the table, still in possession of her skills. The songs are personal for her, after all: “Don’t Let That Be the Reason” was a composite sketch of friends and family in East Oakland who fell victim to the crack epidemic, Kimmie says, nodding in reflection.\u003c/p>\n\u003cp>“That was many people I knew,” she says. “Many, many people I knew.”\u003c/p>\n\u003cfigure id=\"attachment_13934694\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/KimmieFresh.RollerRink.jpg\" alt=\"A flyer for a concert, with block lettering\" width=\"720\" height=\"945\" class=\"size-full wp-image-13934694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.RollerRink.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.RollerRink-160x210.jpg 160w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kimmie Fresh performed at various venues in the Bay Area, including the San Leandro Skating Rink. \u003ccite>(Courtesy Kimmie Fresh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for prostitution, Kimmie wasn’t the only young woman in the 1980s Bay Area rapping explicitly about sex. Cassidine’s “\u003ca href=\"https://www.youtube.com/watch?v=xIfUjnJp5KM\">Secret Weapon\u003c/a>” was a graphic salute to prostitutes, some just 16 years old, working the strip on E. 14th Street, and a rebuke to their male customers. Under the group name Danger Zone, Barbie and Entice (who had been on “The Real Freaky Tales”) had the song “\u003ca href=\"https://www.youtube.com/watch?v=SvMjOBASvbc\">Jailbait\u003c/a>,” a warning about predatory men to “all you girls out there who are under 18.”\u003c/p>\n\u003cp>Both serve as a balance to the male-centric Bay Area pimp rap of the 1980s from Too Short and \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">Magic Mike and Calvin T\u003c/a>. Kimmie herself came up around a lot of pimps: she mentions Frank the Bank, Gangsta Brown, even her own brothers. They all told her the same thing: “Don’t ever let a man treat you like we treat these hoes.”\u003c/p>\n\u003cp>“So I’ve always been strong,” Kimmie says, matter-of-factly. “They instilled that in me.”\u003c/p>\n\u003cfigure id=\"attachment_13934703\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Kimmie.kitchen.web_-scaled.jpg\" alt=\"A Black woman in tank top and black apron and gold hoop earrings poses in an industrial kitchen, next to a range.\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13934703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kimmie Fresh, pictured at her soul food counter Kimmie’s Kitchin in East Oakland. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Life After Rap\u003c/h2>\n\u003cp>Strong or not, life finds a way of derailing rap careers. Motherhood, especially, took up Kimmie’s time and energy. She worked various jobs: at a bank, a pawn shop, Mervyn’s, a hair salon. At one point, she spent almost a year in jail for a setup, she says, when her boyfriend was accused of murder. (“It was something that he was accused of, and he tried to say that I was there,” she says, insisting that she was not. “I got my first royalty check, and then I almost lost my life.”)\u003c/p>\n\u003cfigure id=\"attachment_13934698\" class=\"wp-caption aligncenter\" style=\"max-width: 705px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/KimmieFresh.90s.jpg\" alt=\"A Black woman in short hair and a Raiders starter jacket and watch crouches in a photo studio.\" width=\"705\" height=\"721\" class=\"size-full wp-image-13934698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.90s.jpg 705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.90s-160x164.jpg 160w\" sizes=\"auto, (max-width: 705px) 100vw, 705px\">\u003cfigcaption class=\"wp-caption-text\">Kimmie Fresh in a promotional photo from the 1990s. \u003ccite>(Courtesy Kimmie Fresh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She moved to Las Vegas for a while, but after watching an ailing close friend, the rapper \u003ca href=\"https://www.youtube.com/watch?v=_PbWW_25Z7c\">Tee-Mail\u003c/a>, die of cancer back home in Oakland, “I was destroyed.” She decided to stay, sleeping on a friend’s couch. By then, the Town had largely forgotten about Kimmie Fresh.\u003c/p>\n\u003cp>While D’Wayne Wiggins from Tony Toni Toné built her a cafe in his studio to start Kimmie’s Kitchin in 2019, and artists like Keak da Sneak, Mistah F.A.B. and Dru Down have all visited, the general public remains widely unaware of Kimmie Fresh. She’s often mistaken, she says, for a member of the Conscious Daughters or Oaktown’s 3.5.7. When she’s brought on stage with Too Short, the DJ inevitably plays “\u003ca href=\"https://www.youtube.com/watch?v=MfSYngzHOsY\">Don’t Fight the Feelin’\u003c/a>,” which features Barbie and Entice, and she’s expected to rap their verses, as if all women rappers are interchangeable.\u003c/p>\n\u003cp>Her music lives exclusively in fan-ripped uploads on YouTube. It hasn’t been put on streaming, or reissued on vinyl. Getting it on Spotify is something she’s working on, but her old label boss, Dean Hodges, sold the rights to the 75 Girls catalog in the 1990s, and last Kimmie’s heard, he’s living in a West Oakland homeless encampment. She’s lost touch with Cassidine, her old labelmate on 75 Girls. She doesn’t know where her old masters are, nor the recordings she made for Jive, so long ago.\u003c/p>\n\u003cfigure id=\"attachment_13934695\" class=\"wp-caption aligncenter\" style=\"max-width: 1432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/KimmieFresh.Eastmont.jpg\" alt=\"A group of Black teenagers in large jackets and faded jeans dance in a parking lot.\" width=\"1432\" height=\"848\" class=\"size-full wp-image-13934695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Eastmont.jpg 1432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Eastmont-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Eastmont-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Eastmont-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Eastmont-768x455.jpg 768w\" sizes=\"auto, (max-width: 1432px) 100vw, 1432px\">\u003cfigcaption class=\"wp-caption-text\">The photoshoot for ‘The Real Freaky Tales’ LP, in the parking lot of the Eastmont Mall. At one point in the day, MC Hammer stopped by. \u003ccite>(Larry Henderson/75 Girls Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Kimmie is happy to still be active at her counter, cooking dishes like oxtail tacos, shrimp and grits, and chicken and waffles. She’s especially proud of her family. There are stains on her apron and a cook’s burn marks on her forearms, right near her tattoos of her four son’s names. People come in from time to time to bring her old photos of a different life, 35 years ago, from back when she says rap was better and more fun.\u003c/p>\n\u003cp>At the end of our interview, when presented with a cassette copy of \u003cem>The Real Freaky Tales\u003c/em>, she calls across the liquor store to summon an employee.\u003c/p>\n\u003cp>“Angel! Come over here… have you ever seen my album?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Kimmie Fresh appears live in conversation with KQED’s Nastia Voynovskaya as part of ‘Hip-Hop Herstory: Celebrating Bay Area Women’ on Thursday, Sept. 14, at The Commons at KQED. Also appearing are Tia Nomore, RyanNicole, Stoni and Alien Mac Kitty. \u003ca href=\"https://www.kqed.org/event/3402\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Meet Kimmie Fresh, Who Fired Back at Too Short With Her Own 'Freaky Tales' in 1988 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>efore the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a>, before \u003ca href=\"https://www.kqed.org/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story\">Mystic\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\">Kamaiyah\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13928057/alien-mac-kitty-cougnut-daughter-san-francisco-frisco-rap-legacy\">Alien Mac Kitty\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13917611/life-between-the-stages-lil-kayla-and-san-jose-jazz\">Lil Kayla\u003c/a>, there was Kimmie Fresh, one of the very first female rappers from the Bay Area.\u003c/p>\n\u003cp>She performed at local venues as large as the Henry J. Kaiser Auditorium and as small as Kesha’s Inn. She went on tour opening for Morris Day from The Time, and appeared on local TV. And, in 1988, she recorded the groundbreaking album \u003cem>The Real Freaky Tales: The Girls’ Story\u003c/em>, with its title track, a XXX-rated, woman-centric revenge fantasy response to Too Short’s “Freaky Tales.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But now, Kimmie Fresh is almost entirely forgotten. Her album is long out of print. She hasn’t been \u003ca href=\"https://www.kqed.org/arts/13934460/mayoral-proclamation-sheng-thao-women-hip-hop\">honored by the mayor\u003c/a> or \u003ca href=\"https://www.instagram.com/p/CwBtpcjJFuj/\">inducted into a formal archive\u003c/a> like other women in hip-hop who came after her. Her name was in \u003cem>The Source\u003c/em> just once, in the background of a record store advertisement. No interviews with her exist online. For years, I wondered if I’d ever locate her at all.\u003c/p>\n\u003cp>When I eventually caught up with Kimmie Fresh, this important early Bay Area hip-hop artist, it was at a place not far from where she made history in the 1980s: \u003ca href=\"https://www.instagram.com/kimmieskitchin/\">Kimmie’s Kitchin\u003c/a>, her soul food counter she now runs inside an East Oakland liquor store.\u003c/p>\n\u003cfigure id=\"attachment_13934701\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-scaled.jpg\" alt=\"A Black woman in black tank top and apron holds a record album, and looks down on it reflectingly.\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13934701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.holdingalbum.web_-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kimmie Fresh today, holding a copy of ‘The Real Freaky Tales: The Girls’ Story.’ She remembers receiving royalty checks in amounts up to $16,000 for the album. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Turning the Tables With ‘The Real Freaky Tales’\u003c/h2>\n\u003cp>To hear Kimmie Fresh tell it, “The Real Freaky Tales” started as a simple answer record, in the mold of Roxanne Shanté’s “Roxanne’s Revenge.” At 21, she heard Too Short’s exaggerated sexual braggadocio and simply turned the tables, firing back by writing an eight-minute song using the same girls’ names from his explicit street hit “\u003ca href=\"https://www.youtube.com/watch?v=YwVJTvOO4yY\">Freaky Tales\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And instead of what he was doing to them,” she says of the song today, sitting at Kimmie’s Kitchin inside Two Star Market, “\u003cem>they\u003c/em> were doing to \u003cem>him\u003c/em>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TJZ1hVfdBso'\n title='//www.youtube.com/embed/TJZ1hVfdBso'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In “The Real Freaky Tales,” Too Short is objectified. He’s used for cunnilingus by the women, and then pimped out by them. He’s thrown in a car trunk and driven to a house full of women who force him into sexually pleasing them at gunpoint. Against his will, he’s violated by a foreign object — and comes to enjoy it. He stops being a rapper and becomes a streetwalker. It was more than an answer record – in the hyper-masculine world of Oakland pimp rap, this was a wholesale murder.\u003c/p>\n\u003cp>What did Too Short think when he heard it? “He laughed! When he heard the full song, he laughed,” says Kimmie Fresh. “And then he said, ‘We gon’ make some money.’”\u003c/p>\n\u003cp>Even in the mid-’80s, Short knew the mutual benefit to be had from a public rap beef. He invited Kimmie to open for him at the Turf Club, at Golden Gate Fields in Albany, she recalls, “and the crowd just went crazy.” While he worked out a major-label deal for her with Jive Records, she recorded songs with affiliates of his \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-forms-dangerous-music\">Dangerous Music\u003c/a> label at Different Fur studios in San Francisco. At the time, no female rapper in the Bay Area had ever released a full album.\u003c/p>\n\u003cfigure id=\"attachment_13934697\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-scaled.jpg\" alt=\"A group of Black teenagers in large jackets and faded jeans pose in front of a lake.\" width=\"2560\" height=\"1908\" class=\"size-full wp-image-13934697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-1536x1145.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-2048x1526.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.AlbumCoverPhoto-1920x1431.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The album cover photo for ‘The Real Freaky Tales’ was shot on the west shore of Lake Merritt. L-R: Rachel Deprizio, Paul Dancer, Kimmie Fresh, Donald Barrett, Ashley, and Tracie Edmonds.\u003cbr> \u003ccite>(Larry Henderson/75 Girls Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then she got impatient. As the months dragged on, she ran into Dean Hodges, owner of the small local label \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#75-girls-records-formed\">75 Girls\u003c/a>, which his top-selling artist Too Short had just left. Hodges relished the idea of releasing a Too Short diss track. Having already started working with another young female rapper from Oakland named Cassidine, he offered to pay to re-record the songs and release a Kimmie Fresh album with the quickness.\u003c/p>\n\u003cp>At her food counter, Kimmie Fresh pulls up \u003ca href=\"https://www.youtube.com/live/g0ybaf3Indo?si=-CyxkXTO2vGC01sO&t=1089\">vintage home video footage\u003c/a> on her iPad, rescued from a VHS tape bought at a garage sale, which captures the excitement of her 75 Girls deal. She and her friends shoot photos for the album at Lake Merritt and Eastmont Mall; MC Hammer even stops by and lends his support. They rehearse in her small living room on 75th Avenue, dancing and rapping in formation. They hold up a banner in the street advertising their four-city tour in the south opening for Morris Day and Pebbles, giddy with disbelief.\u003c/p>\n\u003cp>One person, though, didn’t appear too happy. On the back cover of his next LP, Too Short concluded his liner notes with a none-too-subtle message: “Kimmie Fresh, THANKS FOR NOTHING. Biiiiiiiitch!!!”\u003c/p>\n\u003cfigure id=\"attachment_13934699\" class=\"wp-caption aligncenter\" style=\"max-width: 946px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/KimmieFresh.Short_.2.jpg\" alt=\"A Black man and Black woman pose for a selfie, smiling at the camera\" width=\"946\" height=\"960\" class=\"size-full wp-image-13934699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Short_.2.jpg 946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Short_.2-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Short_.2-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Short_.2-768x779.jpg 768w\" sizes=\"auto, (max-width: 946px) 100vw, 946px\">\u003cfigcaption class=\"wp-caption-text\">Too Short and Kimmie Fresh still see each other periodically. Of their sparring in the 1980s, which brought attention to both of them, ‘it was game recognize game,’ she says. \u003ccite>(Courtesy Kimmie Fresh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pimp Rap and the Crack Epidemic\u003c/h2>\n\u003cp>Remember the power of a public rap beef? These days, Short and Kimmie are cool, and still see each other periodically. Part of it may be because Kimmie Fresh was more than a novelty, but a genuinely fierce rapper.\u003c/p>\n\u003cp>If you can find a copy of \u003cem>The Real Freaky Tales\u003c/em> — now a collectors’ item that has sold for as much as $300 — you’ll hear a vivid portrait of Oakland in the 1980s. “\u003ca href=\"https://www.youtube.com/watch?v=oCSdG_187UY\">I Love My Microphone\u003c/a>” is a high-speed litany of boasts. “\u003ca href=\"https://www.youtube.com/watch?v=-vJFltVGDeg\">Tear the Roof Off\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=fyanRV2I2CU\">The Crowd Be Lovin’ Me\u003c/a>” take on challenges and pickup attempts from men, shouting out Jody Watley, Janet Jackson and women in Kimmie’s own crew from 75th Avenue.\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/DE0drk3Uk_U'\n title='//www.youtube.com/embed/DE0drk3Uk_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then there’s “\u003ca href=\"https://www.youtube.com/watch?v=DE0drk3Uk_U\">Don’t Let That Be the Reason\u003c/a>,” which chronicles the rise and fall of a wealthy Mercedes Benz-driving player who gets hooked on crack and lands in jail. The judge asks him to snitch, but he refuses, even though his friends won’t bail him out. After prison, he loses everything, and watches old associates walk by while he sleeps in the gutter.\u003c/p>\n\u003cp>As we talk, Kimmie Fresh spontaneously raps these songs at the table, still in possession of her skills. The songs are personal for her, after all: “Don’t Let That Be the Reason” was a composite sketch of friends and family in East Oakland who fell victim to the crack epidemic, Kimmie says, nodding in reflection.\u003c/p>\n\u003cp>“That was many people I knew,” she says. “Many, many people I knew.”\u003c/p>\n\u003cfigure id=\"attachment_13934694\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/KimmieFresh.RollerRink.jpg\" alt=\"A flyer for a concert, with block lettering\" width=\"720\" height=\"945\" class=\"size-full wp-image-13934694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.RollerRink.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.RollerRink-160x210.jpg 160w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kimmie Fresh performed at various venues in the Bay Area, including the San Leandro Skating Rink. \u003ccite>(Courtesy Kimmie Fresh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for prostitution, Kimmie wasn’t the only young woman in the 1980s Bay Area rapping explicitly about sex. Cassidine’s “\u003ca href=\"https://www.youtube.com/watch?v=xIfUjnJp5KM\">Secret Weapon\u003c/a>” was a graphic salute to prostitutes, some just 16 years old, working the strip on E. 14th Street, and a rebuke to their male customers. Under the group name Danger Zone, Barbie and Entice (who had been on “The Real Freaky Tales”) had the song “\u003ca href=\"https://www.youtube.com/watch?v=SvMjOBASvbc\">Jailbait\u003c/a>,” a warning about predatory men to “all you girls out there who are under 18.”\u003c/p>\n\u003cp>Both serve as a balance to the male-centric Bay Area pimp rap of the 1980s from Too Short and \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">Magic Mike and Calvin T\u003c/a>. Kimmie herself came up around a lot of pimps: she mentions Frank the Bank, Gangsta Brown, even her own brothers. They all told her the same thing: “Don’t ever let a man treat you like we treat these hoes.”\u003c/p>\n\u003cp>“So I’ve always been strong,” Kimmie says, matter-of-factly. “They instilled that in me.”\u003c/p>\n\u003cfigure id=\"attachment_13934703\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Kimmie.kitchen.web_-scaled.jpg\" alt=\"A Black woman in tank top and black apron and gold hoop earrings poses in an industrial kitchen, next to a range.\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13934703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Kimmie.kitchen.web_-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kimmie Fresh, pictured at her soul food counter Kimmie’s Kitchin in East Oakland. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Life After Rap\u003c/h2>\n\u003cp>Strong or not, life finds a way of derailing rap careers. Motherhood, especially, took up Kimmie’s time and energy. She worked various jobs: at a bank, a pawn shop, Mervyn’s, a hair salon. At one point, she spent almost a year in jail for a setup, she says, when her boyfriend was accused of murder. (“It was something that he was accused of, and he tried to say that I was there,” she says, insisting that she was not. “I got my first royalty check, and then I almost lost my life.”)\u003c/p>\n\u003cfigure id=\"attachment_13934698\" class=\"wp-caption aligncenter\" style=\"max-width: 705px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/KimmieFresh.90s.jpg\" alt=\"A Black woman in short hair and a Raiders starter jacket and watch crouches in a photo studio.\" width=\"705\" height=\"721\" class=\"size-full wp-image-13934698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.90s.jpg 705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.90s-160x164.jpg 160w\" sizes=\"auto, (max-width: 705px) 100vw, 705px\">\u003cfigcaption class=\"wp-caption-text\">Kimmie Fresh in a promotional photo from the 1990s. \u003ccite>(Courtesy Kimmie Fresh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She moved to Las Vegas for a while, but after watching an ailing close friend, the rapper \u003ca href=\"https://www.youtube.com/watch?v=_PbWW_25Z7c\">Tee-Mail\u003c/a>, die of cancer back home in Oakland, “I was destroyed.” She decided to stay, sleeping on a friend’s couch. By then, the Town had largely forgotten about Kimmie Fresh.\u003c/p>\n\u003cp>While D’Wayne Wiggins from Tony Toni Toné built her a cafe in his studio to start Kimmie’s Kitchin in 2019, and artists like Keak da Sneak, Mistah F.A.B. and Dru Down have all visited, the general public remains widely unaware of Kimmie Fresh. She’s often mistaken, she says, for a member of the Conscious Daughters or Oaktown’s 3.5.7. When she’s brought on stage with Too Short, the DJ inevitably plays “\u003ca href=\"https://www.youtube.com/watch?v=MfSYngzHOsY\">Don’t Fight the Feelin’\u003c/a>,” which features Barbie and Entice, and she’s expected to rap their verses, as if all women rappers are interchangeable.\u003c/p>\n\u003cp>Her music lives exclusively in fan-ripped uploads on YouTube. It hasn’t been put on streaming, or reissued on vinyl. Getting it on Spotify is something she’s working on, but her old label boss, Dean Hodges, sold the rights to the 75 Girls catalog in the 1990s, and last Kimmie’s heard, he’s living in a West Oakland homeless encampment. She’s lost touch with Cassidine, her old labelmate on 75 Girls. She doesn’t know where her old masters are, nor the recordings she made for Jive, so long ago.\u003c/p>\n\u003cfigure id=\"attachment_13934695\" class=\"wp-caption aligncenter\" style=\"max-width: 1432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/KimmieFresh.Eastmont.jpg\" alt=\"A group of Black teenagers in large jackets and faded jeans dance in a parking lot.\" width=\"1432\" height=\"848\" class=\"size-full wp-image-13934695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Eastmont.jpg 1432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Eastmont-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Eastmont-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Eastmont-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/KimmieFresh.Eastmont-768x455.jpg 768w\" sizes=\"auto, (max-width: 1432px) 100vw, 1432px\">\u003cfigcaption class=\"wp-caption-text\">The photoshoot for ‘The Real Freaky Tales’ LP, in the parking lot of the Eastmont Mall. At one point in the day, MC Hammer stopped by. \u003ccite>(Larry Henderson/75 Girls Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Kimmie is happy to still be active at her counter, cooking dishes like oxtail tacos, shrimp and grits, and chicken and waffles. She’s especially proud of her family. There are stains on her apron and a cook’s burn marks on her forearms, right near her tattoos of her four son’s names. People come in from time to time to bring her old photos of a different life, 35 years ago, from back when she says rap was better and more fun.\u003c/p>\n\u003cp>At the end of our interview, when presented with a cassette copy of \u003cem>The Real Freaky Tales\u003c/em>, she calls across the liquor store to summon an employee.\u003c/p>\n\u003cp>“Angel! Come over here… have you ever seen my album?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Kimmie Fresh appears live in conversation with KQED’s Nastia Voynovskaya as part of ‘Hip-Hop Herstory: Celebrating Bay Area Women’ on Thursday, Sept. 14, at The Commons at KQED. Also appearing are Tia Nomore, RyanNicole, Stoni and Alien Mac Kitty. \u003ca href=\"https://www.kqed.org/event/3402\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kenneth Branagh Crafts a Sumptuously Spooky ‘A Haunting in Venice’",
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"content": "\u003cp>Kenneth Branagh indulges in the kind of macabre theatricality that only a crumbling Venetian palazzo on a stormy Halloween night can provide in \u003cem>A Haunting in Venice\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13934544']Moviegoers probably long ago made up their mind one way or another about Branagh’s stately and flawed Hercule Poirot franchise, but should there be any curiosity left, this third installment is worth it. It is spooky, fun and features Tina Fey, looking smart and sleek in post-war suits as the fast-talking author of wildly successful whodunnits who says things like “I’m the smartest person I know” in a mid-Atlantic accent.\u003c/p>\n\u003cp>Set in 1947 on a particularly foggy night in the city of canals, \u003cem>A Haunting in Venice\u003c/em> is beautiful to look at, with costumes by Sammy Sheldon, production design by John Paul Kelly and cinematography by Haris Zambarloukos. And it’s embellished with moody but palatable scares that feel reminiscent of classics like \u003cem>The Innocents\u003c/em> and \u003cem>The Others\u003c/em>, that are enhanced by Hildur Guðnadóttir’s score. In other words, this might not excite a \u003cem>Saw\u003c/em> enthusiast, but for the more easily scared and skittish it hits just the right notes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yEddsSwweyE\u003c/p>\n\u003cp>Agatha Christie takes a bit of a backseat here, as Branagh and screenwriter Michael Green take only the loosest inspiration from her 1969 book \u003cem>The Hallowe’en Party\u003c/em> for their haunting, firstly by moving it to Venice. It’s where Poirot has chosen to live out his self-imposed retirement (an enviable exile if there ever was one). His whereabouts are hardly a secret though — desperate folks line up outside of his picturesque apartment hoping he’ll take a stab at their cases. But for now, a handsome Italian bodyguard (Riccardo Scamarcio) is there to make sure they don’t get close enough to ask.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fey’s Ariadne Oliver gets through the gates, though, with a different kind of offer: She wants Poirot to accompany her to a séance. This medium, she says, appears to be the real deal and only he’ll be able to figure out if it’s all a trick. Soon he, reluctantly, finds himself at a Halloween party for the city’s orphans, held by a famous opera singer, Rowena, (Kelly Reilly) with a famously dead daughter whom they hope to contact later that evening when the children depart.\u003c/p>\n\u003cp>Branagh recruited a few of his \u003cem>Belfast\u003c/em> stars into this ensemble, including Jamie Dornan as a doctor still haunted by the war and Jude Hill as his precocious son Leopold. Camille Cottin is a housekeeper, Kyle Allen is the dead girl’s ex-fiancé, and Michelle Yeoh is the theatrical medium Mrs. Reynolds, who seems to be having a grand time chewing the scenery as a possible femme fatale. It is a distinct shift in tone from the previous films — sadder and more serious, with grief and death everywhere. Even before Alicia’s mysterious death (off a balcony, into the canal with a horrific scrape on her back) the grand palazzo had a body count: It’s where doctors are said to have locked up children to die during the plague.\u003c/p>\n\u003cp>[aside postid='arts_13934519']And this crew is in for a long, stormy, claustrophobic night with finger pointing, more deaths and some inexplicable phenomena at play. Poirot’s existential crisis is probably the least interesting aspect of the whole thing, despite its centrality to the plot, but Branagh doesn’t waste too much of his time diving into those self-indulgent waters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe Branagh should have been leaning more into horror this whole time with this franchise. Or maybe it’s a case of underestimating a director whose work is prolific and not always personal. It can be hard to take stock of a filmmaker’s career when they’ve made great Shakespeare and Cinderella adaptations as well as \u003cem>Thor\u003c/em> and \u003cem>Artemis Fowl\u003c/em>. But it’s always a pleasant surprise when it works as \u003cem>A Haunting in Venice\u003c/em> very much does.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moviegoers probably long ago made up their mind one way or another about Branagh’s stately and flawed Hercule Poirot franchise, but should there be any curiosity left, this third installment is worth it. It is spooky, fun and features Tina Fey, looking smart and sleek in post-war suits as the fast-talking author of wildly successful whodunnits who says things like “I’m the smartest person I know” in a mid-Atlantic accent.\u003c/p>\n\u003cp>Set in 1947 on a particularly foggy night in the city of canals, \u003cem>A Haunting in Venice\u003c/em> is beautiful to look at, with costumes by Sammy Sheldon, production design by John Paul Kelly and cinematography by Haris Zambarloukos. And it’s embellished with moody but palatable scares that feel reminiscent of classics like \u003cem>The Innocents\u003c/em> and \u003cem>The Others\u003c/em>, that are enhanced by Hildur Guðnadóttir’s score. In other words, this might not excite a \u003cem>Saw\u003c/em> enthusiast, but for the more easily scared and skittish it hits just the right notes.\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/yEddsSwweyE'\n title='//www.youtube.com/embed/yEddsSwweyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Agatha Christie takes a bit of a backseat here, as Branagh and screenwriter Michael Green take only the loosest inspiration from her 1969 book \u003cem>The Hallowe’en Party\u003c/em> for their haunting, firstly by moving it to Venice. It’s where Poirot has chosen to live out his self-imposed retirement (an enviable exile if there ever was one). His whereabouts are hardly a secret though — desperate folks line up outside of his picturesque apartment hoping he’ll take a stab at their cases. But for now, a handsome Italian bodyguard (Riccardo Scamarcio) is there to make sure they don’t get close enough to ask.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fey’s Ariadne Oliver gets through the gates, though, with a different kind of offer: She wants Poirot to accompany her to a séance. This medium, she says, appears to be the real deal and only he’ll be able to figure out if it’s all a trick. Soon he, reluctantly, finds himself at a Halloween party for the city’s orphans, held by a famous opera singer, Rowena, (Kelly Reilly) with a famously dead daughter whom they hope to contact later that evening when the children depart.\u003c/p>\n\u003cp>Branagh recruited a few of his \u003cem>Belfast\u003c/em> stars into this ensemble, including Jamie Dornan as a doctor still haunted by the war and Jude Hill as his precocious son Leopold. Camille Cottin is a housekeeper, Kyle Allen is the dead girl’s ex-fiancé, and Michelle Yeoh is the theatrical medium Mrs. Reynolds, who seems to be having a grand time chewing the scenery as a possible femme fatale. It is a distinct shift in tone from the previous films — sadder and more serious, with grief and death everywhere. Even before Alicia’s mysterious death (off a balcony, into the canal with a horrific scrape on her back) the grand palazzo had a body count: It’s where doctors are said to have locked up children to die during the plague.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And this crew is in for a long, stormy, claustrophobic night with finger pointing, more deaths and some inexplicable phenomena at play. Poirot’s existential crisis is probably the least interesting aspect of the whole thing, despite its centrality to the plot, but Branagh doesn’t waste too much of his time diving into those self-indulgent waters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe Branagh should have been leaning more into horror this whole time with this franchise. Or maybe it’s a case of underestimating a director whose work is prolific and not always personal. It can be hard to take stock of a filmmaker’s career when they’ve made great Shakespeare and Cinderella adaptations as well as \u003cem>Thor\u003c/em> and \u003cem>Artemis Fowl\u003c/em>. But it’s always a pleasant surprise when it works as \u003cem>A Haunting in Venice\u003c/em> very much does.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Podcast Charts One Man's Journey From Chinatown Gangs to Hollywood",
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"content": "\u003cp>In 2015, journalist and video editor \u003ca href=\"https://www.mayasugarman.com/\">Maya Lin Sugarman\u003c/a> lost her uncle \u003ca href=\"https://www.imdb.com/name/nm0950724/?ref_=tt_ov_wr\">Galen Yuen\u003c/a> to a blood infection. To Lin Sugarman, Yuen had been a lovable goofball — a man fond of donuts, offbeat restaurants and \u003cem>Big Brother\u003c/em> marathons. It was only when her beloved “popo” (Cantonese for maternal grandmother) died five years later that Lin Sugarman discovered a box of her uncle’s writing that revealed a different picture — a nefarious past she didn’t know he’d had.\u003c/p>\n\u003cp>[aside postid='arts_13914487']Lin Sugarman’s journey to uncover Yuen’s true story is now a podcast titled \u003cem>Magnificent Jerk. \u003c/em>Across seven engrossing episodes, we find out that Yuen had been a member of notorious Chinese-American gangs in the Chinatowns of both San Francisco and Oakland. He had acted as a pimp, served time in prison and survived serious drug addiction. Yuen started innumerable street brawls, attempted to extort a family, and was not averse to brandishing guns to make a point. And, in a remarkable twist, when he finally left his criminal past behind, he used his street knowledge to start a career in Hollywood.\u003c/p>\n\u003cp>Yuen’s experience in Hollywood, as told by Lin Sugarman in the Apple Original podcast, is a startling reflection of the racism that was rife in the entertainment industry in the 1990s. Yuen’s biggest project, \u003ca href=\"https://www.youtube.com/watch?v=e_c-xagWUGk\">\u003cem>Crazy Six\u003c/em>\u003c/a>, started as a script he wrote about Asian American gangs and a drug deal set in Oakland. (The “Crazy Six” of the title was named after a Chinese American gangster Yuen knew.) By the time Hollywood was done with the project, it was a movie set in Eastern Europe starring Rob Lowe, Burt Reynolds, Ice-T and exactly zero Asian American actors.\u003c/p>\n\u003cp>Lin Sugarman’s deep frustration about the fate of her uncle’s movie here is plain to hear. Still, she jumps at the chance to watch it on a big screen when the opportunity presents itself.\u003c/p>\n\u003cfigure id=\"attachment_13933209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Galen-03751000-800x800.jpg\" alt=\"A young, slender Chinese American man with chin length hair stands in a living room wearing a black and white floral shirt, his hands in his pockets.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000.jpg 1815w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Galen Yuen in the 1970s, the same era he was involved with the Suey Sing gang. \u003ccite>(Courtesy of the Yuen family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the whitewashing of \u003cem>Crazy Six\u003c/em>, Yuen decided to use the gumption and tenacity that once made him an effective gangster to help other Asian Americans in the movie industry. He set up an agency called Asian Talent Force and attempted to negotiate better roles and more money for his clients. Still, Yuen’s own acting career consisted largely of bit parts and small, often stereotypical roles in movies like \u003cem>Kindergarten Cop\u003c/em>, \u003cem>Cyborg 2\u003c/em> and \u003cem>Crank: High Voltage\u003c/em>. Yuen was offered very few opportunities to write. One exception was \u003ca href=\"https://www.imdb.com/title/tt0120021/?ref_=nm_flmg_t_2_wr\">\u003cem>Riot\u003c/em>\u003c/a>, a four-part TV movie about the unrest in LA that followed the Rodney King verdict in 1992. Yuen was hired to write the Asian American perspective. The fact that he was not of Korean descent — as most of the Asians caught up in the riots were — did not matter to the producers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yuen’s story is peppered with grief, misadventure, ambition and, by the end of his life, attempts at redemption. Lin Sugarman explores her uncle’s history with a keen curiosity that occasionally lapses into anxiety and trepidation. Still, she doggedly pursues Yuen’s truth even as she worries her family will harbor resentments towards her for doing so. (Some of the most engrossing conversations in the podcast happen between Lin Sugarman and her worried aunties.) As she explore’s Yuen’s past, Lin Sugarman must also contend with the fading memories of those who knew her uncle, as well as the fears of gang violence victims too scared to speak on the record, even 50 years later.\u003c/p>\n\u003cp>\u003cem>Magnificent Jerk\u003c/em> would have benefited from more detail about the history of gangs in San Francisco and Oakland’s Chinatown districts. We are offered only cursory information about the Suey Sing crew that her uncle was a part of, and few mentions of the other gangs that were also active at the time. We get some sense of the gang members’ motivations — anti-Asian discrimination certainly played a part — but extra background about the whens, hows and whys of the Chinatowns’ criminal underworld would have given the podcast sturdier ground to stand on.\u003c/p>\n\u003cp>[aside postid='arts_13923980']The beating heart at the center of each episode of \u003cem>Magnificent Jerk\u003c/em> is Lin Sugarman. The rollercoaster of emotions she experiences as she finds things out about her uncle that she would rather not lends an engaging intimacy to the proceedings. And though Lin Sugarman ultimately uncovers many of her uncle’s darkest secrets, one gets the impression that Yuen would probably enjoy the final impression of him left by \u003cem>Magnificent Jerk.\u003c/em> It is, after all, the first chance Galen Yuen — a complex, multifaceted, talented person — has had to exist in public without the stereotyping that dogged him in life.\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>‘Magnificent Jerk,’ an Apple Original podcast, premieres on Monday, Sept. 18, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lin Sugarman’s journey to uncover Yuen’s true story is now a podcast titled \u003cem>Magnificent Jerk. \u003c/em>Across seven engrossing episodes, we find out that Yuen had been a member of notorious Chinese-American gangs in the Chinatowns of both San Francisco and Oakland. He had acted as a pimp, served time in prison and survived serious drug addiction. Yuen started innumerable street brawls, attempted to extort a family, and was not averse to brandishing guns to make a point. And, in a remarkable twist, when he finally left his criminal past behind, he used his street knowledge to start a career in Hollywood.\u003c/p>\n\u003cp>Yuen’s experience in Hollywood, as told by Lin Sugarman in the Apple Original podcast, is a startling reflection of the racism that was rife in the entertainment industry in the 1990s. Yuen’s biggest project, \u003ca href=\"https://www.youtube.com/watch?v=e_c-xagWUGk\">\u003cem>Crazy Six\u003c/em>\u003c/a>, started as a script he wrote about Asian American gangs and a drug deal set in Oakland. (The “Crazy Six” of the title was named after a Chinese American gangster Yuen knew.) By the time Hollywood was done with the project, it was a movie set in Eastern Europe starring Rob Lowe, Burt Reynolds, Ice-T and exactly zero Asian American actors.\u003c/p>\n\u003cp>Lin Sugarman’s deep frustration about the fate of her uncle’s movie here is plain to hear. Still, she jumps at the chance to watch it on a big screen when the opportunity presents itself.\u003c/p>\n\u003cfigure id=\"attachment_13933209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Galen-03751000-800x800.jpg\" alt=\"A young, slender Chinese American man with chin length hair stands in a living room wearing a black and white floral shirt, his hands in his pockets.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000.jpg 1815w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Galen Yuen in the 1970s, the same era he was involved with the Suey Sing gang. \u003ccite>(Courtesy of the Yuen family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the whitewashing of \u003cem>Crazy Six\u003c/em>, Yuen decided to use the gumption and tenacity that once made him an effective gangster to help other Asian Americans in the movie industry. He set up an agency called Asian Talent Force and attempted to negotiate better roles and more money for his clients. Still, Yuen’s own acting career consisted largely of bit parts and small, often stereotypical roles in movies like \u003cem>Kindergarten Cop\u003c/em>, \u003cem>Cyborg 2\u003c/em> and \u003cem>Crank: High Voltage\u003c/em>. Yuen was offered very few opportunities to write. One exception was \u003ca href=\"https://www.imdb.com/title/tt0120021/?ref_=nm_flmg_t_2_wr\">\u003cem>Riot\u003c/em>\u003c/a>, a four-part TV movie about the unrest in LA that followed the Rodney King verdict in 1992. Yuen was hired to write the Asian American perspective. The fact that he was not of Korean descent — as most of the Asians caught up in the riots were — did not matter to the producers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yuen’s story is peppered with grief, misadventure, ambition and, by the end of his life, attempts at redemption. Lin Sugarman explores her uncle’s history with a keen curiosity that occasionally lapses into anxiety and trepidation. Still, she doggedly pursues Yuen’s truth even as she worries her family will harbor resentments towards her for doing so. (Some of the most engrossing conversations in the podcast happen between Lin Sugarman and her worried aunties.) As she explore’s Yuen’s past, Lin Sugarman must also contend with the fading memories of those who knew her uncle, as well as the fears of gang violence victims too scared to speak on the record, even 50 years later.\u003c/p>\n\u003cp>\u003cem>Magnificent Jerk\u003c/em> would have benefited from more detail about the history of gangs in San Francisco and Oakland’s Chinatown districts. We are offered only cursory information about the Suey Sing crew that her uncle was a part of, and few mentions of the other gangs that were also active at the time. We get some sense of the gang members’ motivations — anti-Asian discrimination certainly played a part — but extra background about the whens, hows and whys of the Chinatowns’ criminal underworld would have given the podcast sturdier ground to stand on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The beating heart at the center of each episode of \u003cem>Magnificent Jerk\u003c/em> is Lin Sugarman. The rollercoaster of emotions she experiences as she finds things out about her uncle that she would rather not lends an engaging intimacy to the proceedings. And though Lin Sugarman ultimately uncovers many of her uncle’s darkest secrets, one gets the impression that Yuen would probably enjoy the final impression of him left by \u003cem>Magnificent Jerk.\u003c/em> It is, after all, the first chance Galen Yuen — a complex, multifaceted, talented person — has had to exist in public without the stereotyping that dogged him in life.\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>‘Magnificent Jerk,’ an Apple Original podcast, premieres on Monday, Sept. 18, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hayao Miyazaki Invites Moviegoers to Dream With Him One Last Time",
"headTitle": "Hayao Miyazaki Invites Moviegoers to Dream With Him One Last Time | KQED",
"content": "\u003cp>The loudest applause on opening night at the Toronto International Film Festival was for Totoro.\u003c/p>\n\u003cp>When the Studio Ghibli logo of the magical creature from Hayao Miyazaki’s \u003cem>My Neighbor Totoro\u003c/em> appeared on the screen Thursday night, it meant to the audience the premiere of Miyazaki’s latest and perhaps last film, \u003cem>The Boy and the Heron\u003c/em>. For many at TIFF, it was the movie event of the year.\u003c/p>\n\u003cp>[aside postid='arts_13933239']A decade ago, Miyazaki, the anime master of \u003cem>Spirited Away\u003c/em>, \u003cem>Howl’s Moving Castle\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and \u003cem>Ponyo\u003c/em>, said he was retiring from film and that 2013’s \u003cem>The Wind That Rises\u003c/em> would be his last film. But Miyazaki, now 82, soon after began slowly toiling away on one more. For Miyazaki, who painstakingly crafts thousands of hand drawings for a film, it’s a long and laborious process.\u003c/p>\n\u003cp>His work has been shrouded in mystery, in part because Miyazaki very rarely does interviews. Plus, in a marketing rarity, \u003cem>The Boy and the Heron\u003c/em> has been released in Japan without any of the usual promotion — no TV ads or billboards — that accompanies such a feverishly awaited movie. (It will open in North American theaters Dec. 8.) Several of Miyazaki’s films rank among the biggest box-office hits ever in Japan; there are few other filmmakers today as revered — and fiercely beloved — as Miyazaki.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YcgvMMJyaQU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We are privileged enough to be living in a time where Mozart is composing symphonies,” the filmmaker Guillermo del Toro said Thursday, introducing the film’s first screening outside Japan. “Miyazaki san is a master of that stature.”\u003c/p>\n\u003cp>Miyazaki, who didn’t travel to Toronto, has himself lampooned his inability to fully step away. In journal excerpts shared in the film’s press notes, Miyazaki writes: “There’s nothing more pathetic than telling the world you’ll retire because of your age, then making another comeback.”\u003c/p>\n\u003cp>[aside postid='arts_13933589']“Doesn’t an elderly person deluding themself that they’re still capable, despite their geriatric forgetfulness, prove that they’re past their best?” he adds. “You bet it does.”\u003c/p>\n\u003cp>The title of Miyazaki’s latest is \u003cem>Kimi-tachi wa Do Ikeru Ka?\u003c/em> in Japanese, which translates as \u003cem>How Do You Live?\u003c/em> It comes from Genzaburo Yoshino’s 1937 novel, on which the movie is loosely based. In one of his few public comments, Miyazaki was asked if his film would supply any answers to that question.\u003c/p>\n\u003cp>“I am making this movie because I do not have the answer,” Miyazaki told \u003cem>The New York Times\u003c/em> in 2021.\u003c/p>\n\u003cfigure id=\"attachment_13934550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-800x534.png\" alt=\"Animation in the Japanese manga style depicts an adolescent boy with toads crawling all over his shoulders and his head.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1920x1281.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM.png 1960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘The Boy and the Heron.’ \u003ccite>(Studio Ghibli/ GKIDS via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What may surprise some is that while there’s much wisdom and reflection in \u003cem>The Boy and Heron\u003c/em>, it’s just as infinitely imaginative as Miyazaki’s earlier films — a dazzling odyssey in the vivid mold \u003cem>Spirited Away\u003c/em>. It’s both the wistful swan song of a great filmmaker and the boundless work of an ever-young creative mind.\u003c/p>\n\u003cp>The main character is Mahito Maki (voiced by Soma Santoki), a 12-year-old boy who, in the film’s opening WWII-set scenes, loses his mother in a Tokyo hospital fire. It’s not long after that his father marries Mahito’s mother’s sister (Yoshino Kimura) and, on the country estate they have moved to, Mahito’s bitter and grief-filled life is interrupted by a gray heron (Masaki Suda) that won’t leave him alone.\u003c/p>\n\u003cp>Not unlike Satsuki and Mei of \u003cem>My Neighbor Totoro\u003c/em>, Mahito is led down a wooded path and into an enchanted realm entered through a stone tower built by Mahito’s grand-uncle. We are again, invited into a dizzyingly colorful otherworldly fantasy of Miyazaki’s making. It may be rife with metaphor — for nature, for grief, for healing — but it also exists in the pure and unfiltered dimension of dream.\u003c/p>\n\u003cp>[aside postid='arts_13933353']\u003cem>The Boy and the Heron\u003c/em> can be a convoluted place, but many will recognize countless hallmarks of Miyazaki, albeit with a particular avian atmosphere this time. Yes, there are birds — not just the heron but florid flocks of parakeets. There are fiery hearths and glowing orbs, gobs of bloody organs and malicious actors who threaten the stability of this verdant but under-siege paradise.\u003c/p>\n\u003cp>There is also an elderly granduncle with a long beard nearing the end of his life, aware that his ability to hold this crumbling world together is receding. Does he need an heir? Will it all collapse? For Miyazaki, who once said the purpose of his films was “to fill in the gap that might be in your heart or your everyday life,” \u003cem>The Boy and the Heron\u003c/em> is ultimately about letting the kingdom go.\u003c/p>\n\u003cp>“Build your own tower,” the granduncle tells Mahito.\u003c/p>\n\u003cp>If this is to be the last Miyazaki movie (it would be unwise to ever really count him out), it’s a tremendously moving goodbye. There is no legacy burnishing here but a gentle plea. Dream your own dreams. Create your own worlds. Build your own towers.\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>‘The Boy and the Heron’ arrives in American movie theaters on Dec. 8, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The loudest applause on opening night at the Toronto International Film Festival was for Totoro.\u003c/p>\n\u003cp>When the Studio Ghibli logo of the magical creature from Hayao Miyazaki’s \u003cem>My Neighbor Totoro\u003c/em> appeared on the screen Thursday night, it meant to the audience the premiere of Miyazaki’s latest and perhaps last film, \u003cem>The Boy and the Heron\u003c/em>. For many at TIFF, it was the movie event of the year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A decade ago, Miyazaki, the anime master of \u003cem>Spirited Away\u003c/em>, \u003cem>Howl’s Moving Castle\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and \u003cem>Ponyo\u003c/em>, said he was retiring from film and that 2013’s \u003cem>The Wind That Rises\u003c/em> would be his last film. But Miyazaki, now 82, soon after began slowly toiling away on one more. For Miyazaki, who painstakingly crafts thousands of hand drawings for a film, it’s a long and laborious process.\u003c/p>\n\u003cp>His work has been shrouded in mystery, in part because Miyazaki very rarely does interviews. Plus, in a marketing rarity, \u003cem>The Boy and the Heron\u003c/em> has been released in Japan without any of the usual promotion — no TV ads or billboards — that accompanies such a feverishly awaited movie. (It will open in North American theaters Dec. 8.) Several of Miyazaki’s films rank among the biggest box-office hits ever in Japan; there are few other filmmakers today as revered — and fiercely beloved — as Miyazaki.\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/YcgvMMJyaQU'\n title='//www.youtube.com/embed/YcgvMMJyaQU'\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>“We are privileged enough to be living in a time where Mozart is composing symphonies,” the filmmaker Guillermo del Toro said Thursday, introducing the film’s first screening outside Japan. “Miyazaki san is a master of that stature.”\u003c/p>\n\u003cp>Miyazaki, who didn’t travel to Toronto, has himself lampooned his inability to fully step away. In journal excerpts shared in the film’s press notes, Miyazaki writes: “There’s nothing more pathetic than telling the world you’ll retire because of your age, then making another comeback.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Doesn’t an elderly person deluding themself that they’re still capable, despite their geriatric forgetfulness, prove that they’re past their best?” he adds. “You bet it does.”\u003c/p>\n\u003cp>The title of Miyazaki’s latest is \u003cem>Kimi-tachi wa Do Ikeru Ka?\u003c/em> in Japanese, which translates as \u003cem>How Do You Live?\u003c/em> It comes from Genzaburo Yoshino’s 1937 novel, on which the movie is loosely based. In one of his few public comments, Miyazaki was asked if his film would supply any answers to that question.\u003c/p>\n\u003cp>“I am making this movie because I do not have the answer,” Miyazaki told \u003cem>The New York Times\u003c/em> in 2021.\u003c/p>\n\u003cfigure id=\"attachment_13934550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-800x534.png\" alt=\"Animation in the Japanese manga style depicts an adolescent boy with toads crawling all over his shoulders and his head.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1920x1281.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM.png 1960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘The Boy and the Heron.’ \u003ccite>(Studio Ghibli/ GKIDS via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What may surprise some is that while there’s much wisdom and reflection in \u003cem>The Boy and Heron\u003c/em>, it’s just as infinitely imaginative as Miyazaki’s earlier films — a dazzling odyssey in the vivid mold \u003cem>Spirited Away\u003c/em>. It’s both the wistful swan song of a great filmmaker and the boundless work of an ever-young creative mind.\u003c/p>\n\u003cp>The main character is Mahito Maki (voiced by Soma Santoki), a 12-year-old boy who, in the film’s opening WWII-set scenes, loses his mother in a Tokyo hospital fire. It’s not long after that his father marries Mahito’s mother’s sister (Yoshino Kimura) and, on the country estate they have moved to, Mahito’s bitter and grief-filled life is interrupted by a gray heron (Masaki Suda) that won’t leave him alone.\u003c/p>\n\u003cp>Not unlike Satsuki and Mei of \u003cem>My Neighbor Totoro\u003c/em>, Mahito is led down a wooded path and into an enchanted realm entered through a stone tower built by Mahito’s grand-uncle. We are again, invited into a dizzyingly colorful otherworldly fantasy of Miyazaki’s making. It may be rife with metaphor — for nature, for grief, for healing — but it also exists in the pure and unfiltered dimension of dream.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Boy and the Heron\u003c/em> can be a convoluted place, but many will recognize countless hallmarks of Miyazaki, albeit with a particular avian atmosphere this time. Yes, there are birds — not just the heron but florid flocks of parakeets. There are fiery hearths and glowing orbs, gobs of bloody organs and malicious actors who threaten the stability of this verdant but under-siege paradise.\u003c/p>\n\u003cp>There is also an elderly granduncle with a long beard nearing the end of his life, aware that his ability to hold this crumbling world together is receding. Does he need an heir? Will it all collapse? For Miyazaki, who once said the purpose of his films was “to fill in the gap that might be in your heart or your everyday life,” \u003cem>The Boy and the Heron\u003c/em> is ultimately about letting the kingdom go.\u003c/p>\n\u003cp>“Build your own tower,” the granduncle tells Mahito.\u003c/p>\n\u003cp>If this is to be the last Miyazaki movie (it would be unwise to ever really count him out), it’s a tremendously moving goodbye. There is no legacy burnishing here but a gentle plea. Dream your own dreams. Create your own worlds. Build your own towers.\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>‘The Boy and the Heron’ arrives in American movie theaters on Dec. 8, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Moment of Awe and Appreciation for the Women Who Fought Danny Masterson",
"headTitle": "A Moment of Awe and Appreciation for the Women Who Fought Danny Masterson | KQED",
"content": "\u003cp>Former \u003cem>That ’70s Show\u003c/em> actor Danny Masterson was sentenced to 30 years to life in prison on Thursday, following his conviction in May on \u003ca href=\"https://www.kqed.org/arts/13928256/danny-mastersons-rape-retrial-key-things-to-know\">charges that he had raped two women\u003c/a>. The decision represents rarely seen justice in the post-#MeToo era, following years in which his victims were belittled and pushed aside repeatedly. Masterson and his team, however, remain unrepentant.\u003c/p>\n\u003cp>“Though we have great respect for the jury, and for our system of justice,” Masterson lawyer Shawn Holley said after the verdict, “sometimes they get it wrong. And that’s what happened here.”\u003c/p>\n\u003cp>[aside postid='arts_13928256']Steadfast assertions about Masterson’s innocence have been par for the course for everyone in his camp ever since accusations by four women — including one ex-girlfriend — first came to public attention in 2017, at the height of the #MeToo movement. Each of those women accused Masterson of drugging and raping them at his home between 2001 and 2003. Masterson, his representatives and the Church of Scientology — of which Masterson has been a lifelong member — have been issuing aggressive denials ever since. The first came from attorney Tom Mesereau in 2017: “Mr. Masterson is innocent,” Mesereau said in a statement, “and we’re confident that he will be exonerated when all the evidence finally comes to light.”\u003c/p>\n\u003cp>In 2019, a statement from Masterson himself said: “This is beyond ridiculous. I’m not going to fight my ex-girlfriend in the media like she’s been baiting me to do for more than two years. I will beat her in court … And once her lawsuit is thrown out, I intend to sue her and the others who jumped on the bandwagon for the damage they caused me and my family.”\u003c/p>\n\u003cp>Masterson’s unrelenting approach was noted even by Judge Charlaine F. Olmedo directly before she handed down her sentence on Thursday. “I know that you’re sitting here steadfast in your claims of innocence,” Olmedo noted, “and thus no doubt feeling victimized by a justice system that has failed you. But Mr. Masterson, you are not the victim here … One way or another, you will have to come to terms with your prior actions and their consequences.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those consequences come now only because of the tenacity, determination and bravery of the women who survived Masterson’s assaults. Referred to during the trial as N. Trout, Jen B. and Christina B. — Masterson’s fourth accuser’s charges never made it to trial — those women have been fighting to be heard for upwards of two decades now. The fact that justice is finally theirs (mostly — the jury failed to reach a verdict when it came to one of the women) must be a gargantuan relief.\u003c/p>\n\u003cp>[aside postid='arts_13928974']In the earliest days after the alleged attacks, the women, all Scientology members, first had to get past the church’s code of silence and its commitment to handling criminal matters internally. Documents leaked to journalist Tony Ortega in 2017 suggested that when the women reported Masterson to fellow church members in the early 2000s, \u003ca href=\"https://tonyortega.org/2017/03/03/lapd-probing-scientology-and-danny-masterston-for-multiple-rapes-cover-up/\">they were pressured to not report him to outside authorities\u003c/a>.\u003c/p>\n\u003cp>Court documents later revealed that when Christina B. reported her rape to a Scientology “ethics officer,” she was told: “You can’t rape someone that you’re in a relationship with.”\u003c/p>\n\u003cp>In 2003, when Jen B. asked permission from the church to report Masterson to the police, Scientology officials suggested that the action might result in “disconnection” for her — the practice of shunning church members deemed to be a threat to Scientology. Despite the risk of losing her family, friends and way of life, Jen B. reported her rape to the police the following year — a feat that must have required unbelievable resolve.\u003c/p>\n\u003cp>After the accusations against Masterson did finally come to light more than a decade later, Scientology did its darnedest to discredit the women. So much so that in 2019, Masterson’s four accusers sued Masterson and the church for stalking, invading their privacy and attempting to obstruct justice. At the time, counsel for the Church of Scientology denied all charges and told \u003cem>People\u003c/em>: “This baseless lawsuit will go nowhere because the claims are ludicrous and a sham.”\u003c/p>\n\u003cp>Since then, Scientologists have been fighting to stall a resolution in the lawsuit. The church has argued repeatedly that any arbitration must be handled within Scientology and not in a Los Angeles Superior Court. When a ruling came down against that assertion last year, the church then tried to take the case all the way to \u003ca href=\"https://nypost.com/2022/10/03/supreme-court-denies-scientologys-bid-to-ban-danny-masterson-accusers-lawsuit/\">the Supreme Court\u003c/a>. (The court refused to hear the case.) The lawsuit remains frustratingly up in the air.\u003c/p>\n\u003cp>[aside postid='arts_13921719']Moving through the criminal trial phase has been just as arduous. Though originally charged with sexual misconduct in 2017, then with three counts of rape in June 2020, it took until May 2021 for Masterson’s preliminary hearing to begin. When it did, the actor started proceedings by \u003ca href=\"https://pagesix.com/2021/05/19/danny-masterson-posts-courthouse-selfie-before-rape-case-hearing/\">posting a smiling selfie taken outside the courthouse\u003c/a> to his Instagram account. Next to his wife Bijou Philips in her car, the caption read: “Had the most beautiful Uber driver drop me off at school today. #uberwife #bijouphillips.”\u003c/p>\n\u003cp>The image was a smug middle finger to each of his accusers just as they were about to share, on the stand, \u003ca href=\"https://people.com/tv/danny-masterson-allegedly-spit-on-victim-during-rape/\">harrowing and haunting accounts\u003c/a> of the respective nights they spent at his house. Their assaults, they say, included Masterson hitting, spitting on, insulting, restraining, choking them and making threats with a gun. After listening to their stories, the judge asserted that Masterson must face trial.\u003c/p>\n\u003cp>That trial didn’t start until October 2022, at which time the women had to tell their respective stories yet again — this time, with Masterson’s lawyer asserting throughout that their sexual encounters with the actor had been consensual. When that case resulted in a mistrial, it was hard to imagine how much more these women could take. Still each of them returned to court and told their stories yet again this year. If they hadn’t, Masterson would undoubtedly still be free and living his life, just as he did during the many years when fear and intimidation kept three of his accusers silent.\u003c/p>\n\u003cp>Make no mistake, Masterson’s survivors have had to scale impossibly high hurdles from the get-go. This has been a case that, for them, has dragged on and on, first behind closed doors, then within an institution they trusted but that ultimately failed them, then more recently in the public eye.\u003c/p>\n\u003cp>Before Masterson’s sentencing, one of the women emphasized: “I lost everything. I lost my religion. I lost my ability to contact anyone I’d known or loved my entire life. I didn’t exist outside the Scientology world. I had to start my life all over at 29.”\u003c/p>\n\u003cp>[aside postid='arts_13914526']Despite it all, once these women committed to see this case through, they never gave up. They never backed down. They kept telling their stories again and again and again. They kept going despite every miserable, soul-destroying thing that got thrown at them.\u003c/p>\n\u003cp>When it comes to cases involving sexual violence, the wheels of justice move at a pace that is excruciating to watch, let alone live through. The way these cases drag on only extends the length of time that accusers must tolerate barbs, insults and insinuations about their character. That isn’t just deeply frustrating for those involved, it acts as a major disincentive to other survivors considering coming forward.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What the women who prompted Danny Masterson’s trial just did wasn’t just an important reminder to survivors to keep going, it was profoundly satisfying for those of us who have long been frustrated by the lack of real, quantifiable justice that has resulted from the #MeToo movement. We all owe these women a debt of gratitude for the relief of seeing that sometimes justice is possible, no matter how many barriers are standing in the way.\u003c/p>\n\n",
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"excerpt": "Masterson has been smug and unremorseful since first facing rape allegations in 2017. But his accusers refused to be cowed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former \u003cem>That ’70s Show\u003c/em> actor Danny Masterson was sentenced to 30 years to life in prison on Thursday, following his conviction in May on \u003ca href=\"https://www.kqed.org/arts/13928256/danny-mastersons-rape-retrial-key-things-to-know\">charges that he had raped two women\u003c/a>. The decision represents rarely seen justice in the post-#MeToo era, following years in which his victims were belittled and pushed aside repeatedly. Masterson and his team, however, remain unrepentant.\u003c/p>\n\u003cp>“Though we have great respect for the jury, and for our system of justice,” Masterson lawyer Shawn Holley said after the verdict, “sometimes they get it wrong. And that’s what happened here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Steadfast assertions about Masterson’s innocence have been par for the course for everyone in his camp ever since accusations by four women — including one ex-girlfriend — first came to public attention in 2017, at the height of the #MeToo movement. Each of those women accused Masterson of drugging and raping them at his home between 2001 and 2003. Masterson, his representatives and the Church of Scientology — of which Masterson has been a lifelong member — have been issuing aggressive denials ever since. The first came from attorney Tom Mesereau in 2017: “Mr. Masterson is innocent,” Mesereau said in a statement, “and we’re confident that he will be exonerated when all the evidence finally comes to light.”\u003c/p>\n\u003cp>In 2019, a statement from Masterson himself said: “This is beyond ridiculous. I’m not going to fight my ex-girlfriend in the media like she’s been baiting me to do for more than two years. I will beat her in court … And once her lawsuit is thrown out, I intend to sue her and the others who jumped on the bandwagon for the damage they caused me and my family.”\u003c/p>\n\u003cp>Masterson’s unrelenting approach was noted even by Judge Charlaine F. Olmedo directly before she handed down her sentence on Thursday. “I know that you’re sitting here steadfast in your claims of innocence,” Olmedo noted, “and thus no doubt feeling victimized by a justice system that has failed you. But Mr. Masterson, you are not the victim here … One way or another, you will have to come to terms with your prior actions and their consequences.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those consequences come now only because of the tenacity, determination and bravery of the women who survived Masterson’s assaults. Referred to during the trial as N. Trout, Jen B. and Christina B. — Masterson’s fourth accuser’s charges never made it to trial — those women have been fighting to be heard for upwards of two decades now. The fact that justice is finally theirs (mostly — the jury failed to reach a verdict when it came to one of the women) must be a gargantuan relief.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the earliest days after the alleged attacks, the women, all Scientology members, first had to get past the church’s code of silence and its commitment to handling criminal matters internally. Documents leaked to journalist Tony Ortega in 2017 suggested that when the women reported Masterson to fellow church members in the early 2000s, \u003ca href=\"https://tonyortega.org/2017/03/03/lapd-probing-scientology-and-danny-masterston-for-multiple-rapes-cover-up/\">they were pressured to not report him to outside authorities\u003c/a>.\u003c/p>\n\u003cp>Court documents later revealed that when Christina B. reported her rape to a Scientology “ethics officer,” she was told: “You can’t rape someone that you’re in a relationship with.”\u003c/p>\n\u003cp>In 2003, when Jen B. asked permission from the church to report Masterson to the police, Scientology officials suggested that the action might result in “disconnection” for her — the practice of shunning church members deemed to be a threat to Scientology. Despite the risk of losing her family, friends and way of life, Jen B. reported her rape to the police the following year — a feat that must have required unbelievable resolve.\u003c/p>\n\u003cp>After the accusations against Masterson did finally come to light more than a decade later, Scientology did its darnedest to discredit the women. So much so that in 2019, Masterson’s four accusers sued Masterson and the church for stalking, invading their privacy and attempting to obstruct justice. At the time, counsel for the Church of Scientology denied all charges and told \u003cem>People\u003c/em>: “This baseless lawsuit will go nowhere because the claims are ludicrous and a sham.”\u003c/p>\n\u003cp>Since then, Scientologists have been fighting to stall a resolution in the lawsuit. The church has argued repeatedly that any arbitration must be handled within Scientology and not in a Los Angeles Superior Court. When a ruling came down against that assertion last year, the church then tried to take the case all the way to \u003ca href=\"https://nypost.com/2022/10/03/supreme-court-denies-scientologys-bid-to-ban-danny-masterson-accusers-lawsuit/\">the Supreme Court\u003c/a>. (The court refused to hear the case.) The lawsuit remains frustratingly up in the air.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moving through the criminal trial phase has been just as arduous. Though originally charged with sexual misconduct in 2017, then with three counts of rape in June 2020, it took until May 2021 for Masterson’s preliminary hearing to begin. When it did, the actor started proceedings by \u003ca href=\"https://pagesix.com/2021/05/19/danny-masterson-posts-courthouse-selfie-before-rape-case-hearing/\">posting a smiling selfie taken outside the courthouse\u003c/a> to his Instagram account. Next to his wife Bijou Philips in her car, the caption read: “Had the most beautiful Uber driver drop me off at school today. #uberwife #bijouphillips.”\u003c/p>\n\u003cp>The image was a smug middle finger to each of his accusers just as they were about to share, on the stand, \u003ca href=\"https://people.com/tv/danny-masterson-allegedly-spit-on-victim-during-rape/\">harrowing and haunting accounts\u003c/a> of the respective nights they spent at his house. Their assaults, they say, included Masterson hitting, spitting on, insulting, restraining, choking them and making threats with a gun. After listening to their stories, the judge asserted that Masterson must face trial.\u003c/p>\n\u003cp>That trial didn’t start until October 2022, at which time the women had to tell their respective stories yet again — this time, with Masterson’s lawyer asserting throughout that their sexual encounters with the actor had been consensual. When that case resulted in a mistrial, it was hard to imagine how much more these women could take. Still each of them returned to court and told their stories yet again this year. If they hadn’t, Masterson would undoubtedly still be free and living his life, just as he did during the many years when fear and intimidation kept three of his accusers silent.\u003c/p>\n\u003cp>Make no mistake, Masterson’s survivors have had to scale impossibly high hurdles from the get-go. This has been a case that, for them, has dragged on and on, first behind closed doors, then within an institution they trusted but that ultimately failed them, then more recently in the public eye.\u003c/p>\n\u003cp>Before Masterson’s sentencing, one of the women emphasized: “I lost everything. I lost my religion. I lost my ability to contact anyone I’d known or loved my entire life. I didn’t exist outside the Scientology world. I had to start my life all over at 29.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite it all, once these women committed to see this case through, they never gave up. They never backed down. They kept telling their stories again and again and again. They kept going despite every miserable, soul-destroying thing that got thrown at them.\u003c/p>\n\u003cp>When it comes to cases involving sexual violence, the wheels of justice move at a pace that is excruciating to watch, let alone live through. The way these cases drag on only extends the length of time that accusers must tolerate barbs, insults and insinuations about their character. That isn’t just deeply frustrating for those involved, it acts as a major disincentive to other survivors considering coming forward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What the women who prompted Danny Masterson’s trial just did wasn’t just an important reminder to survivors to keep going, it was profoundly satisfying for those of us who have long been frustrated by the lack of real, quantifiable justice that has resulted from the #MeToo movement. We all owe these women a debt of gratitude for the relief of seeing that sometimes justice is possible, no matter how many barriers are standing in the way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "soul-train-musical-review-hippest-trip-san-francisco",
"title": "The ‘Soul Train’ Musical Explodes With Talent, Despite Following the Formula",
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"content": "\u003cp>In the early 1970s, Don Cornelius broke ground on national television with \u003cem>Soul Train\u003c/em>. Yet as days turned into years, that same broken ground was unable to stabilize beneath him, the beauty of his calling ultimately unfolding into tragedy borne of his ambition.\u003c/p>\n\u003cp>In the long-awaited, monumental world premiere of \u003cem>Hippest Trip: The Soul Train Musical\u003c/em> at American Conservatory Theater, the grandiloquent celebration of Black music and dance shoots fire through every nook and cranny of the theater. With its commitment to largesse, along with a mostly solid penning of Cornelius’ complicated legacy by Dominique Morisseau, the show’s future is laser-focused on Broadway, despite flaws that compromise the show’s organicity.\u003c/p>\n\u003cfigure id=\"attachment_13934446\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_119.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Amber Iman (Pam Brown) and Quentin Earl Darrington (Don Cornelius) in ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chicago south sider and local television host Don Cornelius (Quentin Earl Darrington) is a golden-throated visionary, convincing his bosses at WCIU in Chicago to support a Black version of Dick Clark’s popular \u003cem>American Bandstand\u003c/em>, a show with minimal interactions with Black artists. While those bosses ultimately approve the move, with the first episode premiering in 1970, none feel it necessary to own a piece of the pie, making Cornelius the overnight owner of a franchise that would last for 35 years and become the nation’s epicenter for Black culture and entertainment. \u003c/p>\n\u003cp>[aside postID='arts_10795181']The ascendance of Cornelius ushers in problematic relationships with many in his orbit, including wife Delores (Angela Birchett), manager Pam Brown (Amber Iman) and son Tony (Sidney Dupont). As time goes on, wars are waged with the evolution of music itself as Cornelius rails against “fuckin’ disco” and “fuckin’ hip-hop,” turning the very name of the show, \u003cem>Soul Train\u003c/em>, into an anachronism. Those battles expand to a mind and body that begins to fail him, leading to a self-inflicted death by gunshot in 2012.\u003c/p>\n\u003cp>The music — drawing on dozens of hits from the ’70s, ’80s and ’90s — is, of course, great, shaped by Kenny Seymour’s terrific arrangements. Director Kamilah Forbes has oodles of talent to work with, and the collection of dancers shaped by Camille A. Brown’s choreography that cooks with butane are the heartbeat of the show. The ubiquity of the \u003cem>Soul Train\u003c/em> dance line and the evolution of popular movement that informed parties and dance halls around the world are given royal treatment here, assisted mightily by Dede Ayite’s multi-decade costume plot, Jason Sherwood’s gargantuan scenic design and the luminous lighting of Jen Schriever. \u003c/p>\n\u003cfigure id=\"attachment_13934450\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_003.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>Soul Train\u003c/em>‘s highs and lows are prominently displayed in the narrative. While the early 1970s brought the forces of \u003cem>Soul Train\u003c/em> and Motown into Los Angeles, where the hippest dancers and musicians splashed California sun all over their midwest artistic creations, booking talent was still difficult. Even Dick Clark recognized the evolving purchase power of Black viewers, starting his own ill-fated knockoff named \u003cem>Soul Unlimited\u003c/em>, which, thanks to a Cornelius ally named Jesse Jackson, proved to be very limited. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While dance is the star of the show, it’s the story of Cornelius itself that compels. As time marches forward, Cornelius finds his influence slipping away, his abilities to serve as kingmaker giving way to new genres like rap and New Jack Swing. Finding ways for an old soul man to interact with the uncompromising power of Public Enemy or the visceral smoldering of “My Prerogative” (a scalding number that garnered a standing ovation) pushes Cornelius deeper into a King Lear-like tragedy. \u003c/p>\n\u003cfigure id=\"attachment_13934452\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_294.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Kayla Davion (Jody Watley) and the cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is not without its flaws. Based on the tried-and-true formula that many jukebox musicals follow, \u003cem>Hippest Trip\u003c/em> doesn’t break any new ground. Many elements of the blueprint are instantly recognizable, including problems introduced and solved with glaring rapidity. While songs like the Five Stairsteps’ “O-o-h Child” and Al Green’s “Tired of Being Alone” weave into the storyline, the majority of its big numbers, despite talent overflowing from the stage, are in the service of nostalgia.\u003c/p>\n\u003cp>Amber Iman, as brilliant a musical theater performer as they come, plays a role that feels underdeveloped. And Angela Birchett, as the ill-fated Delores, seems as if she was given minimal stage directions which probably say something like, “stand here and sing sadly.” \u003c/p>\n\u003cp>The show finds more success when it barrels down and dives deeply into what made Cornelius the man he was, Darrington passionately channeling the weight of Cornelius on his powerful shoulders. Cornelius invokes figures like Martin Luther King Jr., Fred Hampton, the Last Poets and the Black Arts Movement in too-brief passing mentions that nonetheless signify his place among them. \u003c/p>\n\u003cfigure id=\"attachment_13934447\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_359.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are plenty of historical figures that come along and change the world, and Cornelius is on the short list of those who have. Coming out of the explosive images and harmful media depictions of Black people in the 1960s, it was Cornelius and his vision that put a people on his back in the 1970s and beyond, showcasing the beauty of Black culture and self-expression, providing agency and careers to massively talented artists. \u003c/p>\n\u003cp>The brilliant multi-hyphenate Gil Scott-Heron, who makes brief appearances in \u003cem>Hippest Trip\u003c/em>, was incorrect about one small detail – every Saturday morning for 35 years, the revolution of Don Cornelius was most certainly televised.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>‘Hippest Trip: The Soul Train Musical runs through Oct. 8, 2023, at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"title": "The ‘Soul Train’ Musical Explodes With Talent, Despite Following the Formula | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1970s, Don Cornelius broke ground on national television with \u003cem>Soul Train\u003c/em>. Yet as days turned into years, that same broken ground was unable to stabilize beneath him, the beauty of his calling ultimately unfolding into tragedy borne of his ambition.\u003c/p>\n\u003cp>In the long-awaited, monumental world premiere of \u003cem>Hippest Trip: The Soul Train Musical\u003c/em> at American Conservatory Theater, the grandiloquent celebration of Black music and dance shoots fire through every nook and cranny of the theater. With its commitment to largesse, along with a mostly solid penning of Cornelius’ complicated legacy by Dominique Morisseau, the show’s future is laser-focused on Broadway, despite flaws that compromise the show’s organicity.\u003c/p>\n\u003cfigure id=\"attachment_13934446\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_119.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Amber Iman (Pam Brown) and Quentin Earl Darrington (Don Cornelius) in ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chicago south sider and local television host Don Cornelius (Quentin Earl Darrington) is a golden-throated visionary, convincing his bosses at WCIU in Chicago to support a Black version of Dick Clark’s popular \u003cem>American Bandstand\u003c/em>, a show with minimal interactions with Black artists. While those bosses ultimately approve the move, with the first episode premiering in 1970, none feel it necessary to own a piece of the pie, making Cornelius the overnight owner of a franchise that would last for 35 years and become the nation’s epicenter for Black culture and entertainment. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The ascendance of Cornelius ushers in problematic relationships with many in his orbit, including wife Delores (Angela Birchett), manager Pam Brown (Amber Iman) and son Tony (Sidney Dupont). As time goes on, wars are waged with the evolution of music itself as Cornelius rails against “fuckin’ disco” and “fuckin’ hip-hop,” turning the very name of the show, \u003cem>Soul Train\u003c/em>, into an anachronism. Those battles expand to a mind and body that begins to fail him, leading to a self-inflicted death by gunshot in 2012.\u003c/p>\n\u003cp>The music — drawing on dozens of hits from the ’70s, ’80s and ’90s — is, of course, great, shaped by Kenny Seymour’s terrific arrangements. Director Kamilah Forbes has oodles of talent to work with, and the collection of dancers shaped by Camille A. Brown’s choreography that cooks with butane are the heartbeat of the show. The ubiquity of the \u003cem>Soul Train\u003c/em> dance line and the evolution of popular movement that informed parties and dance halls around the world are given royal treatment here, assisted mightily by Dede Ayite’s multi-decade costume plot, Jason Sherwood’s gargantuan scenic design and the luminous lighting of Jen Schriever. \u003c/p>\n\u003cfigure id=\"attachment_13934450\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_003.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>Soul Train\u003c/em>‘s highs and lows are prominently displayed in the narrative. While the early 1970s brought the forces of \u003cem>Soul Train\u003c/em> and Motown into Los Angeles, where the hippest dancers and musicians splashed California sun all over their midwest artistic creations, booking talent was still difficult. Even Dick Clark recognized the evolving purchase power of Black viewers, starting his own ill-fated knockoff named \u003cem>Soul Unlimited\u003c/em>, which, thanks to a Cornelius ally named Jesse Jackson, proved to be very limited. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While dance is the star of the show, it’s the story of Cornelius itself that compels. As time marches forward, Cornelius finds his influence slipping away, his abilities to serve as kingmaker giving way to new genres like rap and New Jack Swing. Finding ways for an old soul man to interact with the uncompromising power of Public Enemy or the visceral smoldering of “My Prerogative” (a scalding number that garnered a standing ovation) pushes Cornelius deeper into a King Lear-like tragedy. \u003c/p>\n\u003cfigure id=\"attachment_13934452\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_294.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Kayla Davion (Jody Watley) and the cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is not without its flaws. Based on the tried-and-true formula that many jukebox musicals follow, \u003cem>Hippest Trip\u003c/em> doesn’t break any new ground. Many elements of the blueprint are instantly recognizable, including problems introduced and solved with glaring rapidity. While songs like the Five Stairsteps’ “O-o-h Child” and Al Green’s “Tired of Being Alone” weave into the storyline, the majority of its big numbers, despite talent overflowing from the stage, are in the service of nostalgia.\u003c/p>\n\u003cp>Amber Iman, as brilliant a musical theater performer as they come, plays a role that feels underdeveloped. And Angela Birchett, as the ill-fated Delores, seems as if she was given minimal stage directions which probably say something like, “stand here and sing sadly.” \u003c/p>\n\u003cp>The show finds more success when it barrels down and dives deeply into what made Cornelius the man he was, Darrington passionately channeling the weight of Cornelius on his powerful shoulders. Cornelius invokes figures like Martin Luther King Jr., Fred Hampton, the Last Poets and the Black Arts Movement in too-brief passing mentions that nonetheless signify his place among them. \u003c/p>\n\u003cfigure id=\"attachment_13934447\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_359.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are plenty of historical figures that come along and change the world, and Cornelius is on the short list of those who have. Coming out of the explosive images and harmful media depictions of Black people in the 1960s, it was Cornelius and his vision that put a people on his back in the 1970s and beyond, showcasing the beauty of Black culture and self-expression, providing agency and careers to massively talented artists. \u003c/p>\n\u003cp>The brilliant multi-hyphenate Gil Scott-Heron, who makes brief appearances in \u003cem>Hippest Trip\u003c/em>, was incorrect about one small detail – every Saturday morning for 35 years, the revolution of Don Cornelius was most certainly televised.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>‘Hippest Trip: The Soul Train Musical runs through Oct. 8, 2023, at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Face to Face’ Is a Murder Mystery That Lives up to the Tradition of Nordic Noir",
"headTitle": "‘Face to Face’ Is a Murder Mystery That Lives up to the Tradition of Nordic Noir | KQED",
"content": "\u003cp>It’s one of the amusing paradoxes of popular culture that Scandinavia has very few murders yet probably leads the world in murder mysteries. It just keeps churning out a seemingly endless supply of what’s called Nordic Noir, from the groundbreaking 1960s procedurals by Maj Sjöwall and Per Wahlöö, to today’s crime novels by\u003ca href=\"https://www.npr.org/2018/04/12/599919038/jo-nesb-gives-macbeth-a-gritty-action-packed-update\"> Jo Nesbø \u003c/a>and Camilla Läckberg, to international TV hits like \u003ca href=\"https://www.npr.org/2011/03/31/135009963/the-killing-twin-peaks-meets-24-on-amc\">\u003cem>The Killing\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/10/200828653/new-series-the-bridge-seeks-an-audience-in-two-languages\">\u003cem>The Bridge\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The noir spirit occupies the center of Viaplay, a relatively new streaming service that specializes in Nordic television. I’ve watched a bunch of their crime shows, several of them good, and the one I’ve enjoyed the most is \u003cem>Face to Face\u003c/em>, a neatly turned Danish thriller whose protagonists — different in each season — attempt to solve a murder over the course of eight half-hour episodes. The third and final season just dropped, and it’s a real humdinger: Imagine if \u003ca href=\"https://www.npr.org/2022/01/18/1073771835/succession-actor-brian-cox-on-logan-roy\">Logan Roy\u003c/a> from \u003ca href=\"https://www.npr.org/2023/05/29/1178689904/succession-series-finale-recap\">\u003cem>Succession\u003c/em> \u003c/a>had to solve a murder.\u003c/p>\n\u003cp>[aside postid='arts_13932418']Lars Mikkelsen — whom you’ll know from \u003ca href=\"https://www.npr.org/2014/02/04/271525839/borgen-is-denmarks-west-wing-but-even-better\">\u003cem>Borgen\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2018/10/25/660436868/house-of-cards-without-kevin-spacey\">\u003cem>House of Cards\u003c/em>\u003c/a> — stars as real estate baron Holger Lang, a smart, heartless developer with a graying beard as forbidding as he is. As the action begins, he gets sent footage of his young protege, Christina, being stabbed to death. Burning to figure out who did it, he rushes to his office and begins questioning his scruffy, ne’er-do-well brother, Markus, a wounded soul played with great feeling by Pilou Asbæk, from \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>Game of Thrones\u003c/em>\u003c/a> and also \u003cem>Borgen\u003c/em>. Could Markus have set up Christina’s murder?\u003c/p>\n\u003cp>Things get really nasty, and Holger stalks out, following a lead he’s gotten from Markus. In each of the next seven episodes, Holger meets someone new — his lawyer, his business rival, the chief of police, etc. — and engages in long talks that feel more like inquisitions than conversations. As the twists multiply and the action builds to an ending that \u003ca href=\"https://www.npr.org/2015/04/21/401222454/revisiting-a-suburbia-gone-sour-in-ross-macdonalds-crime-fiction\">Ross Macdonald\u003c/a> might’ve appreciated, Holger comes to realize that there are a great many things about his life — and his relationships with other people — about which he has been ruinously wrong.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u_ahDLxyQnU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the show’s writer-and-director Christoffer Boe conceived \u003cem>Face to Face\u003c/em> before the pandemic, its conceit is perfect for a world in which one doesn’t want a lot of people on set. With a couple of exceptions, each episode focuses on essentially two characters talking. We watch Holger circle around someone he mistrusts, grilling them, pouncing on their lies and, in return, having them fight back with stinging rejoinders and questions of their own.\u003c/p>\n\u003cp>The show’s format is not as austere as it may sound. The great Hong Kong director \u003ca href=\"https://www.npr.org/2005/08/24/4814337/past-and-future-love-wong-kar-wais-2046\">Wong Kar-Wai\u003c/a> once remarked that “TV is dialogue” — and he’s right. Forget about flying dragons and those boring action scenes they use to pad out episodes of \u003ca href=\"https://www.npr.org/2019/10/29/774352718/tom-clancy-s-jack-ryan-offers-a-dose-of-retro-heroism-in-its-2nd-season\">\u003cem>Jack Ryan \u003c/em>\u003c/a>and all those \u003ca href=\"https://www.npr.org/2023/06/21/1183516470/review-marvel-secret-invasion\">Marvel series\u003c/a>. Even in big-budget shows, people’s favorite moments are nearly always the two-handers filled with talk that reveals character — Walter and Jesse arguing in \u003ca href=\"https://www.npr.org/2013/09/30/227740741/breaking-bad-lands-its-finale-a-little-too-cleanly\">\u003cem>Breaking Bad\u003c/em>\u003c/a>, Jaime and Brienne becoming unexpectedly close in \u003cem>Game of Thrones\u003c/em>, pastry whiz Marcus making a personal connection with Will Poulter’s Copenhagen-based chef in \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13933824']The talk in Season 3 of \u003cem>Face to Face\u003c/em> sucks you right in, in no small part because every single performance is excellent — starting with the portrayal of Holger, whose blend of acuity and blindness Mikkelsen reveals with seismographic precision. Angrily protecting his empire and his sense of himself, he’s positively Sherlockean in his ability to take a seemingly random fact or statement and tease out its hidden meaning. Yet even as Holger’s brilliant, he’s often stunned to realize that nobody is quite who he thought they were.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ever since Sophocles wrote \u003cem>Oedipus Rex\u003c/em>, the best mystery stories have featured heroes who don’t merely discover the truth about a murder but the truth about themselves. And that’s what happens in \u003cem>Face to Face\u003c/em>, whose heroes go on a journey of self-discovery. I’m not about to compare this series to Greek tragedy. Nobody will be watching Holger’s story in 2,500 years. But it does remind us of an ancient truth: The biggest mystery of all is the self.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Face+to+Face%27+is+a+murder+mystery+that+lives+up+to+the+tradition+of+Nordic+Noir&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s one of the amusing paradoxes of popular culture that Scandinavia has very few murders yet probably leads the world in murder mysteries. It just keeps churning out a seemingly endless supply of what’s called Nordic Noir, from the groundbreaking 1960s procedurals by Maj Sjöwall and Per Wahlöö, to today’s crime novels by\u003ca href=\"https://www.npr.org/2018/04/12/599919038/jo-nesb-gives-macbeth-a-gritty-action-packed-update\"> Jo Nesbø \u003c/a>and Camilla Läckberg, to international TV hits like \u003ca href=\"https://www.npr.org/2011/03/31/135009963/the-killing-twin-peaks-meets-24-on-amc\">\u003cem>The Killing\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/10/200828653/new-series-the-bridge-seeks-an-audience-in-two-languages\">\u003cem>The Bridge\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The noir spirit occupies the center of Viaplay, a relatively new streaming service that specializes in Nordic television. I’ve watched a bunch of their crime shows, several of them good, and the one I’ve enjoyed the most is \u003cem>Face to Face\u003c/em>, a neatly turned Danish thriller whose protagonists — different in each season — attempt to solve a murder over the course of eight half-hour episodes. The third and final season just dropped, and it’s a real humdinger: Imagine if \u003ca href=\"https://www.npr.org/2022/01/18/1073771835/succession-actor-brian-cox-on-logan-roy\">Logan Roy\u003c/a> from \u003ca href=\"https://www.npr.org/2023/05/29/1178689904/succession-series-finale-recap\">\u003cem>Succession\u003c/em> \u003c/a>had to solve a murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the show’s writer-and-director Christoffer Boe conceived \u003cem>Face to Face\u003c/em> before the pandemic, its conceit is perfect for a world in which one doesn’t want a lot of people on set. With a couple of exceptions, each episode focuses on essentially two characters talking. We watch Holger circle around someone he mistrusts, grilling them, pouncing on their lies and, in return, having them fight back with stinging rejoinders and questions of their own.\u003c/p>\n\u003cp>The show’s format is not as austere as it may sound. The great Hong Kong director \u003ca href=\"https://www.npr.org/2005/08/24/4814337/past-and-future-love-wong-kar-wais-2046\">Wong Kar-Wai\u003c/a> once remarked that “TV is dialogue” — and he’s right. Forget about flying dragons and those boring action scenes they use to pad out episodes of \u003ca href=\"https://www.npr.org/2019/10/29/774352718/tom-clancy-s-jack-ryan-offers-a-dose-of-retro-heroism-in-its-2nd-season\">\u003cem>Jack Ryan \u003c/em>\u003c/a>and all those \u003ca href=\"https://www.npr.org/2023/06/21/1183516470/review-marvel-secret-invasion\">Marvel series\u003c/a>. Even in big-budget shows, people’s favorite moments are nearly always the two-handers filled with talk that reveals character — Walter and Jesse arguing in \u003ca href=\"https://www.npr.org/2013/09/30/227740741/breaking-bad-lands-its-finale-a-little-too-cleanly\">\u003cem>Breaking Bad\u003c/em>\u003c/a>, Jaime and Brienne becoming unexpectedly close in \u003cem>Game of Thrones\u003c/em>, pastry whiz Marcus making a personal connection with Will Poulter’s Copenhagen-based chef in \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The talk in Season 3 of \u003cem>Face to Face\u003c/em> sucks you right in, in no small part because every single performance is excellent — starting with the portrayal of Holger, whose blend of acuity and blindness Mikkelsen reveals with seismographic precision. Angrily protecting his empire and his sense of himself, he’s positively Sherlockean in his ability to take a seemingly random fact or statement and tease out its hidden meaning. Yet even as Holger’s brilliant, he’s often stunned to realize that nobody is quite who he thought they were.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ever since Sophocles wrote \u003cem>Oedipus Rex\u003c/em>, the best mystery stories have featured heroes who don’t merely discover the truth about a murder but the truth about themselves. And that’s what happens in \u003cem>Face to Face\u003c/em>, whose heroes go on a journey of self-discovery. I’m not about to compare this series to Greek tragedy. Nobody will be watching Holger’s story in 2,500 years. But it does remind us of an ancient truth: The biggest mystery of all is the self.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Face+to+Face%27+is+a+murder+mystery+that+lives+up+to+the+tradition+of+Nordic+Noir&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Stephen King Finds Terror in the Ordinary in New Pandemic-Set Novel ‘Holly’",
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"content": "\u003cfigure id=\"attachment_13934321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/holly-9781668016138_hr-800x1222.jpg\" alt=\"An illustrated book cover showing a large, detached Victorian house with a porch at sunset. Lights are on in the basement and one upstairs room. Silhouettes of trees flank the house on both sides.\" width=\"800\" height=\"1222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-1006x1536.jpg 1006w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-1341x2048.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Holly’ by Stephen King. \u003ccite>(Scribner via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In half a century of writing horror novels, Stephen King has created some remarkable villains. Who can forget the sing-song voice of Pennywise the clown, the devil incarnate Randall Flagg, or the drooling jaws of Cujo? The big bads in King’s latest novel, \u003cem>Holly\u003c/em>, aren’t quite so memorable, but that’s part of what makes them terrifying.\u003c/p>\n\u003cp>Emily and Rodney Harris are retired professors of Bell College Arts and Sciences. Em, as her husband calls her, taught English and Em’s beloved “Roddy” taught life sciences and earned the nickname “Rowdy Roddy the Mad Nutritionist.” Bell is a generic “college on a hill” near a lake somewhere in Ohio. King doesn’t need to be more specific than that with his sense of place, because this is a story set during the COVID pandemic that uses common acts and things to create fear — abandoned bicycles, lost earrings, a twilight run through the park.\u003c/p>\n\u003cp>[aside postid='arts_13873021']The novel begins with quick flashbacks to a series of abductions starting in 2012 that were perpetrated by the Harris’, and immediately we as readers know more than our title character. King fans will remember Holly Gibney from the \u003cem>Mr. Mercedes\u003c/em> trilogy and a starring role in the title story of King’s collection \u003cem>If It Bleeds\u003c/em>. It’s now 2021, and Holly is the only person working at her private investigation company, “Finders Keepers,” as her partner Pete quarantines. He pops into the story now and again during telephone calls, offering advice between coughing fits, but this is Holly’s case to solve.\u003c/p>\n\u003cp>When readers first met Holly in \u003cem>Mr. Mercedes\u003c/em> she was awkward and reclusive, working behind the scenes to catch the killer. Now after getting a telephone call from Penny Dahl, whose daughter Bonnie has been missing for three weeks, she’s front and center, interviewing witnesses and suspects, while also dealing with the trauma of her past. Her mother, Charlotte, is a COVID statistic when the novel begins, dead after a “brutally short illness” precipitated by not masking and a refusal to get vaccinated. King goes fairly deep into Holly’s head, connecting her low self-esteem to her demeaning mother and the bullies who tortured her growing up. But it’s obvious he likes her — doggedness and common sense are traits to be admired. But will she exercise enough caution when it’s required?\u003c/p>\n\u003cp>Additional characters from King’s \u003cem>Mr. Mercedes\u003c/em> books play key roles as well. Siblings Jerome and Barbara Robinson each have their own story arcs and it’s not hard to imagine that Jerome at least may pop up again in the Kingverse. The man who encouraged Holly to become a P.I., Bill Hodges, is gone from cancer, but never forgotten. His advice, in fact, serves as the novel’s epigraph — “Sometimes the universe throws you a rope.” The novel plays out according to that metaphor as Holly follows the rope all the way to a climactic confrontation with Emily and Rodney Harris, and sees for herself just how depraved college professors can be in the world of Stephen King.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13934321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/holly-9781668016138_hr-800x1222.jpg\" alt=\"An illustrated book cover showing a large, detached Victorian house with a porch at sunset. Lights are on in the basement and one upstairs room. Silhouettes of trees flank the house on both sides.\" width=\"800\" height=\"1222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-1006x1536.jpg 1006w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr-1341x2048.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/holly-9781668016138_hr.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Holly’ by Stephen King. \u003ccite>(Scribner via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In half a century of writing horror novels, Stephen King has created some remarkable villains. Who can forget the sing-song voice of Pennywise the clown, the devil incarnate Randall Flagg, or the drooling jaws of Cujo? The big bads in King’s latest novel, \u003cem>Holly\u003c/em>, aren’t quite so memorable, but that’s part of what makes them terrifying.\u003c/p>\n\u003cp>Emily and Rodney Harris are retired professors of Bell College Arts and Sciences. Em, as her husband calls her, taught English and Em’s beloved “Roddy” taught life sciences and earned the nickname “Rowdy Roddy the Mad Nutritionist.” Bell is a generic “college on a hill” near a lake somewhere in Ohio. King doesn’t need to be more specific than that with his sense of place, because this is a story set during the COVID pandemic that uses common acts and things to create fear — abandoned bicycles, lost earrings, a twilight run through the park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The novel begins with quick flashbacks to a series of abductions starting in 2012 that were perpetrated by the Harris’, and immediately we as readers know more than our title character. King fans will remember Holly Gibney from the \u003cem>Mr. Mercedes\u003c/em> trilogy and a starring role in the title story of King’s collection \u003cem>If It Bleeds\u003c/em>. It’s now 2021, and Holly is the only person working at her private investigation company, “Finders Keepers,” as her partner Pete quarantines. He pops into the story now and again during telephone calls, offering advice between coughing fits, but this is Holly’s case to solve.\u003c/p>\n\u003cp>When readers first met Holly in \u003cem>Mr. Mercedes\u003c/em> she was awkward and reclusive, working behind the scenes to catch the killer. Now after getting a telephone call from Penny Dahl, whose daughter Bonnie has been missing for three weeks, she’s front and center, interviewing witnesses and suspects, while also dealing with the trauma of her past. Her mother, Charlotte, is a COVID statistic when the novel begins, dead after a “brutally short illness” precipitated by not masking and a refusal to get vaccinated. King goes fairly deep into Holly’s head, connecting her low self-esteem to her demeaning mother and the bullies who tortured her growing up. But it’s obvious he likes her — doggedness and common sense are traits to be admired. But will she exercise enough caution when it’s required?\u003c/p>\n\u003cp>Additional characters from King’s \u003cem>Mr. Mercedes\u003c/em> books play key roles as well. Siblings Jerome and Barbara Robinson each have their own story arcs and it’s not hard to imagine that Jerome at least may pop up again in the Kingverse. The man who encouraged Holly to become a P.I., Bill Hodges, is gone from cancer, but never forgotten. His advice, in fact, serves as the novel’s epigraph — “Sometimes the universe throws you a rope.” The novel plays out according to that metaphor as Holly follows the rope all the way to a climactic confrontation with Emily and Rodney Harris, and sees for herself just how depraved college professors can be in the world of Stephen King.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco-based preschool teacher Greg Gardner says he and his friend, singer-songwriter Cass McCombs, “have collected way too many Folkways records” over the years — by Woody Guthrie, Michael Hurley, Lead Belly, Mary Lou Williams, Ella Jenkins and others.\u003c/p>\n\u003cp>The pair are huge fans of the influential label founded in 1948 by Moses Asch. So they were thrilled when Folkways agreed to include their new \u003ca href=\"https://folkways.si.edu/news-and-press/mr-greg-cass-mccombs\">album\u003c/a> of children’s songs to the label’s 75th anniversary celebration.\u003c/p>\n\u003cp>\u003cstrong>A storied collection turns 75\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13926121']To say Moses Asch’s interests were eclectic would be an understatement. With \u003ca href=\"https://folkways.si.edu/\">Folkways\u003c/a>, he set out to, quite literally, capture the world’s sounds, from Cajun accordion to Langston Hughes’ voice, Irish ballads to the sound of steam locomotives.\u003c/p>\n\u003cp>His catalogue of more than 2,000 recordings was a fitting sonic addition to the so-called “nation’s attic.” It was also in line with the Smithsonian’s mission statement — “The increase and diffusion of knowledge” — says Folkways spokesperson Jonathan Williger\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Knowledge is not just words on a page. Sound is a major way that humans interact with the world,” says Williger, “The Folkways catalog is full of both the monumental and the minute, everything from the sound of a stapler being stapled to the March on Washington.”\u003c/p>\n\u003cfigure id=\"attachment_13933976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-800x600.jpg\" alt=\"A pastel-shaded illustration of 11 diverse people singing together. Two of them are waving pride flags.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Gay Men’s Chorus lent their voices to the song ‘Wave a Flag for Harvey Milk’ from the new Smithsonian Folkways’ album ‘Mr. Greg & Cass McCombs Sing and Play New Folk Songs for Children.’ \u003ccite>(Greg Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Folkways] records talk of serious subjects, but they do so in a really fun way, that’s silly at times and heartfelt, and I really connect to that,” says Gardner, “They sound quite simple and they’re also pretty stripped down. I’ve always loved … the realness of that.”\u003c/p>\n\u003cp>\u003cstrong>Crafting a new addition, keeping the old vibe\u003c/strong>\u003c/p>\n\u003cp>Gardner and McCombs tried to approach their new album in a way that would fit the Folkways’ vibe. \u003ca href=\"https://folkways.si.edu/mr-greg-and-cass-mccombs/sing-and-play-new-folk-songs-for-children\">\u003cem>Mr. Greg & Cass McCombs Sing and Play New Folk Songs for Children\u003c/em>\u003c/a> ranges from silly to serious with songs about a worm named \u003ca href=\"https://www.youtube.com/watch?v=_fg-YJ6to40\">Wilma\u003c/a>\u003cem>, \u003c/em>flying a paper airplane, recycling and Ruth Bader Ginsburg.\u003c/p>\n\u003cp>The lead single is \u003cem>Wave a Flag for Harvey Milk\u003c/em>\u003cem>, \u003c/em>a simple ode to the renowned gay activist and politician. The song was released in June, during Pride Month, in advance of the full album’s August release.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V4IZKm88PGE\u003c/p>\n\u003cp>McCombs and Gardner’s effort is a continuation of Folkways’ long history of releasing children’s albums such as Woody Guthrie’s \u003cem>Songs To Grow On\u003c/em> and numerous recordings by the ‘First Lady of Children’s Music,’ \u003ca href=\"https://www.npr.org/artists/16319751/ella-jenkins\">Ella Jenkins\u003c/a>.\u003c/p>\n\u003cp>Folk songs for children are, “easy to play and can be passed down from person to person,” says Williger. As a subject for a song, Harvey Milk fits Folkways’ “long history of social justice music.” Plus, it’s “about the social issues of your place,” notes Williger.\u003c/p>\n\u003cp>Gardner teaches at a school five blocks from San Francisco’s Castro District where Milk lived, worked and campaigned. He says the song began as “a sing along coloring book” he created for his preschool students. “I thought they might engage with the coloring book more than they would with me just talking about Harvey Milk,” he explains.\u003c/p>\n\u003cp>\u003cstrong>Harvey Milk “stood up for his people down by the Golden Gate”\u003c/strong>\u003c/p>\n\u003cp>In 1977, \u003ca href=\"https://milkfoundation.org/about/harvey-milk-biography\">Milk\u003c/a> became one of the first openly gay public officials in the U.S. when he was elected to the San Francisco Board of Supervisors. At the time, people could be fired from their jobs for being gay.\u003c/p>\n\u003cp>[aside postid='arts_13845645']Milk, along with other activists, campaigned to defeat a ballot proposition that would have banned gay people from working in California schools. On November 7th, 1978, the proposition was \u003ca href=\"https://www.aclunc.org/blog/celebrating-harvey-milk-and-defeat-briggs-initiative-aclutimemachine\">defeated\u003c/a> by more than a million votes.\u003c/p>\n\u003cp>Three weeks later, Milk and San Francisco Mayor George Moscone were \u003ca href=\"https://www.npr.org/2018/11/27/670657965/40-years-after-the-assassination-of-harvey-milk-lgbt-candidates-find-success\">assassinated\u003c/a> by a former city supervisor.\u003c/p>\n\u003cp>“Harvey Milk’s message of advocating for others and treating people fairly and being proud to be your true self is in line with the values that we hope to instill in the preschool classroom,” says Gardner.\u003c/p>\n\u003cp>\u003cstrong>Kids like rainbows\u003c/strong>\u003c/p>\n\u003cp>Students, parents and other community members sing\u003cem> “\u003c/em>Wave a Flag” at the annual Harvey Milk Celebration at Children’s Day School where Gardner’s been teaching for 12 years.\u003c/p>\n\u003cfigure id=\"attachment_13933977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-800x600.jpg\" alt=\"A pastel-shaded illustration of an astronaut planing a pride flag on the moon.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d.jpg 1462w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What does an astronaut have to do with Harvey Milk? Greg Gardner admits he was “running out of ideas.” But, since kids love outer space, “I thought it would be fun to include a page that has an astronaut that’s also an advocate of Harvey Milk.” \u003ccite>(Greg Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To help preschoolers understand Milk’s legacy of human rights, Gardner tries to make parallels with their own lives.\u003c/p>\n\u003cp>“Kids will have different interests and then others will question their interests. And then the original kid will, you know, get down and say, ‘Well, this person said that I can’t be Elsa, too, because they’re already Elsa.’ And, ‘I’m a boy and I can’t be Elsa.'” Gardner says he tells them, “‘Everybody has their own interests and everybody can be who they want to be, and it’s just up to you.’ And then they kind of get that and it clicks.”\u003c/p>\n\u003cp>[aside postid='arts_13880161']There’s another reason Harvey Milk’s legacy “clicks” with kids: rainbows.\u003c/p>\n\u003cp>“All kids like rainbows, seems,” Gardner has learned. When he talks to his students about Milk, they also learn about \u003ca href=\"https://gilbertbaker.com/biography/\">Gilbert Baker\u003c/a>, the San Francisco flag-maker who came up with what has become the international symbol for the LGBTQ movement. As the song says, “A flag that stands for love made of rainbow colored silk.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited by Rose Friedman.\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=An+ode+to+Harvey+Milk+for+Smithsonian+Folkways%27+75th+birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Knowledge is not just words on a page. Sound is a major way that humans interact with the world,” says Williger, “The Folkways catalog is full of both the monumental and the minute, everything from the sound of a stapler being stapled to the March on Washington.”\u003c/p>\n\u003cfigure id=\"attachment_13933976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-800x600.jpg\" alt=\"A pastel-shaded illustration of 11 diverse people singing together. Two of them are waving pride flags.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Gay Men’s Chorus lent their voices to the song ‘Wave a Flag for Harvey Milk’ from the new Smithsonian Folkways’ album ‘Mr. Greg & Cass McCombs Sing and Play New Folk Songs for Children.’ \u003ccite>(Greg Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Folkways] records talk of serious subjects, but they do so in a really fun way, that’s silly at times and heartfelt, and I really connect to that,” says Gardner, “They sound quite simple and they’re also pretty stripped down. I’ve always loved … the realness of that.”\u003c/p>\n\u003cp>\u003cstrong>Crafting a new addition, keeping the old vibe\u003c/strong>\u003c/p>\n\u003cp>Gardner and McCombs tried to approach their new album in a way that would fit the Folkways’ vibe. \u003ca href=\"https://folkways.si.edu/mr-greg-and-cass-mccombs/sing-and-play-new-folk-songs-for-children\">\u003cem>Mr. Greg & Cass McCombs Sing and Play New Folk Songs for Children\u003c/em>\u003c/a> ranges from silly to serious with songs about a worm named \u003ca href=\"https://www.youtube.com/watch?v=_fg-YJ6to40\">Wilma\u003c/a>\u003cem>, \u003c/em>flying a paper airplane, recycling and Ruth Bader Ginsburg.\u003c/p>\n\u003cp>The lead single is \u003cem>Wave a Flag for Harvey Milk\u003c/em>\u003cem>, \u003c/em>a simple ode to the renowned gay activist and politician. The song was released in June, during Pride Month, in advance of the full album’s August release.\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/V4IZKm88PGE'\n title='//www.youtube.com/embed/V4IZKm88PGE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McCombs and Gardner’s effort is a continuation of Folkways’ long history of releasing children’s albums such as Woody Guthrie’s \u003cem>Songs To Grow On\u003c/em> and numerous recordings by the ‘First Lady of Children’s Music,’ \u003ca href=\"https://www.npr.org/artists/16319751/ella-jenkins\">Ella Jenkins\u003c/a>.\u003c/p>\n\u003cp>Folk songs for children are, “easy to play and can be passed down from person to person,” says Williger. As a subject for a song, Harvey Milk fits Folkways’ “long history of social justice music.” Plus, it’s “about the social issues of your place,” notes Williger.\u003c/p>\n\u003cp>Gardner teaches at a school five blocks from San Francisco’s Castro District where Milk lived, worked and campaigned. He says the song began as “a sing along coloring book” he created for his preschool students. “I thought they might engage with the coloring book more than they would with me just talking about Harvey Milk,” he explains.\u003c/p>\n\u003cp>\u003cstrong>Harvey Milk “stood up for his people down by the Golden Gate”\u003c/strong>\u003c/p>\n\u003cp>In 1977, \u003ca href=\"https://milkfoundation.org/about/harvey-milk-biography\">Milk\u003c/a> became one of the first openly gay public officials in the U.S. when he was elected to the San Francisco Board of Supervisors. At the time, people could be fired from their jobs for being gay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Milk, along with other activists, campaigned to defeat a ballot proposition that would have banned gay people from working in California schools. On November 7th, 1978, the proposition was \u003ca href=\"https://www.aclunc.org/blog/celebrating-harvey-milk-and-defeat-briggs-initiative-aclutimemachine\">defeated\u003c/a> by more than a million votes.\u003c/p>\n\u003cp>Three weeks later, Milk and San Francisco Mayor George Moscone were \u003ca href=\"https://www.npr.org/2018/11/27/670657965/40-years-after-the-assassination-of-harvey-milk-lgbt-candidates-find-success\">assassinated\u003c/a> by a former city supervisor.\u003c/p>\n\u003cp>“Harvey Milk’s message of advocating for others and treating people fairly and being proud to be your true self is in line with the values that we hope to instill in the preschool classroom,” says Gardner.\u003c/p>\n\u003cp>\u003cstrong>Kids like rainbows\u003c/strong>\u003c/p>\n\u003cp>Students, parents and other community members sing\u003cem> “\u003c/em>Wave a Flag” at the annual Harvey Milk Celebration at Children’s Day School where Gardner’s been teaching for 12 years.\u003c/p>\n\u003cfigure id=\"attachment_13933977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-800x600.jpg\" alt=\"A pastel-shaded illustration of an astronaut planing a pride flag on the moon.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d.jpg 1462w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What does an astronaut have to do with Harvey Milk? Greg Gardner admits he was “running out of ideas.” But, since kids love outer space, “I thought it would be fun to include a page that has an astronaut that’s also an advocate of Harvey Milk.” \u003ccite>(Greg Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To help preschoolers understand Milk’s legacy of human rights, Gardner tries to make parallels with their own lives.\u003c/p>\n\u003cp>“Kids will have different interests and then others will question their interests. And then the original kid will, you know, get down and say, ‘Well, this person said that I can’t be Elsa, too, because they’re already Elsa.’ And, ‘I’m a boy and I can’t be Elsa.'” Gardner says he tells them, “‘Everybody has their own interests and everybody can be who they want to be, and it’s just up to you.’ And then they kind of get that and it clicks.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s another reason Harvey Milk’s legacy “clicks” with kids: rainbows.\u003c/p>\n\u003cp>“All kids like rainbows, seems,” Gardner has learned. When he talks to his students about Milk, they also learn about \u003ca href=\"https://gilbertbaker.com/biography/\">Gilbert Baker\u003c/a>, the San Francisco flag-maker who came up with what has become the international symbol for the LGBTQ movement. As the song says, “A flag that stands for love made of rainbow colored silk.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited by Rose Friedman.\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=An+ode+to+Harvey+Milk+for+Smithsonian+Folkways%27+75th+birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "It’s Still a Haute Mess, But I Can’t Resist ‘And Just Like That...’",
"headTitle": "It’s Still a Haute Mess, But I Can’t Resist ‘And Just Like That…’ | KQED",
"content": "\u003cp>\u003cem>Editor’s Note: Readers should know this particular essay uses slang offensive to some readers. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>So, are you watching ‘\u003ca href=\"https://www.kqed.org/arts/13908472/and-just-like-that-sex-and-the-city-che-miranda-carrie-charlotte-nyc\">And Just Like That…\u003c/a>’\u003c/em> \u003cem>?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person B: \u003c/strong>\u003cem>Oh my god, yes! \u003c/em>\u003c/p>\n\u003cp>[A pause. A sheepish grin. And then, a lowering of their voice as if they’re revealing a deep, dark secret]\u003c/p>\n\u003cp>\u003cem>But it’s … not great, right???\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>Dude, I know! I’m cringing through every episode, but I just can’t stop watching it. It’s pretty much the only thing that’s appointment TV for me every week.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person B: \u003c/strong>\u003cem>Same! It’s kind of addicting. I need to know what’s happening, even if I can’t deal with how unserious it all is. Carrie and Aidan? Again???\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>Again! Ughhhh!!!\u003c/em>\u003c/p>\n\u003ch3>Denial\u003c/h3>\n\u003cp>I’ve experienced a variation on this interaction no less than four different times this summer, as the Season 2 run of \u003cem>And Just Like That\u003c/em>…, the \u003cem>Sex and the City \u003c/em>spin-off, has unfolded. My sample size is admittedly tiny, but an accumulation of \u003ca href=\"https://x.com/mazzypopstar/status/1694068620509462956?s=46&t=sFhCT211_mUihfKDNn8kkQ\">online chatter\u003c/a> and other critics’ reviews has convinced me, rightly or wrongly, that this sentiment is hardly unusual among \u003cem>SATC \u003c/em>fans. We’re all in this cringe-watch boat together, or at least it’s nice to believe that we are.\u003c/p>\n\u003cp>[aside postid='arts_13908472']This was inevitable. For all the wonkiness of the first season — the awkward addition of the \u003ca href=\"https://www.npr.org/2022/01/22/1074399208/and-just-like-that-has-a-diversity-girlfriend-problem\">Diversity Girlfriends\u003c/a>, the Che and Big and Samantha of it all — viewers couldn’t stop talking about \u003cem>AJLT\u003c/em>. (Recall, if you will, when \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2021-12-13/peloton-big-and-just-like-that-sex-and-the-city\">Peloton chimed in to do image control\u003c/a>.) Plenty of us were wary of the ladies’ return, especially after those dreadfully disappointing movies, but it didn’t matter then and it doesn’t matter now. Watching the series isn’t a passive experience; it begs to be viewed with as little distraction from the phone screen or household chores as possible, so that one can gossip rabidly afterward about Aidan’s ridiculous jacket or bemoan how Carrie’s full conversion into the one percent makes her far less interesting.\u003c/p>\n\u003cp>And so mid-life Carrie, Miranda, and Charlotte are here to stay, and \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/and-just-like-that-renewed-season-3-max-1235572082/amp/\">Season 3 is officially a go\u003c/a>.\u003c/p>\n\u003cp>Honestly? I say bring it on. I’m all-in now, against my better judgment. Or rather, I’m finally willing to admit to myself that I’ve always been all-in, as someone who’s watched all 21 episodes of this show thus far, and on a weekly basis no less, even as I’ve hemmed and hawed and rolled my eyes harder than Miranda ever did at Steve. I’ve succumbed to this atonement-seeking nostalgia trip because the heart wants what it wants, I guess.\u003c/p>\n\u003ch3>Acceptance\u003c/h3>\n\u003cp>Season 2 proved the show’s commitment to cringe and nonsense. Carrie has the nerve, after all those years of stress she put Miranda through, to question whether she ever really loved Big. (Do we think J. Lo has wondered the same about Marc Anthony or A-Rod now that she’s back with Ben?) Charlotte spends an episode trying to fit into a dress for her first day back in the workforce, and only finds self-acceptance with her own body when she meets a bigger and confident colleague. Samantha’s much-hyped cameo … is a much-hyped cameo.\u003c/p>\n\u003cp>[aside postid='arts_13931773']There are also far too many characters and storylines among the newest additions to the franchise to invest in any of them too deeply. Seema (Sarita Choudhury), Carrie’s friend/real estate agent, remains the most naturally embedded and well-written of the bunch. But then, of course, there’s Che (Sara Ramirez), who’s much-too-much but isn’t going anywhere, because — in the oddest pairing this season — Che and Carrie inexplicably remain friends even after their breakup with Miranda.\u003c/p>\n\u003cp>Meanwhile, Nya Miranda’s professor-turned-friend-turned-roommate, is largely sidelined this season (Karen Pittman, the actress who plays her, \u003ca href=\"https://twitter.com/thekarenpittman/status/1687932413706723328\">was also shooting \u003cem>The Morning Show\u003c/em>\u003c/a>), and when she \u003cem>is\u003c/em> on screen, she’s almost always spiraling over her ex, either directly or indirectly. And as the show’s “Lean In” representative, Lisa (Nicole Ari Parker) is trying to juggle motherhood while editing a docuseries from her immaculate walk-in closet/film studio, though so many of her thematic beats overlap with Charlotte’s as to feel redundant. (To call her character merely the “Black analog of Charlotte” would be reductive and not entirely accurate, though it does come across that way sometimes.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7IR03bsbrX0\u003c/p>\n\u003cp>And yet — something has kept me glued to this haute mess. It was “Alive!”, the fourth episode of Season 2, where I learned to stop fretting and love cringe-watching \u003cem>AJLT. \u003c/em>Not coincidentally, this is also the first episode of the series that plays as though it emerged directly from the heyday of its predecessor, with silly but relatable sex scenarios (\u003cem>Sexnarios\u003c/em>? Maybe I should write for \u003cem>AJLT\u003c/em>!), NSFW puns and barbs, and the return of familiar characters.\u003c/p>\n\u003cp>[aside postid='pop_112650']Carrie’s former \u003cem>Vogue \u003c/em>boss Enid Fricke (Candice Bergen) pops up again to ask if she’d be willing to contribute to a new startup newsletter for senior women, which sets Carrie off into an existential crisis about being perceived as a senior woman. Later, at a fundraising event for the startup, Carrie is relieved to learn Enid actually wants her to contribute as a \u003cem>donor\u003c/em>, not a writer; the shopaholic who once turned to her friends for help paying rent seems to still be adjusting to her new role as an uber-wealthy widowed socialite. But the conundrum cleverly resurfaces a lot of the crackling tension that existed between the women in the original series, with mutual admiration butting up against their own insecurities and baggage.\u003c/p>\n\u003cp>When Enid happens to recognize a photo of her boyfriend’s penis on Carrie’s phone — Bitsy Von Muffling (Julie Halston), another old acquaintance, has been trying to set Carrie up with this man, unsolicited — Enid gets in a great, mortifying line: “Carrie, are you schtupping my boyfriend?!” It’s as if all is right again in the \u003cem>SATC \u003c/em>universe.\u003c/p>\n\u003cp>Another storyline in this episode involves Charlotte, who freaks out when she learns Harry has been faking orgasms for some time now. Naturally, she discusses the issue with her pals over brunch, with Anthony (Mario Cantone) standing in for the notably absent Samantha as the sassy, vulgar commentator. Miranda admits she’d love to not have to deal with “jizz.” Carrie, ever the prude-iest of sex columnists, confesses she’s “never given [jizz] any thought” until “\u003cem>this \u003c/em>moment.” (How???) Anthony proudly proclaims he’s never dealt with this problem: “I’m like a milking machine, if you must know.” Charlotte, for her part, says she’s “always been a fan” of ejaculation and compares it to “confetti at a parade.” (Oh, Charlotte.) The banter is classic \u003cem>SATC\u003c/em>, right up there with Samantha’s “\u003ca href=\"https://www.youtube.com/watch?v=n2u57bgUjSM\">funky spunk\u003c/a>” dilemma — cheeky, groan-worthy, and pure fun.\u003c/p>\n\u003cfigure id=\"attachment_13933934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-800x600.jpg\" alt=\"A woman with long mousey-blond hair wearing an irridescent coat embraces a handsome man wearing a black shirt. He is staring at her intensely.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aidan (John Corbett) returned in Season 2, with a lot of baggage. \u003ccite>(Craig Blankenhorn/ Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is when \u003cem>AJLT \u003c/em>is at its best, and over all, Season 2 leaned a bit more into the ups and downs of dating and sex (and aging while doing both) than Season 1. Is it enough to counterbalance — \u003cem>*gestures around wildly*\u003c/em> — everything else? My head and every critic’s impulse within my body says no. But again, my heart, and that part of me that actually extracts some sort of sick pleasure from shaking my head in disbelief every few minutes, can’t help it.\u003c/p>\n\u003ch3>Embrace\u003c/h3>\n\u003cp>[aside postid='pop_101843']\u003cem>Cringe-watch\u003c/em> feels like the best summation of what it’s been like to view the misadventures of Carrie, Miranda, Charlotte, and Co. this season. To call it a \u003cem>hate-watch \u003c/em>would feel too harsh; that’s best reserved for self-serious dreck like \u003cem>The Idol\u003c/em>, or really anything Sam Levinson touches. No — while being embarrassing, it still manages to be endearing, to provide comfort in the assuredness that these characters are often going to act out of character for reasons that don’t make sense, and that Carrie is always gonna Carrie, \u003cem>hard\u003c/em>, no matter how rich she is. I don’t hate \u003cem>AJLT\u003c/em>, I’m just perplexed by its audacity to exist.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the Season 2 finale, at her dramatic Michelin chef-prepared “last supper” in that signature Upper East Side brownstone, Carrie proclaims she’s letting go of “expectations” in this stage of life, “of assuming things will go the way we think they should.” Of course, she’s talking about Big’s death, and Aidan, who, at the end of this episode, will ask Carrie to wait for him for five years while he tends to his sons’ needs in Virginia. But this is also an easy metaphor for us cringe-watchers, who have managed to let go of any expectations that \u003cem>AJLT \u003c/em>will show up the way we think it should, whatever that is. We’re just here for the mess.\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=It%27s+still+a+haute+mess%2C+but+I+can%27t+resist+%27And+Just+Like+That...%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "“I don't hate ‘AJLT,’” NPR’s Aisha Harris writes, “I’m just perplexed by its audacity to exist.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: Readers should know this particular essay uses slang offensive to some readers. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>So, are you watching ‘\u003ca href=\"https://www.kqed.org/arts/13908472/and-just-like-that-sex-and-the-city-che-miranda-carrie-charlotte-nyc\">And Just Like That…\u003c/a>’\u003c/em> \u003cem>?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person B: \u003c/strong>\u003cem>Oh my god, yes! \u003c/em>\u003c/p>\n\u003cp>[A pause. A sheepish grin. And then, a lowering of their voice as if they’re revealing a deep, dark secret]\u003c/p>\n\u003cp>\u003cem>But it’s … not great, right???\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>Dude, I know! I’m cringing through every episode, but I just can’t stop watching it. It’s pretty much the only thing that’s appointment TV for me every week.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person B: \u003c/strong>\u003cem>Same! It’s kind of addicting. I need to know what’s happening, even if I can’t deal with how unserious it all is. Carrie and Aidan? Again???\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>Again! Ughhhh!!!\u003c/em>\u003c/p>\n\u003ch3>Denial\u003c/h3>\n\u003cp>I’ve experienced a variation on this interaction no less than four different times this summer, as the Season 2 run of \u003cem>And Just Like That\u003c/em>…, the \u003cem>Sex and the City \u003c/em>spin-off, has unfolded. My sample size is admittedly tiny, but an accumulation of \u003ca href=\"https://x.com/mazzypopstar/status/1694068620509462956?s=46&t=sFhCT211_mUihfKDNn8kkQ\">online chatter\u003c/a> and other critics’ reviews has convinced me, rightly or wrongly, that this sentiment is hardly unusual among \u003cem>SATC \u003c/em>fans. We’re all in this cringe-watch boat together, or at least it’s nice to believe that we are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This was inevitable. For all the wonkiness of the first season — the awkward addition of the \u003ca href=\"https://www.npr.org/2022/01/22/1074399208/and-just-like-that-has-a-diversity-girlfriend-problem\">Diversity Girlfriends\u003c/a>, the Che and Big and Samantha of it all — viewers couldn’t stop talking about \u003cem>AJLT\u003c/em>. (Recall, if you will, when \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2021-12-13/peloton-big-and-just-like-that-sex-and-the-city\">Peloton chimed in to do image control\u003c/a>.) Plenty of us were wary of the ladies’ return, especially after those dreadfully disappointing movies, but it didn’t matter then and it doesn’t matter now. Watching the series isn’t a passive experience; it begs to be viewed with as little distraction from the phone screen or household chores as possible, so that one can gossip rabidly afterward about Aidan’s ridiculous jacket or bemoan how Carrie’s full conversion into the one percent makes her far less interesting.\u003c/p>\n\u003cp>And so mid-life Carrie, Miranda, and Charlotte are here to stay, and \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/and-just-like-that-renewed-season-3-max-1235572082/amp/\">Season 3 is officially a go\u003c/a>.\u003c/p>\n\u003cp>Honestly? I say bring it on. I’m all-in now, against my better judgment. Or rather, I’m finally willing to admit to myself that I’ve always been all-in, as someone who’s watched all 21 episodes of this show thus far, and on a weekly basis no less, even as I’ve hemmed and hawed and rolled my eyes harder than Miranda ever did at Steve. I’ve succumbed to this atonement-seeking nostalgia trip because the heart wants what it wants, I guess.\u003c/p>\n\u003ch3>Acceptance\u003c/h3>\n\u003cp>Season 2 proved the show’s commitment to cringe and nonsense. Carrie has the nerve, after all those years of stress she put Miranda through, to question whether she ever really loved Big. (Do we think J. Lo has wondered the same about Marc Anthony or A-Rod now that she’s back with Ben?) Charlotte spends an episode trying to fit into a dress for her first day back in the workforce, and only finds self-acceptance with her own body when she meets a bigger and confident colleague. Samantha’s much-hyped cameo … is a much-hyped cameo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are also far too many characters and storylines among the newest additions to the franchise to invest in any of them too deeply. Seema (Sarita Choudhury), Carrie’s friend/real estate agent, remains the most naturally embedded and well-written of the bunch. But then, of course, there’s Che (Sara Ramirez), who’s much-too-much but isn’t going anywhere, because — in the oddest pairing this season — Che and Carrie inexplicably remain friends even after their breakup with Miranda.\u003c/p>\n\u003cp>Meanwhile, Nya Miranda’s professor-turned-friend-turned-roommate, is largely sidelined this season (Karen Pittman, the actress who plays her, \u003ca href=\"https://twitter.com/thekarenpittman/status/1687932413706723328\">was also shooting \u003cem>The Morning Show\u003c/em>\u003c/a>), and when she \u003cem>is\u003c/em> on screen, she’s almost always spiraling over her ex, either directly or indirectly. And as the show’s “Lean In” representative, Lisa (Nicole Ari Parker) is trying to juggle motherhood while editing a docuseries from her immaculate walk-in closet/film studio, though so many of her thematic beats overlap with Charlotte’s as to feel redundant. (To call her character merely the “Black analog of Charlotte” would be reductive and not entirely accurate, though it does come across that way sometimes.)\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/7IR03bsbrX0'\n title='//www.youtube.com/embed/7IR03bsbrX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet — something has kept me glued to this haute mess. It was “Alive!”, the fourth episode of Season 2, where I learned to stop fretting and love cringe-watching \u003cem>AJLT. \u003c/em>Not coincidentally, this is also the first episode of the series that plays as though it emerged directly from the heyday of its predecessor, with silly but relatable sex scenarios (\u003cem>Sexnarios\u003c/em>? Maybe I should write for \u003cem>AJLT\u003c/em>!), NSFW puns and barbs, and the return of familiar characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Carrie’s former \u003cem>Vogue \u003c/em>boss Enid Fricke (Candice Bergen) pops up again to ask if she’d be willing to contribute to a new startup newsletter for senior women, which sets Carrie off into an existential crisis about being perceived as a senior woman. Later, at a fundraising event for the startup, Carrie is relieved to learn Enid actually wants her to contribute as a \u003cem>donor\u003c/em>, not a writer; the shopaholic who once turned to her friends for help paying rent seems to still be adjusting to her new role as an uber-wealthy widowed socialite. But the conundrum cleverly resurfaces a lot of the crackling tension that existed between the women in the original series, with mutual admiration butting up against their own insecurities and baggage.\u003c/p>\n\u003cp>When Enid happens to recognize a photo of her boyfriend’s penis on Carrie’s phone — Bitsy Von Muffling (Julie Halston), another old acquaintance, has been trying to set Carrie up with this man, unsolicited — Enid gets in a great, mortifying line: “Carrie, are you schtupping my boyfriend?!” It’s as if all is right again in the \u003cem>SATC \u003c/em>universe.\u003c/p>\n\u003cp>Another storyline in this episode involves Charlotte, who freaks out when she learns Harry has been faking orgasms for some time now. Naturally, she discusses the issue with her pals over brunch, with Anthony (Mario Cantone) standing in for the notably absent Samantha as the sassy, vulgar commentator. Miranda admits she’d love to not have to deal with “jizz.” Carrie, ever the prude-iest of sex columnists, confesses she’s “never given [jizz] any thought” until “\u003cem>this \u003c/em>moment.” (How???) Anthony proudly proclaims he’s never dealt with this problem: “I’m like a milking machine, if you must know.” Charlotte, for her part, says she’s “always been a fan” of ejaculation and compares it to “confetti at a parade.” (Oh, Charlotte.) The banter is classic \u003cem>SATC\u003c/em>, right up there with Samantha’s “\u003ca href=\"https://www.youtube.com/watch?v=n2u57bgUjSM\">funky spunk\u003c/a>” dilemma — cheeky, groan-worthy, and pure fun.\u003c/p>\n\u003cfigure id=\"attachment_13933934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-800x600.jpg\" alt=\"A woman with long mousey-blond hair wearing an irridescent coat embraces a handsome man wearing a black shirt. He is staring at her intensely.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aidan (John Corbett) returned in Season 2, with a lot of baggage. \u003ccite>(Craig Blankenhorn/ Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is when \u003cem>AJLT \u003c/em>is at its best, and over all, Season 2 leaned a bit more into the ups and downs of dating and sex (and aging while doing both) than Season 1. Is it enough to counterbalance — \u003cem>*gestures around wildly*\u003c/em> — everything else? My head and every critic’s impulse within my body says no. But again, my heart, and that part of me that actually extracts some sort of sick pleasure from shaking my head in disbelief every few minutes, can’t help it.\u003c/p>\n\u003ch3>Embrace\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Cringe-watch\u003c/em> feels like the best summation of what it’s been like to view the misadventures of Carrie, Miranda, Charlotte, and Co. this season. To call it a \u003cem>hate-watch \u003c/em>would feel too harsh; that’s best reserved for self-serious dreck like \u003cem>The Idol\u003c/em>, or really anything Sam Levinson touches. No — while being embarrassing, it still manages to be endearing, to provide comfort in the assuredness that these characters are often going to act out of character for reasons that don’t make sense, and that Carrie is always gonna Carrie, \u003cem>hard\u003c/em>, no matter how rich she is. I don’t hate \u003cem>AJLT\u003c/em>, I’m just perplexed by its audacity to exist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the Season 2 finale, at her dramatic Michelin chef-prepared “last supper” in that signature Upper East Side brownstone, Carrie proclaims she’s letting go of “expectations” in this stage of life, “of assuming things will go the way we think they should.” Of course, she’s talking about Big’s death, and Aidan, who, at the end of this episode, will ask Carrie to wait for him for five years while he tends to his sons’ needs in Virginia. But this is also an easy metaphor for us cringe-watchers, who have managed to let go of any expectations that \u003cem>AJLT \u003c/em>will show up the way we think it should, whatever that is. We’re just here for the mess.\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=It%27s+still+a+haute+mess%2C+but+I+can%27t+resist+%27And+Just+Like+That...%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘BS High’ and ‘Telemarketers,’ Scamming Is a Group Effort",
"headTitle": "In ‘BS High’ and ‘Telemarketers,’ Scamming Is a Group Effort | KQED",
"content": "\u003cp>The thriving true-crime category in television is dominated by murders and scams, and it tends to be far better at explaining the latter than the former. Murders often don’t seem rationally motivated. Scams often do. And the best scam documentaries explore not just what drives the wild characters who hoodwink other people, but broken systems and wider failings that give them the ability to do it.\u003c/p>\n\u003cp>The latest scam documentary is from HBO. Called \u003cem>BS High\u003c/em>, it’s directed by Travon Free and Martin Desmond Roe, and it follows the story of the Bishop Sycamore football team. The team was supposedly out of Bishop Sycamore High School in Ohio. Only as it turned out, there was no Bishop Sycamore High School. There was only a football team run by a guy named Roy Johnson, who recruited young men who hadn’t successfully gotten into college football and promised them that his “program” could be a bridge for them to get there. But there were no classes and no academics, players say promises to improve grades or scores were fiction, and there wasn’t even any real coaching of value. This all came to light in 2021 after Bishop Sycamore was beaten 58-0 in a game against Florida’s IMG Academy (a highly rated actual sports academy) that was broadcast on ESPN.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aevincEID5Y\u003c/p>\n\u003ch3>A program that wasn’t what it appeared to be\u003c/h3>\n\u003cp>The specifics of the Bishop Sycamore scandal as reported in the documentary are upsetting, to say the least. On top of the broken promises, young men were injured, because the team didn’t have proper training support and was utterly unqualified to play the teams they played. They weren’t actually being prepared for elite football, which there’s no evidence Johnson knew how to coach. Some even wound up with evictions on their personal records (which can create problems down the road when you’re renting again) after players say Johnson failed to pay the bills he’d taken on for their housing. They also allege that he got them to apply for — or even applied on their behalf for — fraudulent PPP loans during the COVID pandemic (intended for small businesses) that provided money they could then give him to pay “tuition.” (Johnson denies this, and some, but not all, of the other claims from players. He also admits at one point that he doesn’t mind lying about anything he doesn’t think anybody can prove one way or the other.) Players say they weren’t even reliably fed, to the point where both Johnson and the team resorted to theft or scamming just so they could eat. These gory details are all fairly standard true-crime fare, despite their monstrousness.\u003c/p>\n\u003cp>[aside postid='arts_13931888']Where \u003cem>BS High\u003c/em> excels is in its consideration of the systemic failures that allow something like Bishop Sycamore to happen — and then potentially to keep happening. Sports journalist Bomani Jones says in the film that Johnson is not the problem, he’s a symptom of the problem. The problem is the amount of money in high school sports, and the fact that because paying players is verboten, adults collect all that money for \u003cem>supplying \u003c/em>the players that the system needs. (One of the more distasteful figures in the film is the guy in a suit whose company arranged Bishop Sycamore’s punishing and totally inappropriate schedule, including the game against IMG Academy. There’s money in “matchmaking” between high schools across the country, it turns out, no matter how lopsided the matchups.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jones talks, too, about the significance of the fact that most of these young players were Black, as is Johnson. “The fact that the players are Black is the reason why somebody like Roy Johnson would think that he could get away with this.” And so, Jones says, it’s the wrong angle to think in terms of why Johnson would do this to “his people.” Jones says: “He did that to his people because that’s who you can do this to. Black players are the commodity in athletics. They are the prize that everybody wants, and they are also the least respected people in the whole process. So yeah, he was going to do this to Black people.”\u003c/p>\n\u003cp>As is often the case, there are apparent regulatory and media failures, too. Ben Ferree, a former investigator for the Ohio High School Athletic Association, spends a lot of time in the film explaining how the rules were not adequate to respond to the Bishop Sycamore scheme, nor could he get anyone in the media interested in reporting on it until the ESPN game. And when there eventually was an investigation from the state, the report called Bishop Sycamore “a scam,” but concluded there was little authority to regulate it, because it was organized as a religious school.\u003c/p>\n\u003cfigure id=\"attachment_13933826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe\" alt=\"A Black football player wearing a 3 jersey, stands on the field. To his right, a Black man wearing a baseball cap and grey t-shirts counsels him.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8.jpe 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roy Johnson (right) presented himself as a high school coach. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones even indirectly indicts the complicity of ESPN itself when he talks about how bad the game had to be for the broadcast team to start calling out how dangerous and lopsided it seemed to be: “It takes a lot for a broadcast crew to be critical of what they are seeing in real time … It had to be so transparently fraudulent that people who were on the payroll to promote this event could not keep up the story.”\u003c/p>\n\u003cp>[aside postid='arts_13931346']All of this exists alongside, not in place of, the presentation of Johnson as an unsettlingly cold figure who seems to feel only glee that he’s made himself famous. Johnson is a colorful character, but also, as Ferree says, “His life provided a fantastic case study for all the flaws of the legal system.” Johnson would have gotten nowhere without systems that were ripe to be exploited, and the filmmakers do a good job of balancing attention to the eye-popping persona that Johnson presents with asking bigger questions about whether the opportunities for exploitation that he capitalized on were created by forces much larger than any one guy.\u003c/p>\n\u003ch3>Telemarketing, police, and drugs in the bathrooms\u003c/h3>\n\u003cp>And that is the unlikely connection between \u003cem>BS High\u003c/em> and HBO’s other current scammer entry, the docuseries \u003cem>Telemarketers\u003c/em>, which airs its third and final episode this weekend. \u003cem>Telemarketers \u003c/em>is about a phenomenon familiar to many of us: the phone call asking for money for some kind of charity connected to local law enforcement. You’re told that your donation will support the families of fallen officers or injured ones, or just that it will more broadly support the police. The telemarketing company at issue here, a New Jersey outfit called Civic Development Group, also raised money for other charities sometimes, like cancer foundations and firefighters, but it appears that police organizations were the bread and butter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5EhxXmSsdOs\u003c/p>\n\u003cp>As it happens, in the early 2000s, a young guy named Sam Lipman-Stern started bringing a video camera to work to document the no-holds-barred, absolutely wild office environment at CDG, where nobody even cared if you did heroin in the bathroom as long as you hit your call numbers. Sam’s grainy amateur video is the backbone of the early part of the series, which he directed with Adam Bhala Lough, a documentarian who happens to be his cousin. The two connected years later when Sam had already spent a lot of time “investigating” CDG after he left.\u003c/p>\n\u003cp>What’s to investigate? Well, in reality, in the initial iteration of CDG — and the business changed shape a few times — only a small portion of the money collected went to the “charity.” (And that’s if the charity was legit at all.) The rest stayed with the telemarketing company. This isn’t that shocking on its own; this is probably something a lot of people know about these kinds of calls by now. But in addition to being a solid character study of both Sam and his buddy Pat, a colleague and a seemingly legendary money-raiser (who is so Jersey he might as well have a fresh tomato growing out of his ear), \u003cem>Telemarketers \u003c/em>also considers the systemic reasons why this scam worked.\u003c/p>\n\u003ch3>Why did people donate?\u003c/h3>\n\u003cp>One key detail is that when a caller donated money, they’d be sent a sticker that looked like an official police decal of some kind, and the telemarketer would tell you to put it on your car or on the door of your business. And while obviously there was never any promise that this would prevent you from getting a ticket or get you any better response for your premises, the telemarketers knew that one reason people wanted the decals was that … well, yeah, maybe it would mean you wouldn’t get a ticket. Of course, trading a law enforcement decision for a donation would be totally corrupt, meaning that while the scam certainly wasn’t reliant on \u003cem>actual \u003c/em>police corruption, it could be aided by a \u003cem>belief \u003c/em>in police corruption — the belief that giving money could prevent you from being ticketed.\u003c/p>\n\u003cfigure id=\"attachment_13933827\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg\" alt=\"A scruffy man with salt and pepper hair and a mustache and stubble, mugs for the camera in front of an old fashioned desktop computer. He is wearing a rugby shirt.\" width=\"720\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256-160x90.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Pespas, a longtime telemarketer with Civic Development Group, is one of the very colorful characters in ‘Telemarketers.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, though, it capitalized on the sympathies of people who automatically wanted to give money as soon as law enforcement was mentioned, \u003cem>and \u003c/em>it played on the fears of people who might be fearful of how they’d be treated by law enforcement if they didn’t give. So you might give money because you respected the police (like a thank-you), or because you feared the police (like protection money), or because you thought the police would treat you better (like a bribe). So the film effectively posits that this scam wouldn’t work nearly as well without the very particular relationships Americans have with policing. (Later installments go much deeper into the specifics of where this money was even going; suffice it to say it’s complicated.)\u003c/p>\n\u003cp>[aside postid='arts_13932890']\u003cem>Telemarketers \u003c/em>also explores why this operation — which, unlike Bishop Sycamore, required a large number of people to participate in the scam — was able to find people who wanted to work there. And the answer is, obviously, limited options. They recruited callers at places like halfway houses, they hired people who had been incarcerated and had trouble getting work, they hired people whose addiction issues might make it hard for them to show up for a job where they \u003cem>couldn’t \u003c/em>get high in the bathroom during the day. Without a steady supply of people who didn’t have a lot of better choices and thus kept the job even though they found it very distasteful and didn’t feel great about working there, it stands to reason that somebody might have exposed the details of the operation a lot sooner.\u003c/p>\n\u003cp>And so, like \u003cem>BS High\u003c/em>, we circle back to bigger questions. Not just “how did this work?”, but “\u003cem>Why\u003c/em> did this work?” If you assume that the world is full of budding scammers, then it’s easy to think of successful rip-offs as individual failures in someone’s defenses — “I’d never fall for that.” But a lot of scams are not bespoke plots to capitalize on a person’s particular frailties. They are aimed directly at systemic weaknesses, at gates we’ve left open for people to walk right through: poverty, capitalist exploitation, racism, community relationships with police, incarceration that dumps people out into the world with nothing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A good scammer documentary keeps you entertained with larger-than-life characters, but has the sense, at its core, to recognize that if any one scammer had to do it all alone, it would never work. It may take a village to stop a scam, but sometimes, it takes the rules of the village to enable one, too.\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=In+%27BS+High%27+and+%27Telemarketers%2C%27+scamming+is+a+group+effort&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "In two HBO documentaries about scams in football and telemarketing, the systemic problems that drive grifts get their due.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thriving true-crime category in television is dominated by murders and scams, and it tends to be far better at explaining the latter than the former. Murders often don’t seem rationally motivated. Scams often do. And the best scam documentaries explore not just what drives the wild characters who hoodwink other people, but broken systems and wider failings that give them the ability to do it.\u003c/p>\n\u003cp>The latest scam documentary is from HBO. Called \u003cem>BS High\u003c/em>, it’s directed by Travon Free and Martin Desmond Roe, and it follows the story of the Bishop Sycamore football team. The team was supposedly out of Bishop Sycamore High School in Ohio. Only as it turned out, there was no Bishop Sycamore High School. There was only a football team run by a guy named Roy Johnson, who recruited young men who hadn’t successfully gotten into college football and promised them that his “program” could be a bridge for them to get there. But there were no classes and no academics, players say promises to improve grades or scores were fiction, and there wasn’t even any real coaching of value. This all came to light in 2021 after Bishop Sycamore was beaten 58-0 in a game against Florida’s IMG Academy (a highly rated actual sports academy) that was broadcast on ESPN.\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/aevincEID5Y'\n title='//www.youtube.com/embed/aevincEID5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A program that wasn’t what it appeared to be\u003c/h3>\n\u003cp>The specifics of the Bishop Sycamore scandal as reported in the documentary are upsetting, to say the least. On top of the broken promises, young men were injured, because the team didn’t have proper training support and was utterly unqualified to play the teams they played. They weren’t actually being prepared for elite football, which there’s no evidence Johnson knew how to coach. Some even wound up with evictions on their personal records (which can create problems down the road when you’re renting again) after players say Johnson failed to pay the bills he’d taken on for their housing. They also allege that he got them to apply for — or even applied on their behalf for — fraudulent PPP loans during the COVID pandemic (intended for small businesses) that provided money they could then give him to pay “tuition.” (Johnson denies this, and some, but not all, of the other claims from players. He also admits at one point that he doesn’t mind lying about anything he doesn’t think anybody can prove one way or the other.) Players say they weren’t even reliably fed, to the point where both Johnson and the team resorted to theft or scamming just so they could eat. These gory details are all fairly standard true-crime fare, despite their monstrousness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Where \u003cem>BS High\u003c/em> excels is in its consideration of the systemic failures that allow something like Bishop Sycamore to happen — and then potentially to keep happening. Sports journalist Bomani Jones says in the film that Johnson is not the problem, he’s a symptom of the problem. The problem is the amount of money in high school sports, and the fact that because paying players is verboten, adults collect all that money for \u003cem>supplying \u003c/em>the players that the system needs. (One of the more distasteful figures in the film is the guy in a suit whose company arranged Bishop Sycamore’s punishing and totally inappropriate schedule, including the game against IMG Academy. There’s money in “matchmaking” between high schools across the country, it turns out, no matter how lopsided the matchups.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jones talks, too, about the significance of the fact that most of these young players were Black, as is Johnson. “The fact that the players are Black is the reason why somebody like Roy Johnson would think that he could get away with this.” And so, Jones says, it’s the wrong angle to think in terms of why Johnson would do this to “his people.” Jones says: “He did that to his people because that’s who you can do this to. Black players are the commodity in athletics. They are the prize that everybody wants, and they are also the least respected people in the whole process. So yeah, he was going to do this to Black people.”\u003c/p>\n\u003cp>As is often the case, there are apparent regulatory and media failures, too. Ben Ferree, a former investigator for the Ohio High School Athletic Association, spends a lot of time in the film explaining how the rules were not adequate to respond to the Bishop Sycamore scheme, nor could he get anyone in the media interested in reporting on it until the ESPN game. And when there eventually was an investigation from the state, the report called Bishop Sycamore “a scam,” but concluded there was little authority to regulate it, because it was organized as a religious school.\u003c/p>\n\u003cfigure id=\"attachment_13933826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe\" alt=\"A Black football player wearing a 3 jersey, stands on the field. To his right, a Black man wearing a baseball cap and grey t-shirts counsels him.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/roy-johnson-right-with-a-bishop-sycamore-player_wide-30933e0c8f85a42d80d48a76fa13ffcde55a4db8.jpe 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roy Johnson (right) presented himself as a high school coach. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones even indirectly indicts the complicity of ESPN itself when he talks about how bad the game had to be for the broadcast team to start calling out how dangerous and lopsided it seemed to be: “It takes a lot for a broadcast crew to be critical of what they are seeing in real time … It had to be so transparently fraudulent that people who were on the payroll to promote this event could not keep up the story.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of this exists alongside, not in place of, the presentation of Johnson as an unsettlingly cold figure who seems to feel only glee that he’s made himself famous. Johnson is a colorful character, but also, as Ferree says, “His life provided a fantastic case study for all the flaws of the legal system.” Johnson would have gotten nowhere without systems that were ripe to be exploited, and the filmmakers do a good job of balancing attention to the eye-popping persona that Johnson presents with asking bigger questions about whether the opportunities for exploitation that he capitalized on were created by forces much larger than any one guy.\u003c/p>\n\u003ch3>Telemarketing, police, and drugs in the bathrooms\u003c/h3>\n\u003cp>And that is the unlikely connection between \u003cem>BS High\u003c/em> and HBO’s other current scammer entry, the docuseries \u003cem>Telemarketers\u003c/em>, which airs its third and final episode this weekend. \u003cem>Telemarketers \u003c/em>is about a phenomenon familiar to many of us: the phone call asking for money for some kind of charity connected to local law enforcement. You’re told that your donation will support the families of fallen officers or injured ones, or just that it will more broadly support the police. The telemarketing company at issue here, a New Jersey outfit called Civic Development Group, also raised money for other charities sometimes, like cancer foundations and firefighters, but it appears that police organizations were the bread and butter.\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/5EhxXmSsdOs'\n title='//www.youtube.com/embed/5EhxXmSsdOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As it happens, in the early 2000s, a young guy named Sam Lipman-Stern started bringing a video camera to work to document the no-holds-barred, absolutely wild office environment at CDG, where nobody even cared if you did heroin in the bathroom as long as you hit your call numbers. Sam’s grainy amateur video is the backbone of the early part of the series, which he directed with Adam Bhala Lough, a documentarian who happens to be his cousin. The two connected years later when Sam had already spent a lot of time “investigating” CDG after he left.\u003c/p>\n\u003cp>What’s to investigate? Well, in reality, in the initial iteration of CDG — and the business changed shape a few times — only a small portion of the money collected went to the “charity.” (And that’s if the charity was legit at all.) The rest stayed with the telemarketing company. This isn’t that shocking on its own; this is probably something a lot of people know about these kinds of calls by now. But in addition to being a solid character study of both Sam and his buddy Pat, a colleague and a seemingly legendary money-raiser (who is so Jersey he might as well have a fresh tomato growing out of his ear), \u003cem>Telemarketers \u003c/em>also considers the systemic reasons why this scam worked.\u003c/p>\n\u003ch3>Why did people donate?\u003c/h3>\n\u003cp>One key detail is that when a caller donated money, they’d be sent a sticker that looked like an official police decal of some kind, and the telemarketer would tell you to put it on your car or on the door of your business. And while obviously there was never any promise that this would prevent you from getting a ticket or get you any better response for your premises, the telemarketers knew that one reason people wanted the decals was that … well, yeah, maybe it would mean you wouldn’t get a ticket. Of course, trading a law enforcement decision for a donation would be totally corrupt, meaning that while the scam certainly wasn’t reliant on \u003cem>actual \u003c/em>police corruption, it could be aided by a \u003cem>belief \u003c/em>in police corruption — the belief that giving money could prevent you from being ticketed.\u003c/p>\n\u003cfigure id=\"attachment_13933827\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg\" alt=\"A scruffy man with salt and pepper hair and a mustache and stubble, mugs for the camera in front of an old fashioned desktop computer. He is wearing a rugby shirt.\" width=\"720\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/patrick-pespas_wide-ac41a0cdce1b7121e92786f60ddbc96d6b0af256-160x90.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Pespas, a longtime telemarketer with Civic Development Group, is one of the very colorful characters in ‘Telemarketers.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, though, it capitalized on the sympathies of people who automatically wanted to give money as soon as law enforcement was mentioned, \u003cem>and \u003c/em>it played on the fears of people who might be fearful of how they’d be treated by law enforcement if they didn’t give. So you might give money because you respected the police (like a thank-you), or because you feared the police (like protection money), or because you thought the police would treat you better (like a bribe). So the film effectively posits that this scam wouldn’t work nearly as well without the very particular relationships Americans have with policing. (Later installments go much deeper into the specifics of where this money was even going; suffice it to say it’s complicated.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Telemarketers \u003c/em>also explores why this operation — which, unlike Bishop Sycamore, required a large number of people to participate in the scam — was able to find people who wanted to work there. And the answer is, obviously, limited options. They recruited callers at places like halfway houses, they hired people who had been incarcerated and had trouble getting work, they hired people whose addiction issues might make it hard for them to show up for a job where they \u003cem>couldn’t \u003c/em>get high in the bathroom during the day. Without a steady supply of people who didn’t have a lot of better choices and thus kept the job even though they found it very distasteful and didn’t feel great about working there, it stands to reason that somebody might have exposed the details of the operation a lot sooner.\u003c/p>\n\u003cp>And so, like \u003cem>BS High\u003c/em>, we circle back to bigger questions. Not just “how did this work?”, but “\u003cem>Why\u003c/em> did this work?” If you assume that the world is full of budding scammers, then it’s easy to think of successful rip-offs as individual failures in someone’s defenses — “I’d never fall for that.” But a lot of scams are not bespoke plots to capitalize on a person’s particular frailties. They are aimed directly at systemic weaknesses, at gates we’ve left open for people to walk right through: poverty, capitalist exploitation, racism, community relationships with police, incarceration that dumps people out into the world with nothing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Janis Joplin’s first rehearsal with the rock band Big Brother & The Holding Company was apparently a loud affair. So loud it was alarming.\u003c/p>\n\u003cp>Bassist Peter Albin recalls the band raising the roof off one day in the 1960s when their playing was interrupted by a knock at the door. Two San Francisco police officers were investigating reports of a woman screaming.\u003c/p>\n\u003cp>[aside postid='arts_13925408']“Oh, that’s just Janis. It’s OK,” came the reply.\u003c/p>\n\u003cp>That fun nugget — as well as rare footage of the actual rehearsal — enliven \u003cem>San Francisco Sounds: A Place in Time\u003c/em>, a two-part documentary on MGM+ that concludes Sunday. The first part dropped Aug. 20.\u003c/p>\n\u003cp>The late Joplin is joined by an astonishing number of great artists who came to define the city — the Grateful Dead, Jefferson Airplane, Sly and the Family Stone, The Great Society, Steve Miller, Carlos Santana, Moby Grape, and Country Joe & The Fish, all mixing rock, folk and the blues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewers get a street-level view of the rise of the San Francisco dream — artistic freedom, community and authenticity — and its fall, thanks to hard drugs, commercialism and increasingly hard edges. The time period is 1965 to 1975, short but sweet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LTD7C-oFhc\u003c/p>\n\u003cp>“It’s not just the music,” says co-director Anoosh Tertzakian. “Everybody was trying to break the rules of whatever their medium was, and I think it’s in that breaking the rules that they found something new. The music was what was keeping the pulse together.”\u003c/p>\n\u003cp>The docuseries explores how the Grateful Dead got some of their iconic logos, how city music venues Avalon Ballroom and The Fillmore began, how the seminal Jefferson Airplane song “White Rabbit” came about and how the deaths at the Altamont show soured the hippie mood.\u003c/p>\n\u003cp>[aside postid='arts_13039627']Tertzakian and filmmaker Alison Ellwood, who last teamed up to capture the music of the Los Angeles neighborhood Laurel Canyon, turned their attention north and found a place “on the edge of the Earth.”\u003c/p>\n\u003cp>“It was like every misfit from anywhere in this country who rattled loose, ended up in San Francisco,” the series quotes Bob Weir of the Grateful Dead as saying.\u003c/p>\n\u003cp>The main guides are disc jockey Dusty Street, poster artist Victor Moscoso, light show artist Bill Ham and \u003cem>Rolling Stone\u003c/em> magazine journalist Ben Fong-Torres. The musicians are captured in audio interviews that play over archival footage — a technique Ellwood and Tertzakian used in \u003cem>Laurel Canyon: A Place in Time\u003c/em>, in 2020.\u003c/p>\n\u003cp>“It’s obviously a place that so many people have focused on and they really focus on the star quality of the musicians,” says Tertzakian. “And I think that was something that we really wanted to minimize in order to bring it back to the source.”\u003c/p>\n\u003cp>That technique both captures the spark of creativity and bypasses the grave. “We can’t set Grace Slick down and then counter it with Janis Joplin sitting down and doing an interview. So that’s another reason, just to keep everyone young, of the time of the moment,” says Ellwood.\u003c/p>\n\u003cp>An astonishing amount of footage and interviews were used, borrowed from reporters, universities, archive houses and personal collections. Susan Joy Balin, wife of Jefferson Airplane’s Marty Balin, handed over her own footage of the time, as did Jerry Slick, Grace’s ex-husband.\u003c/p>\n\u003cp>“We were saying, ‘Just give us whatever you have and let’s play around with it,’” says Tertzakian. “That was both super fun and also a challenge because the amount of material we had, we had to really pick and choose how to use it and in a relatively short time frame.”\u003c/p>\n\u003cp>[aside postid='arts_13920973']The hippie decline — charted in the second half — is heartbreaking, as record companies start flooding the music scene with money, and heroin starts to displace psychedelics, with disastrous consequences.\u003c/p>\n\u003cp>“Hordes of people invaded without the artistic vision and plan to come there in the first place. They just showed up with no plan and the city couldn’t sustain it,” says Ellwood.\u003c/p>\n\u003cp>But Tertzakian believes the San Francisco dream lives on. “For every one of these people, they lost something, but they kept it with them and they continued as they did their own art or lived their lives,” she says. “I feel like to a certain degree it trickled out.”\u003c/p>\n\u003cp>After Laurel Canyon and San Francisco, the filmmakers have yet to decide on the subject of their third music-related docuseries. Perhaps Greenwich Village or Nashville or the grunge scene.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been talking about lots of different things, but we’ll see,” says Ellwood.\u003c/p>\n\n",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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