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"content": "\u003cp>Along with such classics as \u003cem>In Cold Blood\u003c/em> and \u003cem>Breakfast at Tiffany’s\u003c/em>, Truman Capote had a history of work left uncompleted and unpublished.\u003c/p>\n\u003cp>Capote, who died in 1984 shortly before his 60th birthday, spent much of his latter years struggling to write his planned Proustian masterpiece \u003cem>Answered Prayers\u003c/em>, of which only excerpts were released. As a young man, he wrote a novel about a love affair between a socialite and a parking lot attendant that was published posthumously under the title \u003cem>Summer Crossing\u003c/em>.\u003c/p>\n\u003cp>Shorter work, too, was sometimes set aside, including a piece released last week for the first time.\u003c/p>\n\u003cp>[aside postid='pop_6592']Capote was in his mid-20s and a rising star when he moved from New York City to Taormina, Sicily, in 1950 and settled in a scenic villa named Fontana Vecchia, once occupied by D.H. Lawrence. Acclaimed for his debut novel, \u003cem>Other Voices, Other Rooms\u003c/em>, and for his eerie short story \u003cem>Miriam\u003c/em>, Capote would describe the move to Europe as a needed escape from the American literary scene, which he likened to living inside a light bulb, and an ideal setting to get work done: He wrote the novel \u003cem>The Grass Harp\u003c/em> in Sicily and worked on numerous short stories.\u003c/p>\n\u003cp>“I am so happy to be writing stories again — they are my great love,” he wrote to a friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One story from Sicily, \u003cem>Another Day In Paradise\u003c/em>, is a vignette that appears in the new issue of \u003ca href=\"https://strandmag.com/\">\u003cem>The Strand\u003c/em> \u003cem>Magazine\u003c/em>\u003c/a>. Written at a time of relative contentment for Capote, \u003cem>Another Day\u003c/em> is a narrative of disillusion and entrapment: The middle-aged American heiress Iris Greentree has used her inheritance — a small one because her mother didn’t trust her with money — to buy a villa in Sicily. She will end up betrayed by the local man who persuaded her to invest her money, Signor Carlo Petruzzi, and too broke to sell the home and return to the U.S.\u003c/p>\n\u003cp>“The past had trained her to envision an affair from a futureless angle; at the most, she hoped such episodes would end in friendship. It was so humiliating that Carlo should have turned out not to be a friend. She’d trusted him to the extent of her capital: let him sell her the land, allowed him to build the villa, supply, at pirate prices, the native paraphernalia that furnished it,” Capote wrote.\u003c/p>\n\u003cp>“He was an emotional crook and, beyond that, a common gangster who’d pocketed at least half the money supposedly spent on Belle Vista. All this she could forgive him — could, but didn’t. The unforgivable aspect of the ghastly man’s behavior was that it had destroyed the meaning of these lines in her journal: `I belong. At last, somewhere.’”\u003c/p>\n\u003cfigure id=\"attachment_13935319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg\" alt=\"A middle-aged man sits on a pillow-strewn sofa, before a red wall. He is wearing a shirt and slacks and sits with his legs crossed.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Truman Capote sits in his New York apartment during interview about his book, ‘Music for Chameleons.’ \u003ccite>(Bettmann/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Capote’s fiction was set in New York or in the American South, but \u003cem>Another Day in Paradise\u003c/em> has the easy pace, decorative language and cutting — sometimes cruel — humor of his best known work, and the themes of loneliness, fear and regret. Thomas Fahy, author of \u003cem>Understanding Truman Capote\u003c/em>, says that the author likely related to Iris Greentree’s sense of displacement and alienation.\u003c/p>\n\u003cp>“He was constantly moving around as a child, from New Orleans to Alabama to New York to Connecticut,” Fahy says. “You could see how his life became very lonely and isolated.”\u003c/p>\n\u003cp>[aside postid='arts_13934945']\u003cem>The Strand\u003c/em> has published rare works by Ernest Hemingway, John Steinbeck and many others. Managing editor Andrew Gulli found the Capote story in the Library of Congress, inside an “old red- and gold-scrolled Florentine notebook,” he writes on the \u003cem>Strand\u003c/em> editorial page. The handwritten manuscript, worked in pencil, was at times so hard to make out that Gulli needed a transcriber to help prepare it for publication.\u003c/p>\n\u003cp>Fahy says that Capote’s time in Sicily, where he remained for just over a year, left him with the kind of feelings many authors have when away from their native countries — a heightened sense of distance from home that likely helped inspire \u003cem>Another Day in Paradise\u003c/em>, and a heightened clarity, which he drew upon for \u003cem>The Grass Harp\u003c/em> and its memories of his years in Monroeville, Alabama.\u003c/p>\n\u003cp>Capote biographer Gerard Clarke says that the author moved to Sicily in part because his partner, Jack Dunphy, wanted to live overseas, and because the strong American dollar made Italy more affordable than New York. Neither Clarke nor Fahy could cite a specific real-life model for Iris Greentree, but Capote does refer to a possible inspiration — the aunt of a boy who delivers ice — in his essay “Fontana Vecchia,” written in the early 1950s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Blond, witty, the ice boy is a scholarly-looking child of eleven. He has a beautiful young aunt, one of the most attractive girls I have ever known, and I often talk to him about her,” Capote writes. “Why, I wanted to know, does A., the aunt, have no beau? Why is she all alone, never at the dances or the Sunday promenades? The ice boy says it is because his aunt has no use for the local men, that she is very unhappy and longs only to go to America.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One story from Sicily, \u003cem>Another Day In Paradise\u003c/em>, is a vignette that appears in the new issue of \u003ca href=\"https://strandmag.com/\">\u003cem>The Strand\u003c/em> \u003cem>Magazine\u003c/em>\u003c/a>. Written at a time of relative contentment for Capote, \u003cem>Another Day\u003c/em> is a narrative of disillusion and entrapment: The middle-aged American heiress Iris Greentree has used her inheritance — a small one because her mother didn’t trust her with money — to buy a villa in Sicily. She will end up betrayed by the local man who persuaded her to invest her money, Signor Carlo Petruzzi, and too broke to sell the home and return to the U.S.\u003c/p>\n\u003cp>“The past had trained her to envision an affair from a futureless angle; at the most, she hoped such episodes would end in friendship. It was so humiliating that Carlo should have turned out not to be a friend. She’d trusted him to the extent of her capital: let him sell her the land, allowed him to build the villa, supply, at pirate prices, the native paraphernalia that furnished it,” Capote wrote.\u003c/p>\n\u003cp>“He was an emotional crook and, beyond that, a common gangster who’d pocketed at least half the money supposedly spent on Belle Vista. All this she could forgive him — could, but didn’t. The unforgivable aspect of the ghastly man’s behavior was that it had destroyed the meaning of these lines in her journal: `I belong. At last, somewhere.’”\u003c/p>\n\u003cfigure id=\"attachment_13935319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg\" alt=\"A middle-aged man sits on a pillow-strewn sofa, before a red wall. He is wearing a shirt and slacks and sits with his legs crossed.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Truman Capote sits in his New York apartment during interview about his book, ‘Music for Chameleons.’ \u003ccite>(Bettmann/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Capote’s fiction was set in New York or in the American South, but \u003cem>Another Day in Paradise\u003c/em> has the easy pace, decorative language and cutting — sometimes cruel — humor of his best known work, and the themes of loneliness, fear and regret. Thomas Fahy, author of \u003cem>Understanding Truman Capote\u003c/em>, says that the author likely related to Iris Greentree’s sense of displacement and alienation.\u003c/p>\n\u003cp>“He was constantly moving around as a child, from New Orleans to Alabama to New York to Connecticut,” Fahy says. “You could see how his life became very lonely and isolated.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003cstrong>April 7, 2025 update: On April 4, 2025, London Metropolitan Police charged Russell Brand with one count of rape, one count of indecent assault, one of oral rape and two of sexual assault.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This week, following multiple allegations of sexual assault and harassment, \u003ca href=\"https://www.kqed.org/pop/64857/where-did-russell-brand-go-the-answer-is-more-interesting-and-complex-than-youd-think\">Russell Brand\u003c/a> was dropped by his agent, and his book publisher paused future publication of his work. His content was removed from the BBC and Channel 4’s streaming platforms, and YouTube demonetized his channel.\u003c/p>\n\u003cp>The reason was a shocking Sept. 16 episode of Channel 4 investigative series \u003cem>Dispatches,\u003c/em> titled “Russell Brand: In Plain Sight.” The 78-minute show focused largely on five women who said they had terrible personal experiences with Brand. The U.K. \u003cem>Times\u003c/em> and \u003cem>Sunday Times\u003c/em> newspapers contributed to the year-long research that went into the show and also published stories on the topic. Brand has “absolutely den[ied]” any wrongdoing and described all of his prior sexual encounters as consensual.\u003c/p>\n\u003cp>The episode of \u003cem>Dispatches\u003c/em> is not yet available in the U.S. because of international broadcasting restrictions, so details of the exact allegations against Brand have so far been difficult to pinpoint on this side of the Atlantic. Below are abridged versions of the accusers’ stories, as told to the makers of \u003cem>Dispatches \u003c/em>and broadcast under pseudonyms\u003cem>. \u003c/em>\u003c/p>\n\u003cp>A warning: Everything that follows is disturbing and, in places, graphic. If you are experiencing trauma for issues relating to sexual assault, please contact \u003ca href=\"https://www.rainn.org/resources\">RAINN\u003c/a> on (800) 656-4673. The helpline is available 24/7 and is completely confidential.\u003c/p>\n\u003ch2>\u003cstrong>Rachel\u003c/strong>\u003c/h2>\n\u003cp>In 2003, Rachel worked as a runner on \u003cem>Big Brother’s EForum\u003c/em>, a popular British TV show hosted by Brand that followed episodes of the reality show. She and Brand developed a friendship over time. One day, she told \u003cem>Dispatches, \u003c/em>when she entered his dressing room, he stood with his penis exposed and requested oral sex. She declined, but said the encounter left her nervous. “He was the presenter,” she told \u003cem>Dispatches\u003c/em>. “I was a runner. I didn’t tell anyone what he had done because I didn’t want to lose my job.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brand continued to be flirtatious after the incident, and Rachel softened over time, she said. Once they began a sexual relationship, Brand asked that she keep it a secret because sexual relationships with crew members were forbidden in his contract, Rachel recalled.\u003c/p>\n\u003cp>“As an older woman,” she told \u003cem>Dispatches\u003c/em>, “I can say with clarity that I felt like I was groomed for sex.”\u003c/p>\n\u003ch2>\u003cstrong>Alice\u003c/strong>\u003c/h2>\n\u003cp>Alice became involved with Brand in 2006, when she was 16 years old and he was 30. (The age of consent in the U.K. is 16.) They met at MTV headquarters in London where Alice was visiting a friend. After Brand asked her out, Alice accepted and spent three months dating him. Alice said that Brand was aroused by the fact that she was a virgin and allegedly once told her, “You’re like my little dolly.”\u003c/p>\n\u003cp>“I didn’t look like a woman by any means,” Alice told \u003cem>Dispatches\u003c/em>. “It shouldn’t be legal for a 16-year-old to have a relationship with a man in his 30s… I didn’t feel like I could argue with a grown-up.”\u003c/p>\n\u003cp>[aside postid='arts_13934462']During her interview with \u003cem>Dispatches\u003c/em>, Alice described an alleged incident in which Brand violently forced his penis into her mouth. She said that after she punched him in the stomach to get free and started to cry, he responded: “I only want to see your mascara run anyway.” Alice claimed that later that night, Brand held her mouth open, spat into it repeatedly, then forced her to swallow.\u003c/p>\n\u003cp>“Russell engaged in the behaviors of a groomer,” Alice told \u003cem>Dispatches\u003c/em>. “Looking back, I didn’t even know what that was… He would try to drive a wedge between me and my parents, taught me to lie to them.”\u003c/p>\n\u003cp>A family friend confirmed to researchers that Alice and Brand were involved during the period she cited.\u003c/p>\n\u003ch2>\u003cstrong>Nadia\u003c/strong>\u003c/h2>\n\u003cp>Nadia met Brand at an afterparty for an early taping of his American TV show, \u003cem>Brand X.\u003c/em> “He literally made a beeline for me,” she told \u003cem>Dispatches\u003c/em>. “We were chatting backstage. He leaned in and kissed me. It was very, very quick.”\u003c/p>\n\u003cp>Nadia and Brand kept in touch after the encounter and later slept together at his home in Los Angeles. She said that on July 1, 2012, after he invited her over, he greeted her while completely naked and immediately pushed her against a wall. Nadia tried to get away from him, but Brand allegedly persisted.\u003c/p>\n\u003cp>“I’m telling him to get off me,” Nadia told \u003cem>Dispatches\u003c/em>, “and he won’t get off. He got a glazed look in his eye… He’s holding me up against the wall, pushing himself in me. I couldn’t move.” Nadia also told producers that after the alleged rape, Brand asked if she was OK. She told him she was not and ran to her car “in a daze.”\u003c/p>\n\u003cp>[aside postid='arts_13933160']Journalists for \u003cem>Dispatches\u003c/em> confirmed the authenticity of a text message Nadia received from Brand at 3:29 that morning. “I’m sorry,” the text read. “That was crazy and selfish. I hope that you can forgive me, I know that you’re a lovely person. X”\u003c/p>\n\u003cp>Nadia sent Brand a text seven hours later that included the line “When a girl say[s] NO it means no.”\u003c/p>\n\u003cp>Also that day, Nadia went to a rape crisis center and underwent treatment. She gave staff a detailed, written account of the incident, which \u003cem>Dispatches \u003c/em>reviewed. She decided not to go to the police, apparently intimidated by Brand’s fame, and out of concern for the possible repercussions for her family.\u003c/p>\n\u003ch2>\u003cstrong>Phoebe\u003c/strong>\u003c/h2>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that she met Brand at an AA meeting in 2013. After the two had consensual sex, Brand asked Phoebe to work for him. She accepted, considering it “a big break.” Phoebe said in her interview that while she worked for Brand, she witnessed “a revolving door of women. Five-plus women a day. Just absolute mayhem.”\u003c/p>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that one night, after they’d attended an event together as work colleagues, she went to pick up her belongings from his house. “He ended up naked at some point and he wound up chasing me,” Phoebe said. “It got a little more aggressive, and I think then I realized, ‘This is not a joke.'”\u003c/p>\n\u003cp>Phoebe said Brand locked her in his bedroom, held her down and began trying to have sex with her. “I saw something come over his eyes, I swear to God,” she told \u003cem>Dispatches\u003c/em>. “His eyes had no more color. They were black. Like a different person had literally entered his body. I was screaming so loud.”\u003c/p>\n\u003cp>[aside postid='arts_13928974']Phoebe said that Brand eventually snapped out of it, and she managed to escape. She said that Brand attempted to apologize to her several times, but that when she returned to work a few days later, Brand warned her not to talk about what happened and threatened her with legal action. “I felt like I had nowhere to go,” she told \u003cem>Dispatches\u003c/em>. “I didn’t feel safe.”\u003c/p>\n\u003cp>\u003cem>Dispatches\u003c/em> interviewed three people whom Phoebe told about the alleged assault after it happened.\u003c/p>\n\u003ch2>\u003cstrong>Helen Berger, Brand’s PA, 2006-2007\u003c/strong>\u003c/h2>\n\u003cp>The only woman to appear on camera and provide her real name to \u003cem>Dispatches\u003c/em>, Berger worked with Brand for a short but intense period.\u003c/p>\n\u003cp>Berger told \u003cem>Dispatches\u003c/em> that Brand worked consistently in his underwear around her and had “a very active sex addiction” — something he readily publicly admitted at the time. Berger said that Brand shared photos of naked women with colleagues and friends (“I felt shame in that moment,” Berger noted), and repeatedly asked her to acquire phone numbers of female audience members at his MTV talk show, \u003cem>1 Leicester Square\u003c/em>.\u003c/p>\n\u003cp>Three other former colleagues of Brand’s said he made similar requests of them, usually with audiences predominantly made up of college students. One coworker tasked with getting the women’s numbers described it as “like leading lambs to the slaughter.” Berger said that after receiving phone calls from several women in tears, she and her colleagues raised concerns about Brand to her bosses, to no avail.\u003c/p>\n\u003ch2>\u003cstrong>Daniel Sloss\u003c/strong>\u003c/h2>\n\u003cp>Towards the end of the episode, comedian Daniel Sloss told \u003cem>Dispatches\u003c/em> that rumors about Brand’s alleged predatory behavior were well-known on the comedy circuit.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[aside postid='arts_13923161']“There were many stories,” he said. “It wasn’t just coming from one person or one group of people. It was different incidents over different years and of varying degrees of severity … I know for many, many years, women [comedians] have been warning each other about Russell.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>April 7, 2025 update: On April 4, 2025, London Metropolitan Police charged Russell Brand with one count of rape, one count of indecent assault, one of oral rape and two of sexual assault.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This week, following multiple allegations of sexual assault and harassment, \u003ca href=\"https://www.kqed.org/pop/64857/where-did-russell-brand-go-the-answer-is-more-interesting-and-complex-than-youd-think\">Russell Brand\u003c/a> was dropped by his agent, and his book publisher paused future publication of his work. His content was removed from the BBC and Channel 4’s streaming platforms, and YouTube demonetized his channel.\u003c/p>\n\u003cp>The reason was a shocking Sept. 16 episode of Channel 4 investigative series \u003cem>Dispatches,\u003c/em> titled “Russell Brand: In Plain Sight.” The 78-minute show focused largely on five women who said they had terrible personal experiences with Brand. The U.K. \u003cem>Times\u003c/em> and \u003cem>Sunday Times\u003c/em> newspapers contributed to the year-long research that went into the show and also published stories on the topic. Brand has “absolutely den[ied]” any wrongdoing and described all of his prior sexual encounters as consensual.\u003c/p>\n\u003cp>The episode of \u003cem>Dispatches\u003c/em> is not yet available in the U.S. because of international broadcasting restrictions, so details of the exact allegations against Brand have so far been difficult to pinpoint on this side of the Atlantic. Below are abridged versions of the accusers’ stories, as told to the makers of \u003cem>Dispatches \u003c/em>and broadcast under pseudonyms\u003cem>. \u003c/em>\u003c/p>\n\u003cp>A warning: Everything that follows is disturbing and, in places, graphic. If you are experiencing trauma for issues relating to sexual assault, please contact \u003ca href=\"https://www.rainn.org/resources\">RAINN\u003c/a> on (800) 656-4673. The helpline is available 24/7 and is completely confidential.\u003c/p>\n\u003ch2>\u003cstrong>Rachel\u003c/strong>\u003c/h2>\n\u003cp>In 2003, Rachel worked as a runner on \u003cem>Big Brother’s EForum\u003c/em>, a popular British TV show hosted by Brand that followed episodes of the reality show. She and Brand developed a friendship over time. One day, she told \u003cem>Dispatches, \u003c/em>when she entered his dressing room, he stood with his penis exposed and requested oral sex. She declined, but said the encounter left her nervous. “He was the presenter,” she told \u003cem>Dispatches\u003c/em>. “I was a runner. I didn’t tell anyone what he had done because I didn’t want to lose my job.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brand continued to be flirtatious after the incident, and Rachel softened over time, she said. Once they began a sexual relationship, Brand asked that she keep it a secret because sexual relationships with crew members were forbidden in his contract, Rachel recalled.\u003c/p>\n\u003cp>“As an older woman,” she told \u003cem>Dispatches\u003c/em>, “I can say with clarity that I felt like I was groomed for sex.”\u003c/p>\n\u003ch2>\u003cstrong>Alice\u003c/strong>\u003c/h2>\n\u003cp>Alice became involved with Brand in 2006, when she was 16 years old and he was 30. (The age of consent in the U.K. is 16.) They met at MTV headquarters in London where Alice was visiting a friend. After Brand asked her out, Alice accepted and spent three months dating him. Alice said that Brand was aroused by the fact that she was a virgin and allegedly once told her, “You’re like my little dolly.”\u003c/p>\n\u003cp>“I didn’t look like a woman by any means,” Alice told \u003cem>Dispatches\u003c/em>. “It shouldn’t be legal for a 16-year-old to have a relationship with a man in his 30s… I didn’t feel like I could argue with a grown-up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During her interview with \u003cem>Dispatches\u003c/em>, Alice described an alleged incident in which Brand violently forced his penis into her mouth. She said that after she punched him in the stomach to get free and started to cry, he responded: “I only want to see your mascara run anyway.” Alice claimed that later that night, Brand held her mouth open, spat into it repeatedly, then forced her to swallow.\u003c/p>\n\u003cp>“Russell engaged in the behaviors of a groomer,” Alice told \u003cem>Dispatches\u003c/em>. “Looking back, I didn’t even know what that was… He would try to drive a wedge between me and my parents, taught me to lie to them.”\u003c/p>\n\u003cp>A family friend confirmed to researchers that Alice and Brand were involved during the period she cited.\u003c/p>\n\u003ch2>\u003cstrong>Nadia\u003c/strong>\u003c/h2>\n\u003cp>Nadia met Brand at an afterparty for an early taping of his American TV show, \u003cem>Brand X.\u003c/em> “He literally made a beeline for me,” she told \u003cem>Dispatches\u003c/em>. “We were chatting backstage. He leaned in and kissed me. It was very, very quick.”\u003c/p>\n\u003cp>Nadia and Brand kept in touch after the encounter and later slept together at his home in Los Angeles. She said that on July 1, 2012, after he invited her over, he greeted her while completely naked and immediately pushed her against a wall. Nadia tried to get away from him, but Brand allegedly persisted.\u003c/p>\n\u003cp>“I’m telling him to get off me,” Nadia told \u003cem>Dispatches\u003c/em>, “and he won’t get off. He got a glazed look in his eye… He’s holding me up against the wall, pushing himself in me. I couldn’t move.” Nadia also told producers that after the alleged rape, Brand asked if she was OK. She told him she was not and ran to her car “in a daze.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Journalists for \u003cem>Dispatches\u003c/em> confirmed the authenticity of a text message Nadia received from Brand at 3:29 that morning. “I’m sorry,” the text read. “That was crazy and selfish. I hope that you can forgive me, I know that you’re a lovely person. X”\u003c/p>\n\u003cp>Nadia sent Brand a text seven hours later that included the line “When a girl say[s] NO it means no.”\u003c/p>\n\u003cp>Also that day, Nadia went to a rape crisis center and underwent treatment. She gave staff a detailed, written account of the incident, which \u003cem>Dispatches \u003c/em>reviewed. She decided not to go to the police, apparently intimidated by Brand’s fame, and out of concern for the possible repercussions for her family.\u003c/p>\n\u003ch2>\u003cstrong>Phoebe\u003c/strong>\u003c/h2>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that she met Brand at an AA meeting in 2013. After the two had consensual sex, Brand asked Phoebe to work for him. She accepted, considering it “a big break.” Phoebe said in her interview that while she worked for Brand, she witnessed “a revolving door of women. Five-plus women a day. Just absolute mayhem.”\u003c/p>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that one night, after they’d attended an event together as work colleagues, she went to pick up her belongings from his house. “He ended up naked at some point and he wound up chasing me,” Phoebe said. “It got a little more aggressive, and I think then I realized, ‘This is not a joke.'”\u003c/p>\n\u003cp>Phoebe said Brand locked her in his bedroom, held her down and began trying to have sex with her. “I saw something come over his eyes, I swear to God,” she told \u003cem>Dispatches\u003c/em>. “His eyes had no more color. They were black. Like a different person had literally entered his body. I was screaming so loud.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Phoebe said that Brand eventually snapped out of it, and she managed to escape. She said that Brand attempted to apologize to her several times, but that when she returned to work a few days later, Brand warned her not to talk about what happened and threatened her with legal action. “I felt like I had nowhere to go,” she told \u003cem>Dispatches\u003c/em>. “I didn’t feel safe.”\u003c/p>\n\u003cp>\u003cem>Dispatches\u003c/em> interviewed three people whom Phoebe told about the alleged assault after it happened.\u003c/p>\n\u003ch2>\u003cstrong>Helen Berger, Brand’s PA, 2006-2007\u003c/strong>\u003c/h2>\n\u003cp>The only woman to appear on camera and provide her real name to \u003cem>Dispatches\u003c/em>, Berger worked with Brand for a short but intense period.\u003c/p>\n\u003cp>Berger told \u003cem>Dispatches\u003c/em> that Brand worked consistently in his underwear around her and had “a very active sex addiction” — something he readily publicly admitted at the time. Berger said that Brand shared photos of naked women with colleagues and friends (“I felt shame in that moment,” Berger noted), and repeatedly asked her to acquire phone numbers of female audience members at his MTV talk show, \u003cem>1 Leicester Square\u003c/em>.\u003c/p>\n\u003cp>Three other former colleagues of Brand’s said he made similar requests of them, usually with audiences predominantly made up of college students. One coworker tasked with getting the women’s numbers described it as “like leading lambs to the slaughter.” Berger said that after receiving phone calls from several women in tears, she and her colleagues raised concerns about Brand to her bosses, to no avail.\u003c/p>\n\u003ch2>\u003cstrong>Daniel Sloss\u003c/strong>\u003c/h2>\n\u003cp>Towards the end of the episode, comedian Daniel Sloss told \u003cem>Dispatches\u003c/em> that rumors about Brand’s alleged predatory behavior were well-known on the comedy circuit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A beautiful Indian American teen, Samidha (Megan Suri), just wants to fit in with her suburban classmates in the new horror \u003cem>It Lives Inside\u003c/em>. But there’s a demon at large and it’s not hormones or puberty — it’s a literal monster that will maim and kill you and anyone who tries to help in this grisly, if imperfect, metaphor for the immigrant experience.\u003c/p>\n\u003cp>[aside postid='arts_13931833']It’s the feature debut of Bishal Dutta, who co-wrote the film with Ashish Mehta, and crafts an effectively menacing PG-13 rated nail-biter centered around the interesting and conflicting dynamics of an Indian American family. The mom, Poorna (Neeru Bajwa) is determined to keep up with the traditions of the country they left behind. Samidha — sorry, Sam — would rather not, which her dad supports, in theory. She shaves her arms in the morning and posts a Kardashian-level selfie with a carefully chosen filter. She “forgets” the lunch her mother has packed her. She resents the Indian customs and holidays that prevent her from hanging out with the cute guy in her class. And she’s cast aside her old best friend, a fellow Indian American named Tamira (Mohana Krishnan), hoping that maybe she can just blend in and not be the “Indian girl” anymore. Essentially, she’s a normal teen, through and through.\u003c/p>\n\u003cp>Unfortunately for Sam, Tamira has gotten pretty weird. Her childhood friend skulks around school like a ghost, hidden behind a curtain of unbrushed hair and cradling a cloudy Mason jar like her life depended on it — not exactly the kind of person that an aspiring popular girl wants on her resume. And it just gets worse because, naturally, IT does live inside that Mason jar and that Mason jar is unable to withstand a fall to the floor. Oops.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w429YaoG67A\u003c/p>\n\u003cp>Dutta gets your heartrate going off the bat, with a creepy prologue as screams flood out of a normal suburban house, but Sam’s descent into one of the haunted never quite finds a suitable or consistent tone. It’s all moody, wide-eyed paranoia with \u003cem>Stranger Things\u003c/em> vibes that’s occasionally interrupted by run-of-the-mill jump-scares and demonic nightmare visions. It’ll startle and spook, but it also doesn’t feel incredibly original, which is an odd failure for a story that has chosen to focus on a very original threat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her parents are a bit confounding and frustrating too — as she becomes increasingly paranoid and scared (which seems reasonable after she witnesses the shocking death of a classmate, regardless of whether it was invisible demon or rabid wild animal) they respond like she’s just a delinquent who has broken curfew or been caught skipping school. The only one who seems to care and listen is her teacher (\u003cem>Get Out\u003c/em>’s Betty Gabriel), which does not put her in the good graces of the vindictive, flesh-eating Pishacha.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The story also doesn’t really grapple enough with the intriguing themes of assimilation, alienation and identity once the monster is at large — perhaps it’s because we’re simply plopped in the middle of a mystery that doesn’t give us enough to really care about anyone involved. One kid’s already dead. Tamira is already weird. Sam is already cool.\u003c/p>\n\u003cp>\u003cem>It Lives Inside\u003c/em> is still a welcome respite from the other long-in-the-tooth horror franchises populating theaters this time of year in that it’s just something new — new faces, new themes, a promising filmmaker to watch — but I wish it would have embraced more of the things that make it unique, as opposed to trying to fit in with its genre brethren. Sort of like Sam. I mean, Samidha.\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>‘It Lives Inside’ hits theaters on Sept. 22, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s the feature debut of Bishal Dutta, who co-wrote the film with Ashish Mehta, and crafts an effectively menacing PG-13 rated nail-biter centered around the interesting and conflicting dynamics of an Indian American family. The mom, Poorna (Neeru Bajwa) is determined to keep up with the traditions of the country they left behind. Samidha — sorry, Sam — would rather not, which her dad supports, in theory. She shaves her arms in the morning and posts a Kardashian-level selfie with a carefully chosen filter. She “forgets” the lunch her mother has packed her. She resents the Indian customs and holidays that prevent her from hanging out with the cute guy in her class. And she’s cast aside her old best friend, a fellow Indian American named Tamira (Mohana Krishnan), hoping that maybe she can just blend in and not be the “Indian girl” anymore. Essentially, she’s a normal teen, through and through.\u003c/p>\n\u003cp>Unfortunately for Sam, Tamira has gotten pretty weird. Her childhood friend skulks around school like a ghost, hidden behind a curtain of unbrushed hair and cradling a cloudy Mason jar like her life depended on it — not exactly the kind of person that an aspiring popular girl wants on her resume. And it just gets worse because, naturally, IT does live inside that Mason jar and that Mason jar is unable to withstand a fall to the floor. Oops.\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/w429YaoG67A'\n title='//www.youtube.com/embed/w429YaoG67A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dutta gets your heartrate going off the bat, with a creepy prologue as screams flood out of a normal suburban house, but Sam’s descent into one of the haunted never quite finds a suitable or consistent tone. It’s all moody, wide-eyed paranoia with \u003cem>Stranger Things\u003c/em> vibes that’s occasionally interrupted by run-of-the-mill jump-scares and demonic nightmare visions. It’ll startle and spook, but it also doesn’t feel incredibly original, which is an odd failure for a story that has chosen to focus on a very original threat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The story also doesn’t really grapple enough with the intriguing themes of assimilation, alienation and identity once the monster is at large — perhaps it’s because we’re simply plopped in the middle of a mystery that doesn’t give us enough to really care about anyone involved. One kid’s already dead. Tamira is already weird. Sam is already cool.\u003c/p>\n\u003cp>\u003cem>It Lives Inside\u003c/em> is still a welcome respite from the other long-in-the-tooth horror franchises populating theaters this time of year in that it’s just something new — new faces, new themes, a promising filmmaker to watch — but I wish it would have embraced more of the things that make it unique, as opposed to trying to fit in with its genre brethren. Sort of like Sam. I mean, Samidha.\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>‘It Lives Inside’ hits theaters on Sept. 22, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"storyMajorUpdateDate\">Zuri is a precocious 7-year-old who keeps her parents on their toes. One moment, she’s about to shave her face using her dad’s shaving cream and razor (mom and dad, in a burst of parental intuition, jump into the bathroom to stop that, just in the nick). In another, she’s trying to be nice as her mom tugs her hair into a frazzle of braids that her dad has to secretly undo and redo.\u003c/div>\n\u003cp>Zuri’s mom Angela is off her game for a good reason: she’s stepping back into the world after recovering from cancer treatments. And that wonderful combination of cute kid and struggling parents is what distinguishes \u003cem>Young Love\u003c/em>, which is a new series on Max spun out of an Oscar-winning short film.\u003c/p>\n\u003cp>[aside postid='arts_13871032']Issa Rae provides the voice of Angela, a hair stylist who is nervous enough about returning to her old salon that she circles Zuri’s school several times in the morning, delaying the drop-off to avoid going back to work.\u003c/p>\n\u003cp>Music fans will recognize rap star and actor Scott Mescudi — aka, Kid Cudi — as Zuri’s dad Stephen, an aspiring hip hop producer who learned to microwave frozen pancakes for breakfast and used zip ties to corral his daughter’s hair while Angela was in the hospital.\u003c/p>\n\u003cp>“I’m going to act like I didn’t hear any of that,” Angela says, after learning about Stephen’s shortcuts.\u003c/p>\n\u003cp>Rae and Mescudi are joined by veteran character actors Harry Lennix and Loretta Devine, who play Angela’s old-school parents, and Brooke Monroe Conaway shines as Zuri, who sounds super cute and innocent, even when she’s cutting up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tQq0YCRLUn0\u003c/p>\n\u003ch3>Family life that is both universal and specific\u003c/h3>\n\u003cp>This is the bustling, beautiful Black family at the heart of \u003cem>Young Love\u003c/em>, which continues the story of characters from the Oscar-winning short film, \u003cem>Hair Love\u003c/em>. That six-minute movie, released in 2019 and funded by a Kickstarter campaign, told the story of a Black father taking on a fearsome challenge — fixing his daughter’s hair, coached along by an online video.\u003c/p>\n\u003cp>[aside postid='arts_13934736']The kicker at the film’s end: The woman coaching in the video was Angela, who was waiting for Zuri and Stephen to pick her up from the hospital. As Zuri hugs her, we see the treatments have taken Angela’s hair away.\u003c/p>\n\u003cp>\u003cem>Young Love\u003c/em>‘s creator Matthew A. Cherry also wrote and co-directed \u003cem>Hair Love\u003c/em>, crafting both projects to celebrate and normalize Black hair and Black families.\u003c/p>\n\u003cp>In \u003cem>Young Love\u003c/em>, we see moments when they’re like any other family — Millennial parents struggling to balance work, home and an unexpected health scare. But they’re also steeped in Black culture, with a mom who works in a Black hair salon and a kid who dreams of sporting the coolest Afro puffs in town.\u003c/p>\n\u003cfigure id=\"attachment_13935210\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg\" alt=\"An illustration of a Black woman with her hands on a small Black girl's shoulders. They are reflected in an oval mirror.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae is Angela and Brooke Monroe Conaway is Zuri on ‘Young Love.’ \u003ccite>(Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The TV series also has a different storytelling style than the film, which relied a lot on creative imagery and striking visuals to tell its story. \u003cem>Young Love\u003c/em> has slightly more sophisticated animation and a lot more dialogue, with a playful cleverness that centers the family in a caring community, even as they occasionally toss knowing wisecracks at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple yet entertaining and heartwarming formula. And at a time when so much TV is so cynical and depressing, it’s a pleasure to sink into a series that is smart, culturally on point and optimistic about the power of family to overcome all obstacles.\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=There%27s+a+lot+to+love+in+the+%27Hair+Love%27-inspired+TV+series+%27Young+Love%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tQq0YCRLUn0'\n title='//www.youtube.com/embed/tQq0YCRLUn0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Family life that is both universal and specific\u003c/h3>\n\u003cp>This is the bustling, beautiful Black family at the heart of \u003cem>Young Love\u003c/em>, which continues the story of characters from the Oscar-winning short film, \u003cem>Hair Love\u003c/em>. That six-minute movie, released in 2019 and funded by a Kickstarter campaign, told the story of a Black father taking on a fearsome challenge — fixing his daughter’s hair, coached along by an online video.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The kicker at the film’s end: The woman coaching in the video was Angela, who was waiting for Zuri and Stephen to pick her up from the hospital. As Zuri hugs her, we see the treatments have taken Angela’s hair away.\u003c/p>\n\u003cp>\u003cem>Young Love\u003c/em>‘s creator Matthew A. Cherry also wrote and co-directed \u003cem>Hair Love\u003c/em>, crafting both projects to celebrate and normalize Black hair and Black families.\u003c/p>\n\u003cp>In \u003cem>Young Love\u003c/em>, we see moments when they’re like any other family — Millennial parents struggling to balance work, home and an unexpected health scare. But they’re also steeped in Black culture, with a mom who works in a Black hair salon and a kid who dreams of sporting the coolest Afro puffs in town.\u003c/p>\n\u003cfigure id=\"attachment_13935210\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg\" alt=\"An illustration of a Black woman with her hands on a small Black girl's shoulders. They are reflected in an oval mirror.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae is Angela and Brooke Monroe Conaway is Zuri on ‘Young Love.’ \u003ccite>(Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The TV series also has a different storytelling style than the film, which relied a lot on creative imagery and striking visuals to tell its story. \u003cem>Young Love\u003c/em> has slightly more sophisticated animation and a lot more dialogue, with a playful cleverness that centers the family in a caring community, even as they occasionally toss knowing wisecracks at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple yet entertaining and heartwarming formula. And at a time when so much TV is so cynical and depressing, it’s a pleasure to sink into a series that is smart, culturally on point and optimistic about the power of family to overcome all obstacles.\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=There%27s+a+lot+to+love+in+the+%27Hair+Love%27-inspired+TV+series+%27Young+Love%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Nocturnists’ Podcast Paints a Stark Picture of Post-Roe America",
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"content": "\u003cp>I was strolling up a busy street in Austin, Texas recently, deep in thought about the changes there in the last few years. The city is gentrifying, dealing with a population boom and very much in flux. Still, the liberals, artists and weirdos hang on tight to the fringes. Austin and San Francisco, I thought, are starting to look more and more alike.\u003c/p>\n\u003cp>That was until a Planned Parenthood volunteer appeared on the horizon, clipboard in hand, and I realized that, for the very first time, I was casually wandering around a place where abortion is illegal. The thought was jarring: How could two places that seemed so similar have such wildly different healthcare policies?\u003c/p>\n\u003cp>[aside postid='arts_13915289']For most of us living in California — especially in the Bay Area — worrying about abortion access is still largely theoretical. For most of us, abortion certainly isn’t a daily preoccupation. But in the 26 states where abortion is now either banned or extremely restricted, no such oblivion exists — not for the tens of millions of women, transgender and nonbinary folks affected by the Dobbs decision, and not for the thousands of healthcare providers shackled by the ruling.\u003c/p>\n\u003cp>Now, two Bay Area doctors want to take us inside the daily realities of physicians around the country who are almost entirely immersed in post-Dobbs chaos. Dr. Emily Silverman — a doctor at SF General and an assistant professor of medicine at UCSF — and abortion provider Dr. Ali Block are dedicating Season 6 of their podcast \u003ca href=\"https://thenocturnists.com/post-roe-america-series\">\u003cem>The Nocturnists\u003c/em>\u003c/a> exclusively to the issue of abortion access in America. (The series usually tells a range of stories from the world of medicine.) Together, they visit the places where Dobbs has crushed choice, as well as those where abortion is still legal.\u003c/p>\n\u003cp>As physicians, Silverman and Block’s ability to convey the stresses on abortion providers is key to this seven-part series. On one side, the doctors in states with bans want only to do their jobs without risk of arrest and prison time. (“Oh my god,” one physician recalls thinking as a patient bled out from an unviable pregnancy. “I’m committing a felony \u003cem>and\u003c/em> she’s going to die.”) On the other side, the doctors in states where abortion is still legal are often working around the clock, knowing full well they’ll never be able to see all of the patients who need their assistance now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Nocturnists\u003c/em> is careful to also give props to the nurses and other medical staff trying to navigate the havoc left in Dobbs’ wake. Episode 3 takes us to \u003ca href=\"https://trustwomen.org/clinics/wichita/home\">Trust Women\u003c/a>, an abortion clinic in Wichita, Kansas, where Block sometimes works. There, two front desk employees are tasked with trying to field about 16,000 calls per day — two-thirds of which are from people in Texas trying to access abortion care as close to home as possible. The clinic typically sees between 30 and 60 patients a day — all of whom must pass an angry wall of protesters outside.\u003c/p>\n\u003cp>It is also these on-the-ground health workers’ stories that best impart the physical and emotional impacts of abortion bans and restrictions on the pregnant individuals that pass through their doors every day. Though always told in tones that are measured and resigned, the scenarios that many of them present are nothing short of heart-wrenching. Some veer headlong into the horrific.\u003c/p>\n\u003cp>[aside postid='arts_13923560']\u003cem>The Nocturnists:\u003c/em> \u003ci>Post-Roe America \u003c/i>is bleak but essential listening, then — especially for those of us who live in states where abortion is still legal. The podcast tears apart the notion that abortion access is guaranteed anywhere, noting that a federal ban is likely on the way. By the end of the series, you’ll feel compelled to act, to donate to the cause and to view reproductive healthcare professionals for what they really are — heroes.\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>Weekly\u003c/em> \u003cem>episodes of\u003c/em> ‘\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">\u003cem>The Nocturnists: \u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">Post-Roe America\u003c/a>’ begin on Sept. 21, 2023. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was strolling up a busy street in Austin, Texas recently, deep in thought about the changes there in the last few years. The city is gentrifying, dealing with a population boom and very much in flux. Still, the liberals, artists and weirdos hang on tight to the fringes. Austin and San Francisco, I thought, are starting to look more and more alike.\u003c/p>\n\u003cp>That was until a Planned Parenthood volunteer appeared on the horizon, clipboard in hand, and I realized that, for the very first time, I was casually wandering around a place where abortion is illegal. The thought was jarring: How could two places that seemed so similar have such wildly different healthcare policies?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For most of us living in California — especially in the Bay Area — worrying about abortion access is still largely theoretical. For most of us, abortion certainly isn’t a daily preoccupation. But in the 26 states where abortion is now either banned or extremely restricted, no such oblivion exists — not for the tens of millions of women, transgender and nonbinary folks affected by the Dobbs decision, and not for the thousands of healthcare providers shackled by the ruling.\u003c/p>\n\u003cp>Now, two Bay Area doctors want to take us inside the daily realities of physicians around the country who are almost entirely immersed in post-Dobbs chaos. Dr. Emily Silverman — a doctor at SF General and an assistant professor of medicine at UCSF — and abortion provider Dr. Ali Block are dedicating Season 6 of their podcast \u003ca href=\"https://thenocturnists.com/post-roe-america-series\">\u003cem>The Nocturnists\u003c/em>\u003c/a> exclusively to the issue of abortion access in America. (The series usually tells a range of stories from the world of medicine.) Together, they visit the places where Dobbs has crushed choice, as well as those where abortion is still legal.\u003c/p>\n\u003cp>As physicians, Silverman and Block’s ability to convey the stresses on abortion providers is key to this seven-part series. On one side, the doctors in states with bans want only to do their jobs without risk of arrest and prison time. (“Oh my god,” one physician recalls thinking as a patient bled out from an unviable pregnancy. “I’m committing a felony \u003cem>and\u003c/em> she’s going to die.”) On the other side, the doctors in states where abortion is still legal are often working around the clock, knowing full well they’ll never be able to see all of the patients who need their assistance now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Nocturnists\u003c/em> is careful to also give props to the nurses and other medical staff trying to navigate the havoc left in Dobbs’ wake. Episode 3 takes us to \u003ca href=\"https://trustwomen.org/clinics/wichita/home\">Trust Women\u003c/a>, an abortion clinic in Wichita, Kansas, where Block sometimes works. There, two front desk employees are tasked with trying to field about 16,000 calls per day — two-thirds of which are from people in Texas trying to access abortion care as close to home as possible. The clinic typically sees between 30 and 60 patients a day — all of whom must pass an angry wall of protesters outside.\u003c/p>\n\u003cp>It is also these on-the-ground health workers’ stories that best impart the physical and emotional impacts of abortion bans and restrictions on the pregnant individuals that pass through their doors every day. Though always told in tones that are measured and resigned, the scenarios that many of them present are nothing short of heart-wrenching. Some veer headlong into the horrific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Nocturnists:\u003c/em> \u003ci>Post-Roe America \u003c/i>is bleak but essential listening, then — especially for those of us who live in states where abortion is still legal. The podcast tears apart the notion that abortion access is guaranteed anywhere, noting that a federal ban is likely on the way. By the end of the series, you’ll feel compelled to act, to donate to the cause and to view reproductive healthcare professionals for what they really are — heroes.\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>Weekly\u003c/em> \u003cem>episodes of\u003c/em> ‘\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">\u003cem>The Nocturnists: \u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">Post-Roe America\u003c/a>’ begin on Sept. 21, 2023. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New TV Shows Take on the Hazard of Working While Black",
"headTitle": "New TV Shows Take on the Hazard of Working While Black | KQED",
"content": "\u003cp>\u003cem>(Spoiler alert: There’s a few details dropped here about Hulu’s ‘The Other Black Girl’ and ‘Dreaming Whilst Black’ on Showtime.)\u003c/em>\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl\u003c/em> kicks off with an uncomfortable scenario familiar to many who have experienced the tension of being the only Black person working in a mostly-white office — otherwise known as Working While Black.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Nella, played with a deft earnestness by Sinclair Daniel, just wants to get through her duties as a frustrated, underappreciated editorial assistant at Manhattan publishing house Wagner Books. But she’s interrupted by a well-meaning white colleague who has texted her a link to a column titled: “The Token in the Corporate Machine: Being Black in a White Workplace”\u003c/p>\n\u003cp>“You know, I’m always looking for ways to be a better ally to you,” her coworker says, with an unsettling, overly energetic chirpyness. “You should read [the column], like, right now! And share if it resonates.”\u003c/p>\n\u003cp>One look at Nella’s face shows what’s really resonating: another disappointing encounter with tokenism in her workplace with someone who doesn’t actually see \u003cem>her\u003c/em>. Instead, they see some image of her shaped by their own presumptions — someone who can help fulfill their desire to feel socially progressive and impactful, regardless of what Nella actually needs or wants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7gmYkNE0wYw\u003c/p>\n\u003cp>This is the delicious anxiety explored by \u003cem>The Other Black Girl \u003c/em>and another Black-centered series which dropped on Showtime earlier this week, the British comedy \u003cem>Dreaming Whilst Black\u003c/em>. Both shows talk about race, class, gender, upward mobility and lots of other issues in compelling ways.\u003c/p>\n\u003cp>But what stuck with me was how each show speaks incisively — and asks solid questions — about what it means to be a Black person moving through a mostly white world, especially in work/office spaces. And how those spaces can pit Black folks — indeed, all marginalized people — against one another, often when they need each other most.\u003c/p>\n\u003ch3>An ally who becomes something else\u003c/h3>\n\u003cfigure id=\"attachment_13934748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe\" alt=\"An attractive Black woman with long locs puts her arm around another Black woman. They look at each other warmly\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sinclair Daniel as Nella, Ashleigh Murray as Hazel on Hulu’s ‘The Other Black Girl.’ \u003ccite>(Wilford Harwood/ Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Nella’s case, she thinks a true ally has arrived when the company hires Hazel, a new editorial assistant who talks earnestly about growing up in Harlem and her graduation from the historically Black college Howard University.\u003c/p>\n\u003cp>[aside postid='arts_13933824']But when Nella decides to confront a problematic white author about a character in his new novel named Shartricia — the book’s only Black character, who has a child by a man she doesn’t know and zero friends who aren’t struggling with substance abuse issues — Hazel does not have her work sister’s back.\u003c/p>\n\u003cp>“I think Shartricia has potential,” says Hazel, given a sneaky, yet sophisticated charm by Ashleigh Murray. “I’m excited to read it again with a specific eye on her.”\u003c/p>\n\u003cp>As the saying goes, all skinfolk ain’t kinfolk.\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl \u003c/em>is based on a book by Zakiya Dalila Harris, who also co-wrote some episodes, serves as an executive producer and is sister to our own \u003cem>Pop Culture Happy Hour\u003c/em> host Aisha Harris (who had no input on NPR’s decision to cover the show). The program wears its influences and messaging on its sleeve — so the pressure that comes from Nella realizing she works in an office which values symbolic diversity over actual progress is rendered with ominous music and horror movie tropes.\u003c/p>\n\u003cp>Still, those tropes signal a bracing truth — when one other Black person makes him or herself look good in the office by sabotaging another, it can feel like that moment in \u003cem>The Shining\u003c/em> when Jack Nicholson’s character finally turns on his family.\u003c/p>\n\u003ch3>A lighter look at tokenism and microaggressions\u003c/h3>\n\u003cfigure id=\"attachment_13934749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe\" alt=\"A Black man in a suit with dreadlocks tied up over his head stands in a drab kitchen with a tired looking young white man to his left and a bearded middle aged white man to his right.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Owen as Adam, Adjani Salmon as Kwabena and Toby Williams as Tom in ‘Dreaming Whilst Black.’ \u003ccite>(Anup Bhatt/ Big Deal Films/ A24/ Courtesy of SHOWTIME)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now on Showtime, the British comedy \u003cem>Dreaming Whilst Black \u003c/em>takes a lighter approach. It features co-writer Adjani Salmon as Kwabena, an aspiring film director stuck in a dead-end office job who realizes his white co-worker has asked him for film recommendations for an upcoming date — not because he’s a deft student of the industry working on his own short film — but because the white co-worker is dating a Black woman.\u003c/p>\n\u003cp>[aside postid='arts_13934372']“I’ve been Googling Black Oscar films…\u003cem>The Color Purple\u003c/em>?” the office mate says. Kwabena, ever tolerant, says, “I feel like, for a first date, you might want to choose something without rape?”\u003c/p>\n\u003cp>The office mate then moves to the next film on the list, \u003cem>12 Years a Slave\u003c/em>, prompting Kwabena to say, “Bro, that’s slavery AND rape.”\u003c/p>\n\u003cp>As the show progresses, Kwabena notes he and a South Asian woman are the only people in the office pressured to eat lunch away from their desks over the smell of their food.\u003c/p>\n\u003cp>Later, when he’s dragged to a lame karaoke bar by his co-workers and winds up facing a bar full of white people singing the n-word in a song and expecting him to join in, he quits the job on the spot. (A touch that I love: when he tells a friend who is also Black about it, she wryly notes that some rappers have made a fortune to say the n-word around white people.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kClYnLkRR1Q\u003c/p>\n\u003cp>It’s true enough that lampooning earnestly clueless white people can be like shooting fish in a barrel. But, as someone who has been that sole Black person in an office, I was really touched and entertained by the sour truth behind the easy punchlines in both shows.\u003c/p>\n\u003cp>[aside postid='arts_13934433']Both \u003cem>Dreaming Whilst Black\u003c/em> and \u003cem>The Other Black Girl\u003c/em> have a lot more to say about a lot more things. Kwabena faces all sorts of complications — many self-inflicted — while trying to get his short film made. And Nella uncovers a larger conspiracy centered on co-opting Blackness which sometimes feels like the sequel to \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>Underlying it all is a spot-on depiction of the wryly humorous and downright horrific moments perpetrated by white people often blithely unaware of how much power comes from simply being in the majority.\u003c/p>\n\u003cp>It’s the bittersweet icing on a sumptuous cake — incisive moments from two series whose insights on race and society speak powerfully to this modern moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by\u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem> Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+TV+shows+take+on+the+hazard+of+Working+While+Black+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>(Spoiler alert: There’s a few details dropped here about Hulu’s ‘The Other Black Girl’ and ‘Dreaming Whilst Black’ on Showtime.)\u003c/em>\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl\u003c/em> kicks off with an uncomfortable scenario familiar to many who have experienced the tension of being the only Black person working in a mostly-white office — otherwise known as Working While Black.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nella, played with a deft earnestness by Sinclair Daniel, just wants to get through her duties as a frustrated, underappreciated editorial assistant at Manhattan publishing house Wagner Books. But she’s interrupted by a well-meaning white colleague who has texted her a link to a column titled: “The Token in the Corporate Machine: Being Black in a White Workplace”\u003c/p>\n\u003cp>“You know, I’m always looking for ways to be a better ally to you,” her coworker says, with an unsettling, overly energetic chirpyness. “You should read [the column], like, right now! And share if it resonates.”\u003c/p>\n\u003cp>One look at Nella’s face shows what’s really resonating: another disappointing encounter with tokenism in her workplace with someone who doesn’t actually see \u003cem>her\u003c/em>. Instead, they see some image of her shaped by their own presumptions — someone who can help fulfill their desire to feel socially progressive and impactful, regardless of what Nella actually needs or wants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7gmYkNE0wYw'\n title='//www.youtube.com/embed/7gmYkNE0wYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the delicious anxiety explored by \u003cem>The Other Black Girl \u003c/em>and another Black-centered series which dropped on Showtime earlier this week, the British comedy \u003cem>Dreaming Whilst Black\u003c/em>. Both shows talk about race, class, gender, upward mobility and lots of other issues in compelling ways.\u003c/p>\n\u003cp>But what stuck with me was how each show speaks incisively — and asks solid questions — about what it means to be a Black person moving through a mostly white world, especially in work/office spaces. And how those spaces can pit Black folks — indeed, all marginalized people — against one another, often when they need each other most.\u003c/p>\n\u003ch3>An ally who becomes something else\u003c/h3>\n\u003cfigure id=\"attachment_13934748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe\" alt=\"An attractive Black woman with long locs puts her arm around another Black woman. They look at each other warmly\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sinclair Daniel as Nella, Ashleigh Murray as Hazel on Hulu’s ‘The Other Black Girl.’ \u003ccite>(Wilford Harwood/ Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Nella’s case, she thinks a true ally has arrived when the company hires Hazel, a new editorial assistant who talks earnestly about growing up in Harlem and her graduation from the historically Black college Howard University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But when Nella decides to confront a problematic white author about a character in his new novel named Shartricia — the book’s only Black character, who has a child by a man she doesn’t know and zero friends who aren’t struggling with substance abuse issues — Hazel does not have her work sister’s back.\u003c/p>\n\u003cp>“I think Shartricia has potential,” says Hazel, given a sneaky, yet sophisticated charm by Ashleigh Murray. “I’m excited to read it again with a specific eye on her.”\u003c/p>\n\u003cp>As the saying goes, all skinfolk ain’t kinfolk.\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl \u003c/em>is based on a book by Zakiya Dalila Harris, who also co-wrote some episodes, serves as an executive producer and is sister to our own \u003cem>Pop Culture Happy Hour\u003c/em> host Aisha Harris (who had no input on NPR’s decision to cover the show). The program wears its influences and messaging on its sleeve — so the pressure that comes from Nella realizing she works in an office which values symbolic diversity over actual progress is rendered with ominous music and horror movie tropes.\u003c/p>\n\u003cp>Still, those tropes signal a bracing truth — when one other Black person makes him or herself look good in the office by sabotaging another, it can feel like that moment in \u003cem>The Shining\u003c/em> when Jack Nicholson’s character finally turns on his family.\u003c/p>\n\u003ch3>A lighter look at tokenism and microaggressions\u003c/h3>\n\u003cfigure id=\"attachment_13934749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe\" alt=\"A Black man in a suit with dreadlocks tied up over his head stands in a drab kitchen with a tired looking young white man to his left and a bearded middle aged white man to his right.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Owen as Adam, Adjani Salmon as Kwabena and Toby Williams as Tom in ‘Dreaming Whilst Black.’ \u003ccite>(Anup Bhatt/ Big Deal Films/ A24/ Courtesy of SHOWTIME)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now on Showtime, the British comedy \u003cem>Dreaming Whilst Black \u003c/em>takes a lighter approach. It features co-writer Adjani Salmon as Kwabena, an aspiring film director stuck in a dead-end office job who realizes his white co-worker has asked him for film recommendations for an upcoming date — not because he’s a deft student of the industry working on his own short film — but because the white co-worker is dating a Black woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’ve been Googling Black Oscar films…\u003cem>The Color Purple\u003c/em>?” the office mate says. Kwabena, ever tolerant, says, “I feel like, for a first date, you might want to choose something without rape?”\u003c/p>\n\u003cp>The office mate then moves to the next film on the list, \u003cem>12 Years a Slave\u003c/em>, prompting Kwabena to say, “Bro, that’s slavery AND rape.”\u003c/p>\n\u003cp>As the show progresses, Kwabena notes he and a South Asian woman are the only people in the office pressured to eat lunch away from their desks over the smell of their food.\u003c/p>\n\u003cp>Later, when he’s dragged to a lame karaoke bar by his co-workers and winds up facing a bar full of white people singing the n-word in a song and expecting him to join in, he quits the job on the spot. (A touch that I love: when he tells a friend who is also Black about it, she wryly notes that some rappers have made a fortune to say the n-word around white people.)\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/kClYnLkRR1Q'\n title='//www.youtube.com/embed/kClYnLkRR1Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s true enough that lampooning earnestly clueless white people can be like shooting fish in a barrel. But, as someone who has been that sole Black person in an office, I was really touched and entertained by the sour truth behind the easy punchlines in both shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both \u003cem>Dreaming Whilst Black\u003c/em> and \u003cem>The Other Black Girl\u003c/em> have a lot more to say about a lot more things. Kwabena faces all sorts of complications — many self-inflicted — while trying to get his short film made. And Nella uncovers a larger conspiracy centered on co-opting Blackness which sometimes feels like the sequel to \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>Underlying it all is a spot-on depiction of the wryly humorous and downright horrific moments perpetrated by white people often blithely unaware of how much power comes from simply being in the majority.\u003c/p>\n\u003cp>It’s the bittersweet icing on a sumptuous cake — incisive moments from two series whose insights on race and society speak powerfully to this modern moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by\u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem> Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+TV+shows+take+on+the+hazard+of+Working+While+Black+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dumb Money’ Goes All in on the GameStop Stock Frenzy — and May Come Out a Winner",
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"content": "\u003cp>Think of movies about the financial system and your mind is almost sure to go to Gordon Gekko and \u003cem>Wall Street\u003c/em> or Leonardo DiCaprio’s gyrating Jordan Belfort in \u003cem>The Wolf of Wall Street\u003c/em>.\u003c/p>\n\u003cp>When Hollywood takes on Wall Street, it usually heads straight to the C-suite.\u003c/p>\n\u003cp>[aside postid='arts_13934544']The protagonist of \u003cem>Dumb Money\u003c/em>, though, is an amateur investor who trades out of his basement in Brockton, Massachusetts, with a bandana tied around his head and a Belgian beer in his hand.\u003c/p>\n\u003cp>This is Keith Gill (played in the film by Paul Dano), also known as Roaring Kitty. In 2021, Gill’s enthusiastic endorsement of GameStop stock helped fuel a viral trading frenzy that rocked Wall Street and humbled the hedge funds that had shorted the brick-and-mortar video game company.\u003c/p>\n\u003cp>Now, Sony Pictures is betting that a David vs. Goliath story that played out on Reddit message boards can be a big-screen attraction, too. Like any investment, it carries some degree of risk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em>, made for about $30 million, is charging into a still-fresh wound for some Wall Street power players; at least one executive portrayed in the film has reportedly threatened to sue.\u003c/p>\n\u003cp>The film, which opens in limited release Friday and expands in the next several weeks, will also have to sell itself without its colorful ensemble cast (including Pete Davidson, Seth Rogen, America Ferrara, Anthony Ramos and Shailene Woodley) due to the actors strike. And then there’s the inherent challenge of making a dramatic narrative out of a revolution that occurred mainly on computer screens and smartphones.\u003c/p>\n\u003cp>Yet Craig Gillespie, director of the Tonya Harding black comedy \u003cem>I, Tonya\u003c/em>, managed to corral a brash online movement into a remarkably rollicking and crowd-pleasing entertainment that’s already stoking some of the same energy that sent GameStop soaring. Ticket prices to the movie’s Toronto International Film Festival were driven past $900 on secondary seller websites.\u003c/p>\n\u003cp>“As much as it’s a really fun ride, ultimately I wanted to respect the frustration and the outrage that was happening,” says Gillespie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bmr8YmwnZ3w\u003c/p>\n\u003cp>There are many ironies surrounding \u003cem>Dumb Money\u003c/em>. It will play in AMC Theaters, which followed GameStop as a meme stock, pumping up its share price at a time when movie theaters were reeling from the pandemic.\u003c/p>\n\u003cp>“I think we should go to AMC Theaters and we should bring stuff from Bed Bath and Beyond and carry Blackberries,” says Ben Mezrich, author of the book the film’s adapted from, \u003cem>The Antisocial Network: The GameStop Short Squeeze and the Ragtag Group of Amateur Traders That Brought Wall Street to Its Knees\u003c/em>.\u003c/p>\n\u003cp>Mezrich, whose 2009 book about Mark Zuckerberg, \u003cem>The Accidental Billionaire\u003c/em>, served as fodder for David Fincher’s \u003cem>The Social Network\u003c/em>, immediately recognized the potential drama in the GameStop phenomenon. On the day the company’s stock surpassed $300 a share, he began plotting a book that could be adapted into a movie.\u003c/p>\n\u003cp>[aside postid='arts_13934519']“By the end of that day, I knew that this was something that I wanted to write and I could see it as a film,” says Mezrich. “That night, I wrote a 12-page proposal and treatment as both a movie and book idea. By the end of the week, we had a movie.”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> proceeded at a ripped-from-the-headlines pace — fast enough that most of those involved making it failed to invest, themselves. Gillespie was able to follow the phenomenon thanks to his 24-year-old son, who had been involved with the subreddit Wall Street Bets.\u003c/p>\n\u003cp>“I got to live it through him,” says Gillespie. “That was a huge touchstone for me in terms of the emotionality of the film. That frustration, that outrage, all those emotions that were happening through this. I actually got in too late, myself. My son warned me: You got in too late.”\u003c/p>\n\u003cp>Lauren Schuker Blum and Rebecca Angelo, two former Wall Street Journal reporters turned screenwriters, came on to write the script. For them it was a way to extend their interest in the power of internet populism — and they already had some experience turning digital-based stories into something human.\u003c/p>\n\u003cp>“We wrote a film about GamerGate a long time ago that didn’t get made,” says Blum. “The producer in that process was like, ‘Alright, let’s just go out and invent a new language of cinema.’ It has taken many years trying to figure out: How do you make a story like this cinematic?”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> seamlessly juggles a wide spectrum of characters who invest in GameStop for various reasons — a Pittsburgh single-mother nurse (Ferrera), a GameStop employee (Ramos), a pair of in-debt college students (Myha’la Herrold and Talia Ryder) — while breezily synthesizing the complicated economic context.\u003c/p>\n\u003cp>“We don’t need Margot Robbie in a bathtub explaining complex financial concepts,” says Angelo, referencing 2015’s \u003cem>The Big Short\u003c/em>.\u003c/p>\n\u003cp>The meme-stuffed grammar of the film owes much to the frenetic, inundating experience of social media, but it also works as a surprisingly accurate portrait of the pandemic. You may be surprised how affectingly, and empoweringly, the film uses the then-ubiquitous TikToks of Megan Thee Stallion’s “Savage.”\u003c/p>\n\u003cp>“It was a time when people were feeling very small. They feel small, they feel powerless, they feel that the system is rigged,” says Angelo. “And this was an opportunity to feel big and find power in numbers.”\u003c/p>\n\u003cp>[aside postid='arts_13933589']Gill, himself, dropped out of the spotlight as fast he entered it. His last tweet from his “Roaring Kitty” account was posted in 2021, of sleeping kittens. His investments, originally about $50,000 (much of his young family’s savings) when GameStop was going for about $5 a share, at one point reached $48 million in value.\u003c/p>\n\u003cp>The filmmakers attempted to reach Gill but ultimately respected his privacy and had no direct contact with him. Gill has said little publicly since testifying before Congress in 2021. Lawmakers were then probing whether the rally had violated regulations of market manipulation.\u003c/p>\n\u003cp>Gill maintained that he advocated for GameStop “for educational purposes only, and that my aggressive style of investing was unlikely to be suitable for most folks.” He simply believed in the company.\u003c/p>\n\u003cp>“In short,” Gill said, “I like the stock.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dumb Money’ begins its national theatrical rollout on Sept. 15, 2023.\u003c/em> \u003cem>Check local listings. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The protagonist of \u003cem>Dumb Money\u003c/em>, though, is an amateur investor who trades out of his basement in Brockton, Massachusetts, with a bandana tied around his head and a Belgian beer in his hand.\u003c/p>\n\u003cp>This is Keith Gill (played in the film by Paul Dano), also known as Roaring Kitty. In 2021, Gill’s enthusiastic endorsement of GameStop stock helped fuel a viral trading frenzy that rocked Wall Street and humbled the hedge funds that had shorted the brick-and-mortar video game company.\u003c/p>\n\u003cp>Now, Sony Pictures is betting that a David vs. Goliath story that played out on Reddit message boards can be a big-screen attraction, too. Like any investment, it carries some degree of risk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em>, made for about $30 million, is charging into a still-fresh wound for some Wall Street power players; at least one executive portrayed in the film has reportedly threatened to sue.\u003c/p>\n\u003cp>The film, which opens in limited release Friday and expands in the next several weeks, will also have to sell itself without its colorful ensemble cast (including Pete Davidson, Seth Rogen, America Ferrara, Anthony Ramos and Shailene Woodley) due to the actors strike. And then there’s the inherent challenge of making a dramatic narrative out of a revolution that occurred mainly on computer screens and smartphones.\u003c/p>\n\u003cp>Yet Craig Gillespie, director of the Tonya Harding black comedy \u003cem>I, Tonya\u003c/em>, managed to corral a brash online movement into a remarkably rollicking and crowd-pleasing entertainment that’s already stoking some of the same energy that sent GameStop soaring. Ticket prices to the movie’s Toronto International Film Festival were driven past $900 on secondary seller websites.\u003c/p>\n\u003cp>“As much as it’s a really fun ride, ultimately I wanted to respect the frustration and the outrage that was happening,” says Gillespie.\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/bmr8YmwnZ3w'\n title='//www.youtube.com/embed/bmr8YmwnZ3w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are many ironies surrounding \u003cem>Dumb Money\u003c/em>. It will play in AMC Theaters, which followed GameStop as a meme stock, pumping up its share price at a time when movie theaters were reeling from the pandemic.\u003c/p>\n\u003cp>“I think we should go to AMC Theaters and we should bring stuff from Bed Bath and Beyond and carry Blackberries,” says Ben Mezrich, author of the book the film’s adapted from, \u003cem>The Antisocial Network: The GameStop Short Squeeze and the Ragtag Group of Amateur Traders That Brought Wall Street to Its Knees\u003c/em>.\u003c/p>\n\u003cp>Mezrich, whose 2009 book about Mark Zuckerberg, \u003cem>The Accidental Billionaire\u003c/em>, served as fodder for David Fincher’s \u003cem>The Social Network\u003c/em>, immediately recognized the potential drama in the GameStop phenomenon. On the day the company’s stock surpassed $300 a share, he began plotting a book that could be adapted into a movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“By the end of that day, I knew that this was something that I wanted to write and I could see it as a film,” says Mezrich. “That night, I wrote a 12-page proposal and treatment as both a movie and book idea. By the end of the week, we had a movie.”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> proceeded at a ripped-from-the-headlines pace — fast enough that most of those involved making it failed to invest, themselves. Gillespie was able to follow the phenomenon thanks to his 24-year-old son, who had been involved with the subreddit Wall Street Bets.\u003c/p>\n\u003cp>“I got to live it through him,” says Gillespie. “That was a huge touchstone for me in terms of the emotionality of the film. That frustration, that outrage, all those emotions that were happening through this. I actually got in too late, myself. My son warned me: You got in too late.”\u003c/p>\n\u003cp>Lauren Schuker Blum and Rebecca Angelo, two former Wall Street Journal reporters turned screenwriters, came on to write the script. For them it was a way to extend their interest in the power of internet populism — and they already had some experience turning digital-based stories into something human.\u003c/p>\n\u003cp>“We wrote a film about GamerGate a long time ago that didn’t get made,” says Blum. “The producer in that process was like, ‘Alright, let’s just go out and invent a new language of cinema.’ It has taken many years trying to figure out: How do you make a story like this cinematic?”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> seamlessly juggles a wide spectrum of characters who invest in GameStop for various reasons — a Pittsburgh single-mother nurse (Ferrera), a GameStop employee (Ramos), a pair of in-debt college students (Myha’la Herrold and Talia Ryder) — while breezily synthesizing the complicated economic context.\u003c/p>\n\u003cp>“We don’t need Margot Robbie in a bathtub explaining complex financial concepts,” says Angelo, referencing 2015’s \u003cem>The Big Short\u003c/em>.\u003c/p>\n\u003cp>The meme-stuffed grammar of the film owes much to the frenetic, inundating experience of social media, but it also works as a surprisingly accurate portrait of the pandemic. You may be surprised how affectingly, and empoweringly, the film uses the then-ubiquitous TikToks of Megan Thee Stallion’s “Savage.”\u003c/p>\n\u003cp>“It was a time when people were feeling very small. They feel small, they feel powerless, they feel that the system is rigged,” says Angelo. “And this was an opportunity to feel big and find power in numbers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gill, himself, dropped out of the spotlight as fast he entered it. His last tweet from his “Roaring Kitty” account was posted in 2021, of sleeping kittens. His investments, originally about $50,000 (much of his young family’s savings) when GameStop was going for about $5 a share, at one point reached $48 million in value.\u003c/p>\n\u003cp>The filmmakers attempted to reach Gill but ultimately respected his privacy and had no direct contact with him. Gill has said little publicly since testifying before Congress in 2021. Lawmakers were then probing whether the rally had violated regulations of market manipulation.\u003c/p>\n\u003cp>Gill maintained that he advocated for GameStop “for educational purposes only, and that my aggressive style of investing was unlikely to be suitable for most folks.” He simply believed in the company.\u003c/p>\n\u003cp>“In short,” Gill said, “I like the stock.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dumb Money’ begins its national theatrical rollout on Sept. 15, 2023.\u003c/em> \u003cem>Check local listings. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Meet Kimmie Fresh, Who Fired Back at Too Short With Her Own ‘Freaky Tales’ in 1988 | KQED",
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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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"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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"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>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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"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",
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"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>“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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"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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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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