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"content": "\u003cp>When you’ve built a career around explaining race and racism to people, what happens when you find a moment you just don’t want to explain?\u003c/p>\n\u003cp>[aside postid='arts_13932887']That time came for me this week, as memes were rocketing around social media connected \u003ca href=\"https://www.npr.org/2023/08/07/1192460342/montgomery-riverfront-brawl\">to the brawl in Montgomery, Ala\u003c/a>., where a crowd of mostly-Black bystanders ran to help a Black riverboat co-captain who was being assaulted by a group of white people. He had been attempting to move their pontoon boat, since it was blocking the ferry from docking in its regular space.\u003c/p>\n\u003cp>Video \u003ca href=\"https://youtu.be/-YUSZW5Px6o\">from various bystanders around the dock\u003c/a> captured it all: The co-captain throwing his hat in the air, once a white man pushed him harshly; a different Black man whaling on people with a folding chair, including a white woman who was just sitting on the ground by then; a young Black man on a boat close by who jumped into the water and swam with amazing speed to the scene, jumping up to throw hands.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8JdLnCp17Jc\u003c/p>\n\u003cp>And, in moments, Black Twitter \u003ca href=\"https://www.npr.org/2023/08/09/1192866104/montgomery-brawl-doesnt-constitute-hate-crime-charges-police-chief-says\">jumped to life\u003c/a> (I know the social media platform is renamed X, but — for the purposes of this piece — I’m using the term to describe people being Black across lots of social media platforms. Harrumph).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/blackkingkofi/status/1688604623727112192\u003c/p>\n\u003cp>There were images of people carrying folding chairs like holstered weapons. There was the graphic pointing out that an early design of the folding chair was patented by a Black man (\u003ca href=\"https://www.thoughtco.com/nathaniel-alexander-folding-chair-4074172\">seems to be true\u003c/a>). The \u003ca href=\"https://twitter.com/Deggans/status/1688660357202546688?s=20\">photoshopped picture showing glowing rings\u003c/a> around Black folks rushing into the fight, mimicking the climax of \u003cem>Avengers: Endgame\u003c/em>, where superheroes rushed in to save the day. A \u003ca href=\"https://twitter.com/naima/status/1688624327309082626?s=20\">spirited re-enactment\u003c/a> of the fight around someone’s backyard pool which amped up the absurd humor of it all. Images dubbing the young swimmer Black Aquaman, Aquamayne and Blaquaman.\u003c/p>\n\u003cp>https://twitter.com/Pleightx/status/1688924617937981440\u003c/p>\n\u003cp>And two of my personal faves: A photoshopped image of the Martin Luther King Jr. statue holding a folding chair. And a version of the video remade as the opening to classic Black sitcom \u003cem>Good Times\u003c/em>, with acerbic credits noting the show was “created by Consequences & Repercussions.”\u003c/p>\n\u003cp>https://twitter.com/WUTangKids/status/1689044660977635329\u003c/p>\n\u003cp>I was blown away by how quickly folks across social media — especially Black folks — were converting horror over a narrowly-averted, racialized beat down into funny memes celebrating the reflex of Black folks to stand up for one another, especially when we’re faced with danger from white people.\u003c/p>\n\u003cp>But when I posted the photo of MLK’s statue with the folding chair on my social media feeds, I just added one word: Wow.\u003c/p>\n\u003cp>[aside postid='arts_13932753']I wanted the image to speak for itself. And I wanted people who had questions about what it meant to jump into social media and find out for themselves. I felt the image and its implied humor — that the nation’s most revered civil rights leader might be hoisting a folding chair to defend Black folks in the modern age — was most powerful when not explained.\u003c/p>\n\u003cp>Unfortunately, some people on my social media platforms insisted on an explanation. One was pretty persistent about it. And I realized I just didn’t want to explain the image, for some reason I couldn’t quite put my finger on.\u003c/p>\n\u003ch3>When explaining becomes too much of a burden\u003c/h3>\n\u003cp>Yeah, it’s sometimes tiring to always be asked to explain your cultural nuances to the world. But that’s the gig I signed up for, many years ago, when I decided to write about race and media regularly. And yes, all the social media joking was hiding a fear that today’s political climate has left racists emboldened to attack a Black man in broad daylight for doing his job. So explaining the memes only resurfaced those darker feelings in ways I wasn’t quite ready to process right away.\u003c/p>\n\u003cp>Still, something else was also at play.\u003c/p>\n\u003cp>[aside postid='arts_13931436']I always say social media is often like a giant dinner party, where people forget they are sometimes listening in on conversations between other people. In this case, being asked to explain the folding chair memes felt like having someone barge into an ongoing conversation to ask for an explanation.\u003c/p>\n\u003cp>As I traded messages with people and retweeted the best memes, this felt like a moment where folks could be hilariously Black online and we could all share the experience together, laughing and consoling each other in one viral social media moment.\u003c/p>\n\u003cp>Someone popping up to demand an explanation felt like they were re-centering the conversation in a way I just wasn’t willing to do right away.\u003c/p>\n\u003cp>Sometimes, in situations like that, understanding comes best by sitting back, listening widely, and learning. Even for me.\u003c/p>\n\u003cp>I originally wrote a version of this column for my personal Tumblr page, mostly as a way of processing a response that was new and unfamiliar for me. I don’t know if this reaction is fair — especially given how much I’ve encouraged discussion about race over the years.\u003c/p>\n\u003cp>But it’s all I have left, in a world where I increasingly feel like a frog in pot of steadily heating water, watching racists and racism get bolder — wondering when the heat will begin to burn me, my loved ones, my family, my friends and my people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or when I’ll need to reach out for aid from a helpful brother with a folding chair.\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=I%27ve+spent+my+career+explaining+race%2C+but+hit+a+wall+with+Montgomery+brawl+memes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cfigure id=\"attachment_13932849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg\" alt=\"A comic book cover featuring an illustration of a teenage girl wearing jeans, green t-shirt and flannel shirt around her waist. Her eyes are glowing yellow and dark clouds and lightning swirl around her.\" width=\"800\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1920x2913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-scaled.jpg 1687w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother Nature.’ \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oscar-winning actor Jamie Lee Curtis has made a separate career for herself as an author. Her bestselling books for children encourage them to be silly, be patient and like themselves.\u003c/p>\n\u003cp>[aside postid='arts_13930279']But her new graphic novel, \u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">\u003cem>Mother Nature\u003c/em>\u003c/a>, is more in line with the horror movies for which she’s known.\u003c/p>\n\u003cp>The scream queen co-wrote an “eco-horror” screenplay, which \u003cem>New Yorker\u003c/em> illustrator \u003ca href=\"https://www.chroniclebooks.com/products/penny\">Karl Stevens\u003c/a> adapted into a graphic novel for Titan Comics.\u003c/p>\n\u003cp>“I went through a lot of cadmium red,” he told fans during a panel at the recent Comic-Con in San Diego.\u003c/p>\n\u003cp>“Because there’s a lot of blood,” added Curtis. “There will be blood in this book.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story is set in New Mexico, where an energy corporation is fracking under land leased from a Native American woman. Her daughter Nova tries to sabotage the project and is struck by lightning. Nova then becomes the spirit of Mother Nature, who takes revenge for being destroyed.\u003c/p>\n\u003cp>“I had an idea of every gruesome way that Mother Nature could kill people,” Curtis said. “You know, black ice, storms, tornadoes, burning them up with extreme heat. Hailstones to the head. What a way to go.” It isn’t nice to mess with Mother Nature; In one key scene, an earthquake shakes loose the head of an oil drill, killing Nova’s father, who worked for the energy company.\u003c/p>\n\u003cfigure id=\"attachment_13932861\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png\" alt=\"A series of illustrated panels depicting a man slowly walking across an oil field. He glances tentatively over his shoulder at two waiting vehicles. Inside one, a man and a woman wait and watch.\" width=\"790\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-768x1155.png 768w\" sizes=\"auto, (max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Mother Nature about to strike… \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curtis says the climate crisis motivated her to write such a story. “The inspiration is terror. The inspiration is fear that we are heading into a very, very dangerous place.”\u003c/p>\n\u003cp>Over the years, Curtis says she’s been involved with the Natural Resources Defense Council, an environmental advocacy group. But she first imagined this story when she was 19, just as she began acting, following the footsteps of her famous Hollywood parents Janet Leigh and Tony Curtis. She says she was influenced by 1970’s disaster movies \u003ca href=\"https://www.youtube.com/watch?v=nyTqrtZFWeQ\">\u003cem>The Towering Inferno\u003c/em>\u003c/a> and \u003ca href=\"https://www.google.com/search?rlz=1C1GCEA_enUS849US849&sxsrf=AB5stBjk2_d47X_mP5O2gq_oqpRt9nTIoA:1691531492111&q=the+poseidon+adventure&tbm=vid&source=lnms&sa=X&sqi=2&ved=2ahUKEwi7qdrthc6AAxWaMlkFHac5CmkQ0pQJegQIDRAB&biw=2732&bih=1250&dpr=0.5#fpstate=ive&vld=cid:bc36fa4d,vid:H_5w-WmSdz0\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13926136']“I was aware of the raping of the land. I was aware of the drilling and the blasting and the stealing of these natural resources. And I just had this idea in my head. I said, ‘I’m going to write a movie about how we’re blowing it with Mother Nature.’ I just knew it,” Curtis told NPR in an interview before the panel.. “It stuck with me so that in 2018, when I made the \u003cem>Halloween\u003c/em> movie and got reinvigorated to the process of making movies, I decided to write a screenplay.”\u003c/p>\n\u003cp>She teamed up with \u003ca href=\"https://www.imdb.com/name/nm4405314/\">Russell Goldman\u003c/a>, who was her assistant on the \u003cem>Halloween\u003c/em> films. She says his great contribution to the screenplay was to make it about women.\u003c/p>\n\u003cp>“Women are cool,” he says.\u003c/p>\n\u003cp>And Curtis agrees. “Women \u003cem>are\u003c/em> cool. You heard it here on NPR.”\u003c/p>\n\u003cp>\u003cem>Mother Nature\u003c/em> centers on two pairs of mothers and daughters. “It’s a story about the decisions that one generation is making in leaving a planet behind for the next,” Goldman says.\u003c/p>\n\u003cfigure id=\"attachment_13932846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg\" alt=\"A white woman with cropped grey hair and silver rimmed glasses stands with two white men. All three hold up a comic book titled 'Mother Nature.' All are half-smiling.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1536x946.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Lee Curtis, Russell Goldman and Karl Stevens — co-creators of the new graphic novel ‘Mother Nature’ — at Comic-Con San Diego. \u003ccite>(Mandalit del Barco/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story’s main mother and daughter are Navajo. Goldman researched the culture, and he collaborated on the script with several Native American consultants, including author and filmmaker Brian Lee Young.\u003c/p>\n\u003cp>Young (who is also the author of a new book, \u003ca href=\"https://brianlyoung.com/books/\">\u003cem>Heroes of the Water Monster\u003c/em>\u003c/a>) says he helped Goldman, Curtis and Stevens incorporate elements of traditional Diné folklore depicting retaliating natural forces.\u003c/p>\n\u003cp>[aside postid='arts_13920759']“This is the first time that I’ve seen the Navajo culture portrayed in a respectful way,” Young says. He says the story also shows “that we have the power to reverse the dangers that climate change enacts on all our communities,” says Young. “I hope everyone gets to read it. It’s a lot of fun, especially as a horror fan.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">Curtis is currently on strike\u003c/a> against the Hollywood studios as a member of the union SAG-AFTRA. But at Comic-Con, Curtis told her enthusiastic fans they might make \u003cem>Mother Nature\u003c/em> into a movie someday.\u003c/p>\n\u003cp>“That would be fun. Maybe I’ll direct it. Maybe I’ll co-direct. Maybe I’ll be in it. Maybe I’ll do all of it,” she said to many cheers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know what? I’m 65 years old this November, and I have no time to waste. None.”\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=Jamie+Lee+Curtis%27+graphic+novel+shows+how+%27We%27re+blowing+it+with+Mother+Nature%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13932849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg\" alt=\"A comic book cover featuring an illustration of a teenage girl wearing jeans, green t-shirt and flannel shirt around her waist. Her eyes are glowing yellow and dark clouds and lightning swirl around her.\" width=\"800\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1920x2913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-scaled.jpg 1687w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother Nature.’ \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oscar-winning actor Jamie Lee Curtis has made a separate career for herself as an author. Her bestselling books for children encourage them to be silly, be patient and like themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But her new graphic novel, \u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">\u003cem>Mother Nature\u003c/em>\u003c/a>, is more in line with the horror movies for which she’s known.\u003c/p>\n\u003cp>The scream queen co-wrote an “eco-horror” screenplay, which \u003cem>New Yorker\u003c/em> illustrator \u003ca href=\"https://www.chroniclebooks.com/products/penny\">Karl Stevens\u003c/a> adapted into a graphic novel for Titan Comics.\u003c/p>\n\u003cp>“I went through a lot of cadmium red,” he told fans during a panel at the recent Comic-Con in San Diego.\u003c/p>\n\u003cp>“Because there’s a lot of blood,” added Curtis. “There will be blood in this book.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story is set in New Mexico, where an energy corporation is fracking under land leased from a Native American woman. Her daughter Nova tries to sabotage the project and is struck by lightning. Nova then becomes the spirit of Mother Nature, who takes revenge for being destroyed.\u003c/p>\n\u003cp>“I had an idea of every gruesome way that Mother Nature could kill people,” Curtis said. “You know, black ice, storms, tornadoes, burning them up with extreme heat. Hailstones to the head. What a way to go.” It isn’t nice to mess with Mother Nature; In one key scene, an earthquake shakes loose the head of an oil drill, killing Nova’s father, who worked for the energy company.\u003c/p>\n\u003cfigure id=\"attachment_13932861\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png\" alt=\"A series of illustrated panels depicting a man slowly walking across an oil field. He glances tentatively over his shoulder at two waiting vehicles. Inside one, a man and a woman wait and watch.\" width=\"790\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-768x1155.png 768w\" sizes=\"auto, (max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Mother Nature about to strike… \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curtis says the climate crisis motivated her to write such a story. “The inspiration is terror. The inspiration is fear that we are heading into a very, very dangerous place.”\u003c/p>\n\u003cp>Over the years, Curtis says she’s been involved with the Natural Resources Defense Council, an environmental advocacy group. But she first imagined this story when she was 19, just as she began acting, following the footsteps of her famous Hollywood parents Janet Leigh and Tony Curtis. She says she was influenced by 1970’s disaster movies \u003ca href=\"https://www.youtube.com/watch?v=nyTqrtZFWeQ\">\u003cem>The Towering Inferno\u003c/em>\u003c/a> and \u003ca href=\"https://www.google.com/search?rlz=1C1GCEA_enUS849US849&sxsrf=AB5stBjk2_d47X_mP5O2gq_oqpRt9nTIoA:1691531492111&q=the+poseidon+adventure&tbm=vid&source=lnms&sa=X&sqi=2&ved=2ahUKEwi7qdrthc6AAxWaMlkFHac5CmkQ0pQJegQIDRAB&biw=2732&bih=1250&dpr=0.5#fpstate=ive&vld=cid:bc36fa4d,vid:H_5w-WmSdz0\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I was aware of the raping of the land. I was aware of the drilling and the blasting and the stealing of these natural resources. And I just had this idea in my head. I said, ‘I’m going to write a movie about how we’re blowing it with Mother Nature.’ I just knew it,” Curtis told NPR in an interview before the panel.. “It stuck with me so that in 2018, when I made the \u003cem>Halloween\u003c/em> movie and got reinvigorated to the process of making movies, I decided to write a screenplay.”\u003c/p>\n\u003cp>She teamed up with \u003ca href=\"https://www.imdb.com/name/nm4405314/\">Russell Goldman\u003c/a>, who was her assistant on the \u003cem>Halloween\u003c/em> films. She says his great contribution to the screenplay was to make it about women.\u003c/p>\n\u003cp>“Women are cool,” he says.\u003c/p>\n\u003cp>And Curtis agrees. “Women \u003cem>are\u003c/em> cool. You heard it here on NPR.”\u003c/p>\n\u003cp>\u003cem>Mother Nature\u003c/em> centers on two pairs of mothers and daughters. “It’s a story about the decisions that one generation is making in leaving a planet behind for the next,” Goldman says.\u003c/p>\n\u003cfigure id=\"attachment_13932846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg\" alt=\"A white woman with cropped grey hair and silver rimmed glasses stands with two white men. All three hold up a comic book titled 'Mother Nature.' All are half-smiling.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1536x946.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Lee Curtis, Russell Goldman and Karl Stevens — co-creators of the new graphic novel ‘Mother Nature’ — at Comic-Con San Diego. \u003ccite>(Mandalit del Barco/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story’s main mother and daughter are Navajo. Goldman researched the culture, and he collaborated on the script with several Native American consultants, including author and filmmaker Brian Lee Young.\u003c/p>\n\u003cp>Young (who is also the author of a new book, \u003ca href=\"https://brianlyoung.com/books/\">\u003cem>Heroes of the Water Monster\u003c/em>\u003c/a>) says he helped Goldman, Curtis and Stevens incorporate elements of traditional Diné folklore depicting retaliating natural forces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This is the first time that I’ve seen the Navajo culture portrayed in a respectful way,” Young says. He says the story also shows “that we have the power to reverse the dangers that climate change enacts on all our communities,” says Young. “I hope everyone gets to read it. It’s a lot of fun, especially as a horror fan.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">Curtis is currently on strike\u003c/a> against the Hollywood studios as a member of the union SAG-AFTRA. But at Comic-Con, Curtis told her enthusiastic fans they might make \u003cem>Mother Nature\u003c/em> into a movie someday.\u003c/p>\n\u003cp>“That would be fun. Maybe I’ll direct it. Maybe I’ll co-direct. Maybe I’ll be in it. Maybe I’ll do all of it,” she said to many cheers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know what? I’m 65 years old this November, and I have no time to waste. None.”\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=Jamie+Lee+Curtis%27+graphic+novel+shows+how+%27We%27re+blowing+it+with+Mother+Nature%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Gran Turismo’ Movie Drifts Into Clichés and Video Game Aesthetics",
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"content": "\u003cp>In 2006, a Nissan marketing executive had a truly insane idea to create a competition and an “academy” to turn gamers into race car drivers. Darren Cox saw an untapped market of potential car-buyers in Gran Turismo enthusiasts — the popular PlayStation racing simulator that first came on the market in 1997. And in the third year of the \u003cem>GT Academy\u003c/em>, an actual star emerged in a 19-year-old British kid named Jann Mardenborough, who would go on to become a professional driver, just like he dreamed.\u003c/p>\n\u003cp>It’s a fine and lucrative idea for a movie — an inspirational underdog story in which brands like Nissan and PlayStation, a Sony company which also owns the studio behind the movie, can take partial credit for and help underwrite. And it couldn’t come at a better time, when F1 is exploding in popularity in the United States thanks in part to the Netflix series\u003cem> Drive to Survive\u003c/em>. But \u003cem>Gran Turismo\u003c/em> has taken this opportunity and made the cliché version in this year of movies like \u003cem>Barbie\u003c/em> and \u003cem>Air\u003c/em>, which showed audiences that “brand” movies don’t have to be basic. They can be fresh, vibrant, funny and entertaining – even when literally focused on the corporate schlubs just trying to earn their keep.\u003c/p>\n\u003cp>[aside postid='arts_13932623']If you don’t know ins and outs of Mardenborough’s story, it’s best not to study up before \u003cem>Gran Turismo\u003c/em>. The movie, which has gone through several writers and directors over the years it’s been in development, takes immense liberties with its true story and cherry picks things from various points in Mardenborough’s career to make his debut year as dramatic as possible. The version coming to theaters is credited to screenwriters Jason Hall and Zach Baylin and director Neill Blomkamp (\u003cem>District 9\u003c/em>, \u003cem>Chappie\u003c/em>), who likes to amp up the excitement of a car going 200 miles an hour with lots of cuts and close-ups and aerial shots that would surely drive the down-and-out veteran enlisted to train these amateurs absolutely bonkers.\u003c/p>\n\u003cp>That veteran, named Jack Salter, is played by David Harbour, who is quite enjoyable in a pretty cliché “tough love mentor with a past” role. He brings life and energy and an amusing voice of reason to this unbelievable story which can’t seem to choose a lane.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GgKmhDaVo48\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The first hour leans heavily into the brand mythologizing as it sets everything up and it is dreadful. It’s almost in spite of everything that the second half, which focuses on the actual racing, is more successful. How could it not be? It’s a very pleasing underdog-makes-good journey, with a very pleasant and empathetic lead actor in Archie Madekwe. His parents, played by Djimon Hounsou and former Spice Girl Geri Halliwell-Horner, are also appealing, if underused and trotted out only for maximum emotional impact. We could have used a little more of the Mardenborough clan and a little less of Jann’s love interest, Audrey (Maeve Courtier-Lilley) who is introduced to another peripheral female character in a 5-second scene that is so out of nowhere and random that I wondered if it was only there so that the very male film could technically pass the Bechdel Test.\u003c/p>\n\u003cp>[aside postid='arts_13932601']Poor Orlando Bloom gets a little lost in everything as the high-anxiety Nissan marketing executive Danny Moore, who is frustratingly underdrawn and who the movie goes through great pains to avoid making the enemy. That goes to the cocky, model-y young driver who is there to represent the big money side of European racing, in his gold car branded by Moët & Chandon. Instead, Bloom is kind of just a tour guide to the high life, uttering lines like “Ever been on a private jet before?” to the kid from Cardiff. But most egregious is the depiction of the Japanese Nissan executives, who are essentially nameless, characterless background actors in suits called on to either nod or look vaguely confused as Danny tries to reassure them that these amateur drivers won’t die.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie on the page wants to romanticize the simple pleasures of race car driving outside of the glitz and glamour of the high-rolling industry, and has been directed by someone who doesn’t actually believe that the driving is enough and that it does need all the trimmings of a \u003cem>Fast and Furious\u003c/em> spinoff to make it exciting to an audience. It’s the MTV cut of Winona Ryder’s documentary from \u003cem>Reality Bites\u003c/em>, the one the slick marketing guy would make. And I think therein lies the essential incongruity of what amounts to a moderately entertaining, very long Super Bowl spot quality commercial for PlayStation and Nissan.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The first hour leans heavily into the brand mythologizing as it sets everything up and it is dreadful. It’s almost in spite of everything that the second half, which focuses on the actual racing, is more successful. How could it not be? It’s a very pleasing underdog-makes-good journey, with a very pleasant and empathetic lead actor in Archie Madekwe. His parents, played by Djimon Hounsou and former Spice Girl Geri Halliwell-Horner, are also appealing, if underused and trotted out only for maximum emotional impact. We could have used a little more of the Mardenborough clan and a little less of Jann’s love interest, Audrey (Maeve Courtier-Lilley) who is introduced to another peripheral female character in a 5-second scene that is so out of nowhere and random that I wondered if it was only there so that the very male film could technically pass the Bechdel Test.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Poor Orlando Bloom gets a little lost in everything as the high-anxiety Nissan marketing executive Danny Moore, who is frustratingly underdrawn and who the movie goes through great pains to avoid making the enemy. That goes to the cocky, model-y young driver who is there to represent the big money side of European racing, in his gold car branded by Moët & Chandon. Instead, Bloom is kind of just a tour guide to the high life, uttering lines like “Ever been on a private jet before?” to the kid from Cardiff. But most egregious is the depiction of the Japanese Nissan executives, who are essentially nameless, characterless background actors in suits called on to either nod or look vaguely confused as Danny tries to reassure them that these amateur drivers won’t die.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie on the page wants to romanticize the simple pleasures of race car driving outside of the glitz and glamour of the high-rolling industry, and has been directed by someone who doesn’t actually believe that the driving is enough and that it does need all the trimmings of a \u003cem>Fast and Furious\u003c/em> spinoff to make it exciting to an audience. It’s the MTV cut of Winona Ryder’s documentary from \u003cem>Reality Bites\u003c/em>, the one the slick marketing guy would make. And I think therein lies the essential incongruity of what amounts to a moderately entertaining, very long Super Bowl spot quality commercial for PlayStation and Nissan.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "E-40, Too Short, Chuck D and More Rap Legends on Their Early Hip-Hop Influences",
"headTitle": "E-40, Too Short, Chuck D and More Rap Legends on Their Early Hip-Hop Influences | KQED",
"content": "\u003cp>Remember the first rap song you heard? Some of your favorite rappers and DJs certainly do. While hip-hop celebrates 50 years of life, The Associated Press asked some of the genre’s most popular artists to recall their first memory of hearing rap and how the moment resonated with them.\u003c/p>\n\u003cp>In interviews with more than two dozen hip-hop legends, Queen Latifah, Chuck D, Method Man, E-40 and eight others cited The Sugarhill Gang’s “Rapper’s Delight” as the first rap song they heard. But not all were hooked on the new musical style by that track, and their answers reveal the sense of discovery that marked rap’s early years. (Watch videos of the \u003ca href=\"https://projects.apnews.com/features/2023/hip-hop-50th-in-their-own-words/index.html\">artists describing their early hip-hop influences here\u003c/a>.)\u003c/p>\n\u003cp>Hip-hops roots are traced to 1973 in the Bronx and it took a few years before rap records emerged — “Rapper’s Delight” was a major catalyst for introducing rap music to a much broader audience.\u003c/p>\n\u003cp>Here are the stories of a dozen hip-hop stars who got hooked on the genre around the time “Rapper’s Delight” ruled.\u003c/p>\n\u003ch2>Chuck D\u003c/h2>\n\u003cfigure id=\"attachment_13932754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg\" alt=\"A middle aged Black man clutches a microphone and mic stand and smiles on stage. He is wearing a black t-shirt and black baseball cap.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Public Enemy’s Chuck D performs in Berlin in 2019. \u003ccite>(Frank Hoensch/ Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a sophomore at Adelphi University, Chuck D was about to hit the stage to perform over the melody of Chic’s “Good Times” at a party in October 1979.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At least, that’s what he thought.\u003c/p>\n\u003cp>When he stepped behind the microphone, Chuck D heard a different version of the song. It kept going and going for — 15 minutes straight.\u003c/p>\n\u003cp>[aside postid='arts_13925958']“I get on the mic to rock the house. Then all of a sudden, I hear words behind me as I’m rockin’. I lipsync. The words keep going. (Expletive) are rockin’ for like 20 minutes,” said Chuck D, a member of the rap group Public Enemy who created “ Fight the Power,” one of hip-hop’s most iconic and important anthems.\u003c/p>\n\u003cp>“After it’s all over, cats are giving me high pounds like ‘You went on and on to the break of dawn dawg,’” he continued. “Back then, it’s about how long you can rap. I went and turned to the DJ and looked at the red label that said ‘Sugarhill Gang ‘Rapper’s Delight.’’ I was like ’Oh, they finally did it.’ They were talking all summer long that rap records were going to happen.”\u003c/p>\n\u003cp>He was stunned: “I was, like, ’It’s inconceivable. How could a rap be a record?′ I couldn’t see it. Nobody could see it. And then when it happened, boom.”\u003c/p>\n\u003ch2>Queen Latifah\u003c/h2>\n\u003cfigure id=\"attachment_13932755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg\" alt=\"A Black woman in an olive green jumpsuit performs on stage. She is holding a microphone up to her mouth.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Latifah performing in Chicago in 2020. \u003ccite>(Kevin Mazur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Queen Latifah, “Rapper’s Delight” was the first rap song she and a lot of others heard and memorized where she grew up in Newark, New Jersey. But the biggest record in her world as a kid was Afrika Bambaattaa and the Soul Sonic Force’s 1982 song “ Planet Rock. ”\u003c/p>\n\u003cp>While the Oscar-nominated actor can be seen chasing bad guys on CBS’ \u003cem>The Equalizer\u003c/em>, many forget her roots as a rapper, with hits like “U.N.I.T.Y.” and “Just Another Day.”\u003c/p>\n\u003cp>“It changed the sound,” she said. “It’s more of a synthesized, 808s, hi-hats. The whole sound of it was different. Some of hip-hop in the original days was live music. It was live bands playing break records. Like ‘Good Times’ was the beat to ‘Rapper’s Delight.’ Some of those records took actual disco records, played the music and rhymed to them.”\u003c/p>\n\u003ch2>E-40\u003c/h2>\n\u003cfigure id=\"attachment_13840957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While heading to school as a seventh grader in 1979, E-40 heard a new rap tune on a local radio station that normally played R&B and soul music in Northern California.\u003c/p>\n\u003cp>[aside postid='arts_13932488']It was “Rapper’s Delight,” which interpolated Chic’s hit “Good Times.” That’s when he knew hip-hop was going to be a part of his life forever.\u003c/p>\n\u003cp>“I was like ‘Ohh, this is hard. I’m hooked,’” said E-40, who recalled the moment while driving to Franklin Middle School in Vallejo, California. He and fellow rapper B-Legit used to sport the same kind of fedora hats and big gold rope chains Run-D.M.C. performed in.\u003c/p>\n\u003cp>“From then on, I loved rap. In 1979, when I first heard The Sugarhill Gang, I wanted to be a rapper. I would play around with it … We grew up on New York rap. All of us did. We wanted to be hip-hop. We wanted to breakdance. We did it all.\u003c/p>\n\u003cp>“But that changed everything after we heard Sugarhill Gang. Next thing you know, you’re hearing Grandmaster Flash and the Furious Five, Kurtis Blow and ‘Roxannne, Roxanne.’”\u003c/p>\n\u003ch2>Lil Jon\u003c/h2>\n\u003cfigure id=\"attachment_13932756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg\" alt=\"A smiling Black man wearing sunglasses, a grey hoodie and blue jeans sits on a couch next to a black wall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Jon backstage before a DJ set at Temple Nightclub in San Francisco, 2016. \u003ccite>(Kelly Sullivan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rapper’s Delight” was probably the first hip-hop song Lil Jon heard. But he became a “super fan” of the genre as a middle schooler in Atlanta after seeing rap groups the Fat Boys and Whodini. It was his first time seeing professional rappers onstage.\u003c/p>\n\u003cp>“I might have been a fan of rap before, but I had never been to a rap concert. I’ve never seen rappers in person,” he said. “Maybe just in the magazines. That turned me into like … a super fan of hip-hop.”\u003c/p>\n\u003cp>The first hip-hop record Lil-Jon bought was Run D.M.C.’s “Sucker M.C.’s (Krush-Groove 1).”\u003c/p>\n\u003cp>“I remembered my homeboy that lived in the neighborhood. I had to go through some woods to his house with the album,” he said. “We put the album on at his house. We were going crazy over listening to lyrics and beats.”\u003c/p>\n\u003ch2>Roxanne Shante\u003c/h2>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roxanne Shante’s first rap experience didn’t come in song form. She was introduced to hip-hop through the late comedian-poet Nipsey Russell.\u003c/p>\n\u003cp>[aside postid='arts_13931795']“He had the ability to rhyme at any time,” said Shante, a host for SiriusXM’s Rock the Bells Radio. At age 14, she became one of the first female rappers to become popular after her song “Roxanne’s Revenge” and gained more notoriety as a member of the Juice Crew. She also took part in \u003cem>Roxanne Wars\u003c/em>, which was a series of hip-hop rivalries in the mid-1980s.\u003c/p>\n\u003cp>Shante said “Rapper’s Delight” was the record most parents brought into their home as the “party song.” But in her mind, Russell had just as much of an impact.\u003c/p>\n\u003cp>“That would be my first encounter with loving what would become hip-hop,” she continued. “This way of having a certain cadence, this way of being able to do these certain rhymes was just incredible to me … He was able to freestyle all day, every day. And that’s who I am. That’s what I still do today.”\u003c/p>\n\u003ch2>Too Short\u003c/h2>\n\u003cfigure id=\"attachment_13922549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg\" alt=\"a Black man raps into a microphone on a stage with the words 'Too $hort' behind him in blue lights\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-2048x1395.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1920x1308.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short performs during the ‘25th Anniversary of Doggystyle’ tour at Oracle Arena, Oakland. \u003ccite>(Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s 1979. Too Short was around 13 years old. He normally listened to a variety of funk songs ranging from the Ohio Players’ “Love Rollercoaster” and Funkadelic’s “Knee Deep.” Then one day at his father’s house, he heard “Rapper’s Delight” blaring through a stereo system.\u003c/p>\n\u003cp>[aside postid='arts_13927349']“I was on my funk stuff, then this ‘Rapper’s Delight’ record came out and it was like 15 minutes long,” he recalled. “I’d be at my pop’s house just bumping the loud stereo.”\u003c/p>\n\u003cp>As “Rapper’s Delight” gained momentum in 1980, Too Short gravitated more toward beatboxing. That led him to hit up the local record store where he would buy the latest hip-hop album then blasted it on his radio for anyone to hear in Oakland.\u003c/p>\n\u003cp>“I had to get a radio with two speakers. That was mandatory,” he said. “I was the guy with the radio who was hitting play going ‘You ain’t never heard that before’ … I had the whole room, the whole bus jumping.”\u003c/p>\n\u003ch2>Doug E. Fresh\u003c/h2>\n\u003cfigure id=\"attachment_13932758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg\" alt=\"A Black man raises both his arms in the air and strides forward on stage. He is wearing a white t-shirt, black jacket and black pants. Stage lights beam all around him.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug E. Fresh onstage in New York City in 2023. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hearing “Rapper’s Delight” for the first time changed the trajectory of Doug E. Fresh’s life.\u003c/p>\n\u003cp>“I remember when my sister came home and told me about a guy named D.J. Hollywood, who we considered the first real M.C.,” he said. “She came home and told me about a rap he had. And the rap went, ‘Ding, ding, ding, ding, dong, dong, dong the dang, the dang, dang, dang, the ding dong dong. To the hip hop…’”\u003c/p>\n\u003cp>Fresh then added: “I turned around and said, ‘Teach me that, show me.’ And after that, it’s been me and hip-hop since that point.”\u003c/p>\n\u003ch2>DJ Kid Capri\u003c/h2>\n\u003cfigure id=\"attachment_13932759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg\" alt=\"A mixed race man wearing a black Givenchy t-shirt smiles from behind DJ decks, holding one side of a set of headphones on his head.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kid Capri DJing in Houston in 2023. \u003ccite>(Marcus Ingram/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Kid Capri, arguably one of hip-hop’s most famous DJs in the ‘90s, grew up on soul music. His father was a soul singer. His grandfather played the trumpet. And his uncle, Bill Curtis, was the leader of the Fatback Band — which he says made the first hip-hop single “King Tim III (Personality Jock) ” before “Rapper’s Delight” was released a few months later in 1979.\u003c/p>\n\u003cp>[aside postid='arts_13932030']Capri’s uncle gave him the opportunity to hear a rap song for the first time.\u003c/p>\n\u003cp>“I was right there,” Capri said about the Fatback Band, a funk and disco ensemble who became known for their R&B hits including “(Do the) Spanish Hustle,” “I Like Girls” and “I Found Lovin’.” But it was “King Tim III” that had a strong influence on him — especially since it came from family.\u003c/p>\n\u003cp>“The world thinks ‘Rapper’s Delight’ was the first rap record, but it was ‘Personality Jock,’” he said. “My uncle, he’s my family. He’s the one that did it. So, I’ve always been around it. That’s what made me be so infectious in it, because I’ve seen every level to where I’m at right now. I took all those things important to me on stage right now. When you see me on stage, you can see all those things wrapped up in me.”\u003c/p>\n\u003ch2>Method Man\u003c/h2>\n\u003cfigure id=\"attachment_13932760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg\" alt=\"A muscular Black man, wearing an NY baseball cap, white t-shirt and blue jeans strides across a stage, microphone held up to his open mouth.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1536x1042.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Method Man performing in Atlanta in 2023. \u003ccite>(Prince Williams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, “Rapper’s Delight” was the first-ever rap song Method Man ever heard. But the first hip-hop song that really resonated with him was Run-D.M.C.’s “ Sucker MCs (Krush-Groove 1 ).”\u003c/p>\n\u003cp>“I had never heard this record and I thought I was up on everything at the time,” Method Man said of the 1983 song, which proceeded Run-D.M.C.’s first single “It’s Like That” from their self-titled album. He said “Sucker MCs” helped pave a way to usher in a new school of hip-hop artists.\u003c/p>\n\u003cp>“We were on a sixth-grade class trip to Long Island, and everybody was singing it word-for-word,” the \u003cem>Power Book II: Ghost\u003c/em> actor remembered. “They must have played that record 24 times on our class trip.”\u003c/p>\n\u003ch2>Big Daddy Kane\u003c/h2>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932671\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg\" alt=\"Close-up image of a Black man wearing a white shirt and rapping into a microphone on stage.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane performing in 2015. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around age 12, Big Daddy Kane might not have remembered all of his homework assignments, but he certainly could recite every lyric to the late Jimmy Spicer’s 1980 song “Adventures of Super Rhymes,” one of hip-hop’s first songs recorded in a studio.\u003c/p>\n\u003cp>Kane heard “Rapper’s Delight” first, but Spicer’s storytelling on the 15-minute song resonated with him the most.\u003c/p>\n\u003cp>“When this song came out, just the way Jimmy Spicer was styling on them and telling the story about Dracula and a story about Aladdin, I thought it was real slick,” he said.\u003c/p>\n\u003ch2>DJ Jazzy Jeff\u003c/h2>\n\u003cfigure id=\"attachment_13932448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg\" alt=\"A Black man wearing a white t-shirt and gold and white striped hat.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazzy Jeff DJs on stage.\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Jazzy Jeff always had an affinity for music. But when the \u003cem>Fresh Prince of Bel-Air\u003c/em> star heard “Rapper’s Delight” for the first time, he felt like the song spoke to him like no other.\u003c/p>\n\u003cp>“I think that was the first time I felt like the music was mine,” he said. “Before then, I loved the music, but the music was kind of my older brothers and sisters, and I just liked it because it was theirs. This was the one that somebody made just for me.”\u003c/p>\n\u003ch2>Jermaine Dupri\u003c/h2>\n\u003cfigure id=\"attachment_13835189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg\" alt=\"A Black man with a bald head wears sunglasses and a tuxedo on a red carpet. He is holding an award and smiling.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jermaine Dupri at the Songwriters Hall of Fame 49th Annual Induction and Awards Dinner on June 14, 2018 in New York City. \u003ccite>(Gary Gershoff/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jermaine Dupri couldn’t have envisioned his successful career without listening to “Rapper’s Delight” around the age of 10.\u003c/p>\n\u003cp>“I remember the lyrics of the song. I remember it like it was yesterday,” said Dupri, a rap mogul who was inducted into the Songwriters Hall of Fame in 2018. “I just started learning the song. I never knew it was going to take me on this journey.”\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>Find out more about hip-hop history with \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, a KQED Arts & Culture series about the underrecognized influence and background of Bay Area rap.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Sugarhill Gang’s “Rapper’s Delight” looms large as an influence, but it's not the only place these icons found inspiration.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember the first rap song you heard? Some of your favorite rappers and DJs certainly do. While hip-hop celebrates 50 years of life, The Associated Press asked some of the genre’s most popular artists to recall their first memory of hearing rap and how the moment resonated with them.\u003c/p>\n\u003cp>In interviews with more than two dozen hip-hop legends, Queen Latifah, Chuck D, Method Man, E-40 and eight others cited The Sugarhill Gang’s “Rapper’s Delight” as the first rap song they heard. But not all were hooked on the new musical style by that track, and their answers reveal the sense of discovery that marked rap’s early years. (Watch videos of the \u003ca href=\"https://projects.apnews.com/features/2023/hip-hop-50th-in-their-own-words/index.html\">artists describing their early hip-hop influences here\u003c/a>.)\u003c/p>\n\u003cp>Hip-hops roots are traced to 1973 in the Bronx and it took a few years before rap records emerged — “Rapper’s Delight” was a major catalyst for introducing rap music to a much broader audience.\u003c/p>\n\u003cp>Here are the stories of a dozen hip-hop stars who got hooked on the genre around the time “Rapper’s Delight” ruled.\u003c/p>\n\u003ch2>Chuck D\u003c/h2>\n\u003cfigure id=\"attachment_13932754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg\" alt=\"A middle aged Black man clutches a microphone and mic stand and smiles on stage. He is wearing a black t-shirt and black baseball cap.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Public Enemy’s Chuck D performs in Berlin in 2019. \u003ccite>(Frank Hoensch/ Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a sophomore at Adelphi University, Chuck D was about to hit the stage to perform over the melody of Chic’s “Good Times” at a party in October 1979.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At least, that’s what he thought.\u003c/p>\n\u003cp>When he stepped behind the microphone, Chuck D heard a different version of the song. It kept going and going for — 15 minutes straight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I get on the mic to rock the house. Then all of a sudden, I hear words behind me as I’m rockin’. I lipsync. The words keep going. (Expletive) are rockin’ for like 20 minutes,” said Chuck D, a member of the rap group Public Enemy who created “ Fight the Power,” one of hip-hop’s most iconic and important anthems.\u003c/p>\n\u003cp>“After it’s all over, cats are giving me high pounds like ‘You went on and on to the break of dawn dawg,’” he continued. “Back then, it’s about how long you can rap. I went and turned to the DJ and looked at the red label that said ‘Sugarhill Gang ‘Rapper’s Delight.’’ I was like ’Oh, they finally did it.’ They were talking all summer long that rap records were going to happen.”\u003c/p>\n\u003cp>He was stunned: “I was, like, ’It’s inconceivable. How could a rap be a record?′ I couldn’t see it. Nobody could see it. And then when it happened, boom.”\u003c/p>\n\u003ch2>Queen Latifah\u003c/h2>\n\u003cfigure id=\"attachment_13932755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg\" alt=\"A Black woman in an olive green jumpsuit performs on stage. She is holding a microphone up to her mouth.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Latifah performing in Chicago in 2020. \u003ccite>(Kevin Mazur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Queen Latifah, “Rapper’s Delight” was the first rap song she and a lot of others heard and memorized where she grew up in Newark, New Jersey. But the biggest record in her world as a kid was Afrika Bambaattaa and the Soul Sonic Force’s 1982 song “ Planet Rock. ”\u003c/p>\n\u003cp>While the Oscar-nominated actor can be seen chasing bad guys on CBS’ \u003cem>The Equalizer\u003c/em>, many forget her roots as a rapper, with hits like “U.N.I.T.Y.” and “Just Another Day.”\u003c/p>\n\u003cp>“It changed the sound,” she said. “It’s more of a synthesized, 808s, hi-hats. The whole sound of it was different. Some of hip-hop in the original days was live music. It was live bands playing break records. Like ‘Good Times’ was the beat to ‘Rapper’s Delight.’ Some of those records took actual disco records, played the music and rhymed to them.”\u003c/p>\n\u003ch2>E-40\u003c/h2>\n\u003cfigure id=\"attachment_13840957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While heading to school as a seventh grader in 1979, E-40 heard a new rap tune on a local radio station that normally played R&B and soul music in Northern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was “Rapper’s Delight,” which interpolated Chic’s hit “Good Times.” That’s when he knew hip-hop was going to be a part of his life forever.\u003c/p>\n\u003cp>“I was like ‘Ohh, this is hard. I’m hooked,’” said E-40, who recalled the moment while driving to Franklin Middle School in Vallejo, California. He and fellow rapper B-Legit used to sport the same kind of fedora hats and big gold rope chains Run-D.M.C. performed in.\u003c/p>\n\u003cp>“From then on, I loved rap. In 1979, when I first heard The Sugarhill Gang, I wanted to be a rapper. I would play around with it … We grew up on New York rap. All of us did. We wanted to be hip-hop. We wanted to breakdance. We did it all.\u003c/p>\n\u003cp>“But that changed everything after we heard Sugarhill Gang. Next thing you know, you’re hearing Grandmaster Flash and the Furious Five, Kurtis Blow and ‘Roxannne, Roxanne.’”\u003c/p>\n\u003ch2>Lil Jon\u003c/h2>\n\u003cfigure id=\"attachment_13932756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg\" alt=\"A smiling Black man wearing sunglasses, a grey hoodie and blue jeans sits on a couch next to a black wall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Jon backstage before a DJ set at Temple Nightclub in San Francisco, 2016. \u003ccite>(Kelly Sullivan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rapper’s Delight” was probably the first hip-hop song Lil Jon heard. But he became a “super fan” of the genre as a middle schooler in Atlanta after seeing rap groups the Fat Boys and Whodini. It was his first time seeing professional rappers onstage.\u003c/p>\n\u003cp>“I might have been a fan of rap before, but I had never been to a rap concert. I’ve never seen rappers in person,” he said. “Maybe just in the magazines. That turned me into like … a super fan of hip-hop.”\u003c/p>\n\u003cp>The first hip-hop record Lil-Jon bought was Run D.M.C.’s “Sucker M.C.’s (Krush-Groove 1).”\u003c/p>\n\u003cp>“I remembered my homeboy that lived in the neighborhood. I had to go through some woods to his house with the album,” he said. “We put the album on at his house. We were going crazy over listening to lyrics and beats.”\u003c/p>\n\u003ch2>Roxanne Shante\u003c/h2>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roxanne Shante’s first rap experience didn’t come in song form. She was introduced to hip-hop through the late comedian-poet Nipsey Russell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He had the ability to rhyme at any time,” said Shante, a host for SiriusXM’s Rock the Bells Radio. At age 14, she became one of the first female rappers to become popular after her song “Roxanne’s Revenge” and gained more notoriety as a member of the Juice Crew. She also took part in \u003cem>Roxanne Wars\u003c/em>, which was a series of hip-hop rivalries in the mid-1980s.\u003c/p>\n\u003cp>Shante said “Rapper’s Delight” was the record most parents brought into their home as the “party song.” But in her mind, Russell had just as much of an impact.\u003c/p>\n\u003cp>“That would be my first encounter with loving what would become hip-hop,” she continued. “This way of having a certain cadence, this way of being able to do these certain rhymes was just incredible to me … He was able to freestyle all day, every day. And that’s who I am. That’s what I still do today.”\u003c/p>\n\u003ch2>Too Short\u003c/h2>\n\u003cfigure id=\"attachment_13922549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg\" alt=\"a Black man raps into a microphone on a stage with the words 'Too $hort' behind him in blue lights\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-2048x1395.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1920x1308.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short performs during the ‘25th Anniversary of Doggystyle’ tour at Oracle Arena, Oakland. \u003ccite>(Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s 1979. Too Short was around 13 years old. He normally listened to a variety of funk songs ranging from the Ohio Players’ “Love Rollercoaster” and Funkadelic’s “Knee Deep.” Then one day at his father’s house, he heard “Rapper’s Delight” blaring through a stereo system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I was on my funk stuff, then this ‘Rapper’s Delight’ record came out and it was like 15 minutes long,” he recalled. “I’d be at my pop’s house just bumping the loud stereo.”\u003c/p>\n\u003cp>As “Rapper’s Delight” gained momentum in 1980, Too Short gravitated more toward beatboxing. That led him to hit up the local record store where he would buy the latest hip-hop album then blasted it on his radio for anyone to hear in Oakland.\u003c/p>\n\u003cp>“I had to get a radio with two speakers. That was mandatory,” he said. “I was the guy with the radio who was hitting play going ‘You ain’t never heard that before’ … I had the whole room, the whole bus jumping.”\u003c/p>\n\u003ch2>Doug E. Fresh\u003c/h2>\n\u003cfigure id=\"attachment_13932758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg\" alt=\"A Black man raises both his arms in the air and strides forward on stage. He is wearing a white t-shirt, black jacket and black pants. Stage lights beam all around him.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug E. Fresh onstage in New York City in 2023. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hearing “Rapper’s Delight” for the first time changed the trajectory of Doug E. Fresh’s life.\u003c/p>\n\u003cp>“I remember when my sister came home and told me about a guy named D.J. Hollywood, who we considered the first real M.C.,” he said. “She came home and told me about a rap he had. And the rap went, ‘Ding, ding, ding, ding, dong, dong, dong the dang, the dang, dang, dang, the ding dong dong. To the hip hop…’”\u003c/p>\n\u003cp>Fresh then added: “I turned around and said, ‘Teach me that, show me.’ And after that, it’s been me and hip-hop since that point.”\u003c/p>\n\u003ch2>DJ Kid Capri\u003c/h2>\n\u003cfigure id=\"attachment_13932759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg\" alt=\"A mixed race man wearing a black Givenchy t-shirt smiles from behind DJ decks, holding one side of a set of headphones on his head.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kid Capri DJing in Houston in 2023. \u003ccite>(Marcus Ingram/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Kid Capri, arguably one of hip-hop’s most famous DJs in the ‘90s, grew up on soul music. His father was a soul singer. His grandfather played the trumpet. And his uncle, Bill Curtis, was the leader of the Fatback Band — which he says made the first hip-hop single “King Tim III (Personality Jock) ” before “Rapper’s Delight” was released a few months later in 1979.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Capri’s uncle gave him the opportunity to hear a rap song for the first time.\u003c/p>\n\u003cp>“I was right there,” Capri said about the Fatback Band, a funk and disco ensemble who became known for their R&B hits including “(Do the) Spanish Hustle,” “I Like Girls” and “I Found Lovin’.” But it was “King Tim III” that had a strong influence on him — especially since it came from family.\u003c/p>\n\u003cp>“The world thinks ‘Rapper’s Delight’ was the first rap record, but it was ‘Personality Jock,’” he said. “My uncle, he’s my family. He’s the one that did it. So, I’ve always been around it. That’s what made me be so infectious in it, because I’ve seen every level to where I’m at right now. I took all those things important to me on stage right now. When you see me on stage, you can see all those things wrapped up in me.”\u003c/p>\n\u003ch2>Method Man\u003c/h2>\n\u003cfigure id=\"attachment_13932760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg\" alt=\"A muscular Black man, wearing an NY baseball cap, white t-shirt and blue jeans strides across a stage, microphone held up to his open mouth.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1536x1042.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Method Man performing in Atlanta in 2023. \u003ccite>(Prince Williams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, “Rapper’s Delight” was the first-ever rap song Method Man ever heard. But the first hip-hop song that really resonated with him was Run-D.M.C.’s “ Sucker MCs (Krush-Groove 1 ).”\u003c/p>\n\u003cp>“I had never heard this record and I thought I was up on everything at the time,” Method Man said of the 1983 song, which proceeded Run-D.M.C.’s first single “It’s Like That” from their self-titled album. He said “Sucker MCs” helped pave a way to usher in a new school of hip-hop artists.\u003c/p>\n\u003cp>“We were on a sixth-grade class trip to Long Island, and everybody was singing it word-for-word,” the \u003cem>Power Book II: Ghost\u003c/em> actor remembered. “They must have played that record 24 times on our class trip.”\u003c/p>\n\u003ch2>Big Daddy Kane\u003c/h2>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932671\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg\" alt=\"Close-up image of a Black man wearing a white shirt and rapping into a microphone on stage.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane performing in 2015. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around age 12, Big Daddy Kane might not have remembered all of his homework assignments, but he certainly could recite every lyric to the late Jimmy Spicer’s 1980 song “Adventures of Super Rhymes,” one of hip-hop’s first songs recorded in a studio.\u003c/p>\n\u003cp>Kane heard “Rapper’s Delight” first, but Spicer’s storytelling on the 15-minute song resonated with him the most.\u003c/p>\n\u003cp>“When this song came out, just the way Jimmy Spicer was styling on them and telling the story about Dracula and a story about Aladdin, I thought it was real slick,” he said.\u003c/p>\n\u003ch2>DJ Jazzy Jeff\u003c/h2>\n\u003cfigure id=\"attachment_13932448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg\" alt=\"A Black man wearing a white t-shirt and gold and white striped hat.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazzy Jeff DJs on stage.\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Jazzy Jeff always had an affinity for music. But when the \u003cem>Fresh Prince of Bel-Air\u003c/em> star heard “Rapper’s Delight” for the first time, he felt like the song spoke to him like no other.\u003c/p>\n\u003cp>“I think that was the first time I felt like the music was mine,” he said. “Before then, I loved the music, but the music was kind of my older brothers and sisters, and I just liked it because it was theirs. This was the one that somebody made just for me.”\u003c/p>\n\u003ch2>Jermaine Dupri\u003c/h2>\n\u003cfigure id=\"attachment_13835189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg\" alt=\"A Black man with a bald head wears sunglasses and a tuxedo on a red carpet. He is holding an award and smiling.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jermaine Dupri at the Songwriters Hall of Fame 49th Annual Induction and Awards Dinner on June 14, 2018 in New York City. \u003ccite>(Gary Gershoff/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jermaine Dupri couldn’t have envisioned his successful career without listening to “Rapper’s Delight” around the age of 10.\u003c/p>\n\u003cp>“I remember the lyrics of the song. I remember it like it was yesterday,” said Dupri, a rap mogul who was inducted into the Songwriters Hall of Fame in 2018. “I just started learning the song. I never knew it was going to take me on this journey.”\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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"title": "Lizzo Says Hostile Work Environment Allegations Against Her Are ‘Unbelievable’",
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"content": "\u003cp>Three professional dancers filed a lawsuit against \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo \u003c/a>for allegedly creating a hostile work environment, but she says the allegations are “sensationalized stories” by former employees who acted unprofessionally on tour.\u003c/p>\n\u003cp>[aside postid='arts_13930886']Lizzo’s former dancers, Arianna Davis, Crystal Williams and Noelle Rodriguez filed a total of nine charges against the Grammy-winning artist and her team spanning from May 2021 to May 2023. During that time the dancers were “weight-shamed, forced to endure sexually denigrating behavior and preaching about sexuality and Christianity, and were pressured into participating in disturbing sex shows,” according a statement from West Coast Employment Lawyers, who are representing the plaintiffs.\u003c/p>\n\u003cp>“The stunning nature of how Lizzo and her management team treated their performers seems to go against everything Lizzo stands for publicly, while privately she weight-shames her dancers and demeans them in ways that are not only illegal but absolutely demoralizing,” WCEL attorney Ron Zambrano said in a statement.\u003c/p>\n\u003cp>Lizzo, a four-time Grammy-winning artist who long has been known as a backer of \u003ca href=\"https://www.npr.org/2019/05/23/725704911/lizzo-on-feminism-self-love-and-bringing-hallelujah-moments-to-stage\">body positivity and self-love\u003c/a>, responded to the allegations made against her over X Corp, the social media platform formerly known as Twitter, on Thursday morning.\u003c/p>\n\u003cp>https://twitter.com/lizzo/status/1687061460550316032\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My work ethic, morals and respectfulness have been questioned. My character has been criticized,” Lizzo writes. “Usually I choose not to respond to false allegations but these are as unbelievable as they sound and too outrageous not to be addressed.”\u003c/p>\n\u003cp>She writes that the former employees have publicly admitted that their behavior on tour was “inappropriate and unprofessional,” and that she takes her music and performances seriously, which comes with high standards.\u003c/p>\n\u003cp>[aside postid='news_11921799']“Sometimes I have to make hard decisions but it’s never my intention to make anyone feel uncomfortable or like they aren’t valuable as an important part of the team,” she writes.\u003c/p>\n\u003cp>Citing her own experiences with body shaming, Lizzo denies criticizing or firing an employee because of their weight. She also doubles down on her position as a champion for women, saying there is nothing she takes more seriously.\u003c/p>\n\u003cp>In response, Zambrano wrote in a statement that Lizzo had failed her own brand and let down her fans.\u003c/p>\n\u003cp>“Her denial of this reprehensible behavior only adds to our clients’ emotional distress,” Zambrano writes. “While Lizzo notes it was never her intention ‘to make anyone feel uncomfortable,’ that is exactly what she did to the point of demoralizing her dancers and flagrantly violating the law.”\u003c/p>\n\u003cp>The lawsuit alleges Lizzo, her production company Big Grrrl Big Touring Inc., and the captain of her dance team, Shirlene Quigley, created an “intolerable” hostile work environment which includes, but is not limited to, “Defendants’ repeated exposure of Plaintiffs to nudity against their will, and pervasive habit of sharing lewd fantasies and tales of sexual encounters.”\u003c/p>\n\u003cp>The documents detail one occasion where Lizzo allegedly pressured Davis, Rodriguez and Williams — and the rest of her employees — to engage with nude performers in Amsterdam’s red-light district, in which Davis repeatedly said she didn’t want to and was “hounded” by Lizzo as a result.\u003c/p>\n\u003cp>One of the complaints alleges that Lizzo aggressively confronted Rodriguez, who was resigning because of how the pop star had treated Davis. The complaint alleges Lizzo stormed toward the dancer balling her hands into fists and cracking her knuckles while shouting profanities. Lizzo was restrained, according to the court documents, but Rodriguez feared Lizzo was going to attack her.\u003c/p>\n\u003cp>[aside postid='arts_13928974']Another charge accuses Lizzo of falsely imprisoning Davis in a room, keeping her there against her will until she allowed tour staff to search her phone and iCloud storage.\u003c/p>\n\u003cp>Two of the plaintiffs, Davis and Williams, first met Lizzo in March 2021, while competing as contestants on the reality TV show, \u003cem>Lizzo’s Watch Out for the Big Grrrls\u003c/em>, for a chance to join the star’s live shows. Rodriguez was hired in May 2021, as a dancer for Lizzo’s “Rumors” music video and stayed on with the dance team.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Davis and Williams were eventually fired, but Rodriguez resigned citing Lizzo’s behavior, according to the WCEL statement.\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=Lizzo+says+hostile+work+environment+allegations+against+her+are+%27unbelievable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lizzo’s former dancers, Arianna Davis, Crystal Williams and Noelle Rodriguez filed a total of nine charges against the Grammy-winning artist and her team spanning from May 2021 to May 2023. During that time the dancers were “weight-shamed, forced to endure sexually denigrating behavior and preaching about sexuality and Christianity, and were pressured into participating in disturbing sex shows,” according a statement from West Coast Employment Lawyers, who are representing the plaintiffs.\u003c/p>\n\u003cp>“The stunning nature of how Lizzo and her management team treated their performers seems to go against everything Lizzo stands for publicly, while privately she weight-shames her dancers and demeans them in ways that are not only illegal but absolutely demoralizing,” WCEL attorney Ron Zambrano said in a statement.\u003c/p>\n\u003cp>Lizzo, a four-time Grammy-winning artist who long has been known as a backer of \u003ca href=\"https://www.npr.org/2019/05/23/725704911/lizzo-on-feminism-self-love-and-bringing-hallelujah-moments-to-stage\">body positivity and self-love\u003c/a>, responded to the allegations made against her over X Corp, the social media platform formerly known as Twitter, on Thursday morning.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Sometimes I have to make hard decisions but it’s never my intention to make anyone feel uncomfortable or like they aren’t valuable as an important part of the team,” she writes.\u003c/p>\n\u003cp>Citing her own experiences with body shaming, Lizzo denies criticizing or firing an employee because of their weight. She also doubles down on her position as a champion for women, saying there is nothing she takes more seriously.\u003c/p>\n\u003cp>In response, Zambrano wrote in a statement that Lizzo had failed her own brand and let down her fans.\u003c/p>\n\u003cp>“Her denial of this reprehensible behavior only adds to our clients’ emotional distress,” Zambrano writes. “While Lizzo notes it was never her intention ‘to make anyone feel uncomfortable,’ that is exactly what she did to the point of demoralizing her dancers and flagrantly violating the law.”\u003c/p>\n\u003cp>The lawsuit alleges Lizzo, her production company Big Grrrl Big Touring Inc., and the captain of her dance team, Shirlene Quigley, created an “intolerable” hostile work environment which includes, but is not limited to, “Defendants’ repeated exposure of Plaintiffs to nudity against their will, and pervasive habit of sharing lewd fantasies and tales of sexual encounters.”\u003c/p>\n\u003cp>The documents detail one occasion where Lizzo allegedly pressured Davis, Rodriguez and Williams — and the rest of her employees — to engage with nude performers in Amsterdam’s red-light district, in which Davis repeatedly said she didn’t want to and was “hounded” by Lizzo as a result.\u003c/p>\n\u003cp>One of the complaints alleges that Lizzo aggressively confronted Rodriguez, who was resigning because of how the pop star had treated Davis. The complaint alleges Lizzo stormed toward the dancer balling her hands into fists and cracking her knuckles while shouting profanities. Lizzo was restrained, according to the court documents, but Rodriguez feared Lizzo was going to attack her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Another charge accuses Lizzo of falsely imprisoning Davis in a room, keeping her there against her will until she allowed tour staff to search her phone and iCloud storage.\u003c/p>\n\u003cp>Two of the plaintiffs, Davis and Williams, first met Lizzo in March 2021, while competing as contestants on the reality TV show, \u003cem>Lizzo’s Watch Out for the Big Grrrls\u003c/em>, for a chance to join the star’s live shows. Rodriguez was hired in May 2021, as a dancer for Lizzo’s “Rumors” music video and stayed on with the dance team.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Davis and Williams were eventually fired, but Rodriguez resigned citing Lizzo’s behavior, according to the WCEL statement.\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=Lizzo+says+hostile+work+environment+allegations+against+her+are+%27unbelievable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Passion and Love Get Messy in Ira Sachs’ Smoldering ‘Passages’",
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"content": "\u003cp>If you’ve been wondering where all the sex has gone from the movies, you’re in luck: The new film \u003cem>Passages\u003c/em> does not hold back in depicting the fresh passion of a love affair.\u003c/p>\n\u003cp>But \u003cem>Passages\u003c/em> should really come with a warning, and not because of its realistic illustrations of queer and heterosexual intimacy, which got the film slapped with an NC-17 rating. (Its distributor, MUBI, opted instead to release it in theaters as unrated.) No, \u003cem>Passages\u003c/em> should come with a warning for its brutal honesty about the intoxicating haze of a new relationship and all its casualties.\u003c/p>\n\u003cp>[aside postid='arts_13932204']At least it’s fun and dangerous at the start (aren’t they all, though). Directed by Ira Sachs, working again with his co-writer Mauricio Zacharias, \u003cem>Passages\u003c/em> is centered on Tomas (Franz Rogowski), a German living in France with his English husband Martin (Ben Whishaw), who begins an affair with a French woman, Agathe (Adèle Exarchopoulos).\u003c/p>\n\u003cp>Tomas is a film director. We’re introduced to him micromanaging actors in a scene. He does not seem to be the kind who might resort to yelling at or berating those around him, but his insistence on controlling things and having them exactly how he wants them to be is not insignificant.\u003c/p>\n\u003cp>Like many directors before him, Tomas carries these expectations with him into his real life and relationships. At the wrap party, Martin doesn’t feel like dancing with Tomas, but Agathe, fresh out of her own relationship does. Later that night, they end up in bed and Tomas bikes home the next day to tell his husband how exciting it was to sleep with a woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hvZmaePBSRw\u003c/p>\n\u003cp>\u003cem>Passages\u003c/em>, many have noted, has a very European sensibility despite being directed by an American. Gender preferences aren’t etched in stone (nor do they require any discussion or explanation). Fidelity and monogamy aren’t the biggest deal. Wine isn’t just for the evening. And mesh shirts and crop tops aren’t just for the club (shoutout to Khadija Zeggaï’s vibrant, edgy costume design).\u003c/p>\n\u003cp>But even the most enlightened of young people still have feelings that can get hurt, despite their intellectual rejection of traditional social mores. Later in the film, Tomas sits down for an excruciatingly awkward dinner with Agathe’s parents who ask him about his intentions with their daughter and his plans.\u003c/p>\n\u003cp>[aside postid='arts_13931951']Tomas is immediately defensive and hostile to the line of questioning. And while you can see both sides, as in many instances in \u003cem>Passages\u003c/em>, Tomas comes off the worst. He’s so consumed with his own needs and pursuits that he can’t for a moment step outside of himself into anyone else’s shoes. When rejection comes from one place, he’s learned he can find quick solace elsewhere. Is he knowingly manipulative or just following his heart at all costs or some bewildering combination of the two? That is up to the viewer to decide, but the wreckage he leaves in his wake is real.\u003c/p>\n\u003cp>The trio of actors are wonderfully chaotic and all empathetic in their own way. But Whishaw is particularly excellent as one of the poor souls swept up in Tomas’ cyclone. Martin is on his own journey of discovery, learning for himself what he’s willing to tolerate in the name of love and when too much is just too much. Agathe is a bit more underdrawn which can be frustrating — she’s sometimes more object and foil than actual character. In one of the few scenes she’s depicted without Tomas, she’s being grilled by her young students about her dating life. But Exarchopoulos still brings depth and substance that may not be on the page.\u003c/p>\n\u003cp>Some have likened \u003cem>Passages\u003c/em> to a horror movie (though aren’t all coming of age movies horrors in some way?) Regardless, it would make a fitting double feature with \u003ca href=\"https://www.kqed.org/arts/13931951\">Christian Petzold’s \u003cem>Afire\u003c/em>\u003c/a>. They are both films that let you dabble in the feeling of having had a semester abroad, tumultuous feelings and all, without all the actual emotional fallout or jetlag.\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>‘Passages’ is released nationwide on Aug. 4, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been wondering where all the sex has gone from the movies, you’re in luck: The new film \u003cem>Passages\u003c/em> does not hold back in depicting the fresh passion of a love affair.\u003c/p>\n\u003cp>But \u003cem>Passages\u003c/em> should really come with a warning, and not because of its realistic illustrations of queer and heterosexual intimacy, which got the film slapped with an NC-17 rating. (Its distributor, MUBI, opted instead to release it in theaters as unrated.) No, \u003cem>Passages\u003c/em> should come with a warning for its brutal honesty about the intoxicating haze of a new relationship and all its casualties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At least it’s fun and dangerous at the start (aren’t they all, though). Directed by Ira Sachs, working again with his co-writer Mauricio Zacharias, \u003cem>Passages\u003c/em> is centered on Tomas (Franz Rogowski), a German living in France with his English husband Martin (Ben Whishaw), who begins an affair with a French woman, Agathe (Adèle Exarchopoulos).\u003c/p>\n\u003cp>Tomas is a film director. We’re introduced to him micromanaging actors in a scene. He does not seem to be the kind who might resort to yelling at or berating those around him, but his insistence on controlling things and having them exactly how he wants them to be is not insignificant.\u003c/p>\n\u003cp>Like many directors before him, Tomas carries these expectations with him into his real life and relationships. At the wrap party, Martin doesn’t feel like dancing with Tomas, but Agathe, fresh out of her own relationship does. Later that night, they end up in bed and Tomas bikes home the next day to tell his husband how exciting it was to sleep with a woman.\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/hvZmaePBSRw'\n title='//www.youtube.com/embed/hvZmaePBSRw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Passages\u003c/em>, many have noted, has a very European sensibility despite being directed by an American. Gender preferences aren’t etched in stone (nor do they require any discussion or explanation). Fidelity and monogamy aren’t the biggest deal. Wine isn’t just for the evening. And mesh shirts and crop tops aren’t just for the club (shoutout to Khadija Zeggaï’s vibrant, edgy costume design).\u003c/p>\n\u003cp>But even the most enlightened of young people still have feelings that can get hurt, despite their intellectual rejection of traditional social mores. Later in the film, Tomas sits down for an excruciatingly awkward dinner with Agathe’s parents who ask him about his intentions with their daughter and his plans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tomas is immediately defensive and hostile to the line of questioning. And while you can see both sides, as in many instances in \u003cem>Passages\u003c/em>, Tomas comes off the worst. He’s so consumed with his own needs and pursuits that he can’t for a moment step outside of himself into anyone else’s shoes. When rejection comes from one place, he’s learned he can find quick solace elsewhere. Is he knowingly manipulative or just following his heart at all costs or some bewildering combination of the two? That is up to the viewer to decide, but the wreckage he leaves in his wake is real.\u003c/p>\n\u003cp>The trio of actors are wonderfully chaotic and all empathetic in their own way. But Whishaw is particularly excellent as one of the poor souls swept up in Tomas’ cyclone. Martin is on his own journey of discovery, learning for himself what he’s willing to tolerate in the name of love and when too much is just too much. Agathe is a bit more underdrawn which can be frustrating — she’s sometimes more object and foil than actual character. In one of the few scenes she’s depicted without Tomas, she’s being grilled by her young students about her dating life. But Exarchopoulos still brings depth and substance that may not be on the page.\u003c/p>\n\u003cp>Some have likened \u003cem>Passages\u003c/em> to a horror movie (though aren’t all coming of age movies horrors in some way?) Regardless, it would make a fitting double feature with \u003ca href=\"https://www.kqed.org/arts/13931951\">Christian Petzold’s \u003cem>Afire\u003c/em>\u003c/a>. They are both films that let you dabble in the feeling of having had a semester abroad, tumultuous feelings and all, without all the actual emotional fallout or jetlag.\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>‘Passages’ is released nationwide on Aug. 4, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt",
"title": "Tributes to Angus Cloud Pour in From Oakland",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>[aside postid='arts_13932452']Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Zendaya, Kehlani, Kev Choice and More Remember Angus Cloud | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Teenage Mutant Ninja Turtles Are Back, and Maybe Better Than Ever",
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"content": "\u003cp>There are some good gags and clever innovations in the animated \u003cem>Teenage Mutant Ninja Turtles: Mutant Mayhem\u003c/em>, but there is one brilliant idea: casting Ice Cube as the voice of the movie’s mutant insect supervillain Super Fly.\u003c/p>\n\u003cp>It might have once been hard to foresee the value of having the emcee who rapped of “dropping bombs on your moms” as the MVP of a PG-rated kids movie. But we’re now up to the seventh \u003cem>Teenage Mutant Ninja Turtles\u003c/em> film, not counting all the series and videogames. That’s a lot of movies for a bit of IP that’s clung more firmly to lunch boxes than it has to pop culture. For the turtles, it was getting to be time to either, as Ice Cube would say, “chickity-check yo’ self” or try something new.\u003c/p>\n\u003cp>[aside postid='arts_13931753']\u003cem>Mutant Mayhem\u003c/em>, which opens in theaters Wednesday, can’t entirely get over the feeling of trodding over well-covered turtle ground. But if we must go once more into the ooze, the film by director Jeff Rowe (co-director of \u003cem>The Mitchells vs. the Machines\u003c/em>) and co-written by co-producers Seth Rogen and Evan Goldberg, is probably the best of a not-so-stellar franchise. It’s certainly the one most invested with that “teenage” part of the turtles’ name. Plus, it’s got Ice Cube as a fly who quotes from the O’Jays.\u003c/p>\n\u003cp>The animation is vividly textured, the beat is persistently hip-hop (Lauryn Hill, De La Soul, Ol’ Dirty Bastard and others pack the electronic score by Trent Reznor and Atticus Ross) and the New York of the film is impressively detailed. But the most important twist to this \u003cem>Teenage Mutant Ninja Turtles\u003c/em> iteration may be diving into the teenage-ness of its 15-year-old turtles.\u003c/p>\n\u003cp>If \u003cem>Barbi\u003c/em>e was balanced between Greta Gerwig’s childhood memories and her adult feminism, \u003cem>Mutant Mayhem\u003c/em> gives itself over more fully to the mindset of adolescence. That’s in the gross-out humor and the comic book-like feel of the animation. But these are also recognizable teenagers who watch movies (\u003cem>Ferris Bueller’s Day Off\u003c/em>), pine for concert tickets and make goofy phone videos of themselves slicing watermelons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JhXRNRmuYcc\u003c/p>\n\u003cp>What Donatello (Micah Abbey), Michelangelo (Shamon Brown Jr.), Leonardo (Nicolas Cantu) and Raphael (Brady Noon) really want is to fit in and go to high school like other teens. They have been relegated to the sewer ever since Splinter, a rat voiced by Jackie Chan, happened upon them after they were exposed as hatchlings to the same ooze that spawned Super Fly — who himself was the product of experiments by scientist Baxter Stockman (Giancarlo Esposito, fated to dubious laboratories).\u003c/p>\n\u003cp>Splinter has much the same opinion of the majority of the rats in \u003cem>Ratatouille\u003c/em>: Humans can’t be trusted. (Splinter’s particular fear is that they will “milk” him.) So the turtles have grown up underground, a little like the homeschooled family of \u003cem>The Wolfpack\u003c/em>, while yearning for the wider world.\u003c/p>\n\u003cp>[aside postid='arts_13932259']They find a hint of it with a high-school journalist named April O’Neil (Ayo Edebiri), who wants to document, and thus prove to humankind, their decency. At the same, the turtles meet the charismatic Super Fly (voiced with bombastic aplomb by Ice Cube) and his band of mutants. At first, they’re fast-friends — “cousins,” Super Fly says — but the turtles then start hearing of Super Fly’s plans to turn all animals into mutants and eradicate the world of humans.\u003c/p>\n\u003cp>“Peoples, they got to go,” chimes one mutant.\u003c/p>\n\u003cp>Some of the thunder of \u003cem>Mutant Mayhem\u003c/em> has been stolen by \u003cem>Into the Spider-Verse\u003c/em> and this year’s \u003cem>Across the Spider-Verse\u003c/em> — films that likewise upend the typical look of studio animation and do it with a pulsing soundtrack; but they did it more eclectically.\u003c/p>\n\u003cp>Yet this \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, while a half shell of those films, has its own low-key charms. It’s goofier, grosser and mostly fun. The four turtles are never more than a hard-to-differentiate bale of overlapping dialogue of doubt and anxiety. But that first word in their name finally feels genuine. Seven films in, it’s only right that Donatello, Michelangelo, Leonardo and Raphael should get a renaissance.\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>‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is out nationwide on August 2, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are some good gags and clever innovations in the animated \u003cem>Teenage Mutant Ninja Turtles: Mutant Mayhem\u003c/em>, but there is one brilliant idea: casting Ice Cube as the voice of the movie’s mutant insect supervillain Super Fly.\u003c/p>\n\u003cp>It might have once been hard to foresee the value of having the emcee who rapped of “dropping bombs on your moms” as the MVP of a PG-rated kids movie. But we’re now up to the seventh \u003cem>Teenage Mutant Ninja Turtles\u003c/em> film, not counting all the series and videogames. That’s a lot of movies for a bit of IP that’s clung more firmly to lunch boxes than it has to pop culture. For the turtles, it was getting to be time to either, as Ice Cube would say, “chickity-check yo’ self” or try something new.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Mutant Mayhem\u003c/em>, which opens in theaters Wednesday, can’t entirely get over the feeling of trodding over well-covered turtle ground. But if we must go once more into the ooze, the film by director Jeff Rowe (co-director of \u003cem>The Mitchells vs. the Machines\u003c/em>) and co-written by co-producers Seth Rogen and Evan Goldberg, is probably the best of a not-so-stellar franchise. It’s certainly the one most invested with that “teenage” part of the turtles’ name. Plus, it’s got Ice Cube as a fly who quotes from the O’Jays.\u003c/p>\n\u003cp>The animation is vividly textured, the beat is persistently hip-hop (Lauryn Hill, De La Soul, Ol’ Dirty Bastard and others pack the electronic score by Trent Reznor and Atticus Ross) and the New York of the film is impressively detailed. But the most important twist to this \u003cem>Teenage Mutant Ninja Turtles\u003c/em> iteration may be diving into the teenage-ness of its 15-year-old turtles.\u003c/p>\n\u003cp>If \u003cem>Barbi\u003c/em>e was balanced between Greta Gerwig’s childhood memories and her adult feminism, \u003cem>Mutant Mayhem\u003c/em> gives itself over more fully to the mindset of adolescence. That’s in the gross-out humor and the comic book-like feel of the animation. But these are also recognizable teenagers who watch movies (\u003cem>Ferris Bueller’s Day Off\u003c/em>), pine for concert tickets and make goofy phone videos of themselves slicing watermelons.\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/JhXRNRmuYcc'\n title='//www.youtube.com/embed/JhXRNRmuYcc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What Donatello (Micah Abbey), Michelangelo (Shamon Brown Jr.), Leonardo (Nicolas Cantu) and Raphael (Brady Noon) really want is to fit in and go to high school like other teens. They have been relegated to the sewer ever since Splinter, a rat voiced by Jackie Chan, happened upon them after they were exposed as hatchlings to the same ooze that spawned Super Fly — who himself was the product of experiments by scientist Baxter Stockman (Giancarlo Esposito, fated to dubious laboratories).\u003c/p>\n\u003cp>Splinter has much the same opinion of the majority of the rats in \u003cem>Ratatouille\u003c/em>: Humans can’t be trusted. (Splinter’s particular fear is that they will “milk” him.) So the turtles have grown up underground, a little like the homeschooled family of \u003cem>The Wolfpack\u003c/em>, while yearning for the wider world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They find a hint of it with a high-school journalist named April O’Neil (Ayo Edebiri), who wants to document, and thus prove to humankind, their decency. At the same, the turtles meet the charismatic Super Fly (voiced with bombastic aplomb by Ice Cube) and his band of mutants. At first, they’re fast-friends — “cousins,” Super Fly says — but the turtles then start hearing of Super Fly’s plans to turn all animals into mutants and eradicate the world of humans.\u003c/p>\n\u003cp>“Peoples, they got to go,” chimes one mutant.\u003c/p>\n\u003cp>Some of the thunder of \u003cem>Mutant Mayhem\u003c/em> has been stolen by \u003cem>Into the Spider-Verse\u003c/em> and this year’s \u003cem>Across the Spider-Verse\u003c/em> — films that likewise upend the typical look of studio animation and do it with a pulsing soundtrack; but they did it more eclectically.\u003c/p>\n\u003cp>Yet this \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, while a half shell of those films, has its own low-key charms. It’s goofier, grosser and mostly fun. The four turtles are never more than a hard-to-differentiate bale of overlapping dialogue of doubt and anxiety. But that first word in their name finally feels genuine. Seven films in, it’s only right that Donatello, Michelangelo, Leonardo and Raphael should get a renaissance.\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>‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is out nationwide on August 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Open the Pod Bay Door, HAL’ — Here’s How AI Became a Movie Villain",
"headTitle": "‘Open the Pod Bay Door, HAL’ — Here’s How AI Became a Movie Villain | KQED",
"content": "\u003cp>This article was written by a human.\u003c/p>\n\u003cp>That’s worth mentioning because it’s no longer something you can just assume. Artificial intelligence that can mimic conversation, whether written or spoken, has been in the news a lot this year, delighting some members of the public while worrying educators, politicians, the World Health Organization, and even some of the people developing AI technology.\u003c/p>\n\u003cp>Misuse of AI is part of what actors and writers are striking about in Hollywood, and the threat of AI is something Hollywood was imagining long before it was real.\u003c/p>\n\u003cp>[aside postid='arts_13928253']In 1968, for instance, the year before humans first set foot on the moon — and a time when astronauts still used pencils and slide rules to calculate re-entry trajectories because their space capsules had less computing power than a digital watch has today — Stanley Kubrick introduced movie audiences to a sentient HAL-9000 computer in \u003cem>2001: A Space Odyssey\u003c/em>.\u003c/p>\n\u003cp>HAL (for Heuristically Programmed Algorithmic Computer) introduced itself early in the film by saying, “No 9000 computer has ever made a mistake or distorted information. We are all, by any practical definition of the words, foolproof and incapable of error.”\u003c/p>\n\u003ch3>‘Open the pod bay door, HAL’\u003c/h3>\n\u003cp>So why was HAL acting so strangely? He (it?) was responsible for maintaining all aspects of a months-long space flight, ferrying astronauts to the moons of Jupiter. Programmed to run the mission flawlessly, the computer’s behavior had become alarming, and two of the astronauts had decided to shut down some of its functions. Their plan was short-circuited when HAL, lip-reading a conversation they’d managed to keep him from hearing, cast one of them adrift while he was outside the ship repairing an antenna and refused to let the other back on board.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NqCCubrky00\u003c/p>\n\u003cp>“Open the pod bay door, HAL” became one of the most quoted film lines of the decade when the computer responded, “I’m sorry, Dave, I’m afraid I can’t do that. This mission is too important for me to allow you to jeopardize it.”\u003c/p>\n\u003cp>It’s hard to articulate what a genuine shock this was for 1960s movie audiences. There’d been films with, say, robots causing havoc, but they were generally robots doing someone else’s bidding. Movie robots, at that point, were about brawn, not brain.\u003c/p>\n\u003cp>And anyway, malevolent robot stories were precisely the sort of B-movie silliness Kubrick was trying to avoid. So his intelligent machine simply observed (with an unblinking red eye) and, when addressed directly, spoke with a calm, modulated voice, not unlike the one that would be adopted four decades later by Siri and Alexa.\u003c/p>\n\u003ch3>Darwin Among the Machines\u003c/h3>\n\u003cp>Earlier literary notions of “artificial” intelligence — and there were not a lot of them at that point — hadn’t really caught the public’s imagination. Samuel Butler’s 1863 article \u003ca href=\"https://nzetc.victoria.ac.nz/tm/scholarly/tei-ButFir-t1-g1-t1-g1-t4-body.html\">\u003cem>Darwin Among the Machines,\u003c/em>\u003c/a> is generally thought to be the origin of this species of writing, and it mostly just notes that while humankind invented machines to assist us — and remember, a really sophisticated machine in 1863 was the steam locomotive — we were increasingly assisting them: tending, fueling, repairing.\u003c/p>\n\u003cp>[aside postid='arts_13914834']Over tens of thousands of years, Butler wondered, might humans not evolve in much the same way Darwin’s study of natural selection had just established the rest of the plant and animal kingdoms do, to the point that we would become dependent on our devices?\u003c/p>\n\u003cp>But even when he incorporated that idea a decade later into a satirical novel called \u003ca href=\"https://www.gutenberg.org/files/1906/1906-h/1906-h.htm\">\u003cem>Erewhon\u003c/em>,\u003c/a> expounding for several chapters on self-replicating machines, Butler barely touched on the notion that those machines would develop consciousness. And neither did the influential 19th-century science fiction writers who followed him. H.G. Wells and Jules Verne invented plenty of unorthodox devices as they sent characters to the center of the Earth, and into space and the recesses of time, without ever considering that those devices might want to do things on their own.\u003c/p>\n\u003cp>The term “artificial intelligence” wasn’t even coined (by American computer scientist John McCarthy) until about a dozen years before Kubrick made his \u003cem>Space Odyssey\u003c/em>. But HAL made an impression on the public where scientists had not. Within just a couple of years, movie computers didn’t just want spaceship domination; in \u003cem>Colossus: The Forbin Project\u003c/em> (1970), they wanted to take over the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kyOEwiQhzMI\u003c/p>\n\u003ch3>Malignant machines gone viral\u003c/h3>\n\u003cp>And then this notion of technology-run-wild, ran wild. A high school student played by Matthew Broderick nearly started World War III in \u003cem>WarGames\u003c/em> (1983) when he thought he was hacking a computer company but accidentally challenged the Pentagon’s defense network to a quick game of “global thermonuclear war.” The problem, it soon became clear, was that no one told the defense network they were just “playing.”\u003c/p>\n\u003cp>Elsewhere, mechanical men stopped being all-brawn and got a new dispensation to think for themselves, something fiction had granted them before Hollywood got around to it.\u003c/p>\n\u003cp>In the 1940s\u003cstrong>,\u003c/strong> sci-fi novelist Isaac Asimov came up with\u003ca href=\"https://www.britannica.com/topic/Three-Laws-of-Robotics\"> “Three Laws of Robotics”\u003c/a> that would theoretically keep “independent” machines in line. When Asimov’s story \u003cem>I, Robot,\u003c/em> was turned into a film a half-century or so later, those laws should have reassured Will Smith as he stared down thousands of bots. But he had good reason to be skeptical; he was fighting a robot rebellion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s0f3JeDVeEo\u003c/p>\n\u003cp>The \u003cem>Terminator\u003c/em> movies effectively put all these themes on steroids — cyborgs in the service of a computerized, sentient, civil-defense network called Skynet, designed to function without any human input. A “Nuclear Fire” and three billion human deaths later, what was left of humanity was engaged in a war against the machines that has so far consumed six films, a TV series, a pair of web series, and innumerable games.\u003c/p>\n\u003cp>And nuclear blasts weren’t necessary to make machine intelligence alarming, a fact cyberpunk-noir established definitively in \u003cem>Blade Runner\u003c/em> with its “replicants,” and in a \u003cem>Matrix\u003c/em> series that reduced all of humanity to a mere power source for machines.\u003c/p>\n\u003cp>[aside postid='arts_13928457']Hollywood’s still fighting that vision. Who knows what “The Entity” wants in \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">\u003cem>Mission Impossible: Dead Reckoning\u003c/em>\u003c/a> (presumably we’ll find out next year in Part Two), but whatever it is, it won’t bode well for humanity.\u003c/p>\n\u003cp>It seems not to have occurred to Tinseltown that AI might do the things it’s actually doing — make social media dangerous, or make undergrad writing courses unteachable, or screw up relationships by auto-completing incorrectly. None of those are terribly cinematic, so Hollywood concentrates on exploiting our fears — in the late 20th century, we worried about ceding control \u003cem>to\u003c/em> technology. In the 21st century, we worry about losing control \u003cem>of\u003c/em> technology.\u003c/p>\n\u003ch3>Bring on the droids\u003c/h3>\n\u003cp>Have there also been friendlier film visions of AI? Sure. George Lucas came up with lovable droids R2-D2 and C-3PO for \u003cem>Star Wars, \u003c/em>and Pixar gave us \u003cem>Wall-E\u003c/em>, a bot who was pluckily determined to clean up an entire planet we’d despoiled.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dJTU48_yghs\u003c/p>\n\u003cp>Spike Jonze’s drama\u003ca href=\"https://www.npr.org/2014/01/06/260147073/the-unreal-her\"> \u003cem>Her\u003c/em> \u003c/a>imagined a sentient, Siri-like personal assistant as a digital girlfriend. \u003cem>Star Trek\u003c/em>‘s Data was not just a \u003cem>Next Generation\u003c/em> android version of Mr. Spock, but also a sort of emotion-challenged Pinocchio.\u003c/p>\n\u003cp>And another Pinocchio — this one fashioned to stand the test of time — would have been Stanley Kubrick’s own answer to the question he’d posed with HAL in 1968.\u003c/p>\n\u003cp>[aside postid='arts_13931833']Kubrick labored for decades to hone the script for \u003cem>A.I. Artificial Intelligence\u003c/em>, then just two years before he died, handed the project off to Steven Spielberg — the story of David, a robot child who has been programmed to love, and who ends up going beyond that programming.\u003c/p>\n\u003cp>“Until you were born,” William Hurt’s Professor Hobby told the bionic child he’d modeled on his own son, “robots didn’t dream, robots didn’t desire unless we told them what to want.” The miracle, he went on, was that though David was engineered rather than born, he shared with humans “the ability to chase down our dreams … something no machine has ever done, until you.”\u003c/p>\n\u003cp>That may not have been enough to make David a real boy, but it put a gentle face on what is perhaps our greatest fear about AI — that we are mortal, and it is not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_19pRsZRiz4\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the film, David outlives all of humanity, never growing up, never changing. And perhaps because he was played by Haley Joel Osment, or perhaps because Spielberg was calling the shots, or perhaps because the music swelled … just so — it didn’t feel the least bit threatening.\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=%27Open+the+pod+bay+door%2C+HAL%27+%E2%80%94+here%27s+how+AI+became+a+movie+villain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This article was written by a human.\u003c/p>\n\u003cp>That’s worth mentioning because it’s no longer something you can just assume. Artificial intelligence that can mimic conversation, whether written or spoken, has been in the news a lot this year, delighting some members of the public while worrying educators, politicians, the World Health Organization, and even some of the people developing AI technology.\u003c/p>\n\u003cp>Misuse of AI is part of what actors and writers are striking about in Hollywood, and the threat of AI is something Hollywood was imagining long before it was real.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1968, for instance, the year before humans first set foot on the moon — and a time when astronauts still used pencils and slide rules to calculate re-entry trajectories because their space capsules had less computing power than a digital watch has today — Stanley Kubrick introduced movie audiences to a sentient HAL-9000 computer in \u003cem>2001: A Space Odyssey\u003c/em>.\u003c/p>\n\u003cp>HAL (for Heuristically Programmed Algorithmic Computer) introduced itself early in the film by saying, “No 9000 computer has ever made a mistake or distorted information. We are all, by any practical definition of the words, foolproof and incapable of error.”\u003c/p>\n\u003ch3>‘Open the pod bay door, HAL’\u003c/h3>\n\u003cp>So why was HAL acting so strangely? He (it?) was responsible for maintaining all aspects of a months-long space flight, ferrying astronauts to the moons of Jupiter. Programmed to run the mission flawlessly, the computer’s behavior had become alarming, and two of the astronauts had decided to shut down some of its functions. Their plan was short-circuited when HAL, lip-reading a conversation they’d managed to keep him from hearing, cast one of them adrift while he was outside the ship repairing an antenna and refused to let the other back on board.\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/NqCCubrky00'\n title='//www.youtube.com/embed/NqCCubrky00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Open the pod bay door, HAL” became one of the most quoted film lines of the decade when the computer responded, “I’m sorry, Dave, I’m afraid I can’t do that. This mission is too important for me to allow you to jeopardize it.”\u003c/p>\n\u003cp>It’s hard to articulate what a genuine shock this was for 1960s movie audiences. There’d been films with, say, robots causing havoc, but they were generally robots doing someone else’s bidding. Movie robots, at that point, were about brawn, not brain.\u003c/p>\n\u003cp>And anyway, malevolent robot stories were precisely the sort of B-movie silliness Kubrick was trying to avoid. So his intelligent machine simply observed (with an unblinking red eye) and, when addressed directly, spoke with a calm, modulated voice, not unlike the one that would be adopted four decades later by Siri and Alexa.\u003c/p>\n\u003ch3>Darwin Among the Machines\u003c/h3>\n\u003cp>Earlier literary notions of “artificial” intelligence — and there were not a lot of them at that point — hadn’t really caught the public’s imagination. Samuel Butler’s 1863 article \u003ca href=\"https://nzetc.victoria.ac.nz/tm/scholarly/tei-ButFir-t1-g1-t1-g1-t4-body.html\">\u003cem>Darwin Among the Machines,\u003c/em>\u003c/a> is generally thought to be the origin of this species of writing, and it mostly just notes that while humankind invented machines to assist us — and remember, a really sophisticated machine in 1863 was the steam locomotive — we were increasingly assisting them: tending, fueling, repairing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over tens of thousands of years, Butler wondered, might humans not evolve in much the same way Darwin’s study of natural selection had just established the rest of the plant and animal kingdoms do, to the point that we would become dependent on our devices?\u003c/p>\n\u003cp>But even when he incorporated that idea a decade later into a satirical novel called \u003ca href=\"https://www.gutenberg.org/files/1906/1906-h/1906-h.htm\">\u003cem>Erewhon\u003c/em>,\u003c/a> expounding for several chapters on self-replicating machines, Butler barely touched on the notion that those machines would develop consciousness. And neither did the influential 19th-century science fiction writers who followed him. H.G. Wells and Jules Verne invented plenty of unorthodox devices as they sent characters to the center of the Earth, and into space and the recesses of time, without ever considering that those devices might want to do things on their own.\u003c/p>\n\u003cp>The term “artificial intelligence” wasn’t even coined (by American computer scientist John McCarthy) until about a dozen years before Kubrick made his \u003cem>Space Odyssey\u003c/em>. But HAL made an impression on the public where scientists had not. Within just a couple of years, movie computers didn’t just want spaceship domination; in \u003cem>Colossus: The Forbin Project\u003c/em> (1970), they wanted to take over the world.\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/kyOEwiQhzMI'\n title='//www.youtube.com/embed/kyOEwiQhzMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Malignant machines gone viral\u003c/h3>\n\u003cp>And then this notion of technology-run-wild, ran wild. A high school student played by Matthew Broderick nearly started World War III in \u003cem>WarGames\u003c/em> (1983) when he thought he was hacking a computer company but accidentally challenged the Pentagon’s defense network to a quick game of “global thermonuclear war.” The problem, it soon became clear, was that no one told the defense network they were just “playing.”\u003c/p>\n\u003cp>Elsewhere, mechanical men stopped being all-brawn and got a new dispensation to think for themselves, something fiction had granted them before Hollywood got around to it.\u003c/p>\n\u003cp>In the 1940s\u003cstrong>,\u003c/strong> sci-fi novelist Isaac Asimov came up with\u003ca href=\"https://www.britannica.com/topic/Three-Laws-of-Robotics\"> “Three Laws of Robotics”\u003c/a> that would theoretically keep “independent” machines in line. When Asimov’s story \u003cem>I, Robot,\u003c/em> was turned into a film a half-century or so later, those laws should have reassured Will Smith as he stared down thousands of bots. But he had good reason to be skeptical; he was fighting a robot rebellion.\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/s0f3JeDVeEo'\n title='//www.youtube.com/embed/s0f3JeDVeEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cem>Terminator\u003c/em> movies effectively put all these themes on steroids — cyborgs in the service of a computerized, sentient, civil-defense network called Skynet, designed to function without any human input. A “Nuclear Fire” and three billion human deaths later, what was left of humanity was engaged in a war against the machines that has so far consumed six films, a TV series, a pair of web series, and innumerable games.\u003c/p>\n\u003cp>And nuclear blasts weren’t necessary to make machine intelligence alarming, a fact cyberpunk-noir established definitively in \u003cem>Blade Runner\u003c/em> with its “replicants,” and in a \u003cem>Matrix\u003c/em> series that reduced all of humanity to a mere power source for machines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hollywood’s still fighting that vision. Who knows what “The Entity” wants in \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">\u003cem>Mission Impossible: Dead Reckoning\u003c/em>\u003c/a> (presumably we’ll find out next year in Part Two), but whatever it is, it won’t bode well for humanity.\u003c/p>\n\u003cp>It seems not to have occurred to Tinseltown that AI might do the things it’s actually doing — make social media dangerous, or make undergrad writing courses unteachable, or screw up relationships by auto-completing incorrectly. None of those are terribly cinematic, so Hollywood concentrates on exploiting our fears — in the late 20th century, we worried about ceding control \u003cem>to\u003c/em> technology. In the 21st century, we worry about losing control \u003cem>of\u003c/em> technology.\u003c/p>\n\u003ch3>Bring on the droids\u003c/h3>\n\u003cp>Have there also been friendlier film visions of AI? Sure. George Lucas came up with lovable droids R2-D2 and C-3PO for \u003cem>Star Wars, \u003c/em>and Pixar gave us \u003cem>Wall-E\u003c/em>, a bot who was pluckily determined to clean up an entire planet we’d despoiled.\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/dJTU48_yghs'\n title='//www.youtube.com/embed/dJTU48_yghs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Spike Jonze’s drama\u003ca href=\"https://www.npr.org/2014/01/06/260147073/the-unreal-her\"> \u003cem>Her\u003c/em> \u003c/a>imagined a sentient, Siri-like personal assistant as a digital girlfriend. \u003cem>Star Trek\u003c/em>‘s Data was not just a \u003cem>Next Generation\u003c/em> android version of Mr. Spock, but also a sort of emotion-challenged Pinocchio.\u003c/p>\n\u003cp>And another Pinocchio — this one fashioned to stand the test of time — would have been Stanley Kubrick’s own answer to the question he’d posed with HAL in 1968.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kubrick labored for decades to hone the script for \u003cem>A.I. Artificial Intelligence\u003c/em>, then just two years before he died, handed the project off to Steven Spielberg — the story of David, a robot child who has been programmed to love, and who ends up going beyond that programming.\u003c/p>\n\u003cp>“Until you were born,” William Hurt’s Professor Hobby told the bionic child he’d modeled on his own son, “robots didn’t dream, robots didn’t desire unless we told them what to want.” The miracle, he went on, was that though David was engineered rather than born, he shared with humans “the ability to chase down our dreams … something no machine has ever done, until you.”\u003c/p>\n\u003cp>That may not have been enough to make David a real boy, but it put a gentle face on what is perhaps our greatest fear about AI — that we are mortal, and it is not.\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/_19pRsZRiz4'\n title='//www.youtube.com/embed/_19pRsZRiz4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the film, David outlives all of humanity, never growing up, never changing. And perhaps because he was played by Haley Joel Osment, or perhaps because Spielberg was calling the shots, or perhaps because the music swelled … just so — it didn’t feel the least bit threatening.\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=%27Open+the+pod+bay+door%2C+HAL%27+%E2%80%94+here%27s+how+AI+became+a+movie+villain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Back for Season 2, ‘Dark Winds’ is a Cop Drama Steeped in Navajo Culture",
"headTitle": "Back for Season 2, ‘Dark Winds’ is a Cop Drama Steeped in Navajo Culture | KQED",
"content": "\u003cp>In 1970, a journalist named Tony Hillerman launched a series of crime novels featuring two Navajo cops who work for the tribal police on a reservation in New Mexico. The books sold well, earned great reviews, won prizes and led to Hillerman being honored in 1991 by the Navajo tribal council.\u003c/p>\n\u003cp>But our cultural standards have changed profoundly, and one wonders whether these mysteries would even be published now, let alone receive so much acclaim. After all, Hillerman was a white outsider whose books today would likely face charges of cultural appropriation.\u003c/p>\n\u003cp>[aside postid='arts_13932077']Yet as it stands, the Joe Leaphorn and Jim Chee novels, as they’re known, are very enjoyable books, as well as valuable intellectual property. So you get why they’re being turned into the TV series \u003cem>Dark Winds,\u003c/em> whose second season can be seen on AMC and AMC+.\u003c/p>\n\u003cp>Produced by \u003ca href=\"https://www.kqed.org/forum/904301000/robert-redford\">Robert Redford\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894806/george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max\">George R.R. Martin\u003c/a> among others, \u003cem>Dark Winds\u003c/em> retools and modernizes Hillerman’s conception. Set amidst the fiercely beautiful New Mexico landscape of the early 1970s, this entertaining series stars, is written by, and is largely directed by Native Americans. They have enlarged the women’s roles and treat Navajo culture not as sociology but as lived experience.\u003c/p>\n\u003cp>The terrific Zahn McClarnon stars as the honorably intense Lt. Joe Leaphorn, who — along with his nurse wife, Emma, played by Deanna Allison — is still reeling from the death of their son in an explosion. As coiled as a rattler, albeit a righteous one, Joe spends most of his time with two younger investigators. There’s officer Bernadette Manuelito, known as Bern (Jessica Matten), who fears her future is limited in the hardscrabble Navajo world. And there’s Jim Chee (Kiowa Gordon), who worked for the FBI in Season 1 but, feeling used by them, has become a private eye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new season begins with a fatal bombing outside a medical center that injures Emma. Joe suspects the bomber might be the guy who killed his son, and with Bern at his side, begins a relentless pursuit of the killer. Meanwhile Jim is being hired by a slippery blonde, played by Jeri Ryan, to find a box of personal effects that was stolen from her home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2dGW5q-5Cfg\u003c/p>\n\u003cp>Naturally, these investigations overlap, and soon the three are dealing with a uranium tycoon, assorted dead bodies, mountainside shootouts and life and death treks through the desert, not to mention a religious cult known, ominously enough, as People of Darkness.\u003c/p>\n\u003cp>In adapting Hillerman’s work, the show’s creators keep the bones of his ’70s material, but they also want to go beyond doing just another police drama and capture truths about Navajo life. These aims don’t fully mesh. A tad old-fashioned, the series lacks the contemporary snap of \u003ca href=\"https://www.npr.org/2022/09/19/1123452609/reservation-dogs-sterlin-harjo-native-stories\">\u003cem>Reservation Dogs\u003c/em>\u003c/a>\u003cem>, \u003c/em>a better and more freewheeling show about Native Americans that owes nothing to 50-year-old mystery novels. In that series, whose third season begins next week, McClarnon shines as an amiably superstitious cop who’s vastly more relaxed — and arguably more modern — than staid Joe Leaphorn.\u003c/p>\n\u003cp>[aside postid='arts_13931888']Like nearly all crime shows, \u003cem>Dark Winds\u003c/em> has a plot that bends toward the predictably formulaic — if you can’t guess the villain, you haven’t been paying attention. The show’s true interest lies in its characters and their world — a Navajo society that is as financially strapped as it is spiritually rich, that confronts overt racism and government paternalism, that has its women forcibly sterilized and its sons drafted for Vietnam, and that leaves its members stuck between a fractured Navajo culture and the white culture that did the fracturing.\u003c/p>\n\u003cp>Just as Bern must decide whether to abandon the reservation she loves to seek a bigger future in the white world, Jim — who sports a comically huge-collared ’70s shirt — seeks a way of using his investigative skills without being sucked into being a fed or tribal cop. The show’s best scenes are the most personal ones — like Joe and Bern discussing whether she’d be better off working for the Border Patrol or Joe dealing with his dad, a former tribal cop who’s furious that his son got a college education and then didn’t escape, but wound up doing the same job he did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dark Winds\u003c/em> is a solidly enjoyable crime drama, but in the end, it isn’t really about our heroes uncovering the killer’s identity. It’s about the ways in which they’re searching for their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Back+for+Season+2%2C+%27Dark+Winds%27+is+a+cop+drama+steeped+in+Navajo+culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet as it stands, the Joe Leaphorn and Jim Chee novels, as they’re known, are very enjoyable books, as well as valuable intellectual property. So you get why they’re being turned into the TV series \u003cem>Dark Winds,\u003c/em> whose second season can be seen on AMC and AMC+.\u003c/p>\n\u003cp>Produced by \u003ca href=\"https://www.kqed.org/forum/904301000/robert-redford\">Robert Redford\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894806/george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max\">George R.R. Martin\u003c/a> among others, \u003cem>Dark Winds\u003c/em> retools and modernizes Hillerman’s conception. Set amidst the fiercely beautiful New Mexico landscape of the early 1970s, this entertaining series stars, is written by, and is largely directed by Native Americans. They have enlarged the women’s roles and treat Navajo culture not as sociology but as lived experience.\u003c/p>\n\u003cp>The terrific Zahn McClarnon stars as the honorably intense Lt. Joe Leaphorn, who — along with his nurse wife, Emma, played by Deanna Allison — is still reeling from the death of their son in an explosion. As coiled as a rattler, albeit a righteous one, Joe spends most of his time with two younger investigators. There’s officer Bernadette Manuelito, known as Bern (Jessica Matten), who fears her future is limited in the hardscrabble Navajo world. And there’s Jim Chee (Kiowa Gordon), who worked for the FBI in Season 1 but, feeling used by them, has become a private eye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new season begins with a fatal bombing outside a medical center that injures Emma. Joe suspects the bomber might be the guy who killed his son, and with Bern at his side, begins a relentless pursuit of the killer. Meanwhile Jim is being hired by a slippery blonde, played by Jeri Ryan, to find a box of personal effects that was stolen from her home.\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/2dGW5q-5Cfg'\n title='//www.youtube.com/embed/2dGW5q-5Cfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Naturally, these investigations overlap, and soon the three are dealing with a uranium tycoon, assorted dead bodies, mountainside shootouts and life and death treks through the desert, not to mention a religious cult known, ominously enough, as People of Darkness.\u003c/p>\n\u003cp>In adapting Hillerman’s work, the show’s creators keep the bones of his ’70s material, but they also want to go beyond doing just another police drama and capture truths about Navajo life. These aims don’t fully mesh. A tad old-fashioned, the series lacks the contemporary snap of \u003ca href=\"https://www.npr.org/2022/09/19/1123452609/reservation-dogs-sterlin-harjo-native-stories\">\u003cem>Reservation Dogs\u003c/em>\u003c/a>\u003cem>, \u003c/em>a better and more freewheeling show about Native Americans that owes nothing to 50-year-old mystery novels. In that series, whose third season begins next week, McClarnon shines as an amiably superstitious cop who’s vastly more relaxed — and arguably more modern — than staid Joe Leaphorn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like nearly all crime shows, \u003cem>Dark Winds\u003c/em> has a plot that bends toward the predictably formulaic — if you can’t guess the villain, you haven’t been paying attention. The show’s true interest lies in its characters and their world — a Navajo society that is as financially strapped as it is spiritually rich, that confronts overt racism and government paternalism, that has its women forcibly sterilized and its sons drafted for Vietnam, and that leaves its members stuck between a fractured Navajo culture and the white culture that did the fracturing.\u003c/p>\n\u003cp>Just as Bern must decide whether to abandon the reservation she loves to seek a bigger future in the white world, Jim — who sports a comically huge-collared ’70s shirt — seeks a way of using his investigative skills without being sucked into being a fed or tribal cop. The show’s best scenes are the most personal ones — like Joe and Bern discussing whether she’d be better off working for the Border Patrol or Joe dealing with his dad, a former tribal cop who’s furious that his son got a college education and then didn’t escape, but wound up doing the same job he did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dark Winds\u003c/em> is a solidly enjoyable crime drama, but in the end, it isn’t really about our heroes uncovering the killer’s identity. It’s about the ways in which they’re searching for their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Back+for+Season+2%2C+%27Dark+Winds%27+is+a+cop+drama+steeped+in+Navajo+culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘The Beanie Bubble,’ with Zach Galifianakis, Plunges Into a Plush ‘90s Toy Craze | KQED",
"content": "\u003cp>Who knew so many movie ideas could be found while rummaging through your attic?\u003c/p>\n\u003cp>This year we’ve had movies on Tetris ( \u003cem>Tetris\u003c/em>), Nike ( \u003cem>Air\u003c/em> ), Blackberry (\u003cem>Blackberry\u003c/em>) and Cheetos (\u003ca href=\"https://www.kqed.org/arts/13930224/flamin-hot-cheetos-origin-story-movie-eva-longoria-richard-montanez\">\u003cem>Flamin’ Hot\u003c/em>\u003c/a>). The latest is \u003cem>The Beanie Bubble\u003c/em>, a comic drama about the Beanie Baby craze of the 1990s.\u003c/p>\n\u003cp>[aside postid='arts_13931753']We once debated the ethics of product placement in movies — now the product IS the movie. It may not say entirely wonderful things about our capitalistic society that we’re pumping out big-screen movies and streaming-service content that exalts the stories behind snacks, sneaks and stuffies.\u003c/p>\n\u003cp>\u003cem>The Beanie Bubble\u003c/em>, which lands on Apple TV+ Friday, may be part of a ‘20s trend but its interest is unpacking a late-20th century phenomenon and some of the women exploited along the way. Zach Galifianakis plays Ty Warner, the chief executive of Ty Inc., the maker of the stuffed animals that — thanks to a few ingenious innovations and lucky twists of fate — became, as one character says in the film, “little plush lotto tickets.”\u003c/p>\n\u003cp>With a softer, under-stuffed design, limited editions to drive up demand and the help of the then-nascent online second-hand market of eBay, Beanie fever took hold before, a few years later, dissipating as fast as it began. “We didn’t set out to make America lose its mind, but that’s what happened,” says Warner’s business partner Robbie (Elizabeth Banks).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KV32siOI9mU\u003c/p>\n\u003cp>The backdrop is full of Clinton-era kitsch. But \u003cem>The Beanie Bubble\u003c/em> — a first feature by a pair of people with first-hand experience with the early days of the internet: Kristin Gore, daughter of Al, and Damion Kulash, lead singer of the band OK Go — is most concerned with a triptych of stories about the women who helped foster the Beanie craze but whose contributions were co-opted by Warner.\u003c/p>\n\u003cp>[aside postid='arts_13930224']They unfold in parallel storylines. There’s Banks’ Robbie, a friend and Ty Inc. co-founder who finds herself pushed out once success arrives. There’s Sheila (Sarah Snook), a single mother of two who’s initially won over by Warner’s charisma and playfulness with her children, only to eventually discover a warped, immature side to him. And there’s Maya (Geraldine Viswanathan), a young Ty Inc. hire who presciently leads the company’s lucrative dive into the internet yet is kept on an hourly wage.\u003c/p>\n\u003cp>The script, by Gore, comes from Zac Bissonnette’s 2015 book, \u003cem>The Great Beanie Bubble: Mass Delusion and the Dark Side of Cute\u003c/em>. (Warner was convicted of tax evasion in 2013.) In mixing up the Beanie Baby timeline to play out each storyline simultaneously, \u003cem>The Beanie Bubble\u003c/em> needlessly complicates itself. But it also makes a compelling reflection of history repeating itself.\u003c/p>\n\u003cp>Robbie, Sheila and Maya all follow the same arc: Initial infatuation followed by the harsher onset of reality. It’s the same story for the Beanie craze, and, as the film notes in a montage, countless other bubbles that have come and gone. America, it’s said in the film, is “the land of comebacks and second chances.” Here, that means an excuse for betray one woman after another.\u003c/p>\n\u003cfigure id=\"attachment_13932264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png\" alt=\"An attractive woman with chin-length red hair walks through a doorway in a dark hall. She looks concerned.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM.png 1340w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Snook — best known for her work in ‘Succession’ — plays a single mother of two in Apple TV+’s ‘The Beanie Bubble.’ \u003ccite>(Apple via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While those historical corollaries are neat enough, it also makes \u003cem>The Beanie Bubble\u003c/em>, well, kind of repetitive. Gore and Kulash’s film is far from the first to follow such ups and downs. Outside of some easy irony given the cuddliness of the product at hand, there may not be enough that makes this iteration of such a familiar cycle especially interesting.\u003c/p>\n\u003cp>What keeps \u003cem>The Beanie Bubble\u003c/em> from bursting, though, is the likability of its central performers. Banks, Snook and especially Viswanathan are all terrific comic actors who individually capture the exasperations of women fed up with an egotistical adolescent executive. And Galifianakis gives perhaps the best non-\u003cem>Between Two Ferns\u003c/em> performance of his career. His Warner is a man whose charm, and face lifts, steadily peel away. In Galifianakis’ long line of man-children, he’s the biggest baby of them all.\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 Beanie Bubble’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who knew so many movie ideas could be found while rummaging through your attic?\u003c/p>\n\u003cp>This year we’ve had movies on Tetris ( \u003cem>Tetris\u003c/em>), Nike ( \u003cem>Air\u003c/em> ), Blackberry (\u003cem>Blackberry\u003c/em>) and Cheetos (\u003ca href=\"https://www.kqed.org/arts/13930224/flamin-hot-cheetos-origin-story-movie-eva-longoria-richard-montanez\">\u003cem>Flamin’ Hot\u003c/em>\u003c/a>). The latest is \u003cem>The Beanie Bubble\u003c/em>, a comic drama about the Beanie Baby craze of the 1990s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We once debated the ethics of product placement in movies — now the product IS the movie. It may not say entirely wonderful things about our capitalistic society that we’re pumping out big-screen movies and streaming-service content that exalts the stories behind snacks, sneaks and stuffies.\u003c/p>\n\u003cp>\u003cem>The Beanie Bubble\u003c/em>, which lands on Apple TV+ Friday, may be part of a ‘20s trend but its interest is unpacking a late-20th century phenomenon and some of the women exploited along the way. Zach Galifianakis plays Ty Warner, the chief executive of Ty Inc., the maker of the stuffed animals that — thanks to a few ingenious innovations and lucky twists of fate — became, as one character says in the film, “little plush lotto tickets.”\u003c/p>\n\u003cp>With a softer, under-stuffed design, limited editions to drive up demand and the help of the then-nascent online second-hand market of eBay, Beanie fever took hold before, a few years later, dissipating as fast as it began. “We didn’t set out to make America lose its mind, but that’s what happened,” says Warner’s business partner Robbie (Elizabeth Banks).\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/KV32siOI9mU'\n title='//www.youtube.com/embed/KV32siOI9mU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The backdrop is full of Clinton-era kitsch. But \u003cem>The Beanie Bubble\u003c/em> — a first feature by a pair of people with first-hand experience with the early days of the internet: Kristin Gore, daughter of Al, and Damion Kulash, lead singer of the band OK Go — is most concerned with a triptych of stories about the women who helped foster the Beanie craze but whose contributions were co-opted by Warner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They unfold in parallel storylines. There’s Banks’ Robbie, a friend and Ty Inc. co-founder who finds herself pushed out once success arrives. There’s Sheila (Sarah Snook), a single mother of two who’s initially won over by Warner’s charisma and playfulness with her children, only to eventually discover a warped, immature side to him. And there’s Maya (Geraldine Viswanathan), a young Ty Inc. hire who presciently leads the company’s lucrative dive into the internet yet is kept on an hourly wage.\u003c/p>\n\u003cp>The script, by Gore, comes from Zac Bissonnette’s 2015 book, \u003cem>The Great Beanie Bubble: Mass Delusion and the Dark Side of Cute\u003c/em>. (Warner was convicted of tax evasion in 2013.) In mixing up the Beanie Baby timeline to play out each storyline simultaneously, \u003cem>The Beanie Bubble\u003c/em> needlessly complicates itself. But it also makes a compelling reflection of history repeating itself.\u003c/p>\n\u003cp>Robbie, Sheila and Maya all follow the same arc: Initial infatuation followed by the harsher onset of reality. It’s the same story for the Beanie craze, and, as the film notes in a montage, countless other bubbles that have come and gone. America, it’s said in the film, is “the land of comebacks and second chances.” Here, that means an excuse for betray one woman after another.\u003c/p>\n\u003cfigure id=\"attachment_13932264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png\" alt=\"An attractive woman with chin-length red hair walks through a doorway in a dark hall. She looks concerned.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM.png 1340w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Snook — best known for her work in ‘Succession’ — plays a single mother of two in Apple TV+’s ‘The Beanie Bubble.’ \u003ccite>(Apple via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While those historical corollaries are neat enough, it also makes \u003cem>The Beanie Bubble\u003c/em>, well, kind of repetitive. Gore and Kulash’s film is far from the first to follow such ups and downs. Outside of some easy irony given the cuddliness of the product at hand, there may not be enough that makes this iteration of such a familiar cycle especially interesting.\u003c/p>\n\u003cp>What keeps \u003cem>The Beanie Bubble\u003c/em> from bursting, though, is the likability of its central performers. Banks, Snook and especially Viswanathan are all terrific comic actors who individually capture the exasperations of women fed up with an egotistical adolescent executive. And Galifianakis gives perhaps the best non-\u003cem>Between Two Ferns\u003c/em> performance of his career. His Warner is a man whose charm, and face lifts, steadily peel away. In Galifianakis’ long line of man-children, he’s the biggest baby of them all.\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 Beanie Bubble’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the demands that actors and screenwriters are making in trying to renegotiate their contracts with Hollywood studios is greater residual payments, and several people in the entertainment industry have come forward to share what those residual checks look like.\u003c/p>\n\u003cp>Mandy Moore, who starred as matriarch Rebecca Pearson in NBC’s \u003cem>This Is Us\u003c/em>, said she received streaming residual checks for a penny once and 81 cents another time.\u003c/p>\n\u003cp>“So you have to, like, let them add up for a while before you go deposit them at the bank,” she said in an interview while on the picket line.\u003c/p>\n\u003cp>Residuals are payments made over the long term to actors and other theatrical workers when a TV show or movie is rerun or aired after its original release.\u003c/p>\n\u003cp>Kamil McFadden, who starred on three seasons of Disney’s \u003cem>K.C. Undercover\u003c/em>, tweeted a screen recording of his residuals, several of which had negative dollar amounts. He said his net income from the list was $2.77.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Kamil_McFadden/status/1679546658219245569\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.instagram.com/p/Cu90ofIALBP/\">Instagram video\u003c/a>, William Stanford Davis, who plays Mr. Johnson on the ABC sitcom \u003cem>Abbott Elementary\u003c/em>, showed a residual check for 5 cents.\u003c/p>\n\u003cp>“That’s what they think of us as actors,” he said. “This is why we’re on strike.”\u003c/p>\n\u003cp>Jana Schmieding, who played Bev on FX’s \u003cem>Reservation Dogs\u003c/em>, said she gets a 3-cent residual every quarter for the show being streamed on Hulu.\u003c/p>\n\u003cp>https://twitter.com/janaunplgd/status/1680733201726320642\u003c/p>\n\u003cp>“Listen, I’m an actor. I don’t want a yacht. But I’d love to be able to save for retirement,” she tweeted.\u003c/p>\n\u003cp>The Writers Guild of America is currently on the 13th week of its strike, while actors with the union SAG-AFTRA are on their second week. Both are striking against the Alliance of Motion Picture and Television Producers (AMPTP). (Note: Many NPR employees are members of SAG-AFTRA, though journalists work under a different contract than the Hollywood actors.)\u003c/p>\n\u003cp>[aside postid='arts_13928702']Writers and actors are demanding better wages, fair use of artificial intelligence and better contributions to health care and retirement.\u003c/p>\n\u003cp>The AMPTP did not immediately respond to a request for comment, but in a document titled “\u003ca href=\"https://press.amptp.org/sites/labor.amptp.org/files/AMPTP_SAG-AFTRA%20Chart.pdf\">What SAG-AFTRA Failed to Mention\u003c/a>,” issued last week, it said that in its negotiations with SAG-AFTRA, it offered a more than $1 billion increase in wages, residuals and pension and health care contributions over a three-year period.\u003c/p>\n\u003cp>In the document, the AMPTP says it offered a 22% increase in residuals for high-budget SVOD (subscription video on demand) programs from Hulu, Disney+, Netflix and Amazon Prime. It said it also presented a 76% increase in foreign residuals.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA also asked\u003c/a> for revenue sharing, which means actors would get a fixed residual and also a separate residual tied to the amount of money a show brought in once it hit streaming platforms.\u003c/p>\n\u003cp>[aside postid='arts_13931850']The AMPTP rejected that proposal and asked SAG-AFTRA to remove it from negotiations, calling it “completely illogical,” as the companies that produce a program are not entitled to any revenue from streaming and receive only a licensing fee, it said.\u003c/p>\n\u003cp>“The Union is proposing that performers share in the rewards of a successful show, without bearing any of the risk … The Union proposes to ‘share’ in success, but not in failure,” it said. “That is not sharing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA said\u003c/a> it additionally asked for an 11% increase in general wages in the first year of the new contract and a 4% increase in each of the second and third years but was met with a proposal of 5% in the first year, 4% in the second year and 3.5% in the third.\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=Actors+take+to+the+internet+to+show+their+residual+checks%2C+with+some+in+the+negative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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