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"content": "\u003cp>The new five-part HBO series \u003cem>White House Plumbers,\u003c/em> about the men behind the Watergate break-in, begins just like the movie \u003cem>All the President’s Men:\u003c/em> The time is the early 1970s. The place is the Watergate Hotel and office complex in Washington, D.C., where some mysterious men are trying to gain illegal entry to the Democratic election headquarters there.\u003c/p>\n\u003cp>But all of a sudden, as in some alternate dimensional timeline, the familiar details stop being familiar. The would-be burglars can’t even pick the door lock — and a superimposed message explains the confusing difference to viewers. It reads: “There were four Watergate break-in attempts. This was attempt number two.”\u003c/p>\n\u003cp>[aside postid='arts_13928385']Right away, you know this new \u003cem>White House Plumbers \u003c/em>series is in great hands. Specifically, it’s in the hands of writers and creators Alex Gregory and Peter Huyck, both of whom worked on HBO’s \u003ca href=\"https://www.npr.org/2019/05/08/721427745/veep-draws-to-a-close-its-freewheeling-cynicism-still-a-delight\">\u003cem>Veep\u003c/em> \u003c/a>and \u003cem>The Larry Sanders Show\u003c/em>. The director of multiple episodes is David Mandel, who directed episodes of \u003cem>Veep \u003c/em>and \u003cem>Curb Your Enthusiasm\u003c/em>. And the many executive producers include \u003ca href=\"https://www.npr.org/2017/04/26/525575857/veep-executive-producer-on-making-a-show-about-the-craven-desire-for-power\">Frank Rich\u003c/a>, who’s also an executive producer on \u003ca href=\"https://www.npr.org/series/1045640636/succession-recaps\">\u003cem>Succession\u003c/em>\u003c/a>. So this group knows how to tell a story in unexpected ways, and to find the humor even in the more serious situations.\u003c/p>\n\u003cp>After starting with that less familiar Watergate break-in, \u003cem>White House Plumbers\u003c/em> flashes back even further, to the moment when the Plumbers were formed, and then takes it forward from there, through the various break-ins, and to the Watergate hearings and a bit beyond.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QuKM2sTTmHg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The principals in this particular telling of the story are \u003ca href=\"https://www.npr.org/2007/01/23/6969249/watergate-figure-e-howard-hunt-dies-at-88\">E. Howard Hunt\u003c/a>, played by Woody Harrelson, and G. Gordon Liddy, played by Justin Theroux. These two larger-than-life schemers were at the heart of the Plumbers, a clandestine group created by the White House to investigate such press leaks as the Pentagon Papers, government documents that had been slipped to \u003cem>The New York Times\u003c/em> and other papers by military analyst \u003ca href=\"https://www.npr.org/2018/01/19/579101965/daniel-ellsberg-explains-why-he-leaked-the-pentagon-papers\">Daniel Ellsberg\u003c/a>. They were called the Plumbers because, well, plumbers locate and stop leaks.\u003c/p>\n\u003cp>Hunt and Liddy partner and set out to, among other things, bug the Democratic National Committee headquarters. It’s not quite a \u003cem>Mission: Impossible,\u003c/em> but in the hands of this crew, it takes several tries, and even then, after listening devices are planted, there are problems.\u003c/p>\n\u003cp>[aside postid='arts_13927815']The dialogue is rich throughout \u003cem>White House Plumbers, \u003c/em>and so are the performances and characters. Harrelson is wonderful — exploding like Ralph Kramden one minute, simmering like Macbeth the next — and the supporting cast is a very deep bench, serving up unexpected treasures every episode. There’s\u003ca href=\"https://www.npr.org/2016/10/16/497974017/its-very-lonely-kathleen-turner-stars-as-joan-didion-in-magical-thinking\"> Kathleen Turner \u003c/a>as lobbyist Dita Beard! And \u003ca href=\"https://www.npr.org/2016/02/06/465726353/not-my-job-we-quiz-lena-headey-on-games-worse-than-game-of-thrones\">Lena Headey \u003c/a>from \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>Game of Thrones\u003c/em>\u003c/a> as Hunt’s wife, Dorothy! And \u003ca href=\"https://www.npr.org/2016/05/12/477786807/actor-gary-cole-on-veep-and-why-office-space-endures\">Gary Cole\u003c/a> as FBI executive \u003ca href=\"https://www.npr.org/2017/09/28/553434688/in-mark-felt-the-man-who-brought-down-the-white-house-deep-throat-isnt-so-deep\">Mark Felt\u003c/a> – who, though he’s not identified as such here, in real life was the infamous Deep Throat of \u003cem>All the President’s Men. \u003c/em>And lots, lots more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Parts of \u003cem>White House Plumbers \u003c/em>are laugh-out-loud outrageous — but other parts do make you feel for some of these people, and, of course, compare that scandal to more contemporary ones. It’s definitely worth seeing, and savoring. \u003cem>All the President’s Men\u003c/em> is one of my favorite movies of all time — and \u003cem>White House Plumbers\u003c/em> is good enough to be shown as a very long, all-Watergate double feature.\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=%27White+House+Plumbers%27+puts+a+laugh-out-loud+spin+on+the+Watergate+break-in&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The principals in this particular telling of the story are \u003ca href=\"https://www.npr.org/2007/01/23/6969249/watergate-figure-e-howard-hunt-dies-at-88\">E. Howard Hunt\u003c/a>, played by Woody Harrelson, and G. Gordon Liddy, played by Justin Theroux. These two larger-than-life schemers were at the heart of the Plumbers, a clandestine group created by the White House to investigate such press leaks as the Pentagon Papers, government documents that had been slipped to \u003cem>The New York Times\u003c/em> and other papers by military analyst \u003ca href=\"https://www.npr.org/2018/01/19/579101965/daniel-ellsberg-explains-why-he-leaked-the-pentagon-papers\">Daniel Ellsberg\u003c/a>. They were called the Plumbers because, well, plumbers locate and stop leaks.\u003c/p>\n\u003cp>Hunt and Liddy partner and set out to, among other things, bug the Democratic National Committee headquarters. It’s not quite a \u003cem>Mission: Impossible,\u003c/em> but in the hands of this crew, it takes several tries, and even then, after listening devices are planted, there are problems.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The dialogue is rich throughout \u003cem>White House Plumbers, \u003c/em>and so are the performances and characters. Harrelson is wonderful — exploding like Ralph Kramden one minute, simmering like Macbeth the next — and the supporting cast is a very deep bench, serving up unexpected treasures every episode. There’s\u003ca href=\"https://www.npr.org/2016/10/16/497974017/its-very-lonely-kathleen-turner-stars-as-joan-didion-in-magical-thinking\"> Kathleen Turner \u003c/a>as lobbyist Dita Beard! And \u003ca href=\"https://www.npr.org/2016/02/06/465726353/not-my-job-we-quiz-lena-headey-on-games-worse-than-game-of-thrones\">Lena Headey \u003c/a>from \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>Game of Thrones\u003c/em>\u003c/a> as Hunt’s wife, Dorothy! And \u003ca href=\"https://www.npr.org/2016/05/12/477786807/actor-gary-cole-on-veep-and-why-office-space-endures\">Gary Cole\u003c/a> as FBI executive \u003ca href=\"https://www.npr.org/2017/09/28/553434688/in-mark-felt-the-man-who-brought-down-the-white-house-deep-throat-isnt-so-deep\">Mark Felt\u003c/a> – who, though he’s not identified as such here, in real life was the infamous Deep Throat of \u003cem>All the President’s Men. \u003c/em>And lots, lots more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Parts of \u003cem>White House Plumbers \u003c/em>are laugh-out-loud outrageous — but other parts do make you feel for some of these people, and, of course, compare that scandal to more contemporary ones. It’s definitely worth seeing, and savoring. \u003cem>All the President’s Men\u003c/em> is one of my favorite movies of all time — and \u003cem>White House Plumbers\u003c/em> is good enough to be shown as a very long, all-Watergate double feature.\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=%27White+House+Plumbers%27+puts+a+laugh-out-loud+spin+on+the+Watergate+break-in&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Tuesday, the towering pioneer \u003ca href=\"https://www.kqed.org/arts/13928229/harry-belafonte-dies\">Harry Belafonte\u003c/a> passed away at 96. For many, Belafonte’s image as a humanitarian looms large. Notably, he was a close friend and collaborator with Martin Luther King Jr., protested against South African apartheid, and was an outspoken critic of American leadership, including George W. Bush’s decision to invade Iraq.\u003c/p>\n\u003cp>[aside postid='arts_13928229']But he also rose to fame as a popular recording artist and star of stage and screen, in a career that spanned multiple decades. During the 1950s, he was the rare Black actor to achieve leading man status in Hollywood (see: \u003ca href=\"https://www.tcm.com/tcmdb/title/70323/carmen-jones/#overview\">\u003cem>Carmen Jones\u003c/em>\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=bOUBLJaVKNI\">\u003cem>The World, the Flesh and the Devil\u003c/em>\u003c/a>) and his album \u003cem>Calypso\u003c/em>, featuring his signature hit “\u003ca href=\"https://www.npr.org/2011/10/12/141243628/harry-belafonte-out-of-struggle-a-beautiful-voice\">Banana Boat Song\u003c/a>,” was a best-seller. He was an EGOT winner (including a non-competitive Jean Hersholt Humanitarian Oscar) and a driving force behind the creation of the 1985 all-star charity single, “\u003ca href=\"https://www.youtube.com/watch?v=s3wNuru4U0I\">We Are the World\u003c/a>.” He even created one of the most \u003ca href=\"https://www.youtube.com/watch?v=tPaKWihFs_Q\">memorable moments in Muppet history\u003c/a>.\u003c/p>\n\u003cp>Quite frankly: Belafonte’s influence touched so many corners of popular culture and political progress, and his death marks a huge loss for the arts and activist communities. The recommendations below represent a mere fraction of his immense wealth of creative contributions — but they’re among his very best.\u003c/p>\n\u003ch3>\u003cem>Odds Against Tomorrow \u003c/em>(1959)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=vSzDfNn3kYc\u003c/p>\n\u003cp>In one of the last great film noirs of the classic era, Belafonte stars as Johnny Ingram, a gambling addict and nightclub singer in deep debt to a mobster. Desperate to wipe the slate clean (and protect his ex-wife and their daughter), Johnny teams up with a crooked ex-cop, played by Ed Begley Sr. and a racist ex-con, played by Robert Ryan. The cast is stacked and director Robert Wise is working at the top of his game, but Belafonte stands out in part because he’s playing a complex character in an era where even his peer and close friend Sidney Poitier was often stuck in one-dimensional roles. Johnny is a tense and edgy performance, simmering with resentment and urgency from a hard life.\u003c/p>\n\u003ch3>\u003cem>Buck and the Preacher \u003c/em>(1972)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r-24cY5PjSI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not to downplay his many accomplishments, but it’s worth noting Belafonte was also very beautiful. Those matinee idol looks helped propel him to stardom, but in the revisionist western \u003cem>Buck and the Preacher —\u003c/em> Sidney Poitier’s directorial debut — he gets to let loose by playing against type as a shady vagabond named Preacher, who dons matted hair and yellowed teeth. Set shortly after the end of the Civil War, Preacher teams up with Poitier’s solemn and stately Buck to help protect formerly enslaved Black people from white mercenaries who want to force them back to work on plantations. Preacher’s a huckster brimming with bombast, and Belafonte chews up the scenery in this great performance.\u003c/p>\n\u003ch3>\u003cem>BlacKKKlansman \u003c/em>(2018)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=1Aoukxd0GvI&t=1s\u003c/p>\n\u003cp>Belafonte’s final film appearance might also be among his most fitting. He only appears in one scene of Spike Lee’s historical drama as a fictional character recounting the real-life 1916 lynching of Jesse Washington. Belafonte, seated in a wicker chair that recalls a famous image of \u003ca href=\"https://www.archives.gov/research/african-americans/individuals/huey-newton\">Black Panther Huey P. Newton\u003c/a>, is positioned as an elder statesman. As he describes the horrors of that lynching and draws a connection to D.W. Griffith’s \u003cem>Birth of a Nation\u003c/em>, he’s essentially playing a version of himself: A stirring storyteller and political force, passing down wisdom and history to the next generation of activists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Candice Lim and edited by Jessica Reedy. It was hosted by Stephen Thompson. The text was edited by Ciera Crawford. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+Harry+Belafonte+performances+you+won%27t+want+to+miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, the towering pioneer \u003ca href=\"https://www.kqed.org/arts/13928229/harry-belafonte-dies\">Harry Belafonte\u003c/a> passed away at 96. For many, Belafonte’s image as a humanitarian looms large. Notably, he was a close friend and collaborator with Martin Luther King Jr., protested against South African apartheid, and was an outspoken critic of American leadership, including George W. Bush’s decision to invade Iraq.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But he also rose to fame as a popular recording artist and star of stage and screen, in a career that spanned multiple decades. During the 1950s, he was the rare Black actor to achieve leading man status in Hollywood (see: \u003ca href=\"https://www.tcm.com/tcmdb/title/70323/carmen-jones/#overview\">\u003cem>Carmen Jones\u003c/em>\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=bOUBLJaVKNI\">\u003cem>The World, the Flesh and the Devil\u003c/em>\u003c/a>) and his album \u003cem>Calypso\u003c/em>, featuring his signature hit “\u003ca href=\"https://www.npr.org/2011/10/12/141243628/harry-belafonte-out-of-struggle-a-beautiful-voice\">Banana Boat Song\u003c/a>,” was a best-seller. He was an EGOT winner (including a non-competitive Jean Hersholt Humanitarian Oscar) and a driving force behind the creation of the 1985 all-star charity single, “\u003ca href=\"https://www.youtube.com/watch?v=s3wNuru4U0I\">We Are the World\u003c/a>.” He even created one of the most \u003ca href=\"https://www.youtube.com/watch?v=tPaKWihFs_Q\">memorable moments in Muppet history\u003c/a>.\u003c/p>\n\u003cp>Quite frankly: Belafonte’s influence touched so many corners of popular culture and political progress, and his death marks a huge loss for the arts and activist communities. The recommendations below represent a mere fraction of his immense wealth of creative contributions — but they’re among his very best.\u003c/p>\n\u003ch3>\u003cem>Odds Against Tomorrow \u003c/em>(1959)\u003c/h3>\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/vSzDfNn3kYc'\n title='//www.youtube.com/embed/vSzDfNn3kYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In one of the last great film noirs of the classic era, Belafonte stars as Johnny Ingram, a gambling addict and nightclub singer in deep debt to a mobster. Desperate to wipe the slate clean (and protect his ex-wife and their daughter), Johnny teams up with a crooked ex-cop, played by Ed Begley Sr. and a racist ex-con, played by Robert Ryan. The cast is stacked and director Robert Wise is working at the top of his game, but Belafonte stands out in part because he’s playing a complex character in an era where even his peer and close friend Sidney Poitier was often stuck in one-dimensional roles. Johnny is a tense and edgy performance, simmering with resentment and urgency from a hard life.\u003c/p>\n\u003ch3>\u003cem>Buck and the Preacher \u003c/em>(1972)\u003c/h3>\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/r-24cY5PjSI'\n title='//www.youtube.com/embed/r-24cY5PjSI'\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>Not to downplay his many accomplishments, but it’s worth noting Belafonte was also very beautiful. Those matinee idol looks helped propel him to stardom, but in the revisionist western \u003cem>Buck and the Preacher —\u003c/em> Sidney Poitier’s directorial debut — he gets to let loose by playing against type as a shady vagabond named Preacher, who dons matted hair and yellowed teeth. Set shortly after the end of the Civil War, Preacher teams up with Poitier’s solemn and stately Buck to help protect formerly enslaved Black people from white mercenaries who want to force them back to work on plantations. Preacher’s a huckster brimming with bombast, and Belafonte chews up the scenery in this great performance.\u003c/p>\n\u003ch3>\u003cem>BlacKKKlansman \u003c/em>(2018)\u003c/h3>\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/1Aoukxd0GvI'\n title='//www.youtube.com/embed/1Aoukxd0GvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Belafonte’s final film appearance might also be among his most fitting. He only appears in one scene of Spike Lee’s historical drama as a fictional character recounting the real-life 1916 lynching of Jesse Washington. Belafonte, seated in a wicker chair that recalls a famous image of \u003ca href=\"https://www.archives.gov/research/african-americans/individuals/huey-newton\">Black Panther Huey P. Newton\u003c/a>, is positioned as an elder statesman. As he describes the horrors of that lynching and draws a connection to D.W. Griffith’s \u003cem>Birth of a Nation\u003c/em>, he’s essentially playing a version of himself: A stirring storyteller and political force, passing down wisdom and history to the next generation of activists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Candice Lim and edited by Jessica Reedy. It was hosted by Stephen Thompson. The text was edited by Ciera Crawford. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+Harry+Belafonte+performances+you+won%27t+want+to+miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Danny Masterson’s Rape Retrial: Key Things to Know",
"headTitle": "Danny Masterson’s Rape Retrial: Key Things to Know | KQED",
"content": "\u003cp>Five months after a deadlocked jury led to a mistrial for actor Danny Masterson, the former star of \u003cem>That ’70s Show\u003c/em> is on trial again in a Los Angeles court. Masterson is accused of raping three women between 2001 and 2003. He could get 45 years in prison if convicted.\u003c/p>\n\u003cp>Here are the key elements, characters and issues that will factor into the retrial.\u003c/p>\n\u003ch2>Direct discussion of drugging\u003c/h2>\n\u003cp>[aside postid='arts_13908728']A judge is now allowing the prosecution to say directly that Masterson drugged all three women before raping them, in what may be the biggest difference from the first trial. Previously, the drugging could only be implied when the women testified to feeling disoriented, losing memory and going unconscious to a degree that could not be explained by the alcohol they had consumed.\u003c/p>\n\u003cp>In opening statements Monday, Deputy District Attorney Reinhold Mueller said all three women had consumed drinks Masterson had given them, and that the “evidence will show that they were drugged.” The defense says there is no such evidence beyond the women’s stories. And defense attorney Philip Cohen made clear to jurors that “there is no drugging charge.”\u003c/p>\n\u003ch2>New role for Scientology\u003c/h2>\n\u003cp>The Church of Scientology loomed large at Masterson’s trial. It could loom larger still in his retrial, with Judge Charlaine Olmedo allowing expert testimony on Scientology that she denied the first time.\u003cbr>\nMasterson is a prominent member of the church. All three of his accusers are former members who grew disillusioned with the institution in the aftermath of their alleged assaults, saying that church officials told them what had happened to them was not rape, and that its policies prevented them from going to police. The church vehemently denied having any such policy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two opposing experts set to testify embody the stark cultural divides the church sometimes creates. The prosecution’s expert, Claire Headley, is a former official in Scientology’s leadership group, known as the Sea Org, who became a staunch church foe, suing it in 2009 over her experience. The defense’s expert is Hugh Martin Whitt, a current high-level Scientologist who is Headley’s estranged stepfather.\u003c/p>\n\u003ch2>The defendant\u003c/h2>\n\u003cp>Masterson, 47, an actor since childhood, got his major break when he was cast as Stephen Hyde on the retro sitcom\u003cem> That ’70s Show\u003c/em>, which also starred Ashton Kutcher, Mila Kunis and Topher Grace and would run on Fox from 1998 until 2006. At the time of the alleged assaults, his career was at its peak, and his house near Hollywood with a backyard pool and Jacuzzi was a social hub. It was also, according to prosecutors, the scene of all three crimes. Masterson had pleaded not guilty and his lawyers have repeatedly denied all of the allegations.\u003c/p>\n\u003ch2>The first accuser\u003c/h2>\n\u003cp>One of the women Masterson is charged with raping was born into a Scientology family and was part of Masterson’s circle of friends. Nearly all of those closest to her were members, including the late Lisa Marie Presley, who also left the church long before her death in January.\u003c/p>\n\u003cp>[aside postid='arts_13918217']The woman said that when she stopped by Masterson’s house to pick up a set of keys in 2003, he gave her a drink that left her sick and badly disoriented, and raped her in his bedroom upstairs. She first filed a police report, which did not lead to an arrest, in 2004. She returned to authorities in 2016.\u003c/p>\n\u003ch2>The second accuser\u003c/h2>\n\u003cp>The first accuser to take the stand at the retrial is a model and actor who was Masterson’s girlfriend from 1996 to 2002. She previously testified that Masterson grew increasingly physically and sexually abusive in their years together. She said that it eventually led to him raping her twice late in 2001, though he is only charged with one instance, a morning when she woke to find Masterson raping her. She would go to police 15 years later.\u003c/p>\n\u003ch2>The third accuser\u003c/h2>\n\u003cp>The third woman at the center of the trial had only recently met Masterson through mutual friends in the church, which she had joined as a teenager. She testified that in 2003 that Masterson invited her to his house, where they were alone. She said she was clear that she wanted no sex, but he convinced her to get into his jacuzzi then took her to his bed, where he raped her. She went to police in 2017.\u003c/p>\n\u003cp>The Associated Press does not typically name people who say they were victims of sexual abuse.\u003c/p>\n\u003ch2>Investigation and arrest\u003c/h2>\n\u003cp>Police revealed they were investigating Masterson in March of 2017. Hollywood’s #MeToo firestorm would begin about six months later, and in the midst of it Masterson would be written off \u003cem>The Ranch\u003c/em>, a Netflix Western comedy where he had reunited with Kutcher.\u003c/p>\n\u003cp>He was arrested and charged with three rapes in 2020, and in 2021 a judge ruled the evidence was strong enough for him to be tried.\u003c/p>\n\u003cfigure id=\"attachment_13928258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-800x533.jpg\" alt=\"Two men stand side-by-side in court, wearing suits and pandemic-era face masks. One has short curly hair, the other has white straight, chin-length hair.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danny Masterson and his lawyer Thomas Mesereau at Clara Shortridge Foltz Criminal Justice Center, Los Angeles in September 2020. The actor was arraigned on rape charges. \u003ccite>(Lucy Nicholson - Pool/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The first trial\u003c/h2>\n\u003cp>Masterson’s monthlong first trial began last October. Masterson, free on bail, was accompanied to court by a large group of friends and family with ties to both Scientology and the entertainment industry, including his wife and the mother of his child, actor and model Bijou Phillips.\u003c/p>\n\u003cp>[aside postid='arts_13908090']The three accusers gave emotional and often traumatic testimony.\u003c/p>\n\u003cp>Mueller argued that the evidence pointed clearly to Masterson being a “rapist” who created an environment in his home that allowed him to prey on women.\u003c/p>\n\u003cp>Cohen argued that the women’s testimony was hopelessly riddled with contradictions and inconsistencies.\u003c/p>\n\u003cp>In the end, fewer than half of jurors voted to convict on any of the counts. Nevertheless, the Los Angeles County District Attorney’s Office decided to try again with a new set of jurors, and the women agreed to take the stand again.\u003c/p>\n\u003ch2>The lawyers\u003c/h2>\n\u003cp>Mueller and Cohen will reprise their roles in the retrial. But Masterson this time will also have the services of high-profile attorney Shawn Holley, whose clients have included Michael Jackson, Tupac Shakur, Snoop Dogg, Axl Rose and Lindsay Lohan. She had to miss the first trial with prior commitments representing former Los Angeles Dodgers pitcher Trevor Bauer in his own sexual assault proceedings.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Five months after a deadlocked jury led to a mistrial for actor Danny Masterson, the former star of \u003cem>That ’70s Show\u003c/em> is on trial again in a Los Angeles court. Masterson is accused of raping three women between 2001 and 2003. He could get 45 years in prison if convicted.\u003c/p>\n\u003cp>Here are the key elements, characters and issues that will factor into the retrial.\u003c/p>\n\u003ch2>Direct discussion of drugging\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A judge is now allowing the prosecution to say directly that Masterson drugged all three women before raping them, in what may be the biggest difference from the first trial. Previously, the drugging could only be implied when the women testified to feeling disoriented, losing memory and going unconscious to a degree that could not be explained by the alcohol they had consumed.\u003c/p>\n\u003cp>In opening statements Monday, Deputy District Attorney Reinhold Mueller said all three women had consumed drinks Masterson had given them, and that the “evidence will show that they were drugged.” The defense says there is no such evidence beyond the women’s stories. And defense attorney Philip Cohen made clear to jurors that “there is no drugging charge.”\u003c/p>\n\u003ch2>New role for Scientology\u003c/h2>\n\u003cp>The Church of Scientology loomed large at Masterson’s trial. It could loom larger still in his retrial, with Judge Charlaine Olmedo allowing expert testimony on Scientology that she denied the first time.\u003cbr>\nMasterson is a prominent member of the church. All three of his accusers are former members who grew disillusioned with the institution in the aftermath of their alleged assaults, saying that church officials told them what had happened to them was not rape, and that its policies prevented them from going to police. The church vehemently denied having any such policy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two opposing experts set to testify embody the stark cultural divides the church sometimes creates. The prosecution’s expert, Claire Headley, is a former official in Scientology’s leadership group, known as the Sea Org, who became a staunch church foe, suing it in 2009 over her experience. The defense’s expert is Hugh Martin Whitt, a current high-level Scientologist who is Headley’s estranged stepfather.\u003c/p>\n\u003ch2>The defendant\u003c/h2>\n\u003cp>Masterson, 47, an actor since childhood, got his major break when he was cast as Stephen Hyde on the retro sitcom\u003cem> That ’70s Show\u003c/em>, which also starred Ashton Kutcher, Mila Kunis and Topher Grace and would run on Fox from 1998 until 2006. At the time of the alleged assaults, his career was at its peak, and his house near Hollywood with a backyard pool and Jacuzzi was a social hub. It was also, according to prosecutors, the scene of all three crimes. Masterson had pleaded not guilty and his lawyers have repeatedly denied all of the allegations.\u003c/p>\n\u003ch2>The first accuser\u003c/h2>\n\u003cp>One of the women Masterson is charged with raping was born into a Scientology family and was part of Masterson’s circle of friends. Nearly all of those closest to her were members, including the late Lisa Marie Presley, who also left the church long before her death in January.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The woman said that when she stopped by Masterson’s house to pick up a set of keys in 2003, he gave her a drink that left her sick and badly disoriented, and raped her in his bedroom upstairs. She first filed a police report, which did not lead to an arrest, in 2004. She returned to authorities in 2016.\u003c/p>\n\u003ch2>The second accuser\u003c/h2>\n\u003cp>The first accuser to take the stand at the retrial is a model and actor who was Masterson’s girlfriend from 1996 to 2002. She previously testified that Masterson grew increasingly physically and sexually abusive in their years together. She said that it eventually led to him raping her twice late in 2001, though he is only charged with one instance, a morning when she woke to find Masterson raping her. She would go to police 15 years later.\u003c/p>\n\u003ch2>The third accuser\u003c/h2>\n\u003cp>The third woman at the center of the trial had only recently met Masterson through mutual friends in the church, which she had joined as a teenager. She testified that in 2003 that Masterson invited her to his house, where they were alone. She said she was clear that she wanted no sex, but he convinced her to get into his jacuzzi then took her to his bed, where he raped her. She went to police in 2017.\u003c/p>\n\u003cp>The Associated Press does not typically name people who say they were victims of sexual abuse.\u003c/p>\n\u003ch2>Investigation and arrest\u003c/h2>\n\u003cp>Police revealed they were investigating Masterson in March of 2017. Hollywood’s #MeToo firestorm would begin about six months later, and in the midst of it Masterson would be written off \u003cem>The Ranch\u003c/em>, a Netflix Western comedy where he had reunited with Kutcher.\u003c/p>\n\u003cp>He was arrested and charged with three rapes in 2020, and in 2021 a judge ruled the evidence was strong enough for him to be tried.\u003c/p>\n\u003cfigure id=\"attachment_13928258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-800x533.jpg\" alt=\"Two men stand side-by-side in court, wearing suits and pandemic-era face masks. One has short curly hair, the other has white straight, chin-length hair.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1228579762-scaled-e1682448084811.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danny Masterson and his lawyer Thomas Mesereau at Clara Shortridge Foltz Criminal Justice Center, Los Angeles in September 2020. The actor was arraigned on rape charges. \u003ccite>(Lucy Nicholson - Pool/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The first trial\u003c/h2>\n\u003cp>Masterson’s monthlong first trial began last October. Masterson, free on bail, was accompanied to court by a large group of friends and family with ties to both Scientology and the entertainment industry, including his wife and the mother of his child, actor and model Bijou Phillips.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The three accusers gave emotional and often traumatic testimony.\u003c/p>\n\u003cp>Mueller argued that the evidence pointed clearly to Masterson being a “rapist” who created an environment in his home that allowed him to prey on women.\u003c/p>\n\u003cp>Cohen argued that the women’s testimony was hopelessly riddled with contradictions and inconsistencies.\u003c/p>\n\u003cp>In the end, fewer than half of jurors voted to convict on any of the counts. Nevertheless, the Los Angeles County District Attorney’s Office decided to try again with a new set of jurors, and the women agreed to take the stand again.\u003c/p>\n\u003ch2>The lawyers\u003c/h2>\n\u003cp>Mueller and Cohen will reprise their roles in the retrial. But Masterson this time will also have the services of high-profile attorney Shawn Holley, whose clients have included Michael Jackson, Tupac Shakur, Snoop Dogg, Axl Rose and Lindsay Lohan. She had to miss the first trial with prior commitments representing former Los Angeles Dodgers pitcher Trevor Bauer in his own sexual assault proceedings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lizzo Brings Drag Queens on Stage, Protesting Tennessee Law",
"headTitle": "Lizzo Brings Drag Queens on Stage, Protesting Tennessee Law | KQED",
"content": "\u003cp>In a concert Friday night in Knoxville, Tennessee, Lizzo filled the stage with drag queens in a glittery protest against the state’s legislation designed to restrict drag performances in public.\u003c/p>\n\u003cp>While performing at Thompson-Boling Arena, the Grammy-winning “Juice” singer brought out a number of drag performers, including \u003ca href=\"https://www.instagram.com/ageofaquaria/?hl=en\">Aquaria\u003c/a>, \u003ca href=\"https://www.instagram.com/thekandymuse/?hl=en\">Kandy Muse\u003c/a>, \u003ca href=\"https://asiaoharaland.com/\">Asia O’Hara\u003c/a> and \u003ca href=\"https://www.instagram.com/vanessavanjie/?hl=en\">Vanessa Vanjie Mateo\u003c/a>. On Saturday, Lizzo posted videos on Instagram from the show, including comments to the crowd that referenced the pending law.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@lizzo/video/7225417041551904042\" data-video-id=\"7225417041551904042\">\n\u003csection>\u003ca title=\"@lizzo\" href=\"https://www.tiktok.com/@lizzo?refer=embed\" target=\"_blank\" rel=\"noopener\">@lizzo\u003c/a> my prom totally sucked😌 I hope I made it an unforgettable special night!!! \u003ca title=\"special2our\" href=\"https://www.tiktok.com/tag/special2our?refer=embed\" target=\"_blank\" rel=\"noopener\">#special2our\u003c/a> \u003ca title=\"♬ Birthday Girl - Lizzo\" href=\"https://www.tiktok.com/music/Birthday-Girl-7120288239969110018?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Birthday Girl – Lizzo\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>In February, Republican Gov. Bill Lee signed the legislation against “adult cabaret” in public or in front of minors. A federal judge temporarily blocked the law in late March, saying it was too vaguely written. Civil rights groups have criticized the law as a violation of free speech.\u003c/p>\n\u003cp>The Tennessee law is part of a wider Republican effort to restrict drag shows and other LGBTQ+ public gatherings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928188 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-800x497.png\" alt=\"\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-1920x1194.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM.png 1994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In light of recent and tragic events and current events, I was told by people on the internet, ‘Cancel your shows in Tennessee,’ ‘Don’t go to Tennessee,’” Lizzo said during the Friday concert. “Their reason was valid, but why would I not come to the people who need to hear this message the most?”\u003c/p>\n\u003cp>“Why would I not create a safe space in Tennessee where we can celebrate drag entertainers and celebrate our differences?” added Lizzo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7za9LsiQqU4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a concert Friday night in Knoxville, Tennessee, Lizzo filled the stage with drag queens in a glittery protest against the state’s legislation designed to restrict drag performances in public.\u003c/p>\n\u003cp>While performing at Thompson-Boling Arena, the Grammy-winning “Juice” singer brought out a number of drag performers, including \u003ca href=\"https://www.instagram.com/ageofaquaria/?hl=en\">Aquaria\u003c/a>, \u003ca href=\"https://www.instagram.com/thekandymuse/?hl=en\">Kandy Muse\u003c/a>, \u003ca href=\"https://asiaoharaland.com/\">Asia O’Hara\u003c/a> and \u003ca href=\"https://www.instagram.com/vanessavanjie/?hl=en\">Vanessa Vanjie Mateo\u003c/a>. On Saturday, Lizzo posted videos on Instagram from the show, including comments to the crowd that referenced the pending law.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@lizzo/video/7225417041551904042\" data-video-id=\"7225417041551904042\">\n\u003csection>\u003ca title=\"@lizzo\" href=\"https://www.tiktok.com/@lizzo?refer=embed\" target=\"_blank\" rel=\"noopener\">@lizzo\u003c/a> my prom totally sucked😌 I hope I made it an unforgettable special night!!! \u003ca title=\"special2our\" href=\"https://www.tiktok.com/tag/special2our?refer=embed\" target=\"_blank\" rel=\"noopener\">#special2our\u003c/a> \u003ca title=\"♬ Birthday Girl - Lizzo\" href=\"https://www.tiktok.com/music/Birthday-Girl-7120288239969110018?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Birthday Girl – Lizzo\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>In February, Republican Gov. Bill Lee signed the legislation against “adult cabaret” in public or in front of minors. A federal judge temporarily blocked the law in late March, saying it was too vaguely written. Civil rights groups have criticized the law as a violation of free speech.\u003c/p>\n\u003cp>The Tennessee law is part of a wider Republican effort to restrict drag shows and other LGBTQ+ public gatherings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928188 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-800x497.png\" alt=\"\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM-1920x1194.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-24-at-11.02.06-AM.png 1994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In light of recent and tragic events and current events, I was told by people on the internet, ‘Cancel your shows in Tennessee,’ ‘Don’t go to Tennessee,’” Lizzo said during the Friday concert. “Their reason was valid, but why would I not come to the people who need to hear this message the most?”\u003c/p>\n\u003cp>“Why would I not create a safe space in Tennessee where we can celebrate drag entertainers and celebrate our differences?” added Lizzo.\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/7za9LsiQqU4'\n title='//www.youtube.com/embed/7za9LsiQqU4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Chevalier,’ Erased Composer Joseph Bologne Gets a Lush Biopic",
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"content": "\u003cp>Joseph Bologne, the Chevalier de Saint-Georges, was an extraordinarily accomplished man in Marie Antoinette’s France. He was a scholar, a fencer, a virtuoso violinist and a famous and sought-after composer who wrote string quartets, symphonies and operas. His influence was vast, but he was all but erased from history books because Bologne was also Black, born in 1745 in the French colony of Guadeloupe to a wealthy French plantation owner and an enslaved Senegalese teenager.\u003c/p>\n\u003cp>At the height of his celebrity and renown in France, he even put his name forth to lead the Royal Academy of Music at the Paris Opera. Though qualified for the prestigious post, his appointment was blocked. He would later become a revolutionary and lead an all-Black regiment. Three years after his death in 1799, Napoleon Bonaparte reestablished slavery in France and many of his works were destroyed.\u003c/p>\n\u003cp>[aside postid='arts_13927621']It’s his story — or a fictionalized version of it with the requisite drama, romance, scandal and tears to fill in the many gaps in his biography — that’s told in the new film \u003cem>Chevalier\u003c/em>, which opens in theaters this week with Kelvin Harrison Jr. in the title role. In this France, everyone has English accents and he’s introduced having a very public violin-off with a very flustered Wolfgang Amadeus Mozart in front of a large audience. Though this makes for a rousing start to the film, this is very unlikely to have happened, like quite a bit in the film. But it’s inspired by something real — scholars have posited that Mozart would have been well aware of Bologne and was perhaps even directly influenced by his string concertos.\u003c/p>\n\u003cp>These and many more embellishments are easy to forgive, however. For one, they’re necessary to fill in the vast holes in a history that was purposefully neglected. It’s also entertainment that functions just as well if you have found yourself at \u003cem>Chevalier\u003c/em> not knowing that it is inspired by truth.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LtCIImfSCk&t=30s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film, directed by Stephen Williams, Bologne’s father recognizes him as a musical prodigy and sends him to a boarding school in France to nurture his talent. This is also likely a fabrication and apparently it was more common than the film shows for the fathers of mixed-race children to send them to these schools. But at school he distinguishes himself in spite of resistance and racism — his father leaves him with a haunting requirement that excellence is his only defense. After a tense bout with a champion fencer, he catches the attention of Queen Marie Antoinette (Lucy Boynton), who gives him the title of nobility.\u003c/p>\n\u003cp>[aside postid='arts_13927175']Harrison and the script (written by \u003cem>Atlanta\u003c/em> scribe Stefani Robinson) make Bologne quite arrogant, at least at first. He made incredible strides in French society and had the talent to back it up. When he decides to put his name in the hat for the Paris Opera position, he rebuffs the advances of an older star, Marie-Madeleine Guimard (Minnie Driver), and fixates on a younger talent Marie-Joséphine de Comarieu (Samara Weaving) who he later starts an ill-advised affair with while writing an opera for her. \u003cem>Fleabag\u003c/em>’s Sian Clifford is a nice presence too as an opera producer and Marie-Joséphine’s cousin. It is quite a bit of soap opera fabrication, that’s a bit melodramatic but not ineffective.\u003c/p>\n\u003cp>And it’s all serving to get Bologne, who had been quite content playing the necessary games to thrive within the system, to reach a moment of radicalization and revolt (along with much of France) as he grapples with injustices and prejudices. The arrival of his mother helps shatter his illusions too.\u003c/p>\n\u003cp>In the end, \u003cem>Chevalier\u003c/em> may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production. And it is especially important in a moment of fanciful \u003cem>Bridgerton\u003c/em>s to focus the lens on important people of color who did actually exist and who have been forgotten and erased.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\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>‘Chevalier’ is out on April 21, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joseph Bologne, the Chevalier de Saint-Georges, was an extraordinarily accomplished man in Marie Antoinette’s France. He was a scholar, a fencer, a virtuoso violinist and a famous and sought-after composer who wrote string quartets, symphonies and operas. His influence was vast, but he was all but erased from history books because Bologne was also Black, born in 1745 in the French colony of Guadeloupe to a wealthy French plantation owner and an enslaved Senegalese teenager.\u003c/p>\n\u003cp>At the height of his celebrity and renown in France, he even put his name forth to lead the Royal Academy of Music at the Paris Opera. Though qualified for the prestigious post, his appointment was blocked. He would later become a revolutionary and lead an all-Black regiment. Three years after his death in 1799, Napoleon Bonaparte reestablished slavery in France and many of his works were destroyed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s his story — or a fictionalized version of it with the requisite drama, romance, scandal and tears to fill in the many gaps in his biography — that’s told in the new film \u003cem>Chevalier\u003c/em>, which opens in theaters this week with Kelvin Harrison Jr. in the title role. In this France, everyone has English accents and he’s introduced having a very public violin-off with a very flustered Wolfgang Amadeus Mozart in front of a large audience. Though this makes for a rousing start to the film, this is very unlikely to have happened, like quite a bit in the film. But it’s inspired by something real — scholars have posited that Mozart would have been well aware of Bologne and was perhaps even directly influenced by his string concertos.\u003c/p>\n\u003cp>These and many more embellishments are easy to forgive, however. For one, they’re necessary to fill in the vast holes in a history that was purposefully neglected. It’s also entertainment that functions just as well if you have found yourself at \u003cem>Chevalier\u003c/em> not knowing that it is inspired by truth.\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/-LtCIImfSCk'\n title='//www.youtube.com/embed/-LtCIImfSCk'\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, directed by Stephen Williams, Bologne’s father recognizes him as a musical prodigy and sends him to a boarding school in France to nurture his talent. This is also likely a fabrication and apparently it was more common than the film shows for the fathers of mixed-race children to send them to these schools. But at school he distinguishes himself in spite of resistance and racism — his father leaves him with a haunting requirement that excellence is his only defense. After a tense bout with a champion fencer, he catches the attention of Queen Marie Antoinette (Lucy Boynton), who gives him the title of nobility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harrison and the script (written by \u003cem>Atlanta\u003c/em> scribe Stefani Robinson) make Bologne quite arrogant, at least at first. He made incredible strides in French society and had the talent to back it up. When he decides to put his name in the hat for the Paris Opera position, he rebuffs the advances of an older star, Marie-Madeleine Guimard (Minnie Driver), and fixates on a younger talent Marie-Joséphine de Comarieu (Samara Weaving) who he later starts an ill-advised affair with while writing an opera for her. \u003cem>Fleabag\u003c/em>’s Sian Clifford is a nice presence too as an opera producer and Marie-Joséphine’s cousin. It is quite a bit of soap opera fabrication, that’s a bit melodramatic but not ineffective.\u003c/p>\n\u003cp>And it’s all serving to get Bologne, who had been quite content playing the necessary games to thrive within the system, to reach a moment of radicalization and revolt (along with much of France) as he grapples with injustices and prejudices. The arrival of his mother helps shatter his illusions too.\u003c/p>\n\u003cp>In the end, \u003cem>Chevalier\u003c/em> may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production. And it is especially important in a moment of fanciful \u003cem>Bridgerton\u003c/em>s to focus the lens on important people of color who did actually exist and who have been forgotten and erased.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\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>‘Chevalier’ is out on April 21, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "brendas-got-a-baby-tupac-shakur-ethel-love",
"title": "'Brenda's Got a Baby' — Then and Now",
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"content": "\u003cfigure id=\"attachment_13927959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Brenda.MAIN_-1-800x601.jpg\" alt=\"A young woman in a top ponytail holds a white blanket containing a baby\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Brenda.MAIN_-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Brenda.MAIN_-1-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Brenda.MAIN_-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Brenda.MAIN_-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Brenda.MAIN_-1.jpg 1410w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ethel Love, at age 17, as Brenda in Tupac Shakur’s music video for ‘Brenda’s Got a Baby.’ Love says the role came naturally, ‘because it was similar to my life already.’ \u003ccite>(YouTube/Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s an alley in downtown Oakland that connects Webster Street and Harrison Street, between 12th Street and 13th Street. Situated on the border of downtown and Chinatown, gated on both ends and naturally lit from above, the block-long walkway has been the site of day parties, shady doings, and a runway for rats in the middle of the night.\u003c/p>\n\u003cp>I’d often walk past this alley when I lived on 13th and Webster, thinking nothing of it. That is, until one day when I was watching the 1992 music video for Tupac’s classic song, “Brenda’s Got A Baby.”\u003c/p>\n\u003cp>It suddenly hit me: \u003cem>That’s the spot where Brenda’s body was found\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13927967\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927967\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.49_am_720.png\" alt=\"\" width=\"720\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.49_am_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.49_am_720-160x116.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Tupac Shakur’s video for ‘Brenda’s Got a Baby.’ \u003ccite>(YouTube/Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the video, an OPD cruiser idles in the alley as Brenda’s body is covered by a bloody white sheet — not far from where, earlier in the video, she’d dropped her newborn in a dumpster. As Tupac narrates the story, Brenda’s death is shown reported on the front page of the Oakland Tribune.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brenda’s death may have been fictitious, but as the video notes, it was based on a true story. Tupac had been inspired by one particularly heinous account of a 12 year-old girl in New York who was molested and impregnated by a family member — a story that symbolizes the unfortunate reality too many young people face, then and now.\u003c/p>\n\u003cp>As the video begins, the character of Brenda walks down the street holding a baby wrapped in a white cloth. Her image then cross-dissolves, revealing Tupac surrounded by a crew of teenagers and young adults.\u003c/p>\n\u003cp>Money B, rapper of Digital Underground fame and friend of Tupac, is among the people in the posse. Money B says everyone in that shot, aside from him and Pac’s childhood friend Mouse Man, were artists Pac was working to develop at the time. “Pac was very strategic in all of that,” Money B says, on a group call. “He understood product placement and branding from the very beginning.”\u003c/p>\n\u003cfigure id=\"attachment_13927969\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.46.18_am_720.png\" alt=\"\" width=\"720\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.46.18_am_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.46.18_am_720-160x118.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Tupac Shakur’s video for ‘Brenda’s Got a Baby.’ \u003ccite>(YouTube/Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s some other Easter eggs in the video too, says Money B, including Digital Underground’s DJ Fuze portraying a cop, a street pole adorned with an Oakland logo, and a cardboard sign reading “Bush Sucks,” a shot at George H.W. Bush, the United States’ sitting president at the time.\u003c/p>\n\u003cp>In addition to appearing in the video, Money B is featured on the song through a brief back and forth with Pac:\u003c/p>\n\u003cp>“I hear Brenda’s got a baby / But Brenda’s barely got a brain / A damn shame, the girl can hardly spell her name,” says Tupac.\u003c/p>\n\u003cp>“That’s not our problem, that’s up to Brenda’s family,” says Money B.\u003c/p>\n\u003cp>To which Pac responds, “Well, let me show ya how it affects the whole community.”\u003c/p>\n\u003cp>Discussing the music video now, Money B laughs and says, “When I say that line, I’m leaning down, and I try to get up and I stumble, and I fall, and I do a smirk, like, ‘Oh shit, I scrubbed.’ But they kept it in there.”\u003c/p>\n\u003cp>[aside postID='arts_11696060']Tupac wrote the whole song, including that line for Money B, before Deon “Big D the Impossible” Evans produced the track. The day they recorded it, Money B happened to be hanging out with Chicago singer Dave Hollister (formerly of Blackstreet) and Roniece Levias (who has also worked with Too Short, E-40 and Digital Underground). When they heard the beat in Starlight studio, the two vocalists, both steeped in the church, began to sing.\u003c/p>\n\u003cp>“They were going back and forth,” Money B says of Levias and Hollister. “They caught a groove and Pac was like, ‘Go in there and do that.’ That was on the spot, spur of the moment, lightning in a bottle.” Atron Gregory, Tupac’s former manager, chimes in on the call: “That was the first time on a hip-hop record that singing was done all the way through the record. There was singing on hip-hop records, but not all the way through.”\u003c/p>\n\u003cp>Money B points out another distinguishing feature of the song: “Brenda’s Got a Baby is just one verse,” he says. “It’s not like: song, hook, song, hook. All (Tupac) wanted to do is tell a story, and everything else just happened on the spot.”\u003c/p>\n\u003cfigure id=\"attachment_13927973\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.20.26_am_720.png\" alt=\"\" width=\"720\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.20.26_am_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.20.26_am_720-160x112.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ethel Love, who played Brenda in Tupac Shakur’s ‘Brenda’s Got a Baby Video,’ pictured in a recent photo. \u003ccite>(Courtesy Ethel Love)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>thel Love, the woman who portrayed Brenda in the music video, is watching her grandchildren when she joins the call. Bright-spirited and full of energy, she talks to us from a car in Georgia, preparing to celebrate her 49th birthday, remembering the video shoot vividly.\u003c/p>\n\u003cp>“I didn’t hear the story for the first time until after I did the video,” says Love.\u003c/p>\n\u003cp>Just 17 years old at the time, Love was tapped by her brother Deandre (a.k.a. Papa Doc), a friend of Tupac’s, to be the lead actress. Love says the video’s directors, Allen and Albert Hughes, let the song’s lyrics inform their direction, and simply told Love what they wanted her to do in each scene.\u003c/p>\n\u003cp>Love, who was raised between North and Central Richmond and grew up in the church, was involved in the arts through the East Bay Center for the Performing Arts. But she’d never done anything of this magnitude.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NRWUs0KtB-I\u003c/p>\n\u003cp>Money B interjects, “Do you remember my momma being your momma?” His question about his real mother portraying Love’s mother in the video is met with a round of laughs. “Yes,” says Love, before explaining that arguing with her fictional mother on the set wasn’t a far stretch from her real life. “I’d just not too long ago went off on my momma … because I wanted to hang out, and my momma attacked me, and I was talking to her just like that.”\u003c/p>\n\u003cp>Love was a mother of one at the time, and says she drew from her own experience in portraying the role of Brenda. “It was easy because it was similar to my life already,” she says. Aside from Brenda becoming a prostitute, the girls’ stories had eerie parallels. “All that was so real,” she says, “because I was living that life.”\u003c/p>\n\u003cp>The weight of the moment is broken by the laughter of one of Love’s four grandchildren in the background of the call. “Brenda’s still got a lot of babies,” Love jokes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13927968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.28_am_720.png\" alt=\"\" width=\"720\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.28_am_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.28_am_720-160x96.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/p>\n\u003cp>In the early ’90s, after the video dropped, life changed for Love. “It was hard walking down the hallway at school, because everyone thought I was different now, because I was on a popular video with this popular young man,” says Love. People questioned why she didn’t tell them what she was doing; all the while Love just wanted to remain low-key.\u003c/p>\n\u003cp>“I was always secretive anyway,” says Love, anecdotally sharing that she had quietly been driving to school since the age of 13, parking around the corner and not telling anyone. But now she was on TV, and friends she grew up with were changing on her. People she didn’t know treated her equally as weird. “I couldn’t go outside like I used to for a while, especially with my daughter. It used to scare her,” says Love. “People used to come up to her and say, ‘Oh my god, you that girl from the video?!’ Screaming and trying to touch me and grab her. It was really weird.”\u003c/p>\n\u003cp>Love soon had two more daughters, and as her children matured, she shared with them the story of the music video, the song and the golden plaque she received from her role in it all. She also warned her children not to tell anyone about her role in Tupac’s video, because she didn’t want them to be treated differently in school. But as the girls grew older, they kept seeing images of their mother on social media.\u003c/p>\n\u003cfigure id=\"attachment_13927976\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.22.01_am_720-1.png\" alt=\"\" width=\"720\" height=\"678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.22.01_am_720-1.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.22.01_am_720-1-160x151.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ethel Love as a teenager. \u003ccite>(Courtesy Ethel Love)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Only reason I’m \u003ca href=\"https://www.facebook.com/ethelloveeddy/\">on Facebook\u003c/a> and \u003ca href=\"https://www.instagram.com/therealbrenda2/?hl=en\">Instagram\u003c/a> is because my kids,” says Love. She imitates her children as she says, “Mom look, you in the feed again. They’re saying you’re LisaRaye.”\u003c/p>\n\u003cp>Atron and Money B laugh, they’ve heard that rumor too. (LisaRaye appeared in a different Tupac video, “Toss It Up.”) Love sees no shade in being mixed up with another successful beautiful Black woman. But Love is not LisaRaye, nor is she “Brenda.” Instead, Love is quite clear on who she is and how, as a child, she portrayed an image that spoke to some of the largest issues facing society.\u003c/p>\n\u003cp>“I like the bathroom scene,” Love tells me, referring to the moment in the video when Brenda is physically delivering the baby. “Because that is so real to people that have kids, but don’t know how to tell their parents they’re having a child. (They) end up having a child in the bathtub or in a bathroom,” says Love. One of her own family members, she adds, experienced this firsthand.\u003c/p>\n\u003cp>One of Ethel’s grand-babies enters the screen as I ask about last year’s overturning of Roe v. Wade, reproductive rights and how hip-hop has addressed this issue—or added to the issue.\u003c/p>\n\u003cp>Love says she didn’t understand at the time, but being a grandmother now, she sees the significance of her role. Not just as a character in a popular music video from four decades ago, but as a volunteer babysitter, reproductive health advocate and firm believer in the concept of a village raising a child.\u003c/p>\n\u003cfigure id=\"attachment_13927970\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.41.12_am_720.png\" alt=\"\" width=\"720\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.41.12_am_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.41.12_am_720-160x117.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Tupac Shakur’s video for ‘Brenda’s Got a Baby.’ \u003ccite>(YouTube/Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen she looks back at the music video, and considers how far she’s come, she realizes that, in many ways, she’s still that person — the one Tupac saw when he suggested her for the role. “It’s like he marked me,” says Love. “He knew that I was going to be that person. I’ve always been that person. I had other people’s kids before I had kids. I’m a nurturer.”\u003c/p>\n\u003cp>On the note of reproductive health and healthy methods of community support, I ask Money B again about that line of his: “That’s not our problem, that’s up to Brenda’s family.”\u003c/p>\n\u003cp>[aside postID='pop_23762']Money B refers to he and Tupac’s shared Black Panther lineage. Pac’s mother, the late Afeni Shakur, was a New York Black Panther Party member and a part of the Panther 21. As a child in the Bay Area, Money B attended the Black Panther Party’s Freedom School in Oakland. With that community-oriented foundation, Money B and Tupac share the same mindset as Ethel Love: it takes a village.\u003c/p>\n\u003cp>“It’s the mentality that a lot of us have, or have had, when it comes to raising the youth,” says Money B. When done right, he says, it’s amazing the difference that we can collectively make.\u003c/p>\n\u003cp>Before the call ends, Mon, as friends call him, tells Love how happy he is to see her, and how proud he is of the woman she’s become; he brags that he’s going to tell his mother about her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Love responds, “Give her a hug and a kiss for me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13927959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Brenda.MAIN_-1-800x601.jpg\" alt=\"A young woman in a top ponytail holds a white blanket containing a baby\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Brenda.MAIN_-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Brenda.MAIN_-1-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Brenda.MAIN_-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Brenda.MAIN_-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Brenda.MAIN_-1.jpg 1410w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ethel Love, at age 17, as Brenda in Tupac Shakur’s music video for ‘Brenda’s Got a Baby.’ Love says the role came naturally, ‘because it was similar to my life already.’ \u003ccite>(YouTube/Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s an alley in downtown Oakland that connects Webster Street and Harrison Street, between 12th Street and 13th Street. Situated on the border of downtown and Chinatown, gated on both ends and naturally lit from above, the block-long walkway has been the site of day parties, shady doings, and a runway for rats in the middle of the night.\u003c/p>\n\u003cp>I’d often walk past this alley when I lived on 13th and Webster, thinking nothing of it. That is, until one day when I was watching the 1992 music video for Tupac’s classic song, “Brenda’s Got A Baby.”\u003c/p>\n\u003cp>It suddenly hit me: \u003cem>That’s the spot where Brenda’s body was found\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13927967\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927967\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.49_am_720.png\" alt=\"\" width=\"720\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.49_am_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.49_am_720-160x116.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Tupac Shakur’s video for ‘Brenda’s Got a Baby.’ \u003ccite>(YouTube/Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the video, an OPD cruiser idles in the alley as Brenda’s body is covered by a bloody white sheet — not far from where, earlier in the video, she’d dropped her newborn in a dumpster. As Tupac narrates the story, Brenda’s death is shown reported on the front page of the Oakland Tribune.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brenda’s death may have been fictitious, but as the video notes, it was based on a true story. Tupac had been inspired by one particularly heinous account of a 12 year-old girl in New York who was molested and impregnated by a family member — a story that symbolizes the unfortunate reality too many young people face, then and now.\u003c/p>\n\u003cp>As the video begins, the character of Brenda walks down the street holding a baby wrapped in a white cloth. Her image then cross-dissolves, revealing Tupac surrounded by a crew of teenagers and young adults.\u003c/p>\n\u003cp>Money B, rapper of Digital Underground fame and friend of Tupac, is among the people in the posse. Money B says everyone in that shot, aside from him and Pac’s childhood friend Mouse Man, were artists Pac was working to develop at the time. “Pac was very strategic in all of that,” Money B says, on a group call. “He understood product placement and branding from the very beginning.”\u003c/p>\n\u003cfigure id=\"attachment_13927969\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.46.18_am_720.png\" alt=\"\" width=\"720\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.46.18_am_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.46.18_am_720-160x118.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Tupac Shakur’s video for ‘Brenda’s Got a Baby.’ \u003ccite>(YouTube/Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s some other Easter eggs in the video too, says Money B, including Digital Underground’s DJ Fuze portraying a cop, a street pole adorned with an Oakland logo, and a cardboard sign reading “Bush Sucks,” a shot at George H.W. Bush, the United States’ sitting president at the time.\u003c/p>\n\u003cp>In addition to appearing in the video, Money B is featured on the song through a brief back and forth with Pac:\u003c/p>\n\u003cp>“I hear Brenda’s got a baby / But Brenda’s barely got a brain / A damn shame, the girl can hardly spell her name,” says Tupac.\u003c/p>\n\u003cp>“That’s not our problem, that’s up to Brenda’s family,” says Money B.\u003c/p>\n\u003cp>To which Pac responds, “Well, let me show ya how it affects the whole community.”\u003c/p>\n\u003cp>Discussing the music video now, Money B laughs and says, “When I say that line, I’m leaning down, and I try to get up and I stumble, and I fall, and I do a smirk, like, ‘Oh shit, I scrubbed.’ But they kept it in there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tupac wrote the whole song, including that line for Money B, before Deon “Big D the Impossible” Evans produced the track. The day they recorded it, Money B happened to be hanging out with Chicago singer Dave Hollister (formerly of Blackstreet) and Roniece Levias (who has also worked with Too Short, E-40 and Digital Underground). When they heard the beat in Starlight studio, the two vocalists, both steeped in the church, began to sing.\u003c/p>\n\u003cp>“They were going back and forth,” Money B says of Levias and Hollister. “They caught a groove and Pac was like, ‘Go in there and do that.’ That was on the spot, spur of the moment, lightning in a bottle.” Atron Gregory, Tupac’s former manager, chimes in on the call: “That was the first time on a hip-hop record that singing was done all the way through the record. There was singing on hip-hop records, but not all the way through.”\u003c/p>\n\u003cp>Money B points out another distinguishing feature of the song: “Brenda’s Got a Baby is just one verse,” he says. “It’s not like: song, hook, song, hook. All (Tupac) wanted to do is tell a story, and everything else just happened on the spot.”\u003c/p>\n\u003cfigure id=\"attachment_13927973\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.20.26_am_720.png\" alt=\"\" width=\"720\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.20.26_am_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.20.26_am_720-160x112.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ethel Love, who played Brenda in Tupac Shakur’s ‘Brenda’s Got a Baby Video,’ pictured in a recent photo. \u003ccite>(Courtesy Ethel Love)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>thel Love, the woman who portrayed Brenda in the music video, is watching her grandchildren when she joins the call. Bright-spirited and full of energy, she talks to us from a car in Georgia, preparing to celebrate her 49th birthday, remembering the video shoot vividly.\u003c/p>\n\u003cp>“I didn’t hear the story for the first time until after I did the video,” says Love.\u003c/p>\n\u003cp>Just 17 years old at the time, Love was tapped by her brother Deandre (a.k.a. Papa Doc), a friend of Tupac’s, to be the lead actress. Love says the video’s directors, Allen and Albert Hughes, let the song’s lyrics inform their direction, and simply told Love what they wanted her to do in each scene.\u003c/p>\n\u003cp>Love, who was raised between North and Central Richmond and grew up in the church, was involved in the arts through the East Bay Center for the Performing Arts. But she’d never done anything of this magnitude.\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/NRWUs0KtB-I'\n title='//www.youtube.com/embed/NRWUs0KtB-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Money B interjects, “Do you remember my momma being your momma?” His question about his real mother portraying Love’s mother in the video is met with a round of laughs. “Yes,” says Love, before explaining that arguing with her fictional mother on the set wasn’t a far stretch from her real life. “I’d just not too long ago went off on my momma … because I wanted to hang out, and my momma attacked me, and I was talking to her just like that.”\u003c/p>\n\u003cp>Love was a mother of one at the time, and says she drew from her own experience in portraying the role of Brenda. “It was easy because it was similar to my life already,” she says. Aside from Brenda becoming a prostitute, the girls’ stories had eerie parallels. “All that was so real,” she says, “because I was living that life.”\u003c/p>\n\u003cp>The weight of the moment is broken by the laughter of one of Love’s four grandchildren in the background of the call. “Brenda’s still got a lot of babies,” Love jokes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13927968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.28_am_720.png\" alt=\"\" width=\"720\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.28_am_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.44.28_am_720-160x96.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/p>\n\u003cp>In the early ’90s, after the video dropped, life changed for Love. “It was hard walking down the hallway at school, because everyone thought I was different now, because I was on a popular video with this popular young man,” says Love. People questioned why she didn’t tell them what she was doing; all the while Love just wanted to remain low-key.\u003c/p>\n\u003cp>“I was always secretive anyway,” says Love, anecdotally sharing that she had quietly been driving to school since the age of 13, parking around the corner and not telling anyone. But now she was on TV, and friends she grew up with were changing on her. People she didn’t know treated her equally as weird. “I couldn’t go outside like I used to for a while, especially with my daughter. It used to scare her,” says Love. “People used to come up to her and say, ‘Oh my god, you that girl from the video?!’ Screaming and trying to touch me and grab her. It was really weird.”\u003c/p>\n\u003cp>Love soon had two more daughters, and as her children matured, she shared with them the story of the music video, the song and the golden plaque she received from her role in it all. She also warned her children not to tell anyone about her role in Tupac’s video, because she didn’t want them to be treated differently in school. But as the girls grew older, they kept seeing images of their mother on social media.\u003c/p>\n\u003cfigure id=\"attachment_13927976\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.22.01_am_720-1.png\" alt=\"\" width=\"720\" height=\"678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.22.01_am_720-1.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_8.22.01_am_720-1-160x151.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ethel Love as a teenager. \u003ccite>(Courtesy Ethel Love)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Only reason I’m \u003ca href=\"https://www.facebook.com/ethelloveeddy/\">on Facebook\u003c/a> and \u003ca href=\"https://www.instagram.com/therealbrenda2/?hl=en\">Instagram\u003c/a> is because my kids,” says Love. She imitates her children as she says, “Mom look, you in the feed again. They’re saying you’re LisaRaye.”\u003c/p>\n\u003cp>Atron and Money B laugh, they’ve heard that rumor too. (LisaRaye appeared in a different Tupac video, “Toss It Up.”) Love sees no shade in being mixed up with another successful beautiful Black woman. But Love is not LisaRaye, nor is she “Brenda.” Instead, Love is quite clear on who she is and how, as a child, she portrayed an image that spoke to some of the largest issues facing society.\u003c/p>\n\u003cp>“I like the bathroom scene,” Love tells me, referring to the moment in the video when Brenda is physically delivering the baby. “Because that is so real to people that have kids, but don’t know how to tell their parents they’re having a child. (They) end up having a child in the bathtub or in a bathroom,” says Love. One of her own family members, she adds, experienced this firsthand.\u003c/p>\n\u003cp>One of Ethel’s grand-babies enters the screen as I ask about last year’s overturning of Roe v. Wade, reproductive rights and how hip-hop has addressed this issue—or added to the issue.\u003c/p>\n\u003cp>Love says she didn’t understand at the time, but being a grandmother now, she sees the significance of her role. Not just as a character in a popular music video from four decades ago, but as a volunteer babysitter, reproductive health advocate and firm believer in the concept of a village raising a child.\u003c/p>\n\u003cfigure id=\"attachment_13927970\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.41.12_am_720.png\" alt=\"\" width=\"720\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.41.12_am_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/screenshot_2023-04-17_at_10.41.12_am_720-160x117.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Tupac Shakur’s video for ‘Brenda’s Got a Baby.’ \u003ccite>(YouTube/Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen she looks back at the music video, and considers how far she’s come, she realizes that, in many ways, she’s still that person — the one Tupac saw when he suggested her for the role. “It’s like he marked me,” says Love. “He knew that I was going to be that person. I’ve always been that person. I had other people’s kids before I had kids. I’m a nurturer.”\u003c/p>\n\u003cp>On the note of reproductive health and healthy methods of community support, I ask Money B again about that line of his: “That’s not our problem, that’s up to Brenda’s family.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Money B refers to he and Tupac’s shared Black Panther lineage. Pac’s mother, the late Afeni Shakur, was a New York Black Panther Party member and a part of the Panther 21. As a child in the Bay Area, Money B attended the Black Panther Party’s Freedom School in Oakland. With that community-oriented foundation, Money B and Tupac share the same mindset as Ethel Love: it takes a village.\u003c/p>\n\u003cp>“It’s the mentality that a lot of us have, or have had, when it comes to raising the youth,” says Money B. When done right, he says, it’s amazing the difference that we can collectively make.\u003c/p>\n\u003cp>Before the call ends, Mon, as friends call him, tells Love how happy he is to see her, and how proud he is of the woman she’s become; he brags that he’s going to tell his mother about her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Love responds, “Give her a hug and a kiss for me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sinister Twin Sisters Wield All the Power in the Latest ‘Dead Ringers’ Adaptation",
"headTitle": "Sinister Twin Sisters Wield All the Power in the Latest ‘Dead Ringers’ Adaptation | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/2005/03/17/4934043/david-cronenberg-on-a-history-of-violence\">David Cronenberg\u003c/a>’s 1988 movie \u003cem>Dead Ringers, \u003c/em>like the book on which it was based, was all about birth, death, love and power — but mostly from the male point of view. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4273728\">Jeremy Irons\u003c/a> played twin gynecologists: an impulsive and sometimes predatory doctor named Elliot, and a more reserved doctor named Beverly.\u003c/p>\n\u003cp>Elliot enjoyed using his position of authority to seduce some of his infertility patients, and even some of Beverly’s, by pretending to be his twin brother. This new six-episode Prime Video adaptation of \u003cem>Dead Ringers \u003c/em>preserves all of that. But showrunner Alice Birch, who created this TV version, changes it, too, by giving its female characters all the power.\u003c/p>\n\u003cp>Birch’s credits include \u003ca href=\"https://www.npr.org/2020/04/29/847617296/normal-people-is-a-love-story-to-cherish\">\u003cem>Normal People\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2017/07/13/536642559/lady-macbeth-a-new-bride-flouts-the-rigid-rules-of-society-and-humanity\">\u003cem>Lady Macbeth \u003c/em>\u003c/a>and Season 2 of \u003ca href=\"https://www.npr.org/series/1045640636/succession-recaps\">\u003cem>Succession\u003c/em>\u003c/a>. Here she’s assembled a writer’s room populated entirely by women. The result is like a polar opposite of \u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem>A Handmaid’s Tale. \u003c/em>\u003c/a>Women are in positions of power, both as doctors and as wealthy medical donors, and aggressively pursue both their ambitions and their passions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FA_XOruRFfU\u003c/p>\n\u003cp>For this new \u003cem>Dead Ringers, \u003c/em>the Mantle twins, Beverly and Elliot, are played by \u003ca href=\"https://www.npr.org/2016/08/27/491613525/rachel-weisz-plays-with-identity-in-complete-unknown\">Rachel Weisz\u003c/a>, who was so brilliant opposite Olivia Colman in the period movie \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a>\u003cem>. \u003c/em>She’s brilliant here, too, opposite herself. Her Beverly wears her hair in a tight bun, while Elliot wears her hair down and flowing — but viewers can also tell the twins apart by everything from posture to vocal tone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13927815']It’s a masterful acting achievement, up there with such multiple-role showcases as \u003ca href=\"https://www.npr.org/2014/04/18/303758926/tatiana-maslany-on-looking-herself-in-the-eye\">Tatiana Maslany\u003c/a> in \u003ca href=\"https://www.npr.org/2015/04/17/400199569/clone-drama-orphan-black-returns-as-complex-and-complicated-as-ever\">\u003cem>Orphan Black\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2010/04/01/124902112/toni-collette-keeping-track-of-multiple-personalities\">Toni Collette\u003c/a> in \u003ca href=\"https://www.npr.org/2009/01/16/99454416/the-united-states-of-tara-diablo-cody-serves-up-diablo-cody-goodness\">\u003cem>The United States of Tara. \u003c/em>\u003c/a>As Elliot, she’s in her office, counseling a married couple when the pregnant wife excuses herself to use the bathroom. The amoral Elliot takes the opportunity to focus on the husband, and play with him like a toy — flattering him, seducing him, then humiliating him, all in the space of one quick bathroom break.\u003c/p>\n\u003cp>Twin sister Beverly is a lot more reserved — so much so that when she has the chance to examine Genevieve, an imposingly attractive actress played by Britne Oldford, she runs to Elliot for help. Elliot understands that her sister has a crush on the actress, so Elliot offers to take Beverly’s place in the exam room and not only deliver to Genevieve the bad news about her latest medical results — but, as Beverly, to begin to flirt with her.\u003c/p>\n\u003cp>This relationship turns into a very twisted love triangle. And at the same time, there’s a more professional seduction going on. The twins are courted by a pair of super-wealthy investors, a big pharma billionaire and her trophy wife, who are interested in funding the twins’ research and birthing facilities. Their discussions allow \u003cem>Dead Ringers\u003c/em> to dive deeply, and very heatedly, into such issues as abortion, medical experimentation and the very definition of human life.\u003c/p>\n\u003cp>[aside postid='arts_13927532']One twin sister wants to push the envelope scientifically, and sometimes questionably. The other wants to make the delivery of babies as natural and comfortable a procedure as possible. The twins begin to clash — professionally, personally, romantically — and their reality begins to blur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Directors Sean Durkin and others make the visuals as intense as the psychological rivalry: lots of mirrors and blood, and more and more surprises the longer the drama builds. Michael McKean from \u003ca href=\"https://www.npr.org/2022/08/16/1117671911/better-call-saul-finale-soars-as-a-meditation-on-consequences-and-regret\">\u003cem>Better Call Saul \u003c/em>\u003c/a>has a small but sinister role, but doesn’t show up until episode five. And Brittany Bradford, in a single scene as a ghostly apparition, shows up even later … and, like so much of this new \u003cem>Dead Ringers, \u003c/em>will haunt you in ways you won’t soon forget.\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=Sinister+twin+sisters+wield+all+the+power+in+the+latest+%27Dead+Ringers%27+adaptation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/2005/03/17/4934043/david-cronenberg-on-a-history-of-violence\">David Cronenberg\u003c/a>’s 1988 movie \u003cem>Dead Ringers, \u003c/em>like the book on which it was based, was all about birth, death, love and power — but mostly from the male point of view. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4273728\">Jeremy Irons\u003c/a> played twin gynecologists: an impulsive and sometimes predatory doctor named Elliot, and a more reserved doctor named Beverly.\u003c/p>\n\u003cp>Elliot enjoyed using his position of authority to seduce some of his infertility patients, and even some of Beverly’s, by pretending to be his twin brother. This new six-episode Prime Video adaptation of \u003cem>Dead Ringers \u003c/em>preserves all of that. But showrunner Alice Birch, who created this TV version, changes it, too, by giving its female characters all the power.\u003c/p>\n\u003cp>Birch’s credits include \u003ca href=\"https://www.npr.org/2020/04/29/847617296/normal-people-is-a-love-story-to-cherish\">\u003cem>Normal People\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2017/07/13/536642559/lady-macbeth-a-new-bride-flouts-the-rigid-rules-of-society-and-humanity\">\u003cem>Lady Macbeth \u003c/em>\u003c/a>and Season 2 of \u003ca href=\"https://www.npr.org/series/1045640636/succession-recaps\">\u003cem>Succession\u003c/em>\u003c/a>. Here she’s assembled a writer’s room populated entirely by women. The result is like a polar opposite of \u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem>A Handmaid’s Tale. \u003c/em>\u003c/a>Women are in positions of power, both as doctors and as wealthy medical donors, and aggressively pursue both their ambitions and their passions.\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/FA_XOruRFfU'\n title='//www.youtube.com/embed/FA_XOruRFfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For this new \u003cem>Dead Ringers, \u003c/em>the Mantle twins, Beverly and Elliot, are played by \u003ca href=\"https://www.npr.org/2016/08/27/491613525/rachel-weisz-plays-with-identity-in-complete-unknown\">Rachel Weisz\u003c/a>, who was so brilliant opposite Olivia Colman in the period movie \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a>\u003cem>. \u003c/em>She’s brilliant here, too, opposite herself. Her Beverly wears her hair in a tight bun, while Elliot wears her hair down and flowing — but viewers can also tell the twins apart by everything from posture to vocal tone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s a masterful acting achievement, up there with such multiple-role showcases as \u003ca href=\"https://www.npr.org/2014/04/18/303758926/tatiana-maslany-on-looking-herself-in-the-eye\">Tatiana Maslany\u003c/a> in \u003ca href=\"https://www.npr.org/2015/04/17/400199569/clone-drama-orphan-black-returns-as-complex-and-complicated-as-ever\">\u003cem>Orphan Black\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2010/04/01/124902112/toni-collette-keeping-track-of-multiple-personalities\">Toni Collette\u003c/a> in \u003ca href=\"https://www.npr.org/2009/01/16/99454416/the-united-states-of-tara-diablo-cody-serves-up-diablo-cody-goodness\">\u003cem>The United States of Tara. \u003c/em>\u003c/a>As Elliot, she’s in her office, counseling a married couple when the pregnant wife excuses herself to use the bathroom. The amoral Elliot takes the opportunity to focus on the husband, and play with him like a toy — flattering him, seducing him, then humiliating him, all in the space of one quick bathroom break.\u003c/p>\n\u003cp>Twin sister Beverly is a lot more reserved — so much so that when she has the chance to examine Genevieve, an imposingly attractive actress played by Britne Oldford, she runs to Elliot for help. Elliot understands that her sister has a crush on the actress, so Elliot offers to take Beverly’s place in the exam room and not only deliver to Genevieve the bad news about her latest medical results — but, as Beverly, to begin to flirt with her.\u003c/p>\n\u003cp>This relationship turns into a very twisted love triangle. And at the same time, there’s a more professional seduction going on. The twins are courted by a pair of super-wealthy investors, a big pharma billionaire and her trophy wife, who are interested in funding the twins’ research and birthing facilities. Their discussions allow \u003cem>Dead Ringers\u003c/em> to dive deeply, and very heatedly, into such issues as abortion, medical experimentation and the very definition of human life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One twin sister wants to push the envelope scientifically, and sometimes questionably. The other wants to make the delivery of babies as natural and comfortable a procedure as possible. The twins begin to clash — professionally, personally, romantically — and their reality begins to blur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Directors Sean Durkin and others make the visuals as intense as the psychological rivalry: lots of mirrors and blood, and more and more surprises the longer the drama builds. Michael McKean from \u003ca href=\"https://www.npr.org/2022/08/16/1117671911/better-call-saul-finale-soars-as-a-meditation-on-consequences-and-regret\">\u003cem>Better Call Saul \u003c/em>\u003c/a>has a small but sinister role, but doesn’t show up until episode five. And Brittany Bradford, in a single scene as a ghostly apparition, shows up even later … and, like so much of this new \u003cem>Dead Ringers, \u003c/em>will haunt you in ways you won’t soon forget.\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=Sinister+twin+sisters+wield+all+the+power+in+the+latest+%27Dead+Ringers%27+adaptation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“In every man, of course, a demon lies hidden — the demon of rage,” says the intellectual brother, Ivan, in Fyodor Dostoevsky’s \u003cem>The Brothers Karamazov\u003c/em>, a theme to which the Russian novelist frequently returns.\u003c/p>\n\u003cp>It is also a theme central to the HBO series, \u003cem>Barry\u003c/em>, whose fourth and final season premieres on Sunday, as the show’s titular hit man seeks to convince himself and others that he is ultimately a good person.\u003c/p>\n\u003cp>[aside postid='pop_102826']And while Bill Hader, the co-creator and star of \u003cem>Barry\u003c/em>, is reluctant to advertise the influence that Dostoevsky and other Russian authors have had on his Emmy-winning series, he disclosed that this kind of exploration of morality played a significant role in his creative process when he set out to make the show.\u003c/p>\n\u003cp>“I’m always like, ‘Yeah, I don’t watch a lot of TV.’ But I leave out that part, that I was reading big Russian books,” Hader laughed.\u003c/p>\n\u003cp>At the suggestion of his friend, author George Saunders, Hader took an interest in Russian literature and immersed himself in novels like Leo Tolstoy’s \u003cem>Anna Karenina\u003c/em> and \u003cem>War and Peace\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13927817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927817\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-800x533.png\" alt=\"A older white man stands in a prison yard wearing blue hospital scrubs. Several figures are visible behind him.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM.png 1364w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Root’s Fuches is in a cycle of revenge and betrayal with Hader’s title character. \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One aspect of these stories which Hader sought to bring to \u003cem>Barry\u003c/em> was their contentment in probing philosophical questions about human nature, violence and revenge without necessarily expecting to find answers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Barry\u003c/em> is billed as a comedy, though its dark content can preclude some from being able to enjoy its humor. It follows a Marine veteran-turned-hit man (Hader) who tries repeatedly but fails to denounce his profession after he takes an interest in acting.\u003c/p>\n\u003cp>If the premise sounds absurd, that’s because it is.\u003c/p>\n\u003cp>“It’s a bad, bad logline,” said Stephen Root, who plays Fuches, Barry’s handler and old family friend.\u003c/p>\n\u003cp>But many of the show’s stars, including seasoned actors like Henry Winkler, sang the praises of \u003cem>Barry\u003c/em> for its originality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_4lf2LKZwoY\u003c/p>\n\u003cp>Although limited to 30-minute episodes, \u003cem>Barry\u003c/em> isn’t afraid to punch above its weight class, with clear inspiration from lauded cinema and prestige television like \u003cem>The Sopranos\u003c/em> and \u003cem>Twin Peaks.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13927532']Hader, described by his co-stars as a “total cinephile,” relied heavily on his extensive knowledge of film when considering how the series would grapple with weighty questions like whether humans are intrinsically violent.\u003c/p>\n\u003cp>“What’s always been really interesting to me, actually, is inherent violence within people,” Hader said, citing films that have played a role in his meditation on the subject, including \u003cem>A Clockwork Orange\u003c/em>, \u003cem>Goodfellas\u003c/em> and Terrence Malick’s \u003cem>The Thin Red Line\u003c/em>.\u003c/p>\n\u003cp>Throughout the show, Barry struggles to break out of a ceaseless cycle of carnage, while maintaining over and over that he is not defined by his past.\u003c/p>\n\u003cfigure id=\"attachment_13927818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927818\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-800x532.png\" alt=\"An older man sits at a kitchen table in a silk dressing gown. He stares vacantly ahead, the weight of the world on his shoulders.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM.png 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Winkler’s hapless acting teacher, Gene Cousineau, represents the moral center of the show in many ways. \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of the third season, Barry’s actions have — either directly or indirectly — driven nearly every character to the precipice of violence. While those around him frequently describe Barry as “a violent guy,” they themselves are almost always willing to pull the trigger when the opportunity for revenge presents itself.\u003c/p>\n\u003cp>But although Hader wanted to avoid facile portrayals of characters who are purely good or purely evil, he also hopes it is apparent that Barry is not someone he wants audiences to root for.\u003c/p>\n\u003cp>[aside postid='arts_13926773']“It was weird how people did have sympathy for him. I think the thing was just trying to make him human,” Hader said. “But what I always never want to lose focus of is that, you know, he murders people.”\u003c/p>\n\u003cp>The final season further explores the implications of its characters’ descent into crime and punishment, though the line between fantasy and reality is increasingly blurry, prompting the viewer to wonder how much, if any, of season four is meant to be understood as “real.”\u003c/p>\n\u003cp>\u003cem>Barry\u003c/em> often alludes to its self-awareness in its portrayals of both Hollywood tropes and murder. The horror that Barry’s former acting teacher (Winkler) expresses in season four at the thought of “glorifying a psychopath” feels like a kind of nod to the show’s humanization of a killer.\u003c/p>\n\u003cfigure id=\"attachment_13927816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927816\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-800x533.png\" alt=\"Two men stand side-by-side in a sports bar gesturing to a friend. One is young but entirely bald and wearing a sports jacket. The other is Latino with slicked back hair and mustache and ’70s-style leather jackets.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM.png 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Carrigan and Michael Irby provide both humor and some heart to ‘Barry.’ \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barring its bleak subject matter, \u003cem>Barry\u003c/em> is very much a comedy whose tendency to get dark is ameliorated by humor, though those moments of respite become increasingly rare and increasingly absurd as the show progresses.\u003c/p>\n\u003cp>But Winkler said that didn’t stop their “fearless leader” from occasionally breaking out of character and into laughter throughout the making of the show.\u003c/p>\n\u003cp>“You’d see his shoulders bounce up and down because he’s laughing. You have to remind him, ‘You’re in the scene, Bill,’” he said.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\">visit AP\u003c/a>.\u003c/em>\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 final series of ‘Barry’ begins on HBO on April 16, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And while Bill Hader, the co-creator and star of \u003cem>Barry\u003c/em>, is reluctant to advertise the influence that Dostoevsky and other Russian authors have had on his Emmy-winning series, he disclosed that this kind of exploration of morality played a significant role in his creative process when he set out to make the show.\u003c/p>\n\u003cp>“I’m always like, ‘Yeah, I don’t watch a lot of TV.’ But I leave out that part, that I was reading big Russian books,” Hader laughed.\u003c/p>\n\u003cp>At the suggestion of his friend, author George Saunders, Hader took an interest in Russian literature and immersed himself in novels like Leo Tolstoy’s \u003cem>Anna Karenina\u003c/em> and \u003cem>War and Peace\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13927817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927817\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-800x533.png\" alt=\"A older white man stands in a prison yard wearing blue hospital scrubs. Several figures are visible behind him.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM.png 1364w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Root’s Fuches is in a cycle of revenge and betrayal with Hader’s title character. \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One aspect of these stories which Hader sought to bring to \u003cem>Barry\u003c/em> was their contentment in probing philosophical questions about human nature, violence and revenge without necessarily expecting to find answers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Barry\u003c/em> is billed as a comedy, though its dark content can preclude some from being able to enjoy its humor. It follows a Marine veteran-turned-hit man (Hader) who tries repeatedly but fails to denounce his profession after he takes an interest in acting.\u003c/p>\n\u003cp>If the premise sounds absurd, that’s because it is.\u003c/p>\n\u003cp>“It’s a bad, bad logline,” said Stephen Root, who plays Fuches, Barry’s handler and old family friend.\u003c/p>\n\u003cp>But many of the show’s stars, including seasoned actors like Henry Winkler, sang the praises of \u003cem>Barry\u003c/em> for its originality.\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/_4lf2LKZwoY'\n title='//www.youtube.com/embed/_4lf2LKZwoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although limited to 30-minute episodes, \u003cem>Barry\u003c/em> isn’t afraid to punch above its weight class, with clear inspiration from lauded cinema and prestige television like \u003cem>The Sopranos\u003c/em> and \u003cem>Twin Peaks.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hader, described by his co-stars as a “total cinephile,” relied heavily on his extensive knowledge of film when considering how the series would grapple with weighty questions like whether humans are intrinsically violent.\u003c/p>\n\u003cp>“What’s always been really interesting to me, actually, is inherent violence within people,” Hader said, citing films that have played a role in his meditation on the subject, including \u003cem>A Clockwork Orange\u003c/em>, \u003cem>Goodfellas\u003c/em> and Terrence Malick’s \u003cem>The Thin Red Line\u003c/em>.\u003c/p>\n\u003cp>Throughout the show, Barry struggles to break out of a ceaseless cycle of carnage, while maintaining over and over that he is not defined by his past.\u003c/p>\n\u003cfigure id=\"attachment_13927818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927818\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-800x532.png\" alt=\"An older man sits at a kitchen table in a silk dressing gown. He stares vacantly ahead, the weight of the world on his shoulders.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM.png 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Winkler’s hapless acting teacher, Gene Cousineau, represents the moral center of the show in many ways. \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of the third season, Barry’s actions have — either directly or indirectly — driven nearly every character to the precipice of violence. While those around him frequently describe Barry as “a violent guy,” they themselves are almost always willing to pull the trigger when the opportunity for revenge presents itself.\u003c/p>\n\u003cp>But although Hader wanted to avoid facile portrayals of characters who are purely good or purely evil, he also hopes it is apparent that Barry is not someone he wants audiences to root for.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was weird how people did have sympathy for him. I think the thing was just trying to make him human,” Hader said. “But what I always never want to lose focus of is that, you know, he murders people.”\u003c/p>\n\u003cp>The final season further explores the implications of its characters’ descent into crime and punishment, though the line between fantasy and reality is increasingly blurry, prompting the viewer to wonder how much, if any, of season four is meant to be understood as “real.”\u003c/p>\n\u003cp>\u003cem>Barry\u003c/em> often alludes to its self-awareness in its portrayals of both Hollywood tropes and murder. The horror that Barry’s former acting teacher (Winkler) expresses in season four at the thought of “glorifying a psychopath” feels like a kind of nod to the show’s humanization of a killer.\u003c/p>\n\u003cfigure id=\"attachment_13927816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927816\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-800x533.png\" alt=\"Two men stand side-by-side in a sports bar gesturing to a friend. One is young but entirely bald and wearing a sports jacket. The other is Latino with slicked back hair and mustache and ’70s-style leather jackets.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM.png 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Carrigan and Michael Irby provide both humor and some heart to ‘Barry.’ \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barring its bleak subject matter, \u003cem>Barry\u003c/em> is very much a comedy whose tendency to get dark is ameliorated by humor, though those moments of respite become increasingly rare and increasingly absurd as the show progresses.\u003c/p>\n\u003cp>But Winkler said that didn’t stop their “fearless leader” from occasionally breaking out of character and into laughter throughout the making of the show.\u003c/p>\n\u003cp>“You’d see his shoulders bounce up and down because he’s laughing. You have to remind him, ‘You’re in the scene, Bill,’” he said.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\">visit AP\u003c/a>.\u003c/em>\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 final series of ‘Barry’ begins on HBO on April 16, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "del-funky-homosapien-no-need-for-alarm-30-years-anniversary",
"title": "Looking Back on My Album ‘No Need for Alarm,’ 30 Years Later",
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"headTitle": "Looking Back on My Album ‘No Need for Alarm,’ 30 Years Later | KQED",
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"content": "\u003cfigure id=\"attachment_13927684\" class=\"wp-caption aligncenter\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DEL.GIF.Horiz_.USE_.gif\" alt=\"a record cover cycles in and out of the background where its original cover photo was shot, showing a pagoda and victorian houses\" width=\"792\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Released Nov. 23, 1993, Del the Funky Homosapien’s ‘No Need for Alarm’ is shown at the original location of its cover photo, in Chinese Garden Park at Alice and 7th Streets in Oakland. \u003ccite>(Photos by Beth LaBerge/KQED; animation by Bryan Bindloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Del the Funky Homosapien’s sophomore album \u003c/em>No Need For Alarm\u003cem> is a Bay Area classic that proved his uncompromising skill and helped establish the Hieroglyphics collective nationally as a creative force. Here, from an interview condensed for length and clarity, Del, a.k.a. Teren Delvon Jones, recalls the circumstances of the album’s recording, artwork and reception.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>As told to\u003c/strong>: Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I was making \u003cem>No Need for Alarm\u003c/em>, I was in a dark space. I had a lot of issues growing up. I don’t think I was aware of it then, but looking back, I was in an angsty space. I was dealing with issues of abuse, being different from everybody, pretty much being a loner except for people that was into the culture I was, which was not that many. I appreciated the camaraderie that I had, too, don’t get me wrong. But yeah, I had an attitude.\u003c/p>\n\u003cp>I had come out with my first album, \u003cem>I Wish My Brother George Was Here\u003c/em>, which I made with Ice Cube — he’s my cousin. And the response from a lot of heads was not at all what I expected. It wasn’t celebratory. It was more like, “OK, you’re selling out. Why’re you rappin’ over P-Funk shit?” So, that caused me to be, like, “All right, I’m just going all in this time, just to show motherfuckers what I really be on.”\u003c/p>\n\u003cp>And I think that hurt Cube — I think he was like, “OK, well, damn, you didn’t like the first album?” I’m like, “Nah, nah, I like it, but, you know…” It was just that, from my little social network, I wasn’t getting the love that I thought I was going to get. It was the opposite. Because motherfuckers already done heard all my demos and shit. They knew how wild I could get.\u003c/p>\n\u003cfigure id=\"attachment_13927683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.ApolloTheater.1992-800x532.jpg\" alt=\"A man in a baseball cap, sunglasses, nose ring and sweatshirt holds a microphone out to the crowd\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien onstage at the Apollo Theater in Harlem on Feb. 22, 1992, the year before ‘No Need for Alarm.’ \u003ccite>(Al Pereira/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So that’s what I did for \u003cem>No Need for Alarm\u003c/em>. I’m a battle rapper by nature. That’s what I really do. It was limited on the first album. And that was probably a wise decision, because a lot of people can’t understand that shit.\u003c/p>\n\u003cp>I was in transition. I was couch-surfing for a minute, living with different people, roommating. In ’93, I ended up living in New York mixing the album, doing whatever I needed to do for the album, so I had a little flat in New York that I was staying out of.\u003c/p>\n\u003cp>[aside postID='arts_13923766']Before mixing in New York, though, we recorded at Hyde Street Studios in San Francisco, with Matt Kelly. Matt Kelly is one of my mentors. He really showed me how to mix, he showed me how to be able to listen to the mix, how to work the equipment in the studio. When I had questions, he would answer my questions and really fuck with me. He took me under his wing and showed me a lot.\u003c/p>\n\u003cp>Some people write in the studio. We were more self-reliant — we had songs done before we even hit the studio. Nine times out of 10 when we hit the studio, we’re there to record the shit and get it done.\u003c/p>\n\u003cp>Our time outside the studio, though, that would be when we were smoking and drinking, making beats, selecting shit. Motherfuckers might bring records over, I’d be like, “Ooh, what’s this?” Be like, “Ooh, okay. We’ll use that real quick.” I might be at Opio’s house with A-Plus, Tajai might be there, we might be listening to records. His stepfather had a great collection of records, so we’d just be in his office, listening to records, getting ideas, maybe watching anime or something, playing video games.\u003c/p>\n\u003cfigure id=\"attachment_13927690\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.BackCover.600.72dpi.jpg\" alt=\"a young man in a superman t-shirt smokes in a park\" width=\"600\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.BackCover.600.72dpi.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.BackCover.600.72dpi-160x224.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Del: ‘One of my favorite songs from around that time, ‘Pistol Whippers,’ it didn’t even make the album. I was proud of the production on that one. I just thought that beat was hella crazy.’ \u003ccite>(Carl Posey / Elektra Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album came out and Elektra Records loved it. I don’t know if Cube loved it, but Elektra was fully supportive. And Dante Ross was my dog over there — he’s part of the culture, so he felt it. I was with Sophia Chang too, she was A&R over at Jive Records, and got Souls of Mischief and Casual on the label there. She ended up leaving, but I still was good friends with her. So when I was in New York, I would never be at my little flat. A lot of the time I’d either be at Dante’s crib, or Sophia’s crib, or over at Kurious Jorge’s crib.\u003c/p>\n\u003cp>I appreciated their friendship and the encouragement, because like I said, I was in a dark place. I don’t even think I really believed in my shit like that, but Sophia and Dante really backed it, especially Sophia. I appreciated her taste because she fucked with Wu-Tang, she knew what was up. So it was big for her to be like, “Nah, this really is tight. Go forward.” Even when Cube was like, “Whatever, man, if you wanna do what you wanna to do, go ahead.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=spcKBTfjW1M\u003c/p>\n\u003cp>I will say this, there’s some things I said about women on that album that I’m not too proud of. I was a kid, but no excuses. I said some shit about white people on there that I’m not too proud of. I don’t really feel like that. Like I said, I have my issues — and, I’m Black, growing up in that era, so it was different. I think people that heard it understood where I was coming from, too, because I wasn’t trying to be malicious, necessarily. I was just letting it spill out, whatever the fuck it was.\u003c/p>\n\u003cp>Oakland had crack going on and the high murder rate, which affected me, but I didn’t wanna rap about that shit. For me, hip-hop was like how it was for motherfuckers in the Bronx, like Ultramagnetic MCs. I done talked to Kool Keith, and he was like, “You might come home and see a hand in the mailbox, or your next-door neighbor might have a gorilla in this house.” Just wild shit. Because if you’ve got dope money, you might be trying to floss, maybe you might get a tiger.\u003c/p>\n\u003cp>But Ultramag, they’re trying to escape that shit. They’re like, “Man, why I wanna rap about gangster shit? I don’t wanna rap about that shit.” So, that’s how I was. It did affect me, but hip-hop gave me a vehicle to escape it.\u003c/p>\n\u003cfigure id=\"attachment_13927688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-800x800.jpg\" alt=\"a red pagoda in a park, with victorian houses in the background\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The pagoda at Chinese Garden Park in Oakland, where the ‘No Need for Alarm’ cover photo was shot. Photographer Carl Posey recalls of the location: “The idea was to take people out of their typical element, and try something different.” \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album cover was shot by Carl Posey. The pagoda, you know, I love all kind of different cultures, and that just spoke to me, the structure and how it looked. Maybe since I was into anime and shit, martial arts, that might’ve had a slight thing to do with it too. But I just like Chinatown too, you feel me?\u003c/p>\n\u003cp>[aside postID='arts_13924167']We shot at the pagoda, then I picked this other spot that’s an underpass over by Lake Merritt, by the college. These are places that I liked to go to at night, because I was like, a street kid. I might not have had a place to go sometimes, so I’d just be out at night, tripping or whatever, in some of the places that I like to be at.\u003c/p>\n\u003cp>We did a comic book design for the cover. That was my idea. I was into Marvel and DC, but I was also heavy into underground comics. Vaughn Bodē, Mark Bodē, \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, all that shit was starting to come out and really bust the bubble. I did the lettering too. I’m a visual artist first and foremost, so I already had an artistic vision. Elektra was just gracious enough to let me go with it.\u003c/p>\n\u003cfigure id=\"attachment_13927691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi.jpg\" alt=\"a man in a bucket hat sitting in a concrete culvert holds his hands out toward the camera\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien in Oakland, in 1993, in a publicity photo for ‘No Need for Alarm.’ ‘I think, looking back, Cube feels like, ‘Okay, you really did your thing. You didn’t try to ride my coattails. You did your thing and you became successful for that.’ I think he respects that now.’ \u003ccite>(Carl Posey / Elektra Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Man, I wish I still had that boombox I’m holding on the cover. I’d be playing all the classics on it. I was a huge Gang Starr fan. Ultramag, Erick Sermon, Jungle Brothers, De La, KMD, Brand Nubian. I also might be fucking with some dub, too, some King Tubby or Scratch Perry. I’d listen to dancehall too, and a bit of punk rock, like Black Flag.\u003c/p>\n\u003cp>I was 20 when I recorded \u003cem>No Need for Alarm\u003c/em>. I’m 50 now. I don’t feel 50, because I don’t drive. I skate everywhere. In certain ways I feel my age because of some of the injuries I’ve had, like when I was with the Gorillaz, I had a real bad injury, fell off the stage, damn near killed myself. But I don’t feel like I look hella old, either.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hip-hop is 50 now, too, and it’s gotten to the point where it’s so far removed from where it was. The essence of it is so far removed from where kids is at now. I’m not saying that don’t nobody care about it, because a lot of kids do care about it, and they try to research the shit and figure it out. It speaks to them. But it’s been commercialized to the point where it’s been milked down by corporate society, motherfuckers feasting on shit, just wearing it into the ground. That’s the sad situation of it.\u003c/p>\n\u003cp>I’m not trying to sound hella dark or nothing, because I do got a lot of hope in the shit. There’s been new movements within hip-hop that took it somewhere else, that maybe a lot of old heads might not really fuck with. But I feel, overall, just the corporate rule, always, that’s what it is — “We trying to make money off this.” Ain’t really no concern about the culture or people.\u003c/p>\n\u003cp>As for \u003cem>No Need for Alarm\u003c/em>, I’m just glad people still fuck with it, 30 years later. One love to all the supporters and all the fans. I love you all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Del the Funky Homosapien Looks Back on 'No Need for Alarm,' 30 Years Later | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13927684\" class=\"wp-caption aligncenter\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DEL.GIF.Horiz_.USE_.gif\" alt=\"a record cover cycles in and out of the background where its original cover photo was shot, showing a pagoda and victorian houses\" width=\"792\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Released Nov. 23, 1993, Del the Funky Homosapien’s ‘No Need for Alarm’ is shown at the original location of its cover photo, in Chinese Garden Park at Alice and 7th Streets in Oakland. \u003ccite>(Photos by Beth LaBerge/KQED; animation by Bryan Bindloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Del the Funky Homosapien’s sophomore album \u003c/em>No Need For Alarm\u003cem> is a Bay Area classic that proved his uncompromising skill and helped establish the Hieroglyphics collective nationally as a creative force. Here, from an interview condensed for length and clarity, Del, a.k.a. Teren Delvon Jones, recalls the circumstances of the album’s recording, artwork and reception.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>As told to\u003c/strong>: Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I was making \u003cem>No Need for Alarm\u003c/em>, I was in a dark space. I had a lot of issues growing up. I don’t think I was aware of it then, but looking back, I was in an angsty space. I was dealing with issues of abuse, being different from everybody, pretty much being a loner except for people that was into the culture I was, which was not that many. I appreciated the camaraderie that I had, too, don’t get me wrong. But yeah, I had an attitude.\u003c/p>\n\u003cp>I had come out with my first album, \u003cem>I Wish My Brother George Was Here\u003c/em>, which I made with Ice Cube — he’s my cousin. And the response from a lot of heads was not at all what I expected. It wasn’t celebratory. It was more like, “OK, you’re selling out. Why’re you rappin’ over P-Funk shit?” So, that caused me to be, like, “All right, I’m just going all in this time, just to show motherfuckers what I really be on.”\u003c/p>\n\u003cp>And I think that hurt Cube — I think he was like, “OK, well, damn, you didn’t like the first album?” I’m like, “Nah, nah, I like it, but, you know…” It was just that, from my little social network, I wasn’t getting the love that I thought I was going to get. It was the opposite. Because motherfuckers already done heard all my demos and shit. They knew how wild I could get.\u003c/p>\n\u003cfigure id=\"attachment_13927683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.ApolloTheater.1992-800x532.jpg\" alt=\"A man in a baseball cap, sunglasses, nose ring and sweatshirt holds a microphone out to the crowd\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.ApolloTheater.1992.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien onstage at the Apollo Theater in Harlem on Feb. 22, 1992, the year before ‘No Need for Alarm.’ \u003ccite>(Al Pereira/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So that’s what I did for \u003cem>No Need for Alarm\u003c/em>. I’m a battle rapper by nature. That’s what I really do. It was limited on the first album. And that was probably a wise decision, because a lot of people can’t understand that shit.\u003c/p>\n\u003cp>I was in transition. I was couch-surfing for a minute, living with different people, roommating. In ’93, I ended up living in New York mixing the album, doing whatever I needed to do for the album, so I had a little flat in New York that I was staying out of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before mixing in New York, though, we recorded at Hyde Street Studios in San Francisco, with Matt Kelly. Matt Kelly is one of my mentors. He really showed me how to mix, he showed me how to be able to listen to the mix, how to work the equipment in the studio. When I had questions, he would answer my questions and really fuck with me. He took me under his wing and showed me a lot.\u003c/p>\n\u003cp>Some people write in the studio. We were more self-reliant — we had songs done before we even hit the studio. Nine times out of 10 when we hit the studio, we’re there to record the shit and get it done.\u003c/p>\n\u003cp>Our time outside the studio, though, that would be when we were smoking and drinking, making beats, selecting shit. Motherfuckers might bring records over, I’d be like, “Ooh, what’s this?” Be like, “Ooh, okay. We’ll use that real quick.” I might be at Opio’s house with A-Plus, Tajai might be there, we might be listening to records. His stepfather had a great collection of records, so we’d just be in his office, listening to records, getting ideas, maybe watching anime or something, playing video games.\u003c/p>\n\u003cfigure id=\"attachment_13927690\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.BackCover.600.72dpi.jpg\" alt=\"a young man in a superman t-shirt smokes in a park\" width=\"600\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.BackCover.600.72dpi.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.BackCover.600.72dpi-160x224.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Del: ‘One of my favorite songs from around that time, ‘Pistol Whippers,’ it didn’t even make the album. I was proud of the production on that one. I just thought that beat was hella crazy.’ \u003ccite>(Carl Posey / Elektra Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album came out and Elektra Records loved it. I don’t know if Cube loved it, but Elektra was fully supportive. And Dante Ross was my dog over there — he’s part of the culture, so he felt it. I was with Sophia Chang too, she was A&R over at Jive Records, and got Souls of Mischief and Casual on the label there. She ended up leaving, but I still was good friends with her. So when I was in New York, I would never be at my little flat. A lot of the time I’d either be at Dante’s crib, or Sophia’s crib, or over at Kurious Jorge’s crib.\u003c/p>\n\u003cp>I appreciated their friendship and the encouragement, because like I said, I was in a dark place. I don’t even think I really believed in my shit like that, but Sophia and Dante really backed it, especially Sophia. I appreciated her taste because she fucked with Wu-Tang, she knew what was up. So it was big for her to be like, “Nah, this really is tight. Go forward.” Even when Cube was like, “Whatever, man, if you wanna do what you wanna to do, go ahead.”\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/spcKBTfjW1M'\n title='//www.youtube.com/embed/spcKBTfjW1M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I will say this, there’s some things I said about women on that album that I’m not too proud of. I was a kid, but no excuses. I said some shit about white people on there that I’m not too proud of. I don’t really feel like that. Like I said, I have my issues — and, I’m Black, growing up in that era, so it was different. I think people that heard it understood where I was coming from, too, because I wasn’t trying to be malicious, necessarily. I was just letting it spill out, whatever the fuck it was.\u003c/p>\n\u003cp>Oakland had crack going on and the high murder rate, which affected me, but I didn’t wanna rap about that shit. For me, hip-hop was like how it was for motherfuckers in the Bronx, like Ultramagnetic MCs. I done talked to Kool Keith, and he was like, “You might come home and see a hand in the mailbox, or your next-door neighbor might have a gorilla in this house.” Just wild shit. Because if you’ve got dope money, you might be trying to floss, maybe you might get a tiger.\u003c/p>\n\u003cp>But Ultramag, they’re trying to escape that shit. They’re like, “Man, why I wanna rap about gangster shit? I don’t wanna rap about that shit.” So, that’s how I was. It did affect me, but hip-hop gave me a vehicle to escape it.\u003c/p>\n\u003cfigure id=\"attachment_13927688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-800x800.jpg\" alt=\"a red pagoda in a park, with victorian houses in the background\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.Square.NoLP_.72dpi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The pagoda at Chinese Garden Park in Oakland, where the ‘No Need for Alarm’ cover photo was shot. Photographer Carl Posey recalls of the location: “The idea was to take people out of their typical element, and try something different.” \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album cover was shot by Carl Posey. The pagoda, you know, I love all kind of different cultures, and that just spoke to me, the structure and how it looked. Maybe since I was into anime and shit, martial arts, that might’ve had a slight thing to do with it too. But I just like Chinatown too, you feel me?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We shot at the pagoda, then I picked this other spot that’s an underpass over by Lake Merritt, by the college. These are places that I liked to go to at night, because I was like, a street kid. I might not have had a place to go sometimes, so I’d just be out at night, tripping or whatever, in some of the places that I like to be at.\u003c/p>\n\u003cp>We did a comic book design for the cover. That was my idea. I was into Marvel and DC, but I was also heavy into underground comics. Vaughn Bodē, Mark Bodē, \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, all that shit was starting to come out and really bust the bubble. I did the lettering too. I’m a visual artist first and foremost, so I already had an artistic vision. Elektra was just gracious enough to let me go with it.\u003c/p>\n\u003cfigure id=\"attachment_13927691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi.jpg\" alt=\"a man in a bucket hat sitting in a concrete culvert holds his hands out toward the camera\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Del.PressPhoto.93.800.72dpi-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien in Oakland, in 1993, in a publicity photo for ‘No Need for Alarm.’ ‘I think, looking back, Cube feels like, ‘Okay, you really did your thing. You didn’t try to ride my coattails. You did your thing and you became successful for that.’ I think he respects that now.’ \u003ccite>(Carl Posey / Elektra Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Man, I wish I still had that boombox I’m holding on the cover. I’d be playing all the classics on it. I was a huge Gang Starr fan. Ultramag, Erick Sermon, Jungle Brothers, De La, KMD, Brand Nubian. I also might be fucking with some dub, too, some King Tubby or Scratch Perry. I’d listen to dancehall too, and a bit of punk rock, like Black Flag.\u003c/p>\n\u003cp>I was 20 when I recorded \u003cem>No Need for Alarm\u003c/em>. I’m 50 now. I don’t feel 50, because I don’t drive. I skate everywhere. In certain ways I feel my age because of some of the injuries I’ve had, like when I was with the Gorillaz, I had a real bad injury, fell off the stage, damn near killed myself. But I don’t feel like I look hella old, either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hip-hop is 50 now, too, and it’s gotten to the point where it’s so far removed from where it was. The essence of it is so far removed from where kids is at now. I’m not saying that don’t nobody care about it, because a lot of kids do care about it, and they try to research the shit and figure it out. It speaks to them. But it’s been commercialized to the point where it’s been milked down by corporate society, motherfuckers feasting on shit, just wearing it into the ground. That’s the sad situation of it.\u003c/p>\n\u003cp>I’m not trying to sound hella dark or nothing, because I do got a lot of hope in the shit. There’s been new movements within hip-hop that took it somewhere else, that maybe a lot of old heads might not really fuck with. But I feel, overall, just the corporate rule, always, that’s what it is — “We trying to make money off this.” Ain’t really no concern about the culture or people.\u003c/p>\n\u003cp>As for \u003cem>No Need for Alarm\u003c/em>, I’m just glad people still fuck with it, 30 years later. One love to all the supporters and all the fans. I love you all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When I saw the \u003ca href=\"https://youtu.be/8zIf0XvoL9Y\">\u003cem>Barbie\u003c/em>\u003c/a> trailer, an homage to \u003ca href=\"https://youtu.be/I6vPuIMAOlA\">\u003cem>2001: A Space Odyssey\u003c/em>\u003c/a>, I was blown away. I was intrigued by the concept of a Greta Gerwig interpretation of the Barbie universe, and when the trailer ended I was completely sold on the project. The trailer brilliantly set a unique tonal expectation and captivated an unexpected demographic through its referential humor.\u003c/p>\n\u003cp>This trailer sparked me to analyze my love for movie trailers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8zIf0XvoL9Y&t=71s\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Many trailers use genre as a way to sell a film. For example, action trailers follow a clear format. They draw you in with spectacle and show fans of the genre that the film will have all the fight scenes and explosions they could want. Other trailers rely on the persuasive tool of star power — focusing on the biggest names involved in the project. Finally, there are those like the \u003cem>Barbie\u003c/em> trailer that sell you on a movie using eccentric style and creative editing as a marketing tool.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the most part, we’ve moved past the bellowing voice-overs declaring “IN A WORLD…” at the start of a trailer. Nevertheless, a movie trailer is in fact inviting you into their world. When done well, they are a perfectly crafted nugget of persuasion.\u003c/p>\n\u003ch3>The good, the bad and the brilliant\u003c/h3>\n\u003cp>[aside postid='arts_13927547']A common complaint about trailers is that they defeat the purpose of needing to actually see the movie. To skeptics out there, I want you to feel heard: there are some awful trailers. Every plot point spoiled, every punchline told, every twist revealed. But the bad trailers make the good ones even sweeter. A perfect example can be found in two trailers for Stephen King movie adaptations.\u003c/p>\n\u003cp>The trailer for the 1976 horror film \u003ca href=\"https://youtu.be/j9Mg-GRS46Y\">\u003cem>Carrie\u003c/em>\u003c/a> manages to reveal almost every important part of the movie. By the end, there is no feeling of excitement or curiosity about the film.\u003c/p>\n\u003cp>But then you have the trailer for \u003ca href=\"https://youtu.be/GZWnzIaMlBw\">\u003cem>The Shining\u003c/em>\u003c/a>. After some scrolling credits highlighting the big names of the movie, an eerie tune gets increasingly louder and blood begins to rush out of elevator doors. The blood takes over the entire screen and the trailer concludes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A-tgsURVNrI\u003c/p>\n\u003cp>The trailer brilliantly utilizes the power of the well-known novel the movie is based on to create a trailer so compelling it doesn’t need a single word. Even if you haven’t read the book, you know everything you need to know: this movie will be a masterfully terrifying experience.\u003c/p>\n\u003cp>Then you have trailers that expertly montage key moments without actually giving away anything. \u003ca href=\"https://youtu.be/lB95KLmpLR4\">\u003cem>The Social Network\u003c/em>\u003c/a> trailer is one of the most captivating pieces of storytelling. Whoever decided to score this trailer with a Belgian girls choir cover of Radiohead’s “Creep” deserves a raise. It begins with an eerie depiction of social media and builds to a frantic pace, matching the film’s story but leaving the audience wanting more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lB95KLmpLR4\u003c/p>\n\u003cp>From the witty rhythmic pacing of \u003ca href=\"https://youtu.be/vgqG3ITMv1Q\">\u003cem>The Big Short\u003c/em>\u003c/a> trailer, or the unparalleled editing genius of the \u003ca href=\"https://youtu.be/jPU1AYTxwg4\">\u003cem>Dr. Strangelove\u003c/em>\u003c/a> trailer, or the needle drop of “Paper Planes” by M.I.A. in the\u003ca href=\"https://youtu.be/BWZt4v6b1hI\"> \u003cem>Pineapple Express\u003c/em>\u003c/a> trailer, a good trailer plays like a music video. A perfect companion piece to another art form. They allow you to reenter the world of a movie in just a few minutes.\u003c/p>\n\u003ch3>The exhilaration of expectation\u003c/h3>\n\u003cp>I love rewatching trailers for movies I’ve seen, but I want to highlight one of the most magical components of movie trailers: the exhilaration of expectation. Trailers build conversations and community surrounding the anticipation of a movie.\u003c/p>\n\u003cp>[aside postid='arts_13926879']Something special occurs when a compelling preview plays at the theater. The murmur of noise spreads as moviegoers express approval for the upcoming project. In just a couple of minutes, a trailer has given people something to talk about and a shared thrill. Watching a good trailer that captures the essence of a movie builds a lovely bubble of excitement that you get to share, discuss, and develop as you wait for a movie’s release.\u003c/p>\n\u003cp>Whether it is to revisit a beloved movie, to build excitement for an upcoming project, or just to admire a masterclass in curating a vibe, movie trailers are truly an underappreciated art form.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into? \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+love+letter+to+movie+trailers+and+the+joy+of+shared+anticipation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A common complaint about trailers is that they defeat the purpose of needing to actually see the movie. To skeptics out there, I want you to feel heard: there are some awful trailers. Every plot point spoiled, every punchline told, every twist revealed. But the bad trailers make the good ones even sweeter. A perfect example can be found in two trailers for Stephen King movie adaptations.\u003c/p>\n\u003cp>The trailer for the 1976 horror film \u003ca href=\"https://youtu.be/j9Mg-GRS46Y\">\u003cem>Carrie\u003c/em>\u003c/a> manages to reveal almost every important part of the movie. By the end, there is no feeling of excitement or curiosity about the film.\u003c/p>\n\u003cp>But then you have the trailer for \u003ca href=\"https://youtu.be/GZWnzIaMlBw\">\u003cem>The Shining\u003c/em>\u003c/a>. After some scrolling credits highlighting the big names of the movie, an eerie tune gets increasingly louder and blood begins to rush out of elevator doors. The blood takes over the entire screen and the trailer concludes.\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/A-tgsURVNrI'\n title='//www.youtube.com/embed/A-tgsURVNrI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailer brilliantly utilizes the power of the well-known novel the movie is based on to create a trailer so compelling it doesn’t need a single word. Even if you haven’t read the book, you know everything you need to know: this movie will be a masterfully terrifying experience.\u003c/p>\n\u003cp>Then you have trailers that expertly montage key moments without actually giving away anything. \u003ca href=\"https://youtu.be/lB95KLmpLR4\">\u003cem>The Social Network\u003c/em>\u003c/a> trailer is one of the most captivating pieces of storytelling. Whoever decided to score this trailer with a Belgian girls choir cover of Radiohead’s “Creep” deserves a raise. It begins with an eerie depiction of social media and builds to a frantic pace, matching the film’s story but leaving the audience wanting more.\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/lB95KLmpLR4'\n title='//www.youtube.com/embed/lB95KLmpLR4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the witty rhythmic pacing of \u003ca href=\"https://youtu.be/vgqG3ITMv1Q\">\u003cem>The Big Short\u003c/em>\u003c/a> trailer, or the unparalleled editing genius of the \u003ca href=\"https://youtu.be/jPU1AYTxwg4\">\u003cem>Dr. Strangelove\u003c/em>\u003c/a> trailer, or the needle drop of “Paper Planes” by M.I.A. in the\u003ca href=\"https://youtu.be/BWZt4v6b1hI\"> \u003cem>Pineapple Express\u003c/em>\u003c/a> trailer, a good trailer plays like a music video. A perfect companion piece to another art form. They allow you to reenter the world of a movie in just a few minutes.\u003c/p>\n\u003ch3>The exhilaration of expectation\u003c/h3>\n\u003cp>I love rewatching trailers for movies I’ve seen, but I want to highlight one of the most magical components of movie trailers: the exhilaration of expectation. Trailers build conversations and community surrounding the anticipation of a movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Something special occurs when a compelling preview plays at the theater. The murmur of noise spreads as moviegoers express approval for the upcoming project. In just a couple of minutes, a trailer has given people something to talk about and a shared thrill. Watching a good trailer that captures the essence of a movie builds a lovely bubble of excitement that you get to share, discuss, and develop as you wait for a movie’s release.\u003c/p>\n\u003cp>Whether it is to revisit a beloved movie, to build excitement for an upcoming project, or just to admire a masterclass in curating a vibe, movie trailers are truly an underappreciated art form.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into? \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+love+letter+to+movie+trailers+and+the+joy+of+shared+anticipation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Yellowjackets’ Goes Deeper Into the Darkness in New Season",
"headTitle": "‘Yellowjackets’ Goes Deeper Into the Darkness in New Season | KQED",
"content": "\u003cp>Season one of \u003cem>Yellowjackets\u003c/em> ended with the phrase “let the darkness set us free,” and season two dares to venture into the darkness with little to no remorse.\u003c/p>\n\u003cp>[aside postid='arts_13925365']The breakout Showtime series blends horror, adventure, comedy, drama and more in an eerily harmonious way as two primary timelines unfold: The first feature a girls’ soccer team stranded in the Canadian wilderness in the ’90s, while the second focuses on the surviving teens now navigating adulthood and dealing with the trauma of the wilderness.\u003c/p>\n\u003cp>“The first season is really about them making peace with their new surroundings and season two is about the surroundings closing in on them. It’s about the isolation and all the terrible things that can come from that,” said co-showrunner and co-creator Ashley Lyle.\u003c/p>\n\u003cp>As viewers venture back into the wilderness with the surviving teens, there seems to be a dark presence and looming energy over their time. This second season raises the question of how much the audience will visibly endure, as the girls are physically, emotionally and psychologically pushed to the limit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=krFohHX8WeU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was personally blown away. The first script made me gasp several times. I love the way the episode ends,” said Christina Ricci, who plays Adult Misty.\u003c/p>\n\u003cp>[aside postid='arts_13926515']Melanie Lynskey, who portrays Adult Shauna, said she was nervous about how the writers would amplify each storyline from the previous season. “I just was like, ‘Oh my God! They did it. They really did it.’ Every script. I was like, ’They did it again!’ It’s really impressive,“ said Lynskey.\u003c/p>\n\u003cp>Samantha Hanratty and Sophie Nélisse, who play the teen versions of Ricci and Lynskey’s characters, said that episodes five and six surprised them the most.\u003c/p>\n\u003cp>Hanratty says that episode five had her “jaw just on the floor” when watching back footage. “I can’t believe Misty did what she did; I’m not ready for this,” said the actor.\u003c/p>\n\u003cfigure id=\"attachment_13927533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-800x523.png\" alt=\"A white woman with a blond curly bob sits in a dark room. She is wearing dowdy spectacles and a sweater.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM.png 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christina Ricci as adult Misty in ‘Yellowjackets.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nélisse said episode six is a huge moment for her character: “I knew it was going to happen at some point, but I didn’t know the twists and turns it was going to take me on, and I was mostly just nervous I wouldn’t live up to the task. And I cried a little because I was like, ‘I won’t be able to do it.’”\u003c/p>\n\u003cp>\u003cem>Yellowjackets\u003c/em> quickly became a fan-favorite series after its premiere in 2021 as fans scoured the internet for answers to their burning questions. The show has been renewed for a third season.\u003c/p>\n\u003cp>This season explores the world of cults and potentially the supernatural. However, Tawny Cypress — who plays Adult Taissa — says it’s all up for interpretation since it is not clear if a supernatural entity has any power over either teens or adults.\u003c/p>\n\u003cfigure id=\"attachment_13927534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-800x510.png\" alt=\"A black woman with long curly hair sits at a diner table, a coffee cup in front of her, a table-top jukebox at her side.\" width=\"800\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-768x490.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM.png 1760w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tawny Cypress as adult Taissa in ‘Yellowjackets.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the supernatural is really interpretive. There’s not necessarily anything that’s been said yet that’s written in stone,” said the actor.\u003c/p>\n\u003cp>Co-showrunner Jonathan Lisco agrees and said the writers want to take the audience on an exploration of possibilities.\u003c/p>\n\u003cp>“I think that we’ve got to be careful about labeling exactly what’s happening and instead exploring the possibilities of what’s happening. That’s really where we’re at,” said Lisco.\u003c/p>\n\u003cp>“There are broad definitions of the term supernatural, but what we always want to explore is whether or not there is a presence in the woods that is making them do this, or whether or not energetically these women coming together alchemically produce that kind of darkness and bring out the worst in each other.”\u003c/p>\n\u003cfigure id=\"attachment_13927535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-800x497.png\" alt=\"A middle-aged white woman with short dark brown hair sits on the floor, her back leaned against a bed. She looks worried.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-1536x954.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM.png 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Lynskey as adult Shauna in ‘Yellowjackets.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trailer for season two also reveals more surviving characters. Fans got a sneak peek of Van — portrayed in the present by Lauren Ambrose — and Lottie — portrayed in the present by Simone Kessell.\u003c/p>\n\u003cp>Kessell praised Courtney Eaton’s portrayal of Teen Lottie in the first season. “She set the foundation, and I got to paint the house,” said the actor. “Courtney had done such a beautiful job of creating the dark Lottie and the visionary that is Lottie.”\u003c/p>\n\u003cp>The young actors said that at the end of a long day of filming, they turned to self-care and community to take themselves out of their character’s survival mode.\u003c/p>\n\u003cp>[aside postid='arts_13927142']“It’s a lot of recommending yoga classes to each other,” Liv Hewson said playfully. Eaton and Nélisse lived together and chose to decompress by listening to music on the way home and sitting in silence watching television.\u003c/p>\n\u003cp>“I would say that to kind of decompress of the day, it really helped taking off my wig and getting rid of the dirt from under your nails and skin and just coming back to your own skin and feeling fresh again,” Eaton added.\u003c/p>\n\u003cp>Season two premiered on Showtime on March 24 and already has fans raving about the unexpected twists and turns.\u003c/p>\n\u003cp>Ricci, who has starred in films like \u003cem>The Addams Family\u003c/em> and \u003cem>Penelope\u003c/em>, said that fans are drawn to supernatural thrillers because they provide a sense of escape from reality.\u003c/p>\n\u003cp>“I think sometimes being able to see the problems of real life through an extreme metaphor, it’s easier to process things. It’s more fun to follow along. But we still feel how much it resonates emotionally for us,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Season 2 of the fan-favorite show explores the world of cults — and potentially the supernatural.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Season one of \u003cem>Yellowjackets\u003c/em> ended with the phrase “let the darkness set us free,” and season two dares to venture into the darkness with little to no remorse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The breakout Showtime series blends horror, adventure, comedy, drama and more in an eerily harmonious way as two primary timelines unfold: The first feature a girls’ soccer team stranded in the Canadian wilderness in the ’90s, while the second focuses on the surviving teens now navigating adulthood and dealing with the trauma of the wilderness.\u003c/p>\n\u003cp>“The first season is really about them making peace with their new surroundings and season two is about the surroundings closing in on them. It’s about the isolation and all the terrible things that can come from that,” said co-showrunner and co-creator Ashley Lyle.\u003c/p>\n\u003cp>As viewers venture back into the wilderness with the surviving teens, there seems to be a dark presence and looming energy over their time. This second season raises the question of how much the audience will visibly endure, as the girls are physically, emotionally and psychologically pushed to the limit.\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/krFohHX8WeU'\n title='//www.youtube.com/embed/krFohHX8WeU'\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>“I was personally blown away. The first script made me gasp several times. I love the way the episode ends,” said Christina Ricci, who plays Adult Misty.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Melanie Lynskey, who portrays Adult Shauna, said she was nervous about how the writers would amplify each storyline from the previous season. “I just was like, ‘Oh my God! They did it. They really did it.’ Every script. I was like, ’They did it again!’ It’s really impressive,“ said Lynskey.\u003c/p>\n\u003cp>Samantha Hanratty and Sophie Nélisse, who play the teen versions of Ricci and Lynskey’s characters, said that episodes five and six surprised them the most.\u003c/p>\n\u003cp>Hanratty says that episode five had her “jaw just on the floor” when watching back footage. “I can’t believe Misty did what she did; I’m not ready for this,” said the actor.\u003c/p>\n\u003cfigure id=\"attachment_13927533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-800x523.png\" alt=\"A white woman with a blond curly bob sits in a dark room. She is wearing dowdy spectacles and a sweater.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-1.58.11-PM.png 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christina Ricci as adult Misty in ‘Yellowjackets.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nélisse said episode six is a huge moment for her character: “I knew it was going to happen at some point, but I didn’t know the twists and turns it was going to take me on, and I was mostly just nervous I wouldn’t live up to the task. And I cried a little because I was like, ‘I won’t be able to do it.’”\u003c/p>\n\u003cp>\u003cem>Yellowjackets\u003c/em> quickly became a fan-favorite series after its premiere in 2021 as fans scoured the internet for answers to their burning questions. The show has been renewed for a third season.\u003c/p>\n\u003cp>This season explores the world of cults and potentially the supernatural. However, Tawny Cypress — who plays Adult Taissa — says it’s all up for interpretation since it is not clear if a supernatural entity has any power over either teens or adults.\u003c/p>\n\u003cfigure id=\"attachment_13927534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-800x510.png\" alt=\"A black woman with long curly hair sits at a diner table, a coffee cup in front of her, a table-top jukebox at her side.\" width=\"800\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-768x490.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.01.50-PM.png 1760w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tawny Cypress as adult Taissa in ‘Yellowjackets.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the supernatural is really interpretive. There’s not necessarily anything that’s been said yet that’s written in stone,” said the actor.\u003c/p>\n\u003cp>Co-showrunner Jonathan Lisco agrees and said the writers want to take the audience on an exploration of possibilities.\u003c/p>\n\u003cp>“I think that we’ve got to be careful about labeling exactly what’s happening and instead exploring the possibilities of what’s happening. That’s really where we’re at,” said Lisco.\u003c/p>\n\u003cp>“There are broad definitions of the term supernatural, but what we always want to explore is whether or not there is a presence in the woods that is making them do this, or whether or not energetically these women coming together alchemically produce that kind of darkness and bring out the worst in each other.”\u003c/p>\n\u003cfigure id=\"attachment_13927535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-800x497.png\" alt=\"A middle-aged white woman with short dark brown hair sits on the floor, her back leaned against a bed. She looks worried.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM-1536x954.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-07-at-2.07.50-PM.png 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Lynskey as adult Shauna in ‘Yellowjackets.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trailer for season two also reveals more surviving characters. Fans got a sneak peek of Van — portrayed in the present by Lauren Ambrose — and Lottie — portrayed in the present by Simone Kessell.\u003c/p>\n\u003cp>Kessell praised Courtney Eaton’s portrayal of Teen Lottie in the first season. “She set the foundation, and I got to paint the house,” said the actor. “Courtney had done such a beautiful job of creating the dark Lottie and the visionary that is Lottie.”\u003c/p>\n\u003cp>The young actors said that at the end of a long day of filming, they turned to self-care and community to take themselves out of their character’s survival mode.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s a lot of recommending yoga classes to each other,” Liv Hewson said playfully. Eaton and Nélisse lived together and chose to decompress by listening to music on the way home and sitting in silence watching television.\u003c/p>\n\u003cp>“I would say that to kind of decompress of the day, it really helped taking off my wig and getting rid of the dirt from under your nails and skin and just coming back to your own skin and feeling fresh again,” Eaton added.\u003c/p>\n\u003cp>Season two premiered on Showtime on March 24 and already has fans raving about the unexpected twists and turns.\u003c/p>\n\u003cp>Ricci, who has starred in films like \u003cem>The Addams Family\u003c/em> and \u003cem>Penelope\u003c/em>, said that fans are drawn to supernatural thrillers because they provide a sense of escape from reality.\u003c/p>\n\u003cp>“I think sometimes being able to see the problems of real life through an extreme metaphor, it’s easier to process things. It’s more fun to follow along. But we still feel how much it resonates emotionally for us,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tik-tok-rancid-nofx-bad-religion-parody-punk-every-song-by",
"title": "Meet the Oakland Guy Making Fun of Your Favorite California Punk Bands",
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"content": "\u003cp>His name is \u003ca href=\"https://www.instagram.com/gabekatz_music/\">Gabe Katz\u003c/a>. He’s 37 years old and lives in Oakland. And for weeks, punks all over the Bay Area (and beyond) have been sharing his hilarious impersonations of California’s favorite punk bands.\u003c/p>\n\u003cp>Katz, a music teacher by day and \u003ca href=\"https://gabekatz1.bandcamp.com/\">guitarist\u003c/a> and punk rock drummer by night, also co-hosts \u003ca href=\"https://podcasts.apple.com/us/podcast/turd-polisher/id1513288302\">\u003cem>Turd Polisher\u003c/em>\u003c/a>: a podcast that relentlessly (and gloriously) dismantles guests’ least favorite songs of all time. In short, the man understands song structure. And punk rock. And hilarity. Which is how he came up with the now-widely shared, supremely knowing, one-minute takedowns.\u003c/p>\n\u003cp>It all started back in January with the Rancid one. “Every Rancid Song” expertly captures the essence of the East Bay quartet in five easy steps:\u003c/p>\n\u003cp>✓Enunciation that’s just a little bit British\u003cbr>\n✓Talking about walking\u003cbr>\n✓References to drab infrastructural entities\u003cbr>\n✓A vague suggestion of poverty\u003cbr>\n✓Gratuitously mentioning geographic locations (Rancid does this so often, \u003ca href=\"https://i.redd.it/qhjhwdivfnv01.jpg\">someone on Reddit made a map\u003c/a>)\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@gabekatz_/video/7194630909063384362\" data-video-id=\"7194630909063384362\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" rel=\"noopener\">@gabekatz_\u003c/a> Every Rancid Song \u003ca title=\"punk\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"rancid\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancid?refer=embed\" rel=\"noopener\">#rancid\u003c/a> \u003ca title=\"rancidpunks\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancidpunks?refer=embed\" rel=\"noopener\">#rancidpunks\u003c/a> \u003ca title=\"funny\" target=\"_blank\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"music\" target=\"_blank\" href=\"https://www.tiktok.com/tag/music?refer=embed\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"oakland\" target=\"_blank\" href=\"https://www.tiktok.com/tag/oakland?refer=embed\" rel=\"noopener\">#oakland\u003c/a> \u003ca title=\"hellcatrecords\" target=\"_blank\" href=\"https://www.tiktok.com/tag/hellcatrecords?refer=embed\" rel=\"noopener\">#hellcatrecords\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" target=\"_blank\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"comedy\" target=\"_blank\" href=\"https://www.tiktok.com/tag/comedy?refer=embed\" rel=\"noopener\">#comedy\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7194630908639759150?refer=embed\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp> [tiktok]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Rancid’s “\u003ca href=\"https://www.youtube.com/watch?v=j5HZ5Bd6DUY\">Olympia, WA\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=bJy823DXgk4\">Lulu\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=2WOx4U3sCuQ\">Nihilism\u003c/a>.”)\u003c/p>\n\u003cp>Next up is Katz’s “Every NOFX Song,” which perfectly encapsulates the San Francisco pop punks using the following elements:\u003c/p>\n\u003cp>✓A reference to drugs\u003cbr>\n✓At least one person’s full name\u003cbr>\n✓A reference to a bar\u003cbr>\n✓A reference to another band\u003cbr>\n✓A reference to pee\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Boom!\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7201598891245030698\" data-video-id=\"7201598891245030698\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every NoFX song. \u003ca title=\"nofx\" href=\"https://www.tiktok.com/tag/nofx?refer=embed\" target=\"_blank\" rel=\"noopener\">#nofx\u003c/a> \u003ca title=\"fatmike\" href=\"https://www.tiktok.com/tag/fatmike?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmike\u003c/a> \u003ca title=\"fatmikeddude\" href=\"https://www.tiktok.com/tag/fatmikeddude?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmikeddude\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"fatwreckchords\" href=\"https://www.tiktok.com/tag/fatwreckchords?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatwreckchords\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener\">#sanfrancisco\u003c/a> \u003ca title=\"sf\" href=\"https://www.tiktok.com/tag/sf?refer=embed\" target=\"_blank\" rel=\"noopener\">#sf\u003c/a> \u003ca title=\"fishermanswharf\" href=\"https://www.tiktok.com/tag/fishermanswharf?refer=embed\" target=\"_blank\" rel=\"noopener\">#fishermanswharf\u003c/a> \u003ca title=\"vanswarpedtour\" href=\"https://www.tiktok.com/tag/vanswarpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#vanswarpedtour\u003c/a> \u003ca title=\"warpedtour\" href=\"https://www.tiktok.com/tag/warpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#warpedtour\u003c/a> \u003ca title=\"theeparkside\" href=\"https://www.tiktok.com/tag/theeparkside?refer=embed\" target=\"_blank\" rel=\"noopener\">#theeparkside\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"music\" href=\"https://www.tiktok.com/tag/music?refer=embed\" target=\"_blank\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"whythefuckwouldtheydothisshit\" href=\"https://www.tiktok.com/tag/whythefuckwouldtheydothisshit?refer=embed\" target=\"_blank\" rel=\"noopener\">#whythefuckwouldtheydothisshit\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7201598923704929070?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to NOFX’s “\u003ca href=\"https://www.youtube.com/watch?v=rEZ2sha5994\">Kids of the K-Hole\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=LI-Gjg_vi3A\">Seeing Double at the Triple Rock\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=O4IEFLgYAoc\">See Her Pee\u003c/a>.”)\u003c/p>\n\u003cp>Finally, there’s “Every Bad Religion Song,” which captures the So-Cal legends using the following formula:\u003c/p>\n\u003cp>✓A staccato delivery\u003cbr>\n✓References to scientific pursuits\u003cbr>\n✓Rolling your eyes at God\u003cbr>\n✓Relentless assonance\u003cbr>\n✓Throwing shade at mindless mainstream culture\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7215641460652297518\" data-video-id=\"7215641460652297518\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every Bad Religion song. \u003ca title=\"badreligion\" href=\"https://www.tiktok.com/tag/badreligion?refer=embed\" target=\"_blank\" rel=\"noopener\">#badreligion\u003c/a> \u003ca title=\"epitaphrecords\" href=\"https://www.tiktok.com/tag/epitaphrecords?refer=embed\" target=\"_blank\" rel=\"noopener\">#epitaphrecords\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"gabekatzcomedy\" href=\"https://www.tiktok.com/tag/gabekatzcomedy?refer=embed\" target=\"_blank\" rel=\"noopener\">#gabekatzcomedy\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7215641415353781035?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Bad Religion’s “\u003ca href=\"https://www.youtube.com/watch?v=12kcpP-8jfM\">American Jesus\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=AhzhiQA6-Aw\">Atomic Garden\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=JikOUxstTZ4\">Modern Day Catastrophists\u003c/a>.”)\u003c/p>\n\u003cp>Katz says we can definitely expect more videos like these from him in future, but asked which other bands he has in his sights, he says simply: “I cannot divulge that information at this time.”\u003c/p>\n\u003cp>Katz is hoping to move into comedy writing and voice acting full-time soon. Asked why he started making fun of these beloved bands in the first place, he is firm. “They had it coming,” he says.\u003c/p>\n\u003cp>Place your bets now on who’s got it coming next. Lagwagon? Dead Kennedys? Green Day? Pennywise? Black Flag? Fingers crossed for all of the above.\u003c/p>\u003c/blockquote>\n\u003c/blockquote>\n\n",
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"title": "Hear Every Rancid and NOFX Song in Under Two Minutes | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>His name is \u003ca href=\"https://www.instagram.com/gabekatz_music/\">Gabe Katz\u003c/a>. He’s 37 years old and lives in Oakland. And for weeks, punks all over the Bay Area (and beyond) have been sharing his hilarious impersonations of California’s favorite punk bands.\u003c/p>\n\u003cp>Katz, a music teacher by day and \u003ca href=\"https://gabekatz1.bandcamp.com/\">guitarist\u003c/a> and punk rock drummer by night, also co-hosts \u003ca href=\"https://podcasts.apple.com/us/podcast/turd-polisher/id1513288302\">\u003cem>Turd Polisher\u003c/em>\u003c/a>: a podcast that relentlessly (and gloriously) dismantles guests’ least favorite songs of all time. In short, the man understands song structure. And punk rock. And hilarity. Which is how he came up with the now-widely shared, supremely knowing, one-minute takedowns.\u003c/p>\n\u003cp>It all started back in January with the Rancid one. “Every Rancid Song” expertly captures the essence of the East Bay quartet in five easy steps:\u003c/p>\n\u003cp>✓Enunciation that’s just a little bit British\u003cbr>\n✓Talking about walking\u003cbr>\n✓References to drab infrastructural entities\u003cbr>\n✓A vague suggestion of poverty\u003cbr>\n✓Gratuitously mentioning geographic locations (Rancid does this so often, \u003ca href=\"https://i.redd.it/qhjhwdivfnv01.jpg\">someone on Reddit made a map\u003c/a>)\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@gabekatz_/video/7194630909063384362\" data-video-id=\"7194630909063384362\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" rel=\"noopener\">@gabekatz_\u003c/a> Every Rancid Song \u003ca title=\"punk\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"rancid\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancid?refer=embed\" rel=\"noopener\">#rancid\u003c/a> \u003ca title=\"rancidpunks\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancidpunks?refer=embed\" rel=\"noopener\">#rancidpunks\u003c/a> \u003ca title=\"funny\" target=\"_blank\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"music\" target=\"_blank\" href=\"https://www.tiktok.com/tag/music?refer=embed\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"oakland\" target=\"_blank\" href=\"https://www.tiktok.com/tag/oakland?refer=embed\" rel=\"noopener\">#oakland\u003c/a> \u003ca title=\"hellcatrecords\" target=\"_blank\" href=\"https://www.tiktok.com/tag/hellcatrecords?refer=embed\" rel=\"noopener\">#hellcatrecords\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" target=\"_blank\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"comedy\" target=\"_blank\" href=\"https://www.tiktok.com/tag/comedy?refer=embed\" rel=\"noopener\">#comedy\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7194630908639759150?refer=embed\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Rancid’s “\u003ca href=\"https://www.youtube.com/watch?v=j5HZ5Bd6DUY\">Olympia, WA\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=bJy823DXgk4\">Lulu\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=2WOx4U3sCuQ\">Nihilism\u003c/a>.”)\u003c/p>\n\u003cp>Next up is Katz’s “Every NOFX Song,” which perfectly encapsulates the San Francisco pop punks using the following elements:\u003c/p>\n\u003cp>✓A reference to drugs\u003cbr>\n✓At least one person’s full name\u003cbr>\n✓A reference to a bar\u003cbr>\n✓A reference to another band\u003cbr>\n✓A reference to pee\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Boom!\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7201598891245030698\" data-video-id=\"7201598891245030698\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every NoFX song. \u003ca title=\"nofx\" href=\"https://www.tiktok.com/tag/nofx?refer=embed\" target=\"_blank\" rel=\"noopener\">#nofx\u003c/a> \u003ca title=\"fatmike\" href=\"https://www.tiktok.com/tag/fatmike?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmike\u003c/a> \u003ca title=\"fatmikeddude\" href=\"https://www.tiktok.com/tag/fatmikeddude?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmikeddude\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"fatwreckchords\" href=\"https://www.tiktok.com/tag/fatwreckchords?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatwreckchords\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener\">#sanfrancisco\u003c/a> \u003ca title=\"sf\" href=\"https://www.tiktok.com/tag/sf?refer=embed\" target=\"_blank\" rel=\"noopener\">#sf\u003c/a> \u003ca title=\"fishermanswharf\" href=\"https://www.tiktok.com/tag/fishermanswharf?refer=embed\" target=\"_blank\" rel=\"noopener\">#fishermanswharf\u003c/a> \u003ca title=\"vanswarpedtour\" href=\"https://www.tiktok.com/tag/vanswarpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#vanswarpedtour\u003c/a> \u003ca title=\"warpedtour\" href=\"https://www.tiktok.com/tag/warpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#warpedtour\u003c/a> \u003ca title=\"theeparkside\" href=\"https://www.tiktok.com/tag/theeparkside?refer=embed\" target=\"_blank\" rel=\"noopener\">#theeparkside\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"music\" href=\"https://www.tiktok.com/tag/music?refer=embed\" target=\"_blank\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"whythefuckwouldtheydothisshit\" href=\"https://www.tiktok.com/tag/whythefuckwouldtheydothisshit?refer=embed\" target=\"_blank\" rel=\"noopener\">#whythefuckwouldtheydothisshit\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7201598923704929070?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to NOFX’s “\u003ca href=\"https://www.youtube.com/watch?v=rEZ2sha5994\">Kids of the K-Hole\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=LI-Gjg_vi3A\">Seeing Double at the Triple Rock\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=O4IEFLgYAoc\">See Her Pee\u003c/a>.”)\u003c/p>\n\u003cp>Finally, there’s “Every Bad Religion Song,” which captures the So-Cal legends using the following formula:\u003c/p>\n\u003cp>✓A staccato delivery\u003cbr>\n✓References to scientific pursuits\u003cbr>\n✓Rolling your eyes at God\u003cbr>\n✓Relentless assonance\u003cbr>\n✓Throwing shade at mindless mainstream culture\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7215641460652297518\" data-video-id=\"7215641460652297518\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every Bad Religion song. \u003ca title=\"badreligion\" href=\"https://www.tiktok.com/tag/badreligion?refer=embed\" target=\"_blank\" rel=\"noopener\">#badreligion\u003c/a> \u003ca title=\"epitaphrecords\" href=\"https://www.tiktok.com/tag/epitaphrecords?refer=embed\" target=\"_blank\" rel=\"noopener\">#epitaphrecords\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"gabekatzcomedy\" href=\"https://www.tiktok.com/tag/gabekatzcomedy?refer=embed\" target=\"_blank\" rel=\"noopener\">#gabekatzcomedy\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7215641415353781035?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Bad Religion’s “\u003ca href=\"https://www.youtube.com/watch?v=12kcpP-8jfM\">American Jesus\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=AhzhiQA6-Aw\">Atomic Garden\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=JikOUxstTZ4\">Modern Day Catastrophists\u003c/a>.”)\u003c/p>\n\u003cp>Katz says we can definitely expect more videos like these from him in future, but asked which other bands he has in his sights, he says simply: “I cannot divulge that information at this time.”\u003c/p>\n\u003cp>Katz is hoping to move into comedy writing and voice acting full-time soon. Asked why he started making fun of these beloved bands in the first place, he is firm. “They had it coming,” he says.\u003c/p>\n\u003cp>Place your bets now on who’s got it coming next. Lagwagon? Dead Kennedys? Green Day? Pennywise? Black Flag? Fingers crossed for all of the above.\u003c/p>\u003c/blockquote>\n\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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