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"title": "New Cypress Hill Documentary 'Insane in the Brain' Chronicles a Blazing Triumph",
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"content": "\u003cp>If you come to \u003cem>Cypress Hill: Insane in the Brain\u003c/em> expecting weed smoke, raucous live footage and a gritty back story—congratulations! There’s an ample amount of all three.\u003c/p>\n\u003cp>You’ll also get the usual documentary staples: archival footage, personal stories, and a smattering of glowing commentary from hip-hop insiders, including Ice-T and Chuck D. What elevates Insane in the Brain—a Showtime production \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">premiering, naturally, on 4/20\u003c/a>—is its journey through the sheer unlikelihood of Cypress Hill’s success, and the barriers they overcame to achieve it.\u003c/p>\n\u003cp>[aside postid='arts_13909610']The film is directed by Estevan Oriol—a longtime friend and tour manager to the band, as well as a talented photographer and music video director in his own right. Across 87 minutes, Oriol effectively breaks down the great number of cultural and legal barriers that could have prevented B-Real, Sen Dog and DJ Muggs from becoming global stars with record sales exceeding 20 million. And he does it from a uniquely personal perspective.\u003c/p>\n\u003cp>First, the Los Angeles group managed to get out from being under gang affiliations, and the danger that posed. (B-Real recounts getting shot in the back by rival gang members in the 1980s.) Second, they had to wheedle their way into a hip-hop scene sorely lacking in Latino representation. (Cypress Hill was the first Latino rap group to go platinum.)\u003c/p>\n\u003cp>Third, they had to stay out of jail while publicly flouting anti-marijuana laws all over the world. (Much is made here of the fact that Cypress Hill were one of the first artists to openly and enthusiastically smoke weed on stage nightly, including during a now-infamous appearance on \u003cem>SNL\u003c/em> that \u003ca href=\"https://youtu.be/U3CJ4AO5-p4?t=169\" rel=\"noopener noreferrer\" target=\"_blank\">earned them a lifetime ban\u003c/a> from the show.) Fourth, they needed to transcend genres. A major source of their success in the 1990s was winning over crowds at alternative rock festivals like Lollapalooza and the UK’s Reading Festival. (They warmly recall their time on the road with Nirvana and Hole here.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ezoTkEIivrY\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> explains exactly how Cypress Hill smoothly scaled all those hurdles. And the trio’s combination of savvy, tenacity, talent and plain old-fashioned good luck is fairly remarkable to behold. One particularly delightful portion features DJ Muggs admitting he’d never heard the word “concept” until Def Jam’s Bill Stephney told him Cypress Hill needed one. Muggs went home, pondered it, then told his friends: “Y’all gotta be the Cheech and Chong of this motherfucka.” (Stoners will be thrilled to hear that the weed movie legends do show up for a bizarre interview.)\u003c/p>\n\u003cp>Certain nuggets in the documentary seem tailor-made to delight hardcore fans—particularly some early demos, recorded before B-Real had landed on the nasal delivery that gave Cypress Hill their unmistakable sound. But casual viewers will enjoy it as a story about triumphing over odds, and one that also happens to come with some hilarious anecdotes. (The night Sen Dog took too many mushrooms and got into a fight with a hat someone threw onstage is worth a viewing alone.)\u003c/p>\n\u003cp>[aside postid='arts_13906331']That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\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>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Ali Wong has given the public loads of very personal information about her husband, Justin Hakuta, in the eight years the couple has been married.\u003c/p>\n\u003cp>In her most recent Netflix stand-up special, \u003cem>Don Wong\u003c/em>, the Asian American actor bragged about her Asian American husband’s accolades: He went to Carnegie Mellon University and Harvard Business School, and he was a Fulbright scholar.\u003c/p>\n\u003cp>[aside postid='arts_13897419']She also referred to his Keanu Reeves-like looks, saying, “I like dudes who look as close to Keanu Reeves as possible.”\u003c/p>\n\u003cp>In 2018’s \u003cem>Hard Knock Wife\u003c/em>, Wong talked about the couple’s pre-nup and Hakuta’s income, which apparently pales in comparison with hers. Before that, in \u003cem>Baby Cobra\u003c/em>, Wong told the story of how they met, admitting that she thought Hakuta was out of her league, so she came up with a plan “to trap his a**!”\u003c/p>\n\u003cp>Still, despite the abundance of very Google-able information out there about him and red carpet appearances by the two, on the day \u003ca href=\"https://people.com/tv/ali-wong-and-justin-hakuta-divorcing-after-8-years-of-marriage/\" target=\"_blank\" rel=\"noopener noreferrer\">Wong confirmed she and her husband plan to split\u003c/a>, some news outlets misidentified Hakuta, incorrectly using photos of Asian American actor Randall Park instead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong and Park \u003ca href=\"https://www.npr.org/2019/06/09/730729604/ali-wong-and-randall-park-on-rapping-rom-com-tropes-and-keanu-reeves\" target=\"_blank\" rel=\"noopener noreferrer\">co-starred in exactly one film together\u003c/a>: the Netflix hit \u003cem>Always Be My Maybe.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911936 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/parade-magazine_custom-5816c6e742dbfb7032095a7f426e6db4b0da51bd.jpg\" alt=\"\" width=\"566\" height=\"880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/parade-magazine_custom-5816c6e742dbfb7032095a7f426e6db4b0da51bd.jpg 566w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/parade-magazine_custom-5816c6e742dbfb7032095a7f426e6db4b0da51bd-160x249.jpg 160w\" sizes=\"(max-width: 566px) 100vw, 566px\">\u003c/p>\n\u003cp>The blunder has revived the hashtag #wrongasian on social media and spurred new rounds of ridicule of the outlets, including \u003cem>Parade\u003c/em> magazine, which has since deleted a tweet featuring Wong and Park.\u003c/p>\n\u003cp>[aside postid='arts_13861622']“Come on! Can we not ruin the news of Ali Wong’s divorce with Wrong Asian racism?” tweeted Phil Yu, co-author of \u003cem>Rise: A Pop History of Asian America From the Nineties to Now\u003c/em>.\u003c/p>\n\u003cp>Others joined in expressing feelings of exhaustion over having to call out such careless oversights, which are much more common in stories about people of color.\u003c/p>\n\u003cp>“In their defense, Justin [Hakuta] and Randall Park were both Asian on the same night this one time,” \u003ca href=\"https://twitter.com/choo_ek/status/1514016714530308098\">wrote \u003c/a>Esther Choo, an Asian American physician and health communicator, in a tweet that paired a red carpet photo of Wong and Hakuta alongside a red carpet photo of Wong and Park taken on the same night.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911939 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-800x800.png\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM.png 1538w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Meanwhile, MSN seems to have made a similar mistake, but somehow worse, by leaving Wong completely out of the picture and posting only a photo of Park below a tweet that read: “Ali Wong and husband Justin Hakuta divorcing after 8 years of marriage, reports say.”\u003c/p>\n\u003cp>Just last month, world-famous tennis star Serena Williams was at the center of a similar error by \u003cem>The New York Times\u003c/em>. The newspaper ran a story about Williams’ venture firm raising $111 million but used a photo of her sister Venus Williams by mistake.\u003c/p>\n\u003cp>https://twitter.com/serenawilliams/status/1499058086165639169\u003c/p>\n\u003cp>“No matter how far we come, we get reminded that it’s not enough,” Serena Williams \u003ca href=\"https://twitter.com/serenawilliams/status/1499058086165639169?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1499118970556850187%7Ctwgr%5E%7Ctwcon%5Es2_&ref_url=https%3A%2F%2Fwww.cbsnews.com%2Fnewyork%2Fnews%2Fserena-williams-new-york-times-photo%2F\" target=\"_blank\" rel=\"noopener noreferrer\">responded\u003c/a> on Twitter. “This is why I raised $111M for @serenaventures. To support the founders who are overlooked by engrained systems woefully unaware of their biases. Because even I am overlooked. You can do better, @nytimes.”\u003c/p>\n\u003cp>\u003cem>Parade \u003c/em>magazine has since issued an \u003ca href=\"https://twitter.com/ParadeMagazine/status/1514228205678473225/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a> to Wong, Hakuta and Park and has promised to “implement stronger measures going forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It added: “We made a mistake and identified Ali Wong’s husband Justin Hakuta as her co-star Randall Park. We understand how hurtful this photo mistake was and the impact it can have and we sincerely regret it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ali+Wong%27s+divorce+news+causes+another+case+of+%23wrongasian&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ali Wong has given the public loads of very personal information about her husband, Justin Hakuta, in the eight years the couple has been married.\u003c/p>\n\u003cp>In her most recent Netflix stand-up special, \u003cem>Don Wong\u003c/em>, the Asian American actor bragged about her Asian American husband’s accolades: He went to Carnegie Mellon University and Harvard Business School, and he was a Fulbright scholar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She also referred to his Keanu Reeves-like looks, saying, “I like dudes who look as close to Keanu Reeves as possible.”\u003c/p>\n\u003cp>In 2018’s \u003cem>Hard Knock Wife\u003c/em>, Wong talked about the couple’s pre-nup and Hakuta’s income, which apparently pales in comparison with hers. Before that, in \u003cem>Baby Cobra\u003c/em>, Wong told the story of how they met, admitting that she thought Hakuta was out of her league, so she came up with a plan “to trap his a**!”\u003c/p>\n\u003cp>Still, despite the abundance of very Google-able information out there about him and red carpet appearances by the two, on the day \u003ca href=\"https://people.com/tv/ali-wong-and-justin-hakuta-divorcing-after-8-years-of-marriage/\" target=\"_blank\" rel=\"noopener noreferrer\">Wong confirmed she and her husband plan to split\u003c/a>, some news outlets misidentified Hakuta, incorrectly using photos of Asian American actor Randall Park instead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wong and Park \u003ca href=\"https://www.npr.org/2019/06/09/730729604/ali-wong-and-randall-park-on-rapping-rom-com-tropes-and-keanu-reeves\" target=\"_blank\" rel=\"noopener noreferrer\">co-starred in exactly one film together\u003c/a>: the Netflix hit \u003cem>Always Be My Maybe.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911936 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/parade-magazine_custom-5816c6e742dbfb7032095a7f426e6db4b0da51bd.jpg\" alt=\"\" width=\"566\" height=\"880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/parade-magazine_custom-5816c6e742dbfb7032095a7f426e6db4b0da51bd.jpg 566w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/parade-magazine_custom-5816c6e742dbfb7032095a7f426e6db4b0da51bd-160x249.jpg 160w\" sizes=\"(max-width: 566px) 100vw, 566px\">\u003c/p>\n\u003cp>The blunder has revived the hashtag #wrongasian on social media and spurred new rounds of ridicule of the outlets, including \u003cem>Parade\u003c/em> magazine, which has since deleted a tweet featuring Wong and Park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Come on! Can we not ruin the news of Ali Wong’s divorce with Wrong Asian racism?” tweeted Phil Yu, co-author of \u003cem>Rise: A Pop History of Asian America From the Nineties to Now\u003c/em>.\u003c/p>\n\u003cp>Others joined in expressing feelings of exhaustion over having to call out such careless oversights, which are much more common in stories about people of color.\u003c/p>\n\u003cp>“In their defense, Justin [Hakuta] and Randall Park were both Asian on the same night this one time,” \u003ca href=\"https://twitter.com/choo_ek/status/1514016714530308098\">wrote \u003c/a>Esther Choo, an Asian American physician and health communicator, in a tweet that paired a red carpet photo of Wong and Hakuta alongside a red carpet photo of Wong and Park taken on the same night.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911939 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-800x800.png\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-13-at-4.23.54-PM.png 1538w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Meanwhile, MSN seems to have made a similar mistake, but somehow worse, by leaving Wong completely out of the picture and posting only a photo of Park below a tweet that read: “Ali Wong and husband Justin Hakuta divorcing after 8 years of marriage, reports say.”\u003c/p>\n\u003cp>Just last month, world-famous tennis star Serena Williams was at the center of a similar error by \u003cem>The New York Times\u003c/em>. The newspaper ran a story about Williams’ venture firm raising $111 million but used a photo of her sister Venus Williams by mistake.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“No matter how far we come, we get reminded that it’s not enough,” Serena Williams \u003ca href=\"https://twitter.com/serenawilliams/status/1499058086165639169?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1499118970556850187%7Ctwgr%5E%7Ctwcon%5Es2_&ref_url=https%3A%2F%2Fwww.cbsnews.com%2Fnewyork%2Fnews%2Fserena-williams-new-york-times-photo%2F\" target=\"_blank\" rel=\"noopener noreferrer\">responded\u003c/a> on Twitter. “This is why I raised $111M for @serenaventures. To support the founders who are overlooked by engrained systems woefully unaware of their biases. Because even I am overlooked. You can do better, @nytimes.”\u003c/p>\n\u003cp>\u003cem>Parade \u003c/em>magazine has since issued an \u003ca href=\"https://twitter.com/ParadeMagazine/status/1514228205678473225/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a> to Wong, Hakuta and Park and has promised to “implement stronger measures going forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It added: “We made a mistake and identified Ali Wong’s husband Justin Hakuta as her co-star Randall Park. We understand how hurtful this photo mistake was and the impact it can have and we sincerely regret it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ali+Wong%27s+divorce+news+causes+another+case+of+%23wrongasian&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "concords-own-comic-con-brings-a-third-year-of-nerdy-fun",
"title": "Concord's Own Comic-Con Brings a Third Year of Nerdy Fun",
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"content": "\u003cp>While it may not compare to the grandeur and scope of its much larger cousin in San Diego, \u003ca href=\"https://www.kidfestconcord.com/contra-costa-con\" rel=\"noopener noreferrer\" target=\"_blank\">Contra Costa Con 3\u003c/a> boasts an impressive panel of guests, collectors and toys in Concord on Sunday—and of course, cosplay is \u003cem>highly\u003c/em> encouraged.\u003c/p>\n\u003cp>Celebrities in attendance include Eric Roberts (Julia Roberts’ older brother), who has appeared in such films as \u003cem>The Dark Knight\u003c/em> (2008) and TV’s \u003cem>Doctor Who: The Movie\u003c/em> (1996). Also on hand is Eliza Roberts (Eric’s wife), a casting director for films and TV shows like \u003cem>National Lampoon’s Animal House\u003c/em>, \u003cem>Doctor Who: The Movie\u003c/em> and \u003cem>Lois & Clark: The New Adventures of Superman\u003c/em>.\u003c/p>\n\u003cp>For Star Wars fans, Charles Andrew Nelson will be in attendance. Nelson has portrayed Darth Vader since 1994 in projects like LucasArts’ \u003cem>Star Wars: Dark Forces\u003c/em>, \u003cem>Star Wars: Rebel Assault II: The Hidden Empire\u003c/em> games, and the Special Edition of \u003cem>Star Wars: \u003c/em>Episode V\u003cem> The Empire Strikes Back\u003c/em>. Lastly, one of the two Tusken Raiders in the original \u003cem>Star Wars\u003c/em> movies, Alan Fernandes, will appear as a guest.\u003c/p>\n\u003cfigure id=\"attachment_13911669\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ContraCon.R2D2-1020x772.jpg\" alt=\"Youngsters pose with R2D2 at Conta Costa Con.\" width=\"640\" height=\"484\" class=\"size-large wp-image-13911669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ContraCon.R2D2-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ContraCon.R2D2-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ContraCon.R2D2-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ContraCon.R2D2-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ContraCon.R2D2.jpg 1504w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Youngsters pose with R2D2 at Conta Costa Con. \u003ccite>(Courtesy Conta Costa Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In keeping with comic-con tradition, expect booths galore with art, posters, cards, books, vintage video games, cosplay materials, comics and more. All in all, a fun event for comic, cosplay and sci-fi nerds, and plenty of family fun.\u003c/p>\n\u003cp>Contra Costa Con 3 gets underway Sunday, April 10, from 10am–4pm at the Hilton Concord Hotel Golden Gate Ballroom. Kids 10 and under are free. \u003ca href=\"https://www.kidfestconcord.com/contra-costa-con\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While it may not compare to the grandeur and scope of its much larger cousin in San Diego, \u003ca href=\"https://www.kidfestconcord.com/contra-costa-con\" rel=\"noopener noreferrer\" target=\"_blank\">Contra Costa Con 3\u003c/a> boasts an impressive panel of guests, collectors and toys in Concord on Sunday—and of course, cosplay is \u003cem>highly\u003c/em> encouraged.\u003c/p>\n\u003cp>Celebrities in attendance include Eric Roberts (Julia Roberts’ older brother), who has appeared in such films as \u003cem>The Dark Knight\u003c/em> (2008) and TV’s \u003cem>Doctor Who: The Movie\u003c/em> (1996). Also on hand is Eliza Roberts (Eric’s wife), a casting director for films and TV shows like \u003cem>National Lampoon’s Animal House\u003c/em>, \u003cem>Doctor Who: The Movie\u003c/em> and \u003cem>Lois & Clark: The New Adventures of Superman\u003c/em>.\u003c/p>\n\u003cp>For Star Wars fans, Charles Andrew Nelson will be in attendance. Nelson has portrayed Darth Vader since 1994 in projects like LucasArts’ \u003cem>Star Wars: Dark Forces\u003c/em>, \u003cem>Star Wars: Rebel Assault II: The Hidden Empire\u003c/em> games, and the Special Edition of \u003cem>Star Wars: \u003c/em>Episode V\u003cem> The Empire Strikes Back\u003c/em>. Lastly, one of the two Tusken Raiders in the original \u003cem>Star Wars\u003c/em> movies, Alan Fernandes, will appear as a guest.\u003c/p>\n\u003cfigure id=\"attachment_13911669\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ContraCon.R2D2-1020x772.jpg\" alt=\"Youngsters pose with R2D2 at Conta Costa Con.\" width=\"640\" height=\"484\" class=\"size-large wp-image-13911669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ContraCon.R2D2-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ContraCon.R2D2-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ContraCon.R2D2-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ContraCon.R2D2-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ContraCon.R2D2.jpg 1504w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Youngsters pose with R2D2 at Conta Costa Con. \u003ccite>(Courtesy Conta Costa Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In keeping with comic-con tradition, expect booths galore with art, posters, cards, books, vintage video games, cosplay materials, comics and more. All in all, a fun event for comic, cosplay and sci-fi nerds, and plenty of family fun.\u003c/p>\n\u003cp>Contra Costa Con 3 gets underway Sunday, April 10, from 10am–4pm at the Hilton Concord Hotel Golden Gate Ballroom. Kids 10 and under are free. \u003ca href=\"https://www.kidfestconcord.com/contra-costa-con\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Julia Child, the late American chef who is credited for making French cuisine accessible in the U.S., remains widely influential nearly 20 years after her death. In the last few months alone, she’s been the subject of a new documentary and the inspiration for a new reality cooking show.\u003c/p>\n\u003cp>Now, she is having another moment in the new \u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYip0jQfJ7MPDDQEAAAAD\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Max series \u003cem>Julia\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZBacZqwbCA\u003c/p>\n\u003cp>Actress Sarah Lancashire plays the woman considered America’s first “celebrity chef” and describes Child as someone who “took performance to a whole different level.”\u003c/p>\n\u003cp>“She was like this beautiful bird of paradise with this extraordinary energy and vivacity,” said Lancashire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show dramatizes how Child was inspired to launch her show, \u003cem>The French Chef \u003c/em>in 1963 after an appearance on a sleepy public television show about reading. She was one of the first to host her own cooking show.\u003c/p>\n\u003cp>“She was bringing a new genre to the screen,” says Lancashire. “It hadn’t really been done before.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside tag='food' label='More KQED Food Stories.']\u003c/span>\u003c/p>\n\u003cp>Lancashire was born and raised in the U.K., so she wasn’t quite as familiar with Child as American audiences were. Still, she says the challenge of making a cultural icon feel human came easy to her.\u003c/p>\n\u003cp>“The starting point has to be their humanity and their authenticity,” she says. So she focused on the complicated person behind Child’s unique voice and exuberant public persona.\u003c/p>\n\u003cp>“She’s naturally very funny [but] I never approached the series as a comedy,” Lancashire says. “I didn’t really want that to be the launch pad.”\u003c/p>\n\u003cp>“I needed to know specifically who Julia was when she was away from the cameras, when she wasn’t on the show,” says Lancashire. “The Julia behind closed doors. The Julia when she was with her friends, when she was with Paul. That, to me, is equally as important as trying to portray the woman in front of the camera.”\u003c/p>\n\u003cp>\u003cem>The French Chef\u003c/em> aired on WGBH and became a phenomenon, running for 10 seasons. By the time it ended in 1973, Child had cemented herself as a household name. She had mastered the art of French cooking and even co-wrote a book about it, appropriately titled \u003cem>Mastering the Art of French Cooking\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13911559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-800x533.jpg\" alt=\"A woman stands behind a counter authoritatively. Before her is a counter covered in cooking equipment, two TV cameras trained on her and eight men and women avidly watching her. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Child’s cooking show, ‘The French Chef,’ became a phenomenon and helped popularize French cuisine. \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She radiated sunshine and optimism, and I think that’s why people wanted to watch her,” says Lancashire. “She made them feel capable and competent. And she never judged at all.”\u003c/p>\n\u003cp>In fact, Child insisted on keeping her phone number in the phone book so people could contact her if they had issues with one of her recipes.\u003c/p>\n\u003cp>“This is a woman who had no ego,” Lancashire says. “This was not about celebrity. This was Julia as a teacher, and she wanted to ensure that her pupils could access her if they needed her.”\u003c/p>\n\u003cp>Lancashire says, Child lived a “tremendously interesting” life.\u003c/p>\n\u003cp>[aside postid='arts_13879706']“She only followed her own mantra, this wonderful phrase that she has of—find something you’re passionate about, and keep tremendously interested in it,” says Lancashire. “I don’t think she was doing it for any other reason than wanting to impart her knowledge.”\u003c/p>\n\u003cp>Child continued to share that knowledge well after her show ended. In 1981, she co-founded the American Institute of Wine and Food. And in the mid-’90s, she established the Julia Child Foundation for Gastronomy and Culinary Arts, which helped cement her legacy of teaching people about cooking.\u003c/p>\n\u003cp>It is a legacy that Lancashire hopes comes through in the new HBO Max series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think people hold her so dear in their hearts because of the qualities that she had,” says Lancashire. “What I hope more than anything is that we’ve lived up to that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Lancashire+becomes+master+%E2%80%94+and+teacher+%E2%80%94+of+French+cooking+as+Julia+Child&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Julia Child, the late American chef who is credited for making French cuisine accessible in the U.S., remains widely influential nearly 20 years after her death. In the last few months alone, she’s been the subject of a new documentary and the inspiration for a new reality cooking show.\u003c/p>\n\u003cp>Now, she is having another moment in the new \u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYip0jQfJ7MPDDQEAAAAD\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Max series \u003cem>Julia\u003c/em>\u003c/a>.\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/PZBacZqwbCA'\n title='//www.youtube.com/embed/PZBacZqwbCA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Actress Sarah Lancashire plays the woman considered America’s first “celebrity chef” and describes Child as someone who “took performance to a whole different level.”\u003c/p>\n\u003cp>“She was like this beautiful bird of paradise with this extraordinary energy and vivacity,” said Lancashire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Lancashire was born and raised in the U.K., so she wasn’t quite as familiar with Child as American audiences were. Still, she says the challenge of making a cultural icon feel human came easy to her.\u003c/p>\n\u003cp>“The starting point has to be their humanity and their authenticity,” she says. So she focused on the complicated person behind Child’s unique voice and exuberant public persona.\u003c/p>\n\u003cp>“She’s naturally very funny [but] I never approached the series as a comedy,” Lancashire says. “I didn’t really want that to be the launch pad.”\u003c/p>\n\u003cp>“I needed to know specifically who Julia was when she was away from the cameras, when she wasn’t on the show,” says Lancashire. “The Julia behind closed doors. The Julia when she was with her friends, when she was with Paul. That, to me, is equally as important as trying to portray the woman in front of the camera.”\u003c/p>\n\u003cp>\u003cem>The French Chef\u003c/em> aired on WGBH and became a phenomenon, running for 10 seasons. By the time it ended in 1973, Child had cemented herself as a household name. She had mastered the art of French cooking and even co-wrote a book about it, appropriately titled \u003cem>Mastering the Art of French Cooking\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13911559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-800x533.jpg\" alt=\"A woman stands behind a counter authoritatively. Before her is a counter covered in cooking equipment, two TV cameras trained on her and eight men and women avidly watching her. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Child’s cooking show, ‘The French Chef,’ became a phenomenon and helped popularize French cuisine. \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She radiated sunshine and optimism, and I think that’s why people wanted to watch her,” says Lancashire. “She made them feel capable and competent. And she never judged at all.”\u003c/p>\n\u003cp>In fact, Child insisted on keeping her phone number in the phone book so people could contact her if they had issues with one of her recipes.\u003c/p>\n\u003cp>“This is a woman who had no ego,” Lancashire says. “This was not about celebrity. This was Julia as a teacher, and she wanted to ensure that her pupils could access her if they needed her.”\u003c/p>\n\u003cp>Lancashire says, Child lived a “tremendously interesting” life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This year’s face slap of Chris Rock by Will Smith was just the latest bizarre moment in the history of the Academy Awards.\u003c/p>\n\u003cp>[aside postid='pop_105648']From Roberto Benigni climbing across the theater’s chairs between him and his statuette to \u003ca href=\"https://pagesix.com/article/bjork-swan-dress-oscars-2001/\" target=\"_blank\" rel=\"noopener noreferrer\">Björk laying eggs on the red carpet\u003c/a>, Oscar ceremonies often go off script, sometimes spectacularly so.\u003c/p>\n\u003cp>We look back to five cases of the best-laid plans going awry, in ways serious, slapstick and slapdash.\u003c/p>\n\u003ch3>\u003cstrong>An early night\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=2riKdGOdU3E\u003c/p>\n\u003cp>That the Oscars ran too short might seem improbable as we now regularly approach a three-and-a-half-hour run time, but that is exactly what happened during the 31st Academy Awards in 1959. In an ultimately overzealous effort to make sure the show ran on time, the show’s producer Jerry Wald began cutting numbers from the show, leading the ceremony to end 20 minutes short of its intended two-hour run. Host Jerry Lewis and several other celebrities were left to improvise before NBC cut to a rerun of a sports broadcast.\u003c/p>\n\u003ch3>\u003cstrong>An Oscar he did refuse\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=2QUacU0I4yU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While politically charged speeches may be par for the course nowadays, that was not the case in 1973, when Sacheen Littlefeather endured taunts and jeers as she took the stage to reject an Oscar on behalf of best actor winner Marlon Brando. Littlefeather, an Apache actress, said Brando “very regretfully cannot accept this very generous award. And the reasons for this being are the treatment of American Indians today by the film industry … and also with recent happenings at Wounded Knee. I beg at this time that I have not intruded upon this evening and that we will in the future, our hearts and our understandings will meet with love and generosity.”\u003c/p>\n\u003cp>[aside postid='arts_13869074']To make the event even more surreal, Western star John Wayne—who spent a large portion of his career pretending to slaughter Native Americans on-screen—\u003ca href=\"https://www.theglobeandmail.com/arts/awards-and-festivals/film-awards/sacheen-littlefeather-marlon-brandos-one-time-oscars-accomplice-on-how-hollywood-has-changed/article28901215/\" target=\"_blank\" rel=\"noopener noreferrer\">was backstage wanting to remove Littlefeather before she spoke, according to an interview she gave in later years.\u003c/a>\u003c/p>\n\u003cp>After the ceremony, Littlefeather read to journalists \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/packages/html/movies/bestpictures/godfather-ar3.html\" target=\"_blank\" rel=\"noopener noreferrer\">the full 15-page speech Brando had prepared\u003c/a>. The speech is credited with bringing more attention to the Wounded Knee standoff between the Oglala and the United States government.\u003c/p>\n\u003ch3>\u003cstrong>“Nothing to Hide”\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=EWBc-ir6IFM\u003c/p>\n\u003cp>Gay rights activist Robert Opel didn’t worry too much about what he was going to wear to the 1974 Academy Awards, opting instead to streak the stage wearing nothing more than his mustache—just before the award ceremony announced the winner for best picture. Opel, no stranger to public nudity, would later bare it all at a Los Angeles City Council meeting—interrupting a debate on outlawing nudity on public beaches—and even run for president as a nudist under the slogan “Nothing to Hide.”\u003c/p>\n\u003cp>After Opel’s brief performance, host David Niven offered the devastating quip, “Isn’t it fascinating to think that probably the only laugh that man will ever get in life is by stripping off and showing his shortcomings?”\u003c/p>\n\u003ch3>\u003cstrong>Sometimes the risk doesn’t pay off\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=9mronRVvdmw\u003c/p>\n\u003cp>The most alarming part of this incident might be that it was planned. The 61st Academy Awards opened with an 11-minute song and dance number starring Rob Lowe and Eileen Bowman as Snow White and featured lavish costumes, plenty of sparkles, and little to no relevance to the rest of the show.\u003c/p>\n\u003ch3>\u003cstrong>And the winner is…?\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=GCQn_FkFElI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2012 a photograph of the still very alive film producer Jan Chapman was featured during the In Memoriam segment, and Faye Dunaway and Warren Beatty announced that \u003cem>La La Land\u003c/em> had won best picture. The cast and crew of the film, which had already won 12 other awards, were ecstatic as they crowded the stage. But after thanking his family and the Academy, producer Jordan Horowitz quickly returned to the microphone and announced that there had been a mistake: \u003ca href=\"https://www.npr.org/2017/02/27/517563215/la-la-land-producer-reacts-to-best-picture-blunder\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moonlight\u003c/em> had won best picture\u003c/a>. Amid the chaos that ensued Beatty explained that he and Dunaway had been given the card from the previous award: Emma Stone, in \u003cem>La La Land\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+most+unexpected+moments+in+Oscars%27+history&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "One year the telecast was too short. During another Rob Lowe sang with Snow White. Oscar can go weirdly off-script.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s face slap of Chris Rock by Will Smith was just the latest bizarre moment in the history of the Academy Awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From Roberto Benigni climbing across the theater’s chairs between him and his statuette to \u003ca href=\"https://pagesix.com/article/bjork-swan-dress-oscars-2001/\" target=\"_blank\" rel=\"noopener noreferrer\">Björk laying eggs on the red carpet\u003c/a>, Oscar ceremonies often go off script, sometimes spectacularly so.\u003c/p>\n\u003cp>We look back to five cases of the best-laid plans going awry, in ways serious, slapstick and slapdash.\u003c/p>\n\u003ch3>\u003cstrong>An early night\u003c/strong>\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/2riKdGOdU3E'\n title='//www.youtube.com/embed/2riKdGOdU3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That the Oscars ran too short might seem improbable as we now regularly approach a three-and-a-half-hour run time, but that is exactly what happened during the 31st Academy Awards in 1959. In an ultimately overzealous effort to make sure the show ran on time, the show’s producer Jerry Wald began cutting numbers from the show, leading the ceremony to end 20 minutes short of its intended two-hour run. Host Jerry Lewis and several other celebrities were left to improvise before NBC cut to a rerun of a sports broadcast.\u003c/p>\n\u003ch3>\u003cstrong>An Oscar he did refuse\u003c/strong>\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/2QUacU0I4yU'\n title='//www.youtube.com/embed/2QUacU0I4yU'\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>While politically charged speeches may be par for the course nowadays, that was not the case in 1973, when Sacheen Littlefeather endured taunts and jeers as she took the stage to reject an Oscar on behalf of best actor winner Marlon Brando. Littlefeather, an Apache actress, said Brando “very regretfully cannot accept this very generous award. And the reasons for this being are the treatment of American Indians today by the film industry … and also with recent happenings at Wounded Knee. I beg at this time that I have not intruded upon this evening and that we will in the future, our hearts and our understandings will meet with love and generosity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To make the event even more surreal, Western star John Wayne—who spent a large portion of his career pretending to slaughter Native Americans on-screen—\u003ca href=\"https://www.theglobeandmail.com/arts/awards-and-festivals/film-awards/sacheen-littlefeather-marlon-brandos-one-time-oscars-accomplice-on-how-hollywood-has-changed/article28901215/\" target=\"_blank\" rel=\"noopener noreferrer\">was backstage wanting to remove Littlefeather before she spoke, according to an interview she gave in later years.\u003c/a>\u003c/p>\n\u003cp>After the ceremony, Littlefeather read to journalists \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/packages/html/movies/bestpictures/godfather-ar3.html\" target=\"_blank\" rel=\"noopener noreferrer\">the full 15-page speech Brando had prepared\u003c/a>. The speech is credited with bringing more attention to the Wounded Knee standoff between the Oglala and the United States government.\u003c/p>\n\u003ch3>\u003cstrong>“Nothing to Hide”\u003c/strong>\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/EWBc-ir6IFM'\n title='//www.youtube.com/embed/EWBc-ir6IFM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gay rights activist Robert Opel didn’t worry too much about what he was going to wear to the 1974 Academy Awards, opting instead to streak the stage wearing nothing more than his mustache—just before the award ceremony announced the winner for best picture. Opel, no stranger to public nudity, would later bare it all at a Los Angeles City Council meeting—interrupting a debate on outlawing nudity on public beaches—and even run for president as a nudist under the slogan “Nothing to Hide.”\u003c/p>\n\u003cp>After Opel’s brief performance, host David Niven offered the devastating quip, “Isn’t it fascinating to think that probably the only laugh that man will ever get in life is by stripping off and showing his shortcomings?”\u003c/p>\n\u003ch3>\u003cstrong>Sometimes the risk doesn’t pay off\u003c/strong>\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/9mronRVvdmw'\n title='//www.youtube.com/embed/9mronRVvdmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most alarming part of this incident might be that it was planned. The 61st Academy Awards opened with an 11-minute song and dance number starring Rob Lowe and Eileen Bowman as Snow White and featured lavish costumes, plenty of sparkles, and little to no relevance to the rest of the show.\u003c/p>\n\u003ch3>\u003cstrong>And the winner is…?\u003c/strong>\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/GCQn_FkFElI'\n title='//www.youtube.com/embed/GCQn_FkFElI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In 2012 a photograph of the still very alive film producer Jan Chapman was featured during the In Memoriam segment, and Faye Dunaway and Warren Beatty announced that \u003cem>La La Land\u003c/em> had won best picture. The cast and crew of the film, which had already won 12 other awards, were ecstatic as they crowded the stage. But after thanking his family and the Academy, producer Jordan Horowitz quickly returned to the microphone and announced that there had been a mistake: \u003ca href=\"https://www.npr.org/2017/02/27/517563215/la-la-land-producer-reacts-to-best-picture-blunder\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moonlight\u003c/em> had won best picture\u003c/a>. Amid the chaos that ensued Beatty explained that he and Dunaway had been given the card from the previous award: Emma Stone, in \u003cem>La La Land\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+most+unexpected+moments+in+Oscars%27+history&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Top Movies Ever to Win the Best Picture Oscar, by NPR Listeners",
"headTitle": "The Top Movies Ever to Win the Best Picture Oscar, by NPR Listeners | KQED",
"content": "\u003cp>We argue every year about what should win best picture, and what will win best picture—but what about the \u003cem>best \u003c/em>best picture? We turned to our listeners with a poll to set all the best picture winners against each other to reach a final, \u003cem>Thunderdome\u003c/em>-style result. Recency bias! Nostalgia! Familiarity and unfamiliarity! All kinds of forces collided as our listeners chose their 15 favorite best picture winners (each person got to vote for five), and we’re here to count them all down.\u003c/p>\n\u003ch3>15. Amadeus (1984)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r7kWQj9FCGY\u003c/p>\n\u003cp>\u003cem>Amadeus \u003c/em>may be the prototypical sprig of Oscars catnip: a heavily fictionalized historical drama fueled by thundering lead performances from F. Murray Abraham (as Antonio Salieri) and Tom Hulce (as his brilliant-but-doomed tormentor, Wolfgang Amadeus Mozart). But damned if it isn’t grandly appointed, richly thought-provoking catnip. Nearly 40 years after its release, \u003cem>Amadeus \u003c/em>still informs countless conversations about genius, envy and the horrors of being second-best. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>14. West Side Story (1961)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=NF1L3NorO3E\u003c/p>\n\u003cp>Since the announcement of Steven Spielberg’s remake a few years ago, I’ve noticed a lot more pointed critiques and flat out dismissals of the 1961 original film, and its Broadway inspiration. Sure, Natalie Wood is woefully miscast, Rita Moreno wore brownface for her Oscar-winning role as Anita, and the characters as written are as thin as the blades that fell Bernardo and Riff at the rumble … and yet, its cultural imprint seems unlikely to be erased anytime soon. The show has lived on as long as it has in countless school productions and several revivals largely (mostly?) \u003cem>because \u003c/em>of this movie and the hold it maintains on American imaginations, for better and for worse.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>13. Forrest Gump (1994)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=bLvqoHBptjg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wait, I thought collectively we’d all agreed this movie is Bad, Actually—saccharine, slight, a frustratingly watered down and apolitical take on history … No? Hm, well, I guess nostalgia remains a helluva drug; the movie itself is already stuffed with corn-fed heaps of it, and nearly 30 years since its release, it’s become a nostalgic artifact of its own. It’s still not hard to stumble across it on cable TV, and aside from Woody the cowboy, this simple guy may turn out to be Tom Hanks’ most enduring character. —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>12. No Country for Old Men (2007)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=38A__WT3-o0\u003c/p>\n\u003cp>Has there ever been a Best Picture winner more brutal and nihilistic than \u003cem>No Country for Old Men\u003c/em>? I suppose a case could be made for \u003cem>The\u003c/em> \u003cem>Silence of the Lambs\u003c/em>, but with this film, the Coen Brothers took themes they’d explored in movies like \u003cem>Fargo \u003c/em>and \u003cem>Blood Simple—\u003c/em>the implacable nature of violence, human helplessness in the face of fate—and distilled them into the unforgettable figure of Javier Bardem’s laconic, relentless hitman Anton Chigurh.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>11. All About Eve (1950)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=LSntQerk8cQ\u003c/p>\n\u003cp>If you haven’t seen this film in a while, you might have forgotten how bracingly fresh and fierce it remains, how every line of dialogue uttered by George Sanders as theater critic Addison DeWitt drips pure green poison. Broadway star Margo Channing is the role of Bette Davis’ life, and Anne Baxter serves you wide-eyed innocence and scheming vindictiveness, in turn—and sometimes, miraculously, both at once. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>10. The Godfather Part II (1974)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=9O1Iy9od7-A\u003c/p>\n\u003cp>Duh, right? The ascendance of Al Pacino’s Michael Corleone as the heir to his father’s throne is the stuff that masterful epics are made of. Meld that with a hop back in time, via the striking performance of Robert De Niro as the young Don Vito Corleone, and you’ve got one of the greatest movies ever made, period. The generational contrasts, the historical context, the astounding tragedy of it all (“I know it was you, Fredo”). Really, what more can be said that hasn’t already been said? —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>9. Titanic (1997)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=jUm88F3MEbQ\u003c/p>\n\u003cp>\u003cem>Titanic \u003c/em>might have fared better in the popular imagination if it had \u003cem>not \u003c/em>won best picture. Its huge popularity, its catch-phrase-able script, \u003cem>and \u003c/em>best picture? It’s the kind of omnipresence that can transform a film from beloved to “ugh” in a hurry. But \u003cem>Titanic \u003c/em>is still a swoonily romantic, technically intricate spectacle with two star-making performances from Leonardo DiCaprio and Kate Winslet. Plus, it created the “was there room for Jack on that door?” debate that lives on to this day. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>8. The Lord of the Rings: Return of the King (2003)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r5X-hFf6Bwo\u003c/p>\n\u003cp>Look: The logistics alone should send this film to #1. Think about it: From a brass tacks, film production perspective alone, this movie—the capstone to Peter Jackson’s trilogy adapting J.R.R. Tolkien’s sweeping saga of high fantasy and hairy feet—is a towering achievement. Think of the sheer work required to channel the technical and artistic skills of so many thousands of people into a single endeavor. Think of the huge amount of international, interdisciplinary communication, coordination and integration involved. Think of how just the line-item in the budget for elf-ears alone would choke a Mumakil. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>7. The Sound of Music (1965)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=UY6uw3WpPzY\u003c/p>\n\u003cp>The songs! The children! The escape from war! The Baroness, who really cannot be blamed for wishing she had brought her harmonica! \u003cem>The Sound of Music \u003c/em>is the movie musical that defines the genre for a lot of people (some of whom love it and some of whom … do not). And for all its schmaltzy sweetness, it packs a surprisingly sexy punch in the burgeoning relationship between Maria and Captain von Trapp. It even has hero nuns! It’s no surprise to find it’s one of our listeners’ … favorite things. (I’m sorry.) — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>6. The Godfather (1972)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=UaVTIH8mujA\u003c/p>\n\u003cp>Not every movie that’s so deeply embedded in pop culture has been able to withstand the test of time. (Ahem, \u003cem>Gone With the Wind.\u003c/em>) But \u003cem>The Godfather \u003c/em>remains fresh, with credit due to its timeless themes, stacked cast, and sheer cinematic quotability. Even if you’ve never seen this film before, you’ve seen it before, because it’s touched nearly every facet of life (including politics) of the last 50 years. Proof that sometimes, the Oscars \u003cem>do\u003c/em> get it right.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>5. The Silence of the Lambs (1991)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=W6Mm8Sbe__o\u003c/p>\n\u003cp>The phrase “cannibalistic serial killer” doesn’t turn up in the synopses of most best picture winners, but \u003cem>The Silence of the Lambs\u003c/em> isn’t just any horror movie. It’s a psychological thriller headlined by Oscar-winning performances from Jodie Foster and Anthony Hopkins, who makes a meal (sorry) of some of the film’s juiciest bits of dialogue. The portrayal of serial killer Buffalo Bill hasn’t aged well, but the deeply uneasy relationship at the film’s center haunts audiences to this day. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>4. Schindler’s List (1993)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=gG22XNhtnoY\u003c/p>\n\u003cp>The cultural significance of \u003cem>Schindler’s List \u003c/em>extends well beyond its Oscars pedigree: Steven Spielberg’s film, which tells the story of German industrialist Oskar Schindler, also helped spark a worldwide reckoning around the Holocaust while many of its survivors were still alive to tell their stories. It’s also a sublimely made film, thanks in part to stunning cinematography (by Janusz Kamiński), an unforgettable score (by John Williams) and riveting performances from Liam Neeson, Ben Kingsley and Ralph Fiennes, among others. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>3. Moonlight (2016)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=9NJj12tJzqc\u003c/p>\n\u003cp>Yes, best pictures can be about spectacle, bombast, “dreams made of shadow and light,” etc. But in the right hands, they can also explore something as deeply personal and shockingly intimate as identity, as in this searchingly empathetic film written and directed by Barry Jenkins, which follows a queer Black boy through his adolescence and manhood. Every frame is shot through with the ache of melancholy, a desperate yearning for connection, and the main character’s exhausting self-vigilance to keep anyone from seeing him for who he is. Not for nothing, it also supplied us with the most memorable Oscar-night moment in recent memory. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>2. Casablanca (1943)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=BkL9l7qovsE\u003c/p>\n\u003cp>Humphrey Bogart, Ingrid Bergman and Paul Henreid form a haunted love triangle in a Moroccan World War II purgatory full of faint promise, deadly peril and a song that can’t stop conjuring old, hard memories. Virtually every line of \u003cem>Casablanca\u003c/em> has long been etched in the cultural firmament, serving as the source material for many generations’ worth of callbacks and references. Yet the film hasn’t lost its relevance or emotional pull, as its story of refugees, uncertainty and war continues to reverberate. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>1. Parasite (2019)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=isOGD_7hNIY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not only is Bong Joon-ho’s \u003cem>Parasite \u003c/em>a brilliant satire and a twisty story that’s practically two movies in one; it was one of the most satisfying best picture victories ever. If you wanted the Oscars to move past the dutiful, boring wins that some years had brought, the idea of \u003cem>Parasite \u003c/em>actually taking the trophy was just about the best thing you could hope for. Together with \u003cem>Moonlight \u003c/em>winning a couple of years earlier, it really started to seem like the wonderful films you \u003cem>wished \u003c/em>could win best picture actually could. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=You+voted+%E2%80%94+here%27s+a+ranking+of+the+top+movies+ever+to+win+an+Oscar+for+best+picture+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We argue every year about what should win best picture, and what will win best picture—but what about the \u003cem>best \u003c/em>best picture? We turned to our listeners with a poll to set all the best picture winners against each other to reach a final, \u003cem>Thunderdome\u003c/em>-style result. Recency bias! Nostalgia! Familiarity and unfamiliarity! All kinds of forces collided as our listeners chose their 15 favorite best picture winners (each person got to vote for five), and we’re here to count them all down.\u003c/p>\n\u003ch3>15. Amadeus (1984)\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/r7kWQj9FCGY'\n title='//www.youtube.com/embed/r7kWQj9FCGY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Amadeus \u003c/em>may be the prototypical sprig of Oscars catnip: a heavily fictionalized historical drama fueled by thundering lead performances from F. Murray Abraham (as Antonio Salieri) and Tom Hulce (as his brilliant-but-doomed tormentor, Wolfgang Amadeus Mozart). But damned if it isn’t grandly appointed, richly thought-provoking catnip. Nearly 40 years after its release, \u003cem>Amadeus \u003c/em>still informs countless conversations about genius, envy and the horrors of being second-best. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>14. West Side Story (1961)\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/NF1L3NorO3E'\n title='//www.youtube.com/embed/NF1L3NorO3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since the announcement of Steven Spielberg’s remake a few years ago, I’ve noticed a lot more pointed critiques and flat out dismissals of the 1961 original film, and its Broadway inspiration. Sure, Natalie Wood is woefully miscast, Rita Moreno wore brownface for her Oscar-winning role as Anita, and the characters as written are as thin as the blades that fell Bernardo and Riff at the rumble … and yet, its cultural imprint seems unlikely to be erased anytime soon. The show has lived on as long as it has in countless school productions and several revivals largely (mostly?) \u003cem>because \u003c/em>of this movie and the hold it maintains on American imaginations, for better and for worse.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>13. Forrest Gump (1994)\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/bLvqoHBptjg'\n title='//www.youtube.com/embed/bLvqoHBptjg'\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>Wait, I thought collectively we’d all agreed this movie is Bad, Actually—saccharine, slight, a frustratingly watered down and apolitical take on history … No? Hm, well, I guess nostalgia remains a helluva drug; the movie itself is already stuffed with corn-fed heaps of it, and nearly 30 years since its release, it’s become a nostalgic artifact of its own. It’s still not hard to stumble across it on cable TV, and aside from Woody the cowboy, this simple guy may turn out to be Tom Hanks’ most enduring character. —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>12. No Country for Old Men (2007)\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/38A__WT3-o0'\n title='//www.youtube.com/embed/38A__WT3-o0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Has there ever been a Best Picture winner more brutal and nihilistic than \u003cem>No Country for Old Men\u003c/em>? I suppose a case could be made for \u003cem>The\u003c/em> \u003cem>Silence of the Lambs\u003c/em>, but with this film, the Coen Brothers took themes they’d explored in movies like \u003cem>Fargo \u003c/em>and \u003cem>Blood Simple—\u003c/em>the implacable nature of violence, human helplessness in the face of fate—and distilled them into the unforgettable figure of Javier Bardem’s laconic, relentless hitman Anton Chigurh.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>11. All About Eve (1950)\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/LSntQerk8cQ'\n title='//www.youtube.com/embed/LSntQerk8cQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you haven’t seen this film in a while, you might have forgotten how bracingly fresh and fierce it remains, how every line of dialogue uttered by George Sanders as theater critic Addison DeWitt drips pure green poison. Broadway star Margo Channing is the role of Bette Davis’ life, and Anne Baxter serves you wide-eyed innocence and scheming vindictiveness, in turn—and sometimes, miraculously, both at once. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>10. The Godfather Part II (1974)\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/9O1Iy9od7-A'\n title='//www.youtube.com/embed/9O1Iy9od7-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Duh, right? The ascendance of Al Pacino’s Michael Corleone as the heir to his father’s throne is the stuff that masterful epics are made of. Meld that with a hop back in time, via the striking performance of Robert De Niro as the young Don Vito Corleone, and you’ve got one of the greatest movies ever made, period. The generational contrasts, the historical context, the astounding tragedy of it all (“I know it was you, Fredo”). Really, what more can be said that hasn’t already been said? —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>9. Titanic (1997)\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/jUm88F3MEbQ'\n title='//www.youtube.com/embed/jUm88F3MEbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Titanic \u003c/em>might have fared better in the popular imagination if it had \u003cem>not \u003c/em>won best picture. Its huge popularity, its catch-phrase-able script, \u003cem>and \u003c/em>best picture? It’s the kind of omnipresence that can transform a film from beloved to “ugh” in a hurry. But \u003cem>Titanic \u003c/em>is still a swoonily romantic, technically intricate spectacle with two star-making performances from Leonardo DiCaprio and Kate Winslet. Plus, it created the “was there room for Jack on that door?” debate that lives on to this day. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>8. The Lord of the Rings: Return of the King (2003)\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/r5X-hFf6Bwo'\n title='//www.youtube.com/embed/r5X-hFf6Bwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look: The logistics alone should send this film to #1. Think about it: From a brass tacks, film production perspective alone, this movie—the capstone to Peter Jackson’s trilogy adapting J.R.R. Tolkien’s sweeping saga of high fantasy and hairy feet—is a towering achievement. Think of the sheer work required to channel the technical and artistic skills of so many thousands of people into a single endeavor. Think of the huge amount of international, interdisciplinary communication, coordination and integration involved. Think of how just the line-item in the budget for elf-ears alone would choke a Mumakil. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>7. The Sound of Music (1965)\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/UY6uw3WpPzY'\n title='//www.youtube.com/embed/UY6uw3WpPzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The songs! The children! The escape from war! The Baroness, who really cannot be blamed for wishing she had brought her harmonica! \u003cem>The Sound of Music \u003c/em>is the movie musical that defines the genre for a lot of people (some of whom love it and some of whom … do not). And for all its schmaltzy sweetness, it packs a surprisingly sexy punch in the burgeoning relationship between Maria and Captain von Trapp. It even has hero nuns! It’s no surprise to find it’s one of our listeners’ … favorite things. (I’m sorry.) — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>6. The Godfather (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/UaVTIH8mujA'\n title='//www.youtube.com/embed/UaVTIH8mujA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not every movie that’s so deeply embedded in pop culture has been able to withstand the test of time. (Ahem, \u003cem>Gone With the Wind.\u003c/em>) But \u003cem>The Godfather \u003c/em>remains fresh, with credit due to its timeless themes, stacked cast, and sheer cinematic quotability. Even if you’ve never seen this film before, you’ve seen it before, because it’s touched nearly every facet of life (including politics) of the last 50 years. Proof that sometimes, the Oscars \u003cem>do\u003c/em> get it right.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>5. The Silence of the Lambs (1991)\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/W6Mm8Sbe__o'\n title='//www.youtube.com/embed/W6Mm8Sbe__o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The phrase “cannibalistic serial killer” doesn’t turn up in the synopses of most best picture winners, but \u003cem>The Silence of the Lambs\u003c/em> isn’t just any horror movie. It’s a psychological thriller headlined by Oscar-winning performances from Jodie Foster and Anthony Hopkins, who makes a meal (sorry) of some of the film’s juiciest bits of dialogue. The portrayal of serial killer Buffalo Bill hasn’t aged well, but the deeply uneasy relationship at the film’s center haunts audiences to this day. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>4. Schindler’s List (1993)\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/gG22XNhtnoY'\n title='//www.youtube.com/embed/gG22XNhtnoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The cultural significance of \u003cem>Schindler’s List \u003c/em>extends well beyond its Oscars pedigree: Steven Spielberg’s film, which tells the story of German industrialist Oskar Schindler, also helped spark a worldwide reckoning around the Holocaust while many of its survivors were still alive to tell their stories. It’s also a sublimely made film, thanks in part to stunning cinematography (by Janusz Kamiński), an unforgettable score (by John Williams) and riveting performances from Liam Neeson, Ben Kingsley and Ralph Fiennes, among others. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>3. Moonlight (2016)\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/9NJj12tJzqc'\n title='//www.youtube.com/embed/9NJj12tJzqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yes, best pictures can be about spectacle, bombast, “dreams made of shadow and light,” etc. But in the right hands, they can also explore something as deeply personal and shockingly intimate as identity, as in this searchingly empathetic film written and directed by Barry Jenkins, which follows a queer Black boy through his adolescence and manhood. Every frame is shot through with the ache of melancholy, a desperate yearning for connection, and the main character’s exhausting self-vigilance to keep anyone from seeing him for who he is. Not for nothing, it also supplied us with the most memorable Oscar-night moment in recent memory. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>2. Casablanca (1943)\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/BkL9l7qovsE'\n title='//www.youtube.com/embed/BkL9l7qovsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Humphrey Bogart, Ingrid Bergman and Paul Henreid form a haunted love triangle in a Moroccan World War II purgatory full of faint promise, deadly peril and a song that can’t stop conjuring old, hard memories. Virtually every line of \u003cem>Casablanca\u003c/em> has long been etched in the cultural firmament, serving as the source material for many generations’ worth of callbacks and references. Yet the film hasn’t lost its relevance or emotional pull, as its story of refugees, uncertainty and war continues to reverberate. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>1. Parasite (2019)\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/isOGD_7hNIY'\n title='//www.youtube.com/embed/isOGD_7hNIY'\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 only is Bong Joon-ho’s \u003cem>Parasite \u003c/em>a brilliant satire and a twisty story that’s practically two movies in one; it was one of the most satisfying best picture victories ever. If you wanted the Oscars to move past the dutiful, boring wins that some years had brought, the idea of \u003cem>Parasite \u003c/em>actually taking the trophy was just about the best thing you could hope for. Together with \u003cem>Moonlight \u003c/em>winning a couple of years earlier, it really started to seem like the wonderful films you \u003cem>wished \u003c/em>could win best picture actually could. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=You+voted+%E2%80%94+here%27s+a+ranking+of+the+top+movies+ever+to+win+an+Oscar+for+best+picture+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "5 Books at the Intersection of Black Feminist Thought, Culture, and Politics",
"headTitle": "5 Books at the Intersection of Black Feminist Thought, Culture, and Politics | KQED",
"content": "\u003cp>Two things can be true at the same time. We’re in a time of \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">backlash\u003c/a> to ideas that challenge white America’s perception of itself, and we’re also living through a great reevaluation of what American society can and should look like.\u003c/p>\n\u003cp>It’s also true that some of the most important leaders on the frontlines of these battles are Black women, people like law professor Kimberle Crenshaw who helped develop the concept of \u003ca href=\"https://www.npr.org/2021/03/29/982357959/what-does-intersectionality-mean\" target=\"_blank\" rel=\"noopener noreferrer\">intersectionality\u003c/a> and the much debated and maligned and misunderstood \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">critical race theory\u003c/a> and a new wave of thinkers picking up that inheritance. Black feminists are also some of the most astute observers and theorists of American mass culture right now. Scholars and writers like Patricia Hill Collins, Joan Morgan, and the late bell hooks have long understood that oppression and injustice is perpetrated and enacted through customs and cultural practices as well as law. At its root, Black feminism is an ideology of liberation rooted in Black women’s experience, with the inclusive aim of disrupting oppressive social hierarchies for all people. Black feminist theory is arguably now a key part of how all of us make sense of the world.\u003c/p>\n\u003cp>[aside postid='arts_13892105']At the same time, the kind of cultural analysis that Black feminists promote continues to be controversial. Between the numerous attacks on library collections and \u003ca href=\"https://www.pbs.org/newshour/show/how-the-political-debate-on-teaching-race-in-schools-is-impacting-students-and-educators\" target=\"_blank\" rel=\"noopener noreferrer\">school curricula\u003c/a>—a 2021 NBC News \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">analysis\u003c/a> found at least 165 local and national groups are trying to disrupt or block lessons on race and gender—and the recent passing of the \u003ca href=\"https://www.kqed.org/arts/13907371/bell-hooks-obituary-feminist-author-activist\" target=\"_blank\" rel=\"noopener noreferrer\">foundational cultural theorist bell hooks\u003c/a>, questions of culture and identity bubbled up with renewed urgency.\u003c/p>\n\u003cp>A silver lining in this time of contradictions, of creativity, and precarity, has been the bumper crop of new books at the intersection of Black feminist thought, culture, and politics. Even better, this great flowering is not isolated to the proverbial ivory tower. With Nichole Perkins’ popular memoir \u003cem>Sometimes I Trip On How Happy We Could Be\u003c/em> and Zeba Blay’s essay collection \u003cem>Care-Free Black Girls\u003c/em>, I was struck by how vibrant, wide ranging and central the conversation is right now around Black women, feminism and culture. Looking at these books it’s immediately clear how relevant they are to people’s lives.\u003c/p>\n\u003cp>Choosing a short list from the recent bounty is a daunting task, but these five books stand out in conversation and contrast with each other. Though they target different audiences and sit within different genres of nonfiction—from memoir to cultural analysis to theory—they share certain hallmarks: a celebration of marginalized, unruly Black women and concurrent rejection of the politics of respectability; the not so secret realization that as dissatisfied as we are with our exclusion and distorted depictions, popular culture plays a big role in all our lives; and a keen awareness of the complex connections between representation and reality.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Sometimes I Trip on How Happy We Could Be \u003c/em>\u003c/strong>\u003cstrong>by Nichole Perkins\u003c/strong>\u003c/h3>\n\u003cp>No one writes better about the personal relationship between culture and girlhood than Nichole Perkins, a popular cultural commentator and writer. Her first book is a page turner, a singular and seamless blend of memoir and cultural analysis. I found her words heart-wrenching.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910865 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/9781538702741__69084.1641749589.jpg\" alt=\"\" width=\"328\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/9781538702741__69084.1641749589.jpg 328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/9781538702741__69084.1641749589-160x244.jpg 160w\" sizes=\"(max-width: 328px) 100vw, 328px\">As a former host of \u003cem>The Thirst-Aid Kit\u003c/em>, a podcast aimed at analyzing the intersection of sexual desire and popular culture, the way Perkins writes about her burgeoning sexuality and the awareness of how that’s different when you’re Black is particularly effective. She exposes the pervasive shaming around sex, and how it’s not equally distributed. Societal rules differ by race (for Black girls versus white girls) and gender (for Black boys and Black girls). Too often, Black girls have been relentlessly shamed, and that formative personal experience has been reinforced by the culture.\u003c/p>\n\u003cp>That experience can be crushing. So, unlike the dearth of love stories for Black girls in film and television when Nichole was growing up: “There were plenty of sassy Black teenagers on television, in characters like Dee Thomas on \u003cem>What’s Happening!!\u003c/em> or Tootie on \u003cem>The Facts of Life\u003c/em>. These girls always had a smart remark ready on their lips and got plenty of laughs, but just like in real life around my way, every crush they had led to lectures or scolds… Images of white girls in love came easily, but everywhere I turned Black girls were warned.”\u003c/p>\n\u003cp>That passage is just one example of how Perkins’ work blends passion and analysis. My list of highlights is endless. Like in a confessional conversation, albeit one that is as incisive as it is emotional, Perkins is adept at connecting personal experience to cultural and social practices.\u003c/p>\n\u003cp>Not everything hits perfectly, but there is no doubt that this memoir is very real and candid. The passages where Perkins writes about her family are also especially powerful. One part that just about broke me was Perkins’ discussion with her aunt of Tenessee Williams’ American classic, \u003cem>Cat on a Hot Tin Roof\u003c/em>. Her insights resonated far and wide on her podcast, and readers will nod along to these words as well.\u003c/p>\n\u003ch3>\u003cem>Carefree Black Girls\u003c/em> by Zeba Blay\u003c/h3>\n\u003cp>Though the concept spread like wildfire in 2013, the idea of the “carefree Black girl” was always more of an aspiration than reality. It spoke to a hunger and lack in the images and discourse around Black women. As author Zeba Blay notes in her book: “Social media has always been a great place for pretending, for playing, for projecting some idealized version of self. A way to hide in plain sight. I posted the selfie and the hashtag. An attempt to be carefree.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910866 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_.jpg\" alt=\"\" width=\"337\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_.jpg 337w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_-160x237.jpg 160w\" sizes=\"(max-width: 337px) 100vw, 337px\">Expanding on the concept and archetype Blay originated, Blay’s first book is similarly aspirational, but also deeper and more confessional. \u003cem>Carefree Black Girls: A Celebration of Black Women in Popular Culture\u003c/em> is “a meditation on a single idea: what it means to be a Black woman and truly be ‘carefree.'” With a clarity of mission that Blay executes masterfully, the book hangs together with admirable cohesion. One of the more personal subjects Blay explores is her struggle with depression, and the role that art and culture plays in her recovery: “Turning to art and turning to Black women has always been the road by which I come back to myself.”\u003c/p>\n\u003cp>As personal as those revelations are, like the other authors on this list, Blay is also clear on the connections she makes to larger cultural trends and phenomena outside of herself. The stories she relates are specific, but not isolated. Staking a claim and underscoring her point in the most direct way possible, she writes, “Our stories are culturally and historically relevant.”\u003c/p>\n\u003cp>There’s beauty in Zeba Blay’s style and substance in her ideas. I was struck by the poignance of her plea and how familiar it sounded: “Hopefully, whoever you are, reading this, you find inspiration in that beauty. And hopefully you are reminded that Black women are essential.” That this message pops up so consistently across these books, and that so many of these authors feel it needs to be repeated, speaks volumes.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Bad Fat Black Girl\u003c/em> by Sesali Bowen\u003c/strong>\u003c/h3>\n\u003cp>Both manifesto and memoir, Sesali Bowen’s \u003cem>Bad Fat Black Girl\u003c/em> is another standout. It’s written from the perspective of someone who’s both a media scholar and activist, and it shows.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910867 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ekyj-square-1536-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">Like the other authors, Bowen weaves together observations about cultural expression with broader social attitudes and ideas. But there’s more of an urgency and grit and an irrepressible, profane irreverence to a book titled\u003cem> Bad Fat Black Girl\u003c/em>. Bowen also brings more of an outsider perspective. She grew up working class and she’s not trying to aspire or fit into white-dominated “mainstream” culture.\u003c/p>\n\u003cp>Influenced by Joan Morgan’s \u003cem>When Chickenheads Come Home to Roost \u003c/em>(about reconciling feminism and hip-hop) and trap music, Sesali Bowen weaves together feminist theory and hip-hop analysis from the perspective of someone who loves and lives for it. Citing trap artists like Yo Gotti, Gucci Mane and Travis Porter alongside Megan Thee Stallion and Cardi B, Bowen articulates a vision of what she calls “trap feminism,” a music and street-inflected ethos of empowerment. Despite trap being known as reductive, Bowen refused to “accept the idea that no good could come out of trap music. I wanted to reconcile the fact that some of my favorite trap songs made me, a queer Black woman, feel good, proud, and even inspired.”\u003c/p>\n\u003cp>[aside postid='arts_13810477']Bowen also effectively argues that a lot of what is dismissed as “ratchet” or uncouth is really a conscious aesthetic of rebellion, a way of eschewing still white-centered patriarchal conventions that fail girls like herself. With behavior and style choices that make sense for their environment and circumstances, “ghetto girls,” she says, perform gender in rebellious ways that are often disrespected and yet envied and eventually emulated.\u003c/p>\n\u003cp>Bowen is a versatile and agile commentator, equally convincing and expert in her explication of the idea of the “bad bitch” as an expression of power in hip-hop and citing bell hooks on why beauty is a “politicized concept” that maintains what hooks called “imperialist, capitalist, white supremacist patriarchy.” The latter may seem like a long list of “isms” and labels, but Bowen shows that these dimensions of social hierarchy and control have real-world implications. She names and shames a system of cultural gatekeeping in which hip-hop and even Bowen’s beloved trap culture is complicit, assigning value and affording respect and opportunity to a select group. And, in keeping with that, as Bowen shows, even when Black girls are celebrated, it’s within a narrow range of acceptable images of Black femininity. Existing outside those “aesthetic rules” (as Bowen herself does) has consequences:\u003c/p>\n\u003cp>“It means that you’ve committed an egregious act against the social order. Women who find themselves too far away from the center of beauty norms are often treated as if they’ve committed treason, our aesthetic a public-facing betrayal of our refusal to conform…”\u003c/p>\n\u003cp>Complicating that analysis, Bowen also calls out the classism and cultural biases even within Black media circles where so many of her colleagues come from privilege and “have had to untangle their Blackness from the web of whiteness they were socialized in.” This is one reason Bowen is powerful; she takes no prisoners. Going against every tide, Bowen’s trap feminism enthusiastically celebrates “ghetto girl culture.” More than reconciling feminism with hip-hop, she marshals its power.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Misogynoir Transformed:\u003c/em>\u003c/strong> \u003cstrong>\u003cem>Black Women’s Digital Resistance by \u003c/em>\u003c/strong>\u003cstrong>Moya Bailey\u003c/strong>\u003c/h3>\n\u003cp>Known for coining the term misogynoir, a portmanteau of the words “misogyny,” meaning the hatred of women, and noir, the French word for black, Northwestern professor Moya Bailey has already made a mark on the landscape of American culture that extends beyond academia. The term and its implications have penetrated popular consciousness. With her first solo-authored book, Bailey expands this impact.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910868 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95.jpg\" alt=\"\" width=\"232\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95.jpg 232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95-160x241.jpg 160w\" sizes=\"(max-width: 232px) 100vw, 232px\">As seen in the books on this list, the work of Patricia Hill Collins has influenced many writers in the Black feminist tradition, but with Bailey, that legacy is more direct. Building on works like Collins’ \u003cem>Black Feminist Thought \u003c/em>and bell hooks’\u003cem> Black Looks\u003c/em>, Bailey expands our understanding of the link between media portrayals of Black women, which people like to think of as merely symbolic or superficial, and real world, material consequences:\u003c/p>\n\u003cp>“…the media that circulate misogynoir help maintain white supremacy by offering tacit approval of the disparate treatment that Black women negotiate in society. Whether the Jezebel, mammy, Sapphire, and later the ‘welfare queen’ or even the ‘strong Black woman’ archetype, misogynoiristic portrayals of Black women shape their livelihoods and health.”\u003c/p>\n\u003cp>In other words, contrary to those who would dismiss the weight of culture, Black feminist theory “articulates the power of the image.” By shaping the way that society views marginalized groups and how we view ourselves, cultural images help shape our social relations.\u003c/p>\n\u003cp>By design and necessity, this project is inherently political. Like Collins before her, Bailey’s work is significant on its own. But such work also adds essential perspective and depth to the efforts of political scientists like Angie Hancock, author of \u003cem>\u003ca href=\"https://nyupress.org/9780814736708/the-politics-of-disgust/\">The Politics of Disgust\u003c/a>\u003c/em> whose research established in quantifiable terms the impact of the welfare queen image on public policy debates around the social safety net. Today, it’s hard to understand American politics without coming to grips with the concepts Bailey’s grappling with.\u003c/p>\n\u003cp>Bailey’s aims are ambitious. She’s not interested in just shining a light on misogynoir; she’s interested in its destruction. In a voice that is scholarly yet accessible, she tackles media culture from television and film to Tumblr to YouTube web series, to hashtags, revealing how different media contribute to, transform and/or challenge the pervasive circulation of misogynoir and, importantly, how Black people deploy digital activism to resist. Though expansive, Bailey’s scope is also strategic; she privileges those too often marginalized in feminist conversations: “Black women as well as Black nonbinary, agender, and gender-variant folks’ work and voices.” The penultimate chapter, “Alchemists in Action against Misogynoir, ” which is Bailey’s most personal, focuses on Tumblr. It’s a particular treat.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Digital Black Feminism\u003c/em> by Catherine Knight Steele\u003c/strong>\u003c/h3>\n\u003cp>In\u003cem> Digital Black Feminism\u003c/em>, Catherine Knight Steele centers Black women unapologetically within the study of digital culture. “Digital Black feminism is a mechanism to understand how Black feminist thought is altered by and alters technology,” she writes. This work has multiple dimensions. First and fundamentally, Steele exposes the frequent oversight of Black women’s contributions as a distortion that limits deeper understanding of the dynamics of the digital world. As Steele establishes, Black women’s involvement in digital spaces has been broad-based, influential and persistent. Understanding that digital culture requires getting this part of it right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910869 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_.jpg\" alt=\"\" width=\"333\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_.jpg 333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_-160x240.jpg 160w\" sizes=\"(max-width: 333px) 100vw, 333px\">So one contribution of Steele’s work is as a course correction to the work that’s been done before. At the same time, this book also recognizes and builds on the significant inroads made by scholars studying race and technology including Safiya Noble (\u003cem>\u003ca href=\"https://www.marketplace.org/shows/marketplace-tech/algorithms-are-often-biased-what-if-tech-firms-were-held-responsible/\" target=\"_blank\" rel=\"noopener noreferrer\">Algorithms of Oppression\u003c/a>\u003c/em>), Sarah Florini, and Andre Brock.\u003c/p>\n\u003cp>Steele has two core aims. First, she positions Black women online as central to the future of communication technology just as they’ve been central to its past. Second, per its title, \u003cem>Digital Black Feminism\u003c/em> traces and critically examines a evolutionary shift in Black feminism thought, one driven and enabled by new technology.\u003c/p>\n\u003cp>As both a researcher and a member of these spaces, she’s well-equipped for these tasks. Diving into a wide-ranging digital archive six years in the making, she demonstrates how online spaces expand and shape the work of Black feminist liberation while making insightful connections to the Black thinkers and writers that came before. In one chapter, Steele explores the parallels between hip-hop’s formative influence on an earlier generation of feminists and the role of digital technology in Black feminism today, noting how money changed both of those relationships. For a book with heft, it strikes an impressive balance of accessibility and intellectual innovation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A slow runner and fast reader, Carole V. Bell is a cultural critic and communication scholar focusing on media, politics and identity. You can find her on Twitter \u003ca href=\"https://twitter.com/bellcv\" target=\"_blank\" rel=\"noopener noreferrer\">@BellCV\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+books+at+the+intersection+of+Black+feminist+thought%2C+culture%2C+and+politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two things can be true at the same time. We’re in a time of \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">backlash\u003c/a> to ideas that challenge white America’s perception of itself, and we’re also living through a great reevaluation of what American society can and should look like.\u003c/p>\n\u003cp>It’s also true that some of the most important leaders on the frontlines of these battles are Black women, people like law professor Kimberle Crenshaw who helped develop the concept of \u003ca href=\"https://www.npr.org/2021/03/29/982357959/what-does-intersectionality-mean\" target=\"_blank\" rel=\"noopener noreferrer\">intersectionality\u003c/a> and the much debated and maligned and misunderstood \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">critical race theory\u003c/a> and a new wave of thinkers picking up that inheritance. Black feminists are also some of the most astute observers and theorists of American mass culture right now. Scholars and writers like Patricia Hill Collins, Joan Morgan, and the late bell hooks have long understood that oppression and injustice is perpetrated and enacted through customs and cultural practices as well as law. At its root, Black feminism is an ideology of liberation rooted in Black women’s experience, with the inclusive aim of disrupting oppressive social hierarchies for all people. Black feminist theory is arguably now a key part of how all of us make sense of the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the same time, the kind of cultural analysis that Black feminists promote continues to be controversial. Between the numerous attacks on library collections and \u003ca href=\"https://www.pbs.org/newshour/show/how-the-political-debate-on-teaching-race-in-schools-is-impacting-students-and-educators\" target=\"_blank\" rel=\"noopener noreferrer\">school curricula\u003c/a>—a 2021 NBC News \u003ca href=\"https://www.npr.org/2021/06/24/1009839021/uncovering-who-is-driving-the-fight-against-critical-race-theory-in-schools\" target=\"_blank\" rel=\"noopener noreferrer\">analysis\u003c/a> found at least 165 local and national groups are trying to disrupt or block lessons on race and gender—and the recent passing of the \u003ca href=\"https://www.kqed.org/arts/13907371/bell-hooks-obituary-feminist-author-activist\" target=\"_blank\" rel=\"noopener noreferrer\">foundational cultural theorist bell hooks\u003c/a>, questions of culture and identity bubbled up with renewed urgency.\u003c/p>\n\u003cp>A silver lining in this time of contradictions, of creativity, and precarity, has been the bumper crop of new books at the intersection of Black feminist thought, culture, and politics. Even better, this great flowering is not isolated to the proverbial ivory tower. With Nichole Perkins’ popular memoir \u003cem>Sometimes I Trip On How Happy We Could Be\u003c/em> and Zeba Blay’s essay collection \u003cem>Care-Free Black Girls\u003c/em>, I was struck by how vibrant, wide ranging and central the conversation is right now around Black women, feminism and culture. Looking at these books it’s immediately clear how relevant they are to people’s lives.\u003c/p>\n\u003cp>Choosing a short list from the recent bounty is a daunting task, but these five books stand out in conversation and contrast with each other. Though they target different audiences and sit within different genres of nonfiction—from memoir to cultural analysis to theory—they share certain hallmarks: a celebration of marginalized, unruly Black women and concurrent rejection of the politics of respectability; the not so secret realization that as dissatisfied as we are with our exclusion and distorted depictions, popular culture plays a big role in all our lives; and a keen awareness of the complex connections between representation and reality.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Sometimes I Trip on How Happy We Could Be \u003c/em>\u003c/strong>\u003cstrong>by Nichole Perkins\u003c/strong>\u003c/h3>\n\u003cp>No one writes better about the personal relationship between culture and girlhood than Nichole Perkins, a popular cultural commentator and writer. Her first book is a page turner, a singular and seamless blend of memoir and cultural analysis. I found her words heart-wrenching.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910865 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/9781538702741__69084.1641749589.jpg\" alt=\"\" width=\"328\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/9781538702741__69084.1641749589.jpg 328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/9781538702741__69084.1641749589-160x244.jpg 160w\" sizes=\"(max-width: 328px) 100vw, 328px\">As a former host of \u003cem>The Thirst-Aid Kit\u003c/em>, a podcast aimed at analyzing the intersection of sexual desire and popular culture, the way Perkins writes about her burgeoning sexuality and the awareness of how that’s different when you’re Black is particularly effective. She exposes the pervasive shaming around sex, and how it’s not equally distributed. Societal rules differ by race (for Black girls versus white girls) and gender (for Black boys and Black girls). Too often, Black girls have been relentlessly shamed, and that formative personal experience has been reinforced by the culture.\u003c/p>\n\u003cp>That experience can be crushing. So, unlike the dearth of love stories for Black girls in film and television when Nichole was growing up: “There were plenty of sassy Black teenagers on television, in characters like Dee Thomas on \u003cem>What’s Happening!!\u003c/em> or Tootie on \u003cem>The Facts of Life\u003c/em>. These girls always had a smart remark ready on their lips and got plenty of laughs, but just like in real life around my way, every crush they had led to lectures or scolds… Images of white girls in love came easily, but everywhere I turned Black girls were warned.”\u003c/p>\n\u003cp>That passage is just one example of how Perkins’ work blends passion and analysis. My list of highlights is endless. Like in a confessional conversation, albeit one that is as incisive as it is emotional, Perkins is adept at connecting personal experience to cultural and social practices.\u003c/p>\n\u003cp>Not everything hits perfectly, but there is no doubt that this memoir is very real and candid. The passages where Perkins writes about her family are also especially powerful. One part that just about broke me was Perkins’ discussion with her aunt of Tenessee Williams’ American classic, \u003cem>Cat on a Hot Tin Roof\u003c/em>. Her insights resonated far and wide on her podcast, and readers will nod along to these words as well.\u003c/p>\n\u003ch3>\u003cem>Carefree Black Girls\u003c/em> by Zeba Blay\u003c/h3>\n\u003cp>Though the concept spread like wildfire in 2013, the idea of the “carefree Black girl” was always more of an aspiration than reality. It spoke to a hunger and lack in the images and discourse around Black women. As author Zeba Blay notes in her book: “Social media has always been a great place for pretending, for playing, for projecting some idealized version of self. A way to hide in plain sight. I posted the selfie and the hashtag. An attempt to be carefree.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910866 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_.jpg\" alt=\"\" width=\"337\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_.jpg 337w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/419i2V6QG5L._SX335_BO1204203200_-160x237.jpg 160w\" sizes=\"(max-width: 337px) 100vw, 337px\">Expanding on the concept and archetype Blay originated, Blay’s first book is similarly aspirational, but also deeper and more confessional. \u003cem>Carefree Black Girls: A Celebration of Black Women in Popular Culture\u003c/em> is “a meditation on a single idea: what it means to be a Black woman and truly be ‘carefree.'” With a clarity of mission that Blay executes masterfully, the book hangs together with admirable cohesion. One of the more personal subjects Blay explores is her struggle with depression, and the role that art and culture plays in her recovery: “Turning to art and turning to Black women has always been the road by which I come back to myself.”\u003c/p>\n\u003cp>As personal as those revelations are, like the other authors on this list, Blay is also clear on the connections she makes to larger cultural trends and phenomena outside of herself. The stories she relates are specific, but not isolated. Staking a claim and underscoring her point in the most direct way possible, she writes, “Our stories are culturally and historically relevant.”\u003c/p>\n\u003cp>There’s beauty in Zeba Blay’s style and substance in her ideas. I was struck by the poignance of her plea and how familiar it sounded: “Hopefully, whoever you are, reading this, you find inspiration in that beauty. And hopefully you are reminded that Black women are essential.” That this message pops up so consistently across these books, and that so many of these authors feel it needs to be repeated, speaks volumes.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Bad Fat Black Girl\u003c/em> by Sesali Bowen\u003c/strong>\u003c/h3>\n\u003cp>Both manifesto and memoir, Sesali Bowen’s \u003cem>Bad Fat Black Girl\u003c/em> is another standout. It’s written from the perspective of someone who’s both a media scholar and activist, and it shows.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910867 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ekyj-square-1536-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ekyj-square-1536.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">Like the other authors, Bowen weaves together observations about cultural expression with broader social attitudes and ideas. But there’s more of an urgency and grit and an irrepressible, profane irreverence to a book titled\u003cem> Bad Fat Black Girl\u003c/em>. Bowen also brings more of an outsider perspective. She grew up working class and she’s not trying to aspire or fit into white-dominated “mainstream” culture.\u003c/p>\n\u003cp>Influenced by Joan Morgan’s \u003cem>When Chickenheads Come Home to Roost \u003c/em>(about reconciling feminism and hip-hop) and trap music, Sesali Bowen weaves together feminist theory and hip-hop analysis from the perspective of someone who loves and lives for it. Citing trap artists like Yo Gotti, Gucci Mane and Travis Porter alongside Megan Thee Stallion and Cardi B, Bowen articulates a vision of what she calls “trap feminism,” a music and street-inflected ethos of empowerment. Despite trap being known as reductive, Bowen refused to “accept the idea that no good could come out of trap music. I wanted to reconcile the fact that some of my favorite trap songs made me, a queer Black woman, feel good, proud, and even inspired.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bowen also effectively argues that a lot of what is dismissed as “ratchet” or uncouth is really a conscious aesthetic of rebellion, a way of eschewing still white-centered patriarchal conventions that fail girls like herself. With behavior and style choices that make sense for their environment and circumstances, “ghetto girls,” she says, perform gender in rebellious ways that are often disrespected and yet envied and eventually emulated.\u003c/p>\n\u003cp>Bowen is a versatile and agile commentator, equally convincing and expert in her explication of the idea of the “bad bitch” as an expression of power in hip-hop and citing bell hooks on why beauty is a “politicized concept” that maintains what hooks called “imperialist, capitalist, white supremacist patriarchy.” The latter may seem like a long list of “isms” and labels, but Bowen shows that these dimensions of social hierarchy and control have real-world implications. She names and shames a system of cultural gatekeeping in which hip-hop and even Bowen’s beloved trap culture is complicit, assigning value and affording respect and opportunity to a select group. And, in keeping with that, as Bowen shows, even when Black girls are celebrated, it’s within a narrow range of acceptable images of Black femininity. Existing outside those “aesthetic rules” (as Bowen herself does) has consequences:\u003c/p>\n\u003cp>“It means that you’ve committed an egregious act against the social order. Women who find themselves too far away from the center of beauty norms are often treated as if they’ve committed treason, our aesthetic a public-facing betrayal of our refusal to conform…”\u003c/p>\n\u003cp>Complicating that analysis, Bowen also calls out the classism and cultural biases even within Black media circles where so many of her colleagues come from privilege and “have had to untangle their Blackness from the web of whiteness they were socialized in.” This is one reason Bowen is powerful; she takes no prisoners. Going against every tide, Bowen’s trap feminism enthusiastically celebrates “ghetto girl culture.” More than reconciling feminism with hip-hop, she marshals its power.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Misogynoir Transformed:\u003c/em>\u003c/strong> \u003cstrong>\u003cem>Black Women’s Digital Resistance by \u003c/em>\u003c/strong>\u003cstrong>Moya Bailey\u003c/strong>\u003c/h3>\n\u003cp>Known for coining the term misogynoir, a portmanteau of the words “misogyny,” meaning the hatred of women, and noir, the French word for black, Northwestern professor Moya Bailey has already made a mark on the landscape of American culture that extends beyond academia. The term and its implications have penetrated popular consciousness. With her first solo-authored book, Bailey expands this impact.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910868 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95.jpg\" alt=\"\" width=\"232\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95.jpg 232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/B1595E05A5B8598F211DAF6EEAC6480986FFCB95-160x241.jpg 160w\" sizes=\"(max-width: 232px) 100vw, 232px\">As seen in the books on this list, the work of Patricia Hill Collins has influenced many writers in the Black feminist tradition, but with Bailey, that legacy is more direct. Building on works like Collins’ \u003cem>Black Feminist Thought \u003c/em>and bell hooks’\u003cem> Black Looks\u003c/em>, Bailey expands our understanding of the link between media portrayals of Black women, which people like to think of as merely symbolic or superficial, and real world, material consequences:\u003c/p>\n\u003cp>“…the media that circulate misogynoir help maintain white supremacy by offering tacit approval of the disparate treatment that Black women negotiate in society. Whether the Jezebel, mammy, Sapphire, and later the ‘welfare queen’ or even the ‘strong Black woman’ archetype, misogynoiristic portrayals of Black women shape their livelihoods and health.”\u003c/p>\n\u003cp>In other words, contrary to those who would dismiss the weight of culture, Black feminist theory “articulates the power of the image.” By shaping the way that society views marginalized groups and how we view ourselves, cultural images help shape our social relations.\u003c/p>\n\u003cp>By design and necessity, this project is inherently political. Like Collins before her, Bailey’s work is significant on its own. But such work also adds essential perspective and depth to the efforts of political scientists like Angie Hancock, author of \u003cem>\u003ca href=\"https://nyupress.org/9780814736708/the-politics-of-disgust/\">The Politics of Disgust\u003c/a>\u003c/em> whose research established in quantifiable terms the impact of the welfare queen image on public policy debates around the social safety net. Today, it’s hard to understand American politics without coming to grips with the concepts Bailey’s grappling with.\u003c/p>\n\u003cp>Bailey’s aims are ambitious. She’s not interested in just shining a light on misogynoir; she’s interested in its destruction. In a voice that is scholarly yet accessible, she tackles media culture from television and film to Tumblr to YouTube web series, to hashtags, revealing how different media contribute to, transform and/or challenge the pervasive circulation of misogynoir and, importantly, how Black people deploy digital activism to resist. Though expansive, Bailey’s scope is also strategic; she privileges those too often marginalized in feminist conversations: “Black women as well as Black nonbinary, agender, and gender-variant folks’ work and voices.” The penultimate chapter, “Alchemists in Action against Misogynoir, ” which is Bailey’s most personal, focuses on Tumblr. It’s a particular treat.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>Digital Black Feminism\u003c/em> by Catherine Knight Steele\u003c/strong>\u003c/h3>\n\u003cp>In\u003cem> Digital Black Feminism\u003c/em>, Catherine Knight Steele centers Black women unapologetically within the study of digital culture. “Digital Black feminism is a mechanism to understand how Black feminist thought is altered by and alters technology,” she writes. This work has multiple dimensions. First and fundamentally, Steele exposes the frequent oversight of Black women’s contributions as a distortion that limits deeper understanding of the dynamics of the digital world. As Steele establishes, Black women’s involvement in digital spaces has been broad-based, influential and persistent. Understanding that digital culture requires getting this part of it right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910869 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_.jpg\" alt=\"\" width=\"333\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_.jpg 333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/51hevkCKl6L._SX331_BO1204203200_-160x240.jpg 160w\" sizes=\"(max-width: 333px) 100vw, 333px\">So one contribution of Steele’s work is as a course correction to the work that’s been done before. At the same time, this book also recognizes and builds on the significant inroads made by scholars studying race and technology including Safiya Noble (\u003cem>\u003ca href=\"https://www.marketplace.org/shows/marketplace-tech/algorithms-are-often-biased-what-if-tech-firms-were-held-responsible/\" target=\"_blank\" rel=\"noopener noreferrer\">Algorithms of Oppression\u003c/a>\u003c/em>), Sarah Florini, and Andre Brock.\u003c/p>\n\u003cp>Steele has two core aims. First, she positions Black women online as central to the future of communication technology just as they’ve been central to its past. Second, per its title, \u003cem>Digital Black Feminism\u003c/em> traces and critically examines a evolutionary shift in Black feminism thought, one driven and enabled by new technology.\u003c/p>\n\u003cp>As both a researcher and a member of these spaces, she’s well-equipped for these tasks. Diving into a wide-ranging digital archive six years in the making, she demonstrates how online spaces expand and shape the work of Black feminist liberation while making insightful connections to the Black thinkers and writers that came before. In one chapter, Steele explores the parallels between hip-hop’s formative influence on an earlier generation of feminists and the role of digital technology in Black feminism today, noting how money changed both of those relationships. For a book with heft, it strikes an impressive balance of accessibility and intellectual innovation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A slow runner and fast reader, Carole V. Bell is a cultural critic and communication scholar focusing on media, politics and identity. You can find her on Twitter \u003ca href=\"https://twitter.com/bellcv\" target=\"_blank\" rel=\"noopener noreferrer\">@BellCV\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+books+at+the+intersection+of+Black+feminist+thought%2C+culture%2C+and+politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Amy Schumer Branches Out (But Retains Her Hell-Raising Spirit) in 'Life & Beth'",
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"content": "\u003cp>With really brilliant comedians, there’s nearly always a moment when they want to stop being only funny, to move beyond gags and skits, and seek out new emotional, thematic or stylistic territory. Sometimes this turns out magnificently, as when \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5574520\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Chaplin \u003c/a>began making feature films far richer than his comic shorts; with others, the results can be downright embarrassing. Think of \u003ca href=\"https://www.npr.org/2015/07/29/426827865/at-79-woody-allen-says-theres-still-time-to-do-his-best-work\" target=\"_blank\" rel=\"noopener noreferrer\">Woody Allen\u003c/a>‘s ghastly attempts to be \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12347936\" target=\"_blank\" rel=\"noopener noreferrer\">Ingmar Bergman\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13909570']But such are the perils of ambition, and I admire those willing to risk them. Take one of my favorites, Amy Schumer. Her series \u003ca href=\"https://www.npr.org/2013/06/25/188698578/inside-amy-schumer-its-not-just-sex-stuff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Any Schumer\u003c/em>\u003c/a> was one of the indispensable shows of the last decade: a hilarious, raunchy, take-no-prisoners program with a steely feminist core.\u003c/p>\n\u003cp>Yet rather than keep making that series forever, she pushed herself in new directions—writing and starring in the hit film \u003ca href=\"https://www.npr.org/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Trainwreck\u003c/em>\u003c/a>, braving dramatic movie roles, even doing a cooking show with her husband. Now, she’s created and stars in an enjoyable new Hulu series, \u003cem>Life & Beth\u003c/em>, about a woman in her late 30s trying to get back in touch with who she really is.\u003c/p>\n\u003cp>Schumer plays Beth Jones, a hard-drinking wine rep in New York who doesn’t really like her job or her gung-ho jerk of a boyfriend. Then something happens that shakes her like a personal earthquake. Deciding to stop being, as she puts it, “the passive passenger in the car of her life,” she begins a voyage of self-discovery.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dfz11eEOif0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This takes her home to the Long Island boonies and into flashback memories of the teenage Beth who had to deal with the difficult mother she resented—that’s \u003ca href=\"https://www.npr.org/2020/03/16/816506915/a-broadway-star-and-sunshinesongs-bring-high-school-musical-theater-to-small-scr\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Benanti\u003c/a>—and the feckless father she adored, winningly played by \u003ca href=\"https://www.npr.org/2017/11/01/561115398/actor-michael-rapaport-on-sports-highs-lows-and-lebron\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rapaport\u003c/a>. Back then, the one truly happy thing in Beth’s life was playing volleyball.\u003c/p>\n\u003cp>[aside postid='arts_13910084']Over the course of 10 episodes, Beth has all manner of mini-adventures. She goes to bars and funerals and farmers markets. She makes dirty jokes with her friends—many of them funny—and goes boating while high on mushrooms. She gets involved with a dim, hunky trainer, played by \u003ca href=\"https://www.npr.org/2017/10/31/561086996/mindhunter-actor-jonathan-groff-on-his-most-life-altering-roles\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Groff\u003c/a>, and a socially awkward farmer named John, played with a charming dryness by \u003ca href=\"https://www.npr.org/2007/06/13/480481376/michael-cera\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Cera\u003c/a>.\u003c/p>\n\u003cp>Now, as much as I liked watching \u003cem>Life & Beth\u003c/em>, it’s quite uneven. Beth’s story starts a tad slowly and its many tones never quite mesh. I kept thinking Schumer is trying to weave together two different strands of groundbreaking women’s television. One is the strand that includes \u003ca href=\"https://www.kqed.org/pop/111811/fleabag-and-killing-eve-creator-phoebe-waller-bridge-is-full-of-surprises\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fleabag\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/01/14/1072472731/hbo-somebody-somewhere-review-bridget-everett\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Somebody, Somewhere\u003c/em>\u003c/a>, whose heroines grapple with the past in order to move into the future. The other is found in \u003ca href=\"https://www.npr.org/2017/04/18/524452040/in-subdued-epilogue-girls-finale-leaves-new-york-most-of-the-cast-behind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girls\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2019/02/26/697712476/pamela-adlon-better-things-season-3-is-an-exaggerated-version-of-my-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Better Things\u003c/em>\u003c/a>, which are looser in form, and built less around a clear, overarching narrative than around capturing privileged moments and scenes that often don’t add up to anything bigger—and don’t need to.\u003c/p>\n\u003cp>I must admit that I never got fully invested in the grand arc of Beth’s attempts to let the past go. Schumer’s performance is plenty good—her acting keeps getting deeper—yet the whole healing narrative, complete with new boyfriend, feels tame and formulaic, especially coming from someone as original as Schumer. Beth’s story lacks the emotional and verbal pop of \u003cem>Fleabag\u003c/em> or the deep-body pain of \u003cem>Somebody, Somewhere\u003c/em>, whose heroine’s wounds feel much more profound than Beth’s.\u003c/p>\n\u003cp>[aside postid='arts_13909218']The show’s at its strongest when it’s less on point, giving free range to Schumer’s capacity for catching life on the wing — a spiky scene involving the Plan B morning-after pill, funny sex talk with a Black girlfriend who now chases white Jewish men, sardonic banter with her equally-screwed-up sister, an explosion of post-coital rage at John, a lovely scene of Beth’s dad teaching his daughters to eat oysters—not to mention all manner of good lines. “Do you have any preexisting conditions?” a doctor asks her before an MRI, and Beth replies, “I’m a woman.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, one great danger of cutting-edge comics expanding their range is that they can wind up having their ferocious brilliance smothered by safely conventional material, as happened to \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Pryor\u003c/a>, a certified genius who literally wound up playing a toy. Happily, Schumer escapes that fate in \u003cem>Life & Beth\u003c/em>. Although the cornball punniness of its title may give you pause, the show’s best moments prove that, inside Amy Schumer, the hell-raising spirit lives on.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amy+Schumer+branches+out+%28but+retains+her+hell-raising+spirit%29+in+%27Life+%26+Beth%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With really brilliant comedians, there’s nearly always a moment when they want to stop being only funny, to move beyond gags and skits, and seek out new emotional, thematic or stylistic territory. Sometimes this turns out magnificently, as when \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5574520\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Chaplin \u003c/a>began making feature films far richer than his comic shorts; with others, the results can be downright embarrassing. Think of \u003ca href=\"https://www.npr.org/2015/07/29/426827865/at-79-woody-allen-says-theres-still-time-to-do-his-best-work\" target=\"_blank\" rel=\"noopener noreferrer\">Woody Allen\u003c/a>‘s ghastly attempts to be \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12347936\" target=\"_blank\" rel=\"noopener noreferrer\">Ingmar Bergman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But such are the perils of ambition, and I admire those willing to risk them. Take one of my favorites, Amy Schumer. Her series \u003ca href=\"https://www.npr.org/2013/06/25/188698578/inside-amy-schumer-its-not-just-sex-stuff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Any Schumer\u003c/em>\u003c/a> was one of the indispensable shows of the last decade: a hilarious, raunchy, take-no-prisoners program with a steely feminist core.\u003c/p>\n\u003cp>Yet rather than keep making that series forever, she pushed herself in new directions—writing and starring in the hit film \u003ca href=\"https://www.npr.org/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Trainwreck\u003c/em>\u003c/a>, braving dramatic movie roles, even doing a cooking show with her husband. Now, she’s created and stars in an enjoyable new Hulu series, \u003cem>Life & Beth\u003c/em>, about a woman in her late 30s trying to get back in touch with who she really is.\u003c/p>\n\u003cp>Schumer plays Beth Jones, a hard-drinking wine rep in New York who doesn’t really like her job or her gung-ho jerk of a boyfriend. Then something happens that shakes her like a personal earthquake. Deciding to stop being, as she puts it, “the passive passenger in the car of her life,” she begins a voyage of self-discovery.\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/Dfz11eEOif0'\n title='//www.youtube.com/embed/Dfz11eEOif0'\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>This takes her home to the Long Island boonies and into flashback memories of the teenage Beth who had to deal with the difficult mother she resented—that’s \u003ca href=\"https://www.npr.org/2020/03/16/816506915/a-broadway-star-and-sunshinesongs-bring-high-school-musical-theater-to-small-scr\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Benanti\u003c/a>—and the feckless father she adored, winningly played by \u003ca href=\"https://www.npr.org/2017/11/01/561115398/actor-michael-rapaport-on-sports-highs-lows-and-lebron\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rapaport\u003c/a>. Back then, the one truly happy thing in Beth’s life was playing volleyball.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over the course of 10 episodes, Beth has all manner of mini-adventures. She goes to bars and funerals and farmers markets. She makes dirty jokes with her friends—many of them funny—and goes boating while high on mushrooms. She gets involved with a dim, hunky trainer, played by \u003ca href=\"https://www.npr.org/2017/10/31/561086996/mindhunter-actor-jonathan-groff-on-his-most-life-altering-roles\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Groff\u003c/a>, and a socially awkward farmer named John, played with a charming dryness by \u003ca href=\"https://www.npr.org/2007/06/13/480481376/michael-cera\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Cera\u003c/a>.\u003c/p>\n\u003cp>Now, as much as I liked watching \u003cem>Life & Beth\u003c/em>, it’s quite uneven. Beth’s story starts a tad slowly and its many tones never quite mesh. I kept thinking Schumer is trying to weave together two different strands of groundbreaking women’s television. One is the strand that includes \u003ca href=\"https://www.kqed.org/pop/111811/fleabag-and-killing-eve-creator-phoebe-waller-bridge-is-full-of-surprises\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fleabag\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/01/14/1072472731/hbo-somebody-somewhere-review-bridget-everett\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Somebody, Somewhere\u003c/em>\u003c/a>, whose heroines grapple with the past in order to move into the future. The other is found in \u003ca href=\"https://www.npr.org/2017/04/18/524452040/in-subdued-epilogue-girls-finale-leaves-new-york-most-of-the-cast-behind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girls\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2019/02/26/697712476/pamela-adlon-better-things-season-3-is-an-exaggerated-version-of-my-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Better Things\u003c/em>\u003c/a>, which are looser in form, and built less around a clear, overarching narrative than around capturing privileged moments and scenes that often don’t add up to anything bigger—and don’t need to.\u003c/p>\n\u003cp>I must admit that I never got fully invested in the grand arc of Beth’s attempts to let the past go. Schumer’s performance is plenty good—her acting keeps getting deeper—yet the whole healing narrative, complete with new boyfriend, feels tame and formulaic, especially coming from someone as original as Schumer. Beth’s story lacks the emotional and verbal pop of \u003cem>Fleabag\u003c/em> or the deep-body pain of \u003cem>Somebody, Somewhere\u003c/em>, whose heroine’s wounds feel much more profound than Beth’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show’s at its strongest when it’s less on point, giving free range to Schumer’s capacity for catching life on the wing — a spiky scene involving the Plan B morning-after pill, funny sex talk with a Black girlfriend who now chases white Jewish men, sardonic banter with her equally-screwed-up sister, an explosion of post-coital rage at John, a lovely scene of Beth’s dad teaching his daughters to eat oysters—not to mention all manner of good lines. “Do you have any preexisting conditions?” a doctor asks her before an MRI, and Beth replies, “I’m a woman.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, one great danger of cutting-edge comics expanding their range is that they can wind up having their ferocious brilliance smothered by safely conventional material, as happened to \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Pryor\u003c/a>, a certified genius who literally wound up playing a toy. Happily, Schumer escapes that fate in \u003cem>Life & Beth\u003c/em>. Although the cornball punniness of its title may give you pause, the show’s best moments prove that, inside Amy Schumer, the hell-raising spirit lives on.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amy+Schumer+branches+out+%28but+retains+her+hell-raising+spirit%29+in+%27Life+%26+Beth%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Saweetie Draws on Her Roots to Make Rap That's More Personal",
"headTitle": "Saweetie Draws on Her Roots to Make Rap That’s More Personal | KQED",
"content": "\u003cp>The saying goes that you have your whole life to make your first album, but Saweetie would like to know where everyone else is finding the time.\u003c/p>\n\u003cp>The 28-year-old rapper is nominated for two awards at this year’s Grammys: Best New Artist, and Best Rap Song for her Doja Cat collaboration “Best Friend.” And much like last year’s winner in both of those categories, hip-hop star Megan Thee Stallion, it’s all before releasing her debut album, the persistently-delayed \u003cem>Pretty Bitch Music\u003c/em>, now scheduled to drop this summer.\u003c/p>\n\u003cp>At this tone-setting moment in the scant few months before her debut, Saweetie is going back to basics to rekindle her creative spirit.\u003c/p>\n\u003cp>Sitting down at the Pendry hotel in West Hollywood recently, Saweetie says that for the first time in her professional career, she finally has some time scheduled to shut out the world and work on her album with no distractions.\u003c/p>\n\u003cp>“Because everything else was spot recorded—in between photo shoots, in different cities, during a hectic schedule,” she says. “The reason why I wrote so well during those freestyle days—I mean, yeah, I wasn’t making that much money—but I had all this free time on my hands.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born Diamonté Quiava Valentin Harper, Saweetie grew up moving around the Bay Area: Union City, Hayward, San Jose, Sunnyvale, Palo Alto. Always the new kid in class, she was lonely at school where she says she got used to “just not connecting with people.” But at home, it was different.\u003c/p>\n\u003cp>“I come from two big families: My Filipino Chinese side and then my Black side,” she says. “Lots of aunties and uncles, lots of cousins.” As a child of young working parents, she says her grandmothers and mother instilled in her the value of hard work and self-sufficiency as a woman. You can hear that influence when she talks about falling in love with rap as a teenager, and the research she then put into it, writing her own verses to songs like Lil Wayne’s “A Milli” and Slick Rick’s “Children’s Story.”\u003c/p>\n\u003cp>“I remember staying up in my room and just writing in my pink notebook,” she says. “I used to sit in the corner of my room on my bed and just write all night.”\u003c/p>\n\u003cp>But the notion of the hardworking woman that her grandmothers taught her is also central to the high-rolling brand Saweetie first established six years ago when she went viral freestyling over Khia’s “My Neck, My Back” in her car, in the song that eventually became “Icy Grl.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wji4b2jjYOk\u003c/p>\n\u003cp>“When I wrote ‘Icy Grl,’ it was basically a rap full of affirmations that eventually came true,” Saweetie says. For her, icy describes not only the physical trappings of wealth—nails, cars, jewelry—but more so the mentality of a woman who knows what she wants. “She’s a hustler. She’s ambitious. She’s smart. She’s just an independent woman.”\u003c/p>\n\u003cp>[aside postid='arts_13909111']Although Saweetie’s sound hasn’t solidified into any one thing yet, her icy ethos has created a distinct persona for the rapper, one that redefines longstanding stereotypes of powerful, business-oriented women and challenges the notion that frigid means sexless.\u003c/p>\n\u003cp>No other song in her catalog builds on this more than “Best Friend,” which will compete with tracks by DMX, Baby Keem, Kanye West and J. Cole for Best Rap Song at the Grammys. (\u003ca href=\"https://www.npr.org/2019/02/12/693633206/the-grammys-dont-have-a-hip-hop-problem-the-grammys-have-a-grammy-problem\" target=\"_blank\" rel=\"noopener noreferrer\">A rap fan might be side-eyeing the Recording Academy\u003c/a> for thinking that the best and most exciting rap today is still coming from the likes of Kanye, Nas, or even Jay-Z, who all appear on one of the nominated songs.) Together, Saweetie and Doja Cat are the only women among the nominees in a category that has been historically male—astonishingly so, given how vital women have been to hip-hop’s ascendency to \u003ca href=\"https://www.billboard.com/music/music-news/billboard-explains-rb-hip-hop-biggest-genre-9613422/\" target=\"_blank\" rel=\"noopener noreferrer\">the dominant genre in the United States\u003c/a> over the last five years.\u003c/p>\n\u003cp>“Best Friend”—a song that takes the debris left over from Cardi B and Megan Thee Stallion shattering the glass ceiling with “WAP”, refires it into a champagne glass, and asks us to toast the number woman in our lives—feels especially audacious sitting alongside the rest. To put it another way: It’s a rap song that passes the Bechdel test.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xJUCsyMQes\u003c/p>\n\u003cp>Even as she raps about confident women, the kind who know their best friend’s opinion is worth more than 100 men trying to make a move, Saweetie herself is still building up to that place. She says when she woke up to the news that she had been nominated in November, she didn’t know how to feel, especially after reading the reactions from people online who thought, with her chart history and without a debut album out, she didn’t have the resumé to substantiate a nod for Best New Artist. “I felt like the music industry, the internet, has a way of making you feel like you don’t deserve anything,” Saweetie says.\u003c/p>\n\u003cp>[aside postid='arts_13908051']Part of the struggle to accept her successes also comes from the gap between where she is now and where she wants to be, and just how steep the learning curve has been as she’s built her professional career over the last three and a half years since her signing.\u003c/p>\n\u003cp>In sports, Saweetie explains, “If you make the team, there is a whole infrastructure and experienced professional team that’s going to guide a rookie to becoming a mature, grown athlete.” But in music, an artist is on their own, with success depending on their business savvy and how well they hire people who can help them execute their ideas, put them in touch with the right opportunities, and leverage their careers. “The artist’s business is what the artist makes it,” she says.\u003c/p>\n\u003cp>Saweetie returns to the topic of her team often, and just how much of her momentum going forward relies on building it up to a point where she has both undisturbed time to work on her music and a schedule planned out far enough in advance to get hands-on with creative treatments for music videos months before their release, instead of just a few weeks.\u003c/p>\n\u003cp>But Saweetie is also learning to find an equilibrium between the hustle and her health.\u003c/p>\n\u003cfigure id=\"attachment_13910644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png\" alt=\"Saweetie stands in a doorway, wearing a form-fitting indigo gown, diamond chokers and long, talon-like cherry-red nails. She looks directly to the camera with a knowing half-smile.\" width=\"800\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-1020x1396.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-768x1051.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The artist’s business is what the artist makes it,” Saweetie says. \u003ccite>(Jessica Pons for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a really crazy, chaotic schedule last year, like no breaks, not sleeping, very dehydrated, very draining,” she says. While on a trip to Turks and Caicos at the end of 2021, during which she practiced the time-honored spiritual cleanse of cutting off her hair, Saweetie says three important words came to her: breaks, boundaries and balance.\u003c/p>\n\u003cp>She started practicing meditation and reiki and being more mindful of the energy she expends. “I need to fill my cup back up, because if it’s empty, then I’m running on E and that’s not good for my soul, my body or my mental health,” she says.\u003c/p>\n\u003cp>Much in the same way that Saweetie is recentering herself by filtering out negative energies and focusing on the positive, she says the title of her upcoming debut album, \u003cem>Pretty Bitch Music\u003c/em>, comes from a desire to transform two words with negative connotations for women into something meaningful and empowering.\u003c/p>\n\u003cp>[aside postid='news_11881696']“Pretty is often associated with shallowness,” she says. “When I mean pretty, I mean like someone’s self-esteem, their confidence. The women who I feel like are the most beautiful are the women who have great energy.” And in a nod to Tupac’s “Thug Life”, bitch is an acronym: boss, independent, tough, CEO, \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">hyphy\u003c/a>.\u003c/p>\n\u003cp>There’s the classic Saweetie, candid about sex on songs like “Closer”, explaining: “I’m really vocal with how Saweetie dates. I’m all about the experience. If I’m not subject to being in a relationship, if I’m out there having a good time, I’m going to speak to whoever I want to. It’s my right as a woman and I feel like every woman should feel like that.” But \u003cem>Pretty Bitch Music\u003c/em> will also unveil a softer side.\u003c/p>\n\u003cp>“In the album,” she says, “You can expect not just fun Saweetie, but what is Saweetie like when she’s feeling down? What is Saweetie like when she’s going through this?”\u003c/p>\n\u003cp>She’s not too concerned with measuring up to the ideal of a rapper, one who postures past insecurity, and if that takes her outside the genre, then so be it. “I think I’m just going to sound like an artist,” she says. After all, Saweetie thinks cultural figures—whether they’re musicians, painters, actors or athletes—achieve greatness through vulnerability.\u003c/p>\n\u003cp>“I feel like when you act like life is perfect or when you struggle with expressing your emotions and when you bottle it all up, it can backfire. And it’s backfired for me.” She says it’s been a conscious effort to let go of that idea of outward perfection, especially growing up with it coming from both sides of her family: “In the Asian culture, save face; in the Black culture, it’s don’t show no weakness.”\u003c/p>\n\u003cp>But for the Saweetie preparing to launch her next era? She’s ready to melt the ice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The audio for this story was produced by Jonaki Mehta and edited by Christopher Intagliata. The article was written by Cyrena Touros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saweetie+draws+on+her+roots+to+make+rap+that%27s+more+personal+and+intentional&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The saying goes that you have your whole life to make your first album, but Saweetie would like to know where everyone else is finding the time.\u003c/p>\n\u003cp>The 28-year-old rapper is nominated for two awards at this year’s Grammys: Best New Artist, and Best Rap Song for her Doja Cat collaboration “Best Friend.” And much like last year’s winner in both of those categories, hip-hop star Megan Thee Stallion, it’s all before releasing her debut album, the persistently-delayed \u003cem>Pretty Bitch Music\u003c/em>, now scheduled to drop this summer.\u003c/p>\n\u003cp>At this tone-setting moment in the scant few months before her debut, Saweetie is going back to basics to rekindle her creative spirit.\u003c/p>\n\u003cp>Sitting down at the Pendry hotel in West Hollywood recently, Saweetie says that for the first time in her professional career, she finally has some time scheduled to shut out the world and work on her album with no distractions.\u003c/p>\n\u003cp>“Because everything else was spot recorded—in between photo shoots, in different cities, during a hectic schedule,” she says. “The reason why I wrote so well during those freestyle days—I mean, yeah, I wasn’t making that much money—but I had all this free time on my hands.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born Diamonté Quiava Valentin Harper, Saweetie grew up moving around the Bay Area: Union City, Hayward, San Jose, Sunnyvale, Palo Alto. Always the new kid in class, she was lonely at school where she says she got used to “just not connecting with people.” But at home, it was different.\u003c/p>\n\u003cp>“I come from two big families: My Filipino Chinese side and then my Black side,” she says. “Lots of aunties and uncles, lots of cousins.” As a child of young working parents, she says her grandmothers and mother instilled in her the value of hard work and self-sufficiency as a woman. You can hear that influence when she talks about falling in love with rap as a teenager, and the research she then put into it, writing her own verses to songs like Lil Wayne’s “A Milli” and Slick Rick’s “Children’s Story.”\u003c/p>\n\u003cp>“I remember staying up in my room and just writing in my pink notebook,” she says. “I used to sit in the corner of my room on my bed and just write all night.”\u003c/p>\n\u003cp>But the notion of the hardworking woman that her grandmothers taught her is also central to the high-rolling brand Saweetie first established six years ago when she went viral freestyling over Khia’s “My Neck, My Back” in her car, in the song that eventually became “Icy Grl.”\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/Wji4b2jjYOk'\n title='//www.youtube.com/embed/Wji4b2jjYOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When I wrote ‘Icy Grl,’ it was basically a rap full of affirmations that eventually came true,” Saweetie says. For her, icy describes not only the physical trappings of wealth—nails, cars, jewelry—but more so the mentality of a woman who knows what she wants. “She’s a hustler. She’s ambitious. She’s smart. She’s just an independent woman.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although Saweetie’s sound hasn’t solidified into any one thing yet, her icy ethos has created a distinct persona for the rapper, one that redefines longstanding stereotypes of powerful, business-oriented women and challenges the notion that frigid means sexless.\u003c/p>\n\u003cp>No other song in her catalog builds on this more than “Best Friend,” which will compete with tracks by DMX, Baby Keem, Kanye West and J. Cole for Best Rap Song at the Grammys. (\u003ca href=\"https://www.npr.org/2019/02/12/693633206/the-grammys-dont-have-a-hip-hop-problem-the-grammys-have-a-grammy-problem\" target=\"_blank\" rel=\"noopener noreferrer\">A rap fan might be side-eyeing the Recording Academy\u003c/a> for thinking that the best and most exciting rap today is still coming from the likes of Kanye, Nas, or even Jay-Z, who all appear on one of the nominated songs.) Together, Saweetie and Doja Cat are the only women among the nominees in a category that has been historically male—astonishingly so, given how vital women have been to hip-hop’s ascendency to \u003ca href=\"https://www.billboard.com/music/music-news/billboard-explains-rb-hip-hop-biggest-genre-9613422/\" target=\"_blank\" rel=\"noopener noreferrer\">the dominant genre in the United States\u003c/a> over the last five years.\u003c/p>\n\u003cp>“Best Friend”—a song that takes the debris left over from Cardi B and Megan Thee Stallion shattering the glass ceiling with “WAP”, refires it into a champagne glass, and asks us to toast the number woman in our lives—feels especially audacious sitting alongside the rest. To put it another way: It’s a rap song that passes the Bechdel test.\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/_xJUCsyMQes'\n title='//www.youtube.com/embed/_xJUCsyMQes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even as she raps about confident women, the kind who know their best friend’s opinion is worth more than 100 men trying to make a move, Saweetie herself is still building up to that place. She says when she woke up to the news that she had been nominated in November, she didn’t know how to feel, especially after reading the reactions from people online who thought, with her chart history and without a debut album out, she didn’t have the resumé to substantiate a nod for Best New Artist. “I felt like the music industry, the internet, has a way of making you feel like you don’t deserve anything,” Saweetie says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Part of the struggle to accept her successes also comes from the gap between where she is now and where she wants to be, and just how steep the learning curve has been as she’s built her professional career over the last three and a half years since her signing.\u003c/p>\n\u003cp>In sports, Saweetie explains, “If you make the team, there is a whole infrastructure and experienced professional team that’s going to guide a rookie to becoming a mature, grown athlete.” But in music, an artist is on their own, with success depending on their business savvy and how well they hire people who can help them execute their ideas, put them in touch with the right opportunities, and leverage their careers. “The artist’s business is what the artist makes it,” she says.\u003c/p>\n\u003cp>Saweetie returns to the topic of her team often, and just how much of her momentum going forward relies on building it up to a point where she has both undisturbed time to work on her music and a schedule planned out far enough in advance to get hands-on with creative treatments for music videos months before their release, instead of just a few weeks.\u003c/p>\n\u003cp>But Saweetie is also learning to find an equilibrium between the hustle and her health.\u003c/p>\n\u003cfigure id=\"attachment_13910644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png\" alt=\"Saweetie stands in a doorway, wearing a form-fitting indigo gown, diamond chokers and long, talon-like cherry-red nails. She looks directly to the camera with a knowing half-smile.\" width=\"800\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-1020x1396.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-768x1051.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The artist’s business is what the artist makes it,” Saweetie says. \u003ccite>(Jessica Pons for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a really crazy, chaotic schedule last year, like no breaks, not sleeping, very dehydrated, very draining,” she says. While on a trip to Turks and Caicos at the end of 2021, during which she practiced the time-honored spiritual cleanse of cutting off her hair, Saweetie says three important words came to her: breaks, boundaries and balance.\u003c/p>\n\u003cp>She started practicing meditation and reiki and being more mindful of the energy she expends. “I need to fill my cup back up, because if it’s empty, then I’m running on E and that’s not good for my soul, my body or my mental health,” she says.\u003c/p>\n\u003cp>Much in the same way that Saweetie is recentering herself by filtering out negative energies and focusing on the positive, she says the title of her upcoming debut album, \u003cem>Pretty Bitch Music\u003c/em>, comes from a desire to transform two words with negative connotations for women into something meaningful and empowering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Pretty is often associated with shallowness,” she says. “When I mean pretty, I mean like someone’s self-esteem, their confidence. The women who I feel like are the most beautiful are the women who have great energy.” And in a nod to Tupac’s “Thug Life”, bitch is an acronym: boss, independent, tough, CEO, \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">hyphy\u003c/a>.\u003c/p>\n\u003cp>There’s the classic Saweetie, candid about sex on songs like “Closer”, explaining: “I’m really vocal with how Saweetie dates. I’m all about the experience. If I’m not subject to being in a relationship, if I’m out there having a good time, I’m going to speak to whoever I want to. It’s my right as a woman and I feel like every woman should feel like that.” But \u003cem>Pretty Bitch Music\u003c/em> will also unveil a softer side.\u003c/p>\n\u003cp>“In the album,” she says, “You can expect not just fun Saweetie, but what is Saweetie like when she’s feeling down? What is Saweetie like when she’s going through this?”\u003c/p>\n\u003cp>She’s not too concerned with measuring up to the ideal of a rapper, one who postures past insecurity, and if that takes her outside the genre, then so be it. “I think I’m just going to sound like an artist,” she says. After all, Saweetie thinks cultural figures—whether they’re musicians, painters, actors or athletes—achieve greatness through vulnerability.\u003c/p>\n\u003cp>“I feel like when you act like life is perfect or when you struggle with expressing your emotions and when you bottle it all up, it can backfire. And it’s backfired for me.” She says it’s been a conscious effort to let go of that idea of outward perfection, especially growing up with it coming from both sides of her family: “In the Asian culture, save face; in the Black culture, it’s don’t show no weakness.”\u003c/p>\n\u003cp>But for the Saweetie preparing to launch her next era? She’s ready to melt the ice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio for this story was produced by Jonaki Mehta and edited by Christopher Intagliata. The article was written by Cyrena Touros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saweetie+draws+on+her+roots+to+make+rap+that%27s+more+personal+and+intentional&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Gen-X Cultural Ties to Russia Were Deliberate and Hopeful. Now, That's Eroding",
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"content": "\u003cp>As a Gen-X kid, I have to admit there was particular poignancy to the news that, following the Russian invasion of Ukraine,\u003ca href=\"https://www.npr.org/2022/03/03/1084303033/hollywood-refuses-to-open-biggest-films-in-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Russia isn’t getting \u003cem>The Batman\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>It’s part of a much, much bigger and more important story, of course—several much, much bigger, much more important stories. NPR’s Anastasia Tsioulcas has reported on many \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2022/03/03/1084246378/arts-organizations-putin-supporters\" target=\"_blank\" rel=\"noopener noreferrer\">severed relationships in arts\u003c/a> in recent weeks.\u003c/p>\n\u003cp>[aside postid='arts_13909903']Most of these have been attributed not simply to being Russian in and of itself, but to ties to Putin, or to a refusal to repudiate him—and to funding that comes from the Russian government. Some artists have\u003ca href=\"https://www.npr.org/2022/02/28/1083496491/russian-performers-speak-out-putin-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> actively spoken against him\u003c/a> and against the invasion, but many have not. It’s in opera, it’s in classical concerts, but it’s affecting other things, too: Russia is \u003ca href=\"https://www.npr.org/2022/02/25/1083095335/eurovision-russia-banned\" target=\"_blank\" rel=\"noopener noreferrer\">not being permitted to participate in \u003cem>Eurovision\u003c/em>\u003c/a>, where it debuted in 1994. Western musicians have been\u003ca href=\"https://www.npr.org/2022/03/02/1083981946/live-nation-entertainment-is-ceasing-business-with-russia-and-acts-cancel-dates-\" target=\"_blank\" rel=\"noopener noreferrer\"> canceling Russian dates\u003c/a> ever since the war started. As Elizabeth Blair has reported,\u003ca href=\"https://www.npr.org/2022/03/01/1083694731/u-s-russian-cultural-organizations-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> Russian cultural organizations inside the U.S.\u003c/a> are anxious about possible effects on their own work.\u003c/p>\n\u003ch3>Connections to Russia were once optimistic\u003c/h3>\n\u003cp>These boycotts are perhaps even more jarring if you remember past periods in which pop culture tried to paint a picture of deliberate, optimistic, post-Cold-War thaw. In the 1980s, particularly in the wake of the policies of glasnost and perestroika in the former Soviet Union—which encouraged openness and reform—artists went to places they wouldn’t have gone ten or even five years before. It was in 1987, 35 years ago this July, that Billy Joel brought a big pop-rock show to Leningrad and Moscow; 1989 when Billy Crystal traveled to find his Russian relatives in an HBO special called \u003cem>Midnight Train to Moscow\u003c/em>. That year also brought the Moscow Music Peace Festival, with Ozzy Osbourne, Motley Crue, and Bon Jovi among the performers.\u003c/p>\n\u003cfigure id=\"attachment_13910586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap8908120226_custom-6b2dd48ee765ba6851550e657cdf4d6ea52753b6-800x563.jpg\" alt=\"An enthusiastic crowd sings along at a stadium concert, including one young woman on someone's shoulders, arms raised in joy.\" width=\"800\" height=\"563\">\u003cfigcaption class=\"wp-caption-text\">Bon Jovi, Motley Crue, and Ozzy Osbourne played at the Moscow Music Peace Festival in August, 1989. \u003ccite>(AP Photo/Robert Toning)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, all these things were presented through a lens of, for lack of a better word, a goal of international—and intentional—\u003cem>friendship\u003c/em>. Joel’s bond with an enthusiastic fan and circus clown named Viktor became one of the centerpieces of the\u003ca href=\"https://www.imdb.com/title/tt0392424/\" target=\"_blank\" rel=\"noopener noreferrer\"> documentary\u003c/a> about his trip and the basis for a later song called “Leningrad.” (“We never knew what friends we had until we came to Leningrad.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Putin became president in 2000, some of these events continued. Paul McCartney played in Red Square in 2003 and met with Putin personally. Putin\u003ca href=\"https://www.theguardian.com/music/2003/dec/14/popandrock.paulmccartney\" target=\"_blank\" rel=\"noopener noreferrer\"> came to the show\u003c/a>. Even the popularity of the FX drama series \u003cem>The Americans\u003c/em>, which portrayed the Cold War through the eyes of KGB spies who felt just as righteous in their cause as Americans did in theirs, arguably continued this tradition of pop culture as pushing back against simplistic and antagonistic narratives of decades past.\u003c/p>\n\u003cp>And now all this.\u003c/p>\n\u003ch3>Even Levi’s has halted sales in Russia\u003c/h3>\n\u003cp>This severance of sometimes longstanding relationships isn’t only happening in the arts. It’s happening just as rapidly in sports, both in the real world and virtually. Russian athletes were barred from the Paralympic Games by the International Olympic Committee. FIFA has banned Russian teams from participating in its soccer matches. Russian teams have even been removed from the popular FIFA 22 video game, and may be removed from other games, too. President Vladimir Putin is seeing symbolic ties to sports withdrawn:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#international-judo-federation-strips-putin-of-his-honorary-titles\" target=\"_blank\" rel=\"noopener noreferrer\"> The International Judo Federation\u003c/a> stripped Putin of honorary titles in that sport, and World Taekwondo withdrew an honorary black belt.\u003c/p>\n\u003cp>[aside postid='arts_13909675']Businesses that one might paint into a mural representing American consumerism have been suspending business in Russia: McDonald’s, Coke, Pepsi, Starbucks, Disney. Wall Street saw its first big withdrawal when\u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-03-10#goldman-sachs-is-the-1st-major-wall-street-bank-to-pull-out-of-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Goldman Sachs\u003c/a> stopped operating there, and while that’s an economic move, it feels culturally significant, too. Hollywood studios, major music companies, all ceasing business in Russia—there are even ramifications for sales of one of the items that has often been referenced as a go-to symbol of American cultural presence in other countries:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#levis-halts-sales-in-russia-evoking-cold-war-scrambles-for-blue-jeans\" target=\"_blank\" rel=\"noopener noreferrer\"> blue jeans\u003c/a>.\u003c/p>\n\u003ch3>The impact of cultural boycotts\u003c/h3>\n\u003cp>Does all this matter? It probably depends on what you mean by “matter.” \u003ca href=\"https://www.theatlantic.com/international/archive/2022/03/ukraine-russia-culture-boycott-putin/623873/\" target=\"_blank\" rel=\"noopener noreferrer\">As Yasmeen Serhan wrote in \u003cem>The Atlantic\u003c/em> earlier this month:\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>“It’s easy to see cultural boycotts as more of a symbolic act than a serious threat to Moscow’s geopolitical standing. But by suspending Russia from the world’s largest sporting and cultural arenas, these institutions are sending a clear—and, for Putin, potentially damaging—message: If Russia acts beyond the bounds of the rules-based international order in Ukraine, it will be treated as an outsider by the rest of the world.”\u003c/p>\u003c/blockquote>\n\u003cp>The idea of culture and sports as stand-ins for the current political climate is obviously not new. I was an enthusiastic Olympics-watching kid during the boycott by the United States of the Moscow Summer Olympics in 1980 and the Soviet Union’s boycott of the Los Angeles Summer Olympics in 1984, both of which\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93334099\" target=\"_blank\" rel=\"noopener noreferrer\"> cost athletes dearly\u003c/a>, and both of which carried a heaviness, a sense of a hostile closed door that was consistent with the political rhetoric of the time. And in the last couple of years, the controversies around Russian athletes in the Olympics and the workaround under which sanctions for doping meant they couldn’t compete for Russia but only for the “Russian Olympic Committee” brought out some of the grumbling that has soured international competition in the past.\u003c/p>\n\u003cp>And it goes back much farther than that: In the documentary about his trip to Russia, Billy Joel says he was inspired to go partly because he remembered how important it felt to him when he was young and American pianist\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=87807262\" target=\"_blank\" rel=\"noopener noreferrer\"> Van Cliburn won\u003c/a> the International Tchaikovsky Competition in Moscow in 1958. Joel says in the film that the event, and Russia’s embrace of Cliburn, changed his own sense of the country and its people, whom he felt he’d been taught to fear.\u003c/p>\n\u003cfigure id=\"attachment_13910588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap290362078513_custom-4d83bf923b7ffd8c62022f550410d56d0a804b43-800x637.jpg\" alt=\"A young man, wearing a tuxedo, sits at a grand Steinway piano.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Pianist Van Cliburn performing in the final round of Tchaikovsky International Competition in Moscow in 1958. Cliburn’s triumph helped thaw the Cold War. \u003ccite>(AP Photo, file)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These crossovers of diplomacy and art can be fortuitous or commercial, but they can also be fully orchestrated by governments, and they can be complicated for the artists involved: the U.S. State Department\u003ca href=\"https://www.npr.org/2018/05/05/608802931/-the-jazz-ambassadors-cold-war-diplomacy-and-civil-rights-in-conflict\" target=\"_blank\" rel=\"noopener noreferrer\"> sent jazz musicians, including Dizzy Gillespie and Louis Armstrong\u003c/a>, around the world in the 1950s to present a positive image of the United States, even as the country utterly failed to treat them equally.\u003c/p>\n\u003cp>The world has always done this—used culture and sports to communicate over and past and through and around politics and aggression—and the question of how important that is, and how productive it is, recurs.\u003c/p>\n\u003cp>The efficacy of cultural sanctions certainly remains an open question; Serhan argues that because of the particular shape of his chosen image, Putin will be far more personally bothered and functionally threatened by sports sanctions than by ones in the arts. But she says this, too: “If ordinary Russians can no longer enjoy many of the activities they love, including things as quotidian as watching their soccer teams play in international matches, seeing the latest films, and enjoying live concerts, their tolerance for their government’s isolationist policies will diminish.”\u003c/p>\n\u003ch3>By now, Russians have gotten used to global connections\u003c/h3>\n\u003cp>If that’s so, it may turn out that openness—not just concerts in the 1980s, but the growing presence of Hollywood films and the vibrancy of international competition in sports—is not just a cyclical opposite of this period of retraction we’ve so rapidly entered, but a logical predecessor to it. The idea of depriving ordinary Russians, as Serhan says, of sports and Hollywood films and live concerts by international performers would not be a potent threat had they not come to expect access to those things in the first place.\u003c/p>\n\u003cp>[aside postid='arts_13910742']In other words, if bands weren’t going to Russia, if world sports leagues weren’t thriving, if Hollywood movies weren’t earning big money from big audiences in Russia, these arts and sports sanctions would be empty. If you’re not part of\u003cem> Eurovision\u003c/em>, you can’t be excluded from \u003cem>Eurovision\u003c/em>. If people don’t have expectations of a relatively open cultural and sports world, they can’t be disappointed.\u003c/p>\n\u003cp>But this is not the way this openness was pitched in the pop culture of the 1980s and 1990s, as something that might be withdrawn later as a result of an invasion; it was pitched as hope, as comity, and as perhaps a permanent realignment. And as a wildly naive teenager, I did find the idea that anyone could rock out at a concert transformative, capable of papering over what remained deep and troubling problems in world affairs that existed in both my own country and others. Even in 1987, Joel was asked whether he was afraid that his visit would be used as cover for human rights issues. His response, so familiar to people who have watched artists navigate these issues, was that he was not a politician.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=br1Ddw0tNAM\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There will likely be—there will hopefully be—at some time in the future, brought about by different conditions and an end to the war, another newsworthy return to Moscow for an American pop artist. There will be another reopening, another thaw in this cycle. The Gen-X kid in me, the one who remembers being sold hope in that way, anticipates this and will lean toward music and sports for signs of peace, even knowing it’s foolish. It isn’t that arts or sports are the important ties; it is that they are buoys that bob on the surface of world affairs, and when they move, in response to much greater forces underneath them, we notice.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Once%2C+cultural+ties+to+Russia+were+deliberate+and+hopeful.+Now%2C+they%27re+eroding&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a Gen-X kid, I have to admit there was particular poignancy to the news that, following the Russian invasion of Ukraine,\u003ca href=\"https://www.npr.org/2022/03/03/1084303033/hollywood-refuses-to-open-biggest-films-in-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Russia isn’t getting \u003cem>The Batman\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>It’s part of a much, much bigger and more important story, of course—several much, much bigger, much more important stories. NPR’s Anastasia Tsioulcas has reported on many \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2022/03/03/1084246378/arts-organizations-putin-supporters\" target=\"_blank\" rel=\"noopener noreferrer\">severed relationships in arts\u003c/a> in recent weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Most of these have been attributed not simply to being Russian in and of itself, but to ties to Putin, or to a refusal to repudiate him—and to funding that comes from the Russian government. Some artists have\u003ca href=\"https://www.npr.org/2022/02/28/1083496491/russian-performers-speak-out-putin-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> actively spoken against him\u003c/a> and against the invasion, but many have not. It’s in opera, it’s in classical concerts, but it’s affecting other things, too: Russia is \u003ca href=\"https://www.npr.org/2022/02/25/1083095335/eurovision-russia-banned\" target=\"_blank\" rel=\"noopener noreferrer\">not being permitted to participate in \u003cem>Eurovision\u003c/em>\u003c/a>, where it debuted in 1994. Western musicians have been\u003ca href=\"https://www.npr.org/2022/03/02/1083981946/live-nation-entertainment-is-ceasing-business-with-russia-and-acts-cancel-dates-\" target=\"_blank\" rel=\"noopener noreferrer\"> canceling Russian dates\u003c/a> ever since the war started. As Elizabeth Blair has reported,\u003ca href=\"https://www.npr.org/2022/03/01/1083694731/u-s-russian-cultural-organizations-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> Russian cultural organizations inside the U.S.\u003c/a> are anxious about possible effects on their own work.\u003c/p>\n\u003ch3>Connections to Russia were once optimistic\u003c/h3>\n\u003cp>These boycotts are perhaps even more jarring if you remember past periods in which pop culture tried to paint a picture of deliberate, optimistic, post-Cold-War thaw. In the 1980s, particularly in the wake of the policies of glasnost and perestroika in the former Soviet Union—which encouraged openness and reform—artists went to places they wouldn’t have gone ten or even five years before. It was in 1987, 35 years ago this July, that Billy Joel brought a big pop-rock show to Leningrad and Moscow; 1989 when Billy Crystal traveled to find his Russian relatives in an HBO special called \u003cem>Midnight Train to Moscow\u003c/em>. That year also brought the Moscow Music Peace Festival, with Ozzy Osbourne, Motley Crue, and Bon Jovi among the performers.\u003c/p>\n\u003cfigure id=\"attachment_13910586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap8908120226_custom-6b2dd48ee765ba6851550e657cdf4d6ea52753b6-800x563.jpg\" alt=\"An enthusiastic crowd sings along at a stadium concert, including one young woman on someone's shoulders, arms raised in joy.\" width=\"800\" height=\"563\">\u003cfigcaption class=\"wp-caption-text\">Bon Jovi, Motley Crue, and Ozzy Osbourne played at the Moscow Music Peace Festival in August, 1989. \u003ccite>(AP Photo/Robert Toning)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, all these things were presented through a lens of, for lack of a better word, a goal of international—and intentional—\u003cem>friendship\u003c/em>. Joel’s bond with an enthusiastic fan and circus clown named Viktor became one of the centerpieces of the\u003ca href=\"https://www.imdb.com/title/tt0392424/\" target=\"_blank\" rel=\"noopener noreferrer\"> documentary\u003c/a> about his trip and the basis for a later song called “Leningrad.” (“We never knew what friends we had until we came to Leningrad.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Putin became president in 2000, some of these events continued. Paul McCartney played in Red Square in 2003 and met with Putin personally. Putin\u003ca href=\"https://www.theguardian.com/music/2003/dec/14/popandrock.paulmccartney\" target=\"_blank\" rel=\"noopener noreferrer\"> came to the show\u003c/a>. Even the popularity of the FX drama series \u003cem>The Americans\u003c/em>, which portrayed the Cold War through the eyes of KGB spies who felt just as righteous in their cause as Americans did in theirs, arguably continued this tradition of pop culture as pushing back against simplistic and antagonistic narratives of decades past.\u003c/p>\n\u003cp>And now all this.\u003c/p>\n\u003ch3>Even Levi’s has halted sales in Russia\u003c/h3>\n\u003cp>This severance of sometimes longstanding relationships isn’t only happening in the arts. It’s happening just as rapidly in sports, both in the real world and virtually. Russian athletes were barred from the Paralympic Games by the International Olympic Committee. FIFA has banned Russian teams from participating in its soccer matches. Russian teams have even been removed from the popular FIFA 22 video game, and may be removed from other games, too. President Vladimir Putin is seeing symbolic ties to sports withdrawn:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#international-judo-federation-strips-putin-of-his-honorary-titles\" target=\"_blank\" rel=\"noopener noreferrer\"> The International Judo Federation\u003c/a> stripped Putin of honorary titles in that sport, and World Taekwondo withdrew an honorary black belt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Businesses that one might paint into a mural representing American consumerism have been suspending business in Russia: McDonald’s, Coke, Pepsi, Starbucks, Disney. Wall Street saw its first big withdrawal when\u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-03-10#goldman-sachs-is-the-1st-major-wall-street-bank-to-pull-out-of-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Goldman Sachs\u003c/a> stopped operating there, and while that’s an economic move, it feels culturally significant, too. Hollywood studios, major music companies, all ceasing business in Russia—there are even ramifications for sales of one of the items that has often been referenced as a go-to symbol of American cultural presence in other countries:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#levis-halts-sales-in-russia-evoking-cold-war-scrambles-for-blue-jeans\" target=\"_blank\" rel=\"noopener noreferrer\"> blue jeans\u003c/a>.\u003c/p>\n\u003ch3>The impact of cultural boycotts\u003c/h3>\n\u003cp>Does all this matter? It probably depends on what you mean by “matter.” \u003ca href=\"https://www.theatlantic.com/international/archive/2022/03/ukraine-russia-culture-boycott-putin/623873/\" target=\"_blank\" rel=\"noopener noreferrer\">As Yasmeen Serhan wrote in \u003cem>The Atlantic\u003c/em> earlier this month:\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>“It’s easy to see cultural boycotts as more of a symbolic act than a serious threat to Moscow’s geopolitical standing. But by suspending Russia from the world’s largest sporting and cultural arenas, these institutions are sending a clear—and, for Putin, potentially damaging—message: If Russia acts beyond the bounds of the rules-based international order in Ukraine, it will be treated as an outsider by the rest of the world.”\u003c/p>\u003c/blockquote>\n\u003cp>The idea of culture and sports as stand-ins for the current political climate is obviously not new. I was an enthusiastic Olympics-watching kid during the boycott by the United States of the Moscow Summer Olympics in 1980 and the Soviet Union’s boycott of the Los Angeles Summer Olympics in 1984, both of which\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93334099\" target=\"_blank\" rel=\"noopener noreferrer\"> cost athletes dearly\u003c/a>, and both of which carried a heaviness, a sense of a hostile closed door that was consistent with the political rhetoric of the time. And in the last couple of years, the controversies around Russian athletes in the Olympics and the workaround under which sanctions for doping meant they couldn’t compete for Russia but only for the “Russian Olympic Committee” brought out some of the grumbling that has soured international competition in the past.\u003c/p>\n\u003cp>And it goes back much farther than that: In the documentary about his trip to Russia, Billy Joel says he was inspired to go partly because he remembered how important it felt to him when he was young and American pianist\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=87807262\" target=\"_blank\" rel=\"noopener noreferrer\"> Van Cliburn won\u003c/a> the International Tchaikovsky Competition in Moscow in 1958. Joel says in the film that the event, and Russia’s embrace of Cliburn, changed his own sense of the country and its people, whom he felt he’d been taught to fear.\u003c/p>\n\u003cfigure id=\"attachment_13910588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap290362078513_custom-4d83bf923b7ffd8c62022f550410d56d0a804b43-800x637.jpg\" alt=\"A young man, wearing a tuxedo, sits at a grand Steinway piano.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Pianist Van Cliburn performing in the final round of Tchaikovsky International Competition in Moscow in 1958. Cliburn’s triumph helped thaw the Cold War. \u003ccite>(AP Photo, file)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These crossovers of diplomacy and art can be fortuitous or commercial, but they can also be fully orchestrated by governments, and they can be complicated for the artists involved: the U.S. State Department\u003ca href=\"https://www.npr.org/2018/05/05/608802931/-the-jazz-ambassadors-cold-war-diplomacy-and-civil-rights-in-conflict\" target=\"_blank\" rel=\"noopener noreferrer\"> sent jazz musicians, including Dizzy Gillespie and Louis Armstrong\u003c/a>, around the world in the 1950s to present a positive image of the United States, even as the country utterly failed to treat them equally.\u003c/p>\n\u003cp>The world has always done this—used culture and sports to communicate over and past and through and around politics and aggression—and the question of how important that is, and how productive it is, recurs.\u003c/p>\n\u003cp>The efficacy of cultural sanctions certainly remains an open question; Serhan argues that because of the particular shape of his chosen image, Putin will be far more personally bothered and functionally threatened by sports sanctions than by ones in the arts. But she says this, too: “If ordinary Russians can no longer enjoy many of the activities they love, including things as quotidian as watching their soccer teams play in international matches, seeing the latest films, and enjoying live concerts, their tolerance for their government’s isolationist policies will diminish.”\u003c/p>\n\u003ch3>By now, Russians have gotten used to global connections\u003c/h3>\n\u003cp>If that’s so, it may turn out that openness—not just concerts in the 1980s, but the growing presence of Hollywood films and the vibrancy of international competition in sports—is not just a cyclical opposite of this period of retraction we’ve so rapidly entered, but a logical predecessor to it. The idea of depriving ordinary Russians, as Serhan says, of sports and Hollywood films and live concerts by international performers would not be a potent threat had they not come to expect access to those things in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In other words, if bands weren’t going to Russia, if world sports leagues weren’t thriving, if Hollywood movies weren’t earning big money from big audiences in Russia, these arts and sports sanctions would be empty. If you’re not part of\u003cem> Eurovision\u003c/em>, you can’t be excluded from \u003cem>Eurovision\u003c/em>. If people don’t have expectations of a relatively open cultural and sports world, they can’t be disappointed.\u003c/p>\n\u003cp>But this is not the way this openness was pitched in the pop culture of the 1980s and 1990s, as something that might be withdrawn later as a result of an invasion; it was pitched as hope, as comity, and as perhaps a permanent realignment. And as a wildly naive teenager, I did find the idea that anyone could rock out at a concert transformative, capable of papering over what remained deep and troubling problems in world affairs that existed in both my own country and others. Even in 1987, Joel was asked whether he was afraid that his visit would be used as cover for human rights issues. His response, so familiar to people who have watched artists navigate these issues, was that he was not a politician.\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/br1Ddw0tNAM'\n title='//www.youtube.com/embed/br1Ddw0tNAM'\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>There will likely be—there will hopefully be—at some time in the future, brought about by different conditions and an end to the war, another newsworthy return to Moscow for an American pop artist. There will be another reopening, another thaw in this cycle. The Gen-X kid in me, the one who remembers being sold hope in that way, anticipates this and will lean toward music and sports for signs of peace, even knowing it’s foolish. It isn’t that arts or sports are the important ties; it is that they are buoys that bob on the surface of world affairs, and when they move, in response to much greater forces underneath them, we notice.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Once%2C+cultural+ties+to+Russia+were+deliberate+and+hopeful.+Now%2C+they%27re+eroding&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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