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"content": "\u003cp>There is no one who plays the exasperated everyguy like Bob Odenkirk.\u003c/p>\n\u003cp>[aside postid='arts_13926515']It’s the reason why his turn as a hitman-in-schlub’s clothing worked so well in the film \u003cem>Nobody\u003c/em>. And why we \u003ca href=\"https://www.npr.org/2022/08/16/1117671911/better-call-saul-finale-soars-as-a-meditation-on-consequences-and-regret\">rooted for him\u003c/a> as drug lawyer Saul Goodman in both \u003cem>Breaking Bad\u003c/em> and \u003cem>Better Call Saul\u003c/em>.\u003c/p>\n\u003cp>But even a performer who got legions of fans to sympathize with a ruthless drug lawyer-in-the-making that unintentionally railroaded his brother into suicide and got an innocent man murdered, may face the ultimate challenge in his latest series for AMC, \u003cem>Lucky Hank\u003c/em>.\u003c/p>\n\u003cp>He’s trying to make us all care about an entitled, sarcastic, painfully self-aware English professor. On the verge of a midlife crisis.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J6STVZUKsOA\u003c/p>\n\u003ch3>Making a life’s unraveling seem entertaining\u003c/h3>\n\u003cp>It’s true, we’ve seen these kinds of stories before (Sandra Oh — another virtuoso of the exasperated everywoman role — just clocked \u003ca href=\"https://www.npr.org/2021/08/29/1032169531/what-netflixs-the-chair-gets-right-about-being-a-woman-of-color-in-academia\">her own masterful performance\u003c/a> in Netflix’s 2021 comedy \u003cem>The Chair\u003c/em>). But Odenkirk offers a next-level turn as William Henry Devereaux, Jr., a professor — and English department chair — who feels trapped at the underfunded, mediocre (also fictional) Railton College, surrounded by underperforming students and dysfunctional colleagues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His department is so backward that when his colleagues decide to unseat him as chair, they screw up and vote him back into the job by mistake. His students are so unimpressive that Devereaux tells one aspiring writer that the proof he is mediocre is that he’s enrolled at a place as bad as Railton.\u003c/p>\n\u003cp>Devereaux also tells the student he can be assured that his teacher is also mediocre, because he’s stuck at Railton, too.\u003c/p>\n\u003cp>[aside postid='arts_13926617']This could be a recipe for annoyance if anyone other than Odenkirk was playing Devereaux — a damaged, bitter guy who can’t help stepping in personal land mines he sets for himself. As viewers quickly learn, he’s struggling with crippling writer’s block, which set in not long after he wrote a well-regarded novel decades ago. Worse, he’s also overshadowed by his famous, more accomplished novelist/professor father, who abandoned Devereaux and his mother.\u003c/p>\n\u003cp>Odenkirk’s likability and ease with a punchline keeps viewers engaged in Devereaux’s story, even as we learn he’s got a beautiful, smart, equally-self aware wife and a supportive friend/boss that he probably doesn’t deserve.\u003c/p>\n\u003cp>These days, I have a low threshold for TV centered on entitled jerks who don’t realize how privileged their lives are. But \u003cem>Lucky Hank\u003c/em> avoids that pitfall by playing up the absurdity of academia, college life and educational bureaucracy in a way that makes almost everyone look both bone-headed and long-suffering.\u003c/p>\n\u003cp>In other words — to distort a phrase — just because these characters are self-sabotaging and often self-involved, that doesn’t mean the system they’re stuck in isn’t also a moronic, life-sucking enterprise that doesn’t constantly fail them.\u003c/p>\n\u003cp>“You can’t help these kids,” Odenkirk’s Devereaux tells one adjunct professor, who aspires to join the tenured, full-time faculty. “There’s more promise in a senior citizen’s yoga class.”\u003c/p>\n\u003ch3>Helped by a killer supporting cast\u003c/h3>\n\u003cp>Odenkirk is aided in this quirky enterprise by an ace supporting cast, which includes \u003cem>The Killing\u003c/em> alum Mireille Enos as the aforementioned wife Lily, \u003cem>The Office\u003c/em> alum Oscar Nunez as the buddy/boss Dean Rose, \u003cem>Drew Carey Show\u003c/em> alum Diedrich Bader as another buddy/colleague Tony and Kyle MacLachlan as Railton’s president, Dickie Pope.\u003c/p>\n\u003cfigure id=\"attachment_13926951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-800x1067.jpe\" alt=\"An attractive, middle-aged white woman with strawberry-blond hair sits at a kitchen table, half-smiling. Next to her is a coffee mug. Behind her is a large window showing trees outside.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-800x1067.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-1020x1360.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-160x213.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-768x1024.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-1152x1536.jpe 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-1536x2048.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-scaled.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mireille Enos as Lily on ‘Lucky Hank.’ \u003ccite>(Sergei Bachlakov/AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’re all playing characters — with maybe the exception of MacLachlan’s rigid opportunist Pope — who are stuck in variously unfulfilling places, doing the best they can. And they are annoyed to varying degrees by a guy like Deveraux, who can’t help speaking honestly about what he’s going through. No matter how socially unacceptable or damaging his disclosures might be.\u003c/p>\n\u003cp>[aside postid='arts_13926773']For those of us who have had the pleasure of working in academia, the situations described here will feel as familiar as your favorite sweater and annoying as that driver who keeps their left turn signal on for blocks and blocks. But, in truth, anyone of a certain age who has struggled to find fulfillment in a longtime career, relationship or hometown will identify with the characters and situations revealed here, while wondering for many episodes what the show’s ultimate endgame really is.\u003c/p>\n\u003cp>Based on Richard Russo’s 1997 novel \u003cem>Straight Man\u003c/em>, \u003cem>Lucky Hank\u003c/em> also continues Odenkirk’s astronomically good luck in choosing projects, reaching from his work on \u003cem>Breaking Bad\u003c/em> to starring in \u003cem>Better Call Saul\u003c/em> to landing almost immediately in this series — yet another high-quality meditation on the tribulations of an aggravated everyguy.\u003c/p>\n\u003cp>It’s way too early to tell if \u003cem>Lucky Hank\u003c/em> will reach the heights of Odenkirk’s other recent projects. But the first four episodes are a good sign — evidence that the evolution of a midlife crisis can still make compelling television, if the right performer is playing the person going through it all.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Better+Call+Saul%27+star%27s+new+series+%27Lucky+Hank%27+makes+a+midlife+crisis+compelling&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lucky Hank’ premieres on AMC on March 19, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is no one who plays the exasperated everyguy like Bob Odenkirk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s the reason why his turn as a hitman-in-schlub’s clothing worked so well in the film \u003cem>Nobody\u003c/em>. And why we \u003ca href=\"https://www.npr.org/2022/08/16/1117671911/better-call-saul-finale-soars-as-a-meditation-on-consequences-and-regret\">rooted for him\u003c/a> as drug lawyer Saul Goodman in both \u003cem>Breaking Bad\u003c/em> and \u003cem>Better Call Saul\u003c/em>.\u003c/p>\n\u003cp>But even a performer who got legions of fans to sympathize with a ruthless drug lawyer-in-the-making that unintentionally railroaded his brother into suicide and got an innocent man murdered, may face the ultimate challenge in his latest series for AMC, \u003cem>Lucky Hank\u003c/em>.\u003c/p>\n\u003cp>He’s trying to make us all care about an entitled, sarcastic, painfully self-aware English professor. On the verge of a midlife crisis.\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/J6STVZUKsOA'\n title='//www.youtube.com/embed/J6STVZUKsOA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Making a life’s unraveling seem entertaining\u003c/h3>\n\u003cp>It’s true, we’ve seen these kinds of stories before (Sandra Oh — another virtuoso of the exasperated everywoman role — just clocked \u003ca href=\"https://www.npr.org/2021/08/29/1032169531/what-netflixs-the-chair-gets-right-about-being-a-woman-of-color-in-academia\">her own masterful performance\u003c/a> in Netflix’s 2021 comedy \u003cem>The Chair\u003c/em>). But Odenkirk offers a next-level turn as William Henry Devereaux, Jr., a professor — and English department chair — who feels trapped at the underfunded, mediocre (also fictional) Railton College, surrounded by underperforming students and dysfunctional colleagues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His department is so backward that when his colleagues decide to unseat him as chair, they screw up and vote him back into the job by mistake. His students are so unimpressive that Devereaux tells one aspiring writer that the proof he is mediocre is that he’s enrolled at a place as bad as Railton.\u003c/p>\n\u003cp>Devereaux also tells the student he can be assured that his teacher is also mediocre, because he’s stuck at Railton, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This could be a recipe for annoyance if anyone other than Odenkirk was playing Devereaux — a damaged, bitter guy who can’t help stepping in personal land mines he sets for himself. As viewers quickly learn, he’s struggling with crippling writer’s block, which set in not long after he wrote a well-regarded novel decades ago. Worse, he’s also overshadowed by his famous, more accomplished novelist/professor father, who abandoned Devereaux and his mother.\u003c/p>\n\u003cp>Odenkirk’s likability and ease with a punchline keeps viewers engaged in Devereaux’s story, even as we learn he’s got a beautiful, smart, equally-self aware wife and a supportive friend/boss that he probably doesn’t deserve.\u003c/p>\n\u003cp>These days, I have a low threshold for TV centered on entitled jerks who don’t realize how privileged their lives are. But \u003cem>Lucky Hank\u003c/em> avoids that pitfall by playing up the absurdity of academia, college life and educational bureaucracy in a way that makes almost everyone look both bone-headed and long-suffering.\u003c/p>\n\u003cp>In other words — to distort a phrase — just because these characters are self-sabotaging and often self-involved, that doesn’t mean the system they’re stuck in isn’t also a moronic, life-sucking enterprise that doesn’t constantly fail them.\u003c/p>\n\u003cp>“You can’t help these kids,” Odenkirk’s Devereaux tells one adjunct professor, who aspires to join the tenured, full-time faculty. “There’s more promise in a senior citizen’s yoga class.”\u003c/p>\n\u003ch3>Helped by a killer supporting cast\u003c/h3>\n\u003cp>Odenkirk is aided in this quirky enterprise by an ace supporting cast, which includes \u003cem>The Killing\u003c/em> alum Mireille Enos as the aforementioned wife Lily, \u003cem>The Office\u003c/em> alum Oscar Nunez as the buddy/boss Dean Rose, \u003cem>Drew Carey Show\u003c/em> alum Diedrich Bader as another buddy/colleague Tony and Kyle MacLachlan as Railton’s president, Dickie Pope.\u003c/p>\n\u003cfigure id=\"attachment_13926951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-800x1067.jpe\" alt=\"An attractive, middle-aged white woman with strawberry-blond hair sits at a kitchen table, half-smiling. Next to her is a coffee mug. Behind her is a large window showing trees outside.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-800x1067.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-1020x1360.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-160x213.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-768x1024.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-1152x1536.jpe 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-1536x2048.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/luckyhank_enos-101_vert-0eecdb98d14f4a56ced70bd474b52447f9ce0c24-scaled.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mireille Enos as Lily on ‘Lucky Hank.’ \u003ccite>(Sergei Bachlakov/AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’re all playing characters — with maybe the exception of MacLachlan’s rigid opportunist Pope — who are stuck in variously unfulfilling places, doing the best they can. And they are annoyed to varying degrees by a guy like Deveraux, who can’t help speaking honestly about what he’s going through. No matter how socially unacceptable or damaging his disclosures might be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For those of us who have had the pleasure of working in academia, the situations described here will feel as familiar as your favorite sweater and annoying as that driver who keeps their left turn signal on for blocks and blocks. But, in truth, anyone of a certain age who has struggled to find fulfillment in a longtime career, relationship or hometown will identify with the characters and situations revealed here, while wondering for many episodes what the show’s ultimate endgame really is.\u003c/p>\n\u003cp>Based on Richard Russo’s 1997 novel \u003cem>Straight Man\u003c/em>, \u003cem>Lucky Hank\u003c/em> also continues Odenkirk’s astronomically good luck in choosing projects, reaching from his work on \u003cem>Breaking Bad\u003c/em> to starring in \u003cem>Better Call Saul\u003c/em> to landing almost immediately in this series — yet another high-quality meditation on the tribulations of an aggravated everyguy.\u003c/p>\n\u003cp>It’s way too early to tell if \u003cem>Lucky Hank\u003c/em> will reach the heights of Odenkirk’s other recent projects. But the first four episodes are a good sign — evidence that the evolution of a midlife crisis can still make compelling television, if the right performer is playing the person going through it all.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Better+Call+Saul%27+star%27s+new+series+%27Lucky+Hank%27+makes+a+midlife+crisis+compelling&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lucky Hank’ premieres on AMC on March 19, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Succession’ Returns for a Fourth and Final Season of Family Back-Stabbing",
"headTitle": "‘Succession’ Returns for a Fourth and Final Season of Family Back-Stabbing | KQED",
"content": "\u003cp>\u003cem>Succession \u003c/em>began on Logan Roy’s birthday, with his first medical emergency. It had him nearly dying in his own helicopter, and it raised the question of what might come after Logan. Who would take over Waystar Royco? Who would run things? What would Logan have wanted? Since then, we’ve learned that this was an utter misdirect: \u003cem>Succession\u003c/em> is not about following Logan Roy at all. It is about \u003cem>surviving \u003c/em>Logan Roy. Can he be endured? Can his caustic influence be undone? Can he ever be outwitted, outplayed, or outlasted?\u003c/p>\n\u003cp>Despite dialogue so acerbic that it puckers the cast’s mouths like a salt and vinegar chip, and despite the dynamism of performances that harden, soften and harden again, stasis has always stalked the story of the Roys. Kendall, after all, has been vanquished in four separate rebellions against his father, each time ramming his quavering, sad-boy face into a different immovable object.\u003c/p>\n\u003cp>[aside postid='arts_13926515']At the board meeting in Season 1, it was weather and midtown traffic. At Shiv and Tom’s wedding, it was the dual grip of his own addiction and his cowardice in the face of consequences. After the press conference\u003ca href=\"https://www.npr.org/2019/10/14/770025859/roy-oh-roy-that-succession-finale-was-a-trip\"> at the end of Season 2,\u003c/a> it was systemic indifference to the wrongdoing of the billionaire class. And at the end of Season 3, when his siblings finally joined him, it was Logan’s legend itself. Tom had seen Kendall lose to his father before, believed he would lose again, and wound up bringing about that result in an effort to end up on the winning team (and spite his wife). Kendall had thought that an orderly approach could work, that the brutal truth could work, or that a united front could work. They didn’t.\u003c/p>\n\u003cp>\u003cem>Succession\u003c/em> can look like it’s stuck in a loop, but the way this conflict between Logan and his three youngest kids changes in shape but never in result served to establish the show’s central truth: Logan always wins. If that’s the case, though, there’s a story problem with one final season to go. If the kids do finally beat him, you’ve cheated on that truth. If they stop trying to beat him, the conflict is over. If they fail again, the family has just made one last round through the same cycle. And the last thing \u003cem>Succession \u003c/em>could ever end in is any sort of compromise. So what’s a storyteller to do?\u003c/p>\n\u003cp>Critically, though, at\u003ca href=\"https://www.npr.org/2021/12/12/1063561827/succession-recap-season-3-finale\"> the end of the third season,\u003c/a> something else changed in a way it never had. It wasn’t the dynamic between Shiv, Roman and Kendall and their father one-on-one, but the dynamics \u003cem>among\u003c/em> the three of them. Logan, even in winning again, had become so galled at their effort to defy him that he took his eye off the ball. He gave up his greatest advantage, the one he’d been using to control them all their lives: playing them against each other. He told them \u003cem>all \u003c/em>that they were fools. He had spent decades trapping them in separate emotional cells and giving them different information and different promises. Now, he had effectively shut them in a room together and walked out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wisely, the fourth season begins a while later, rather than dwelling on the immediate aftermath, which seems to have played out as one would expect. Family relationships? Busted. Shiv’s marriage? A wreck. The sale to GoJo? About to close. What’s more, it’s Logan’s birthday again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t3D3ewle7XY\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>We find Roman, Shiv and Kendall hanging out at a compound somewhere beautiful, looking at mountains and blue sky through enormous windows that emphasize their opened-up world — particularly compared to the dark-wood family home, where Logan is celebrating another trip around the sun with his usual joyless scowl. The siblings are working on a terrible but brutally plausible idea for a new company, and their fixation is mostly on making fun of proposed logos. They are eyeing each other suspiciously now and then, wondering whether anyone is going to break with the group, but they are together, truly, more than we’ve ever seen. Meanwhile, only two members of the family remain in Logan’s circle: Tom, who proved his loyalty to his father-in-law by shivving Shiv, and Greg, who was won over by Tom’s appeal to the utter irrelevance of the human soul.\u003c/p>\n\u003cp>[aside postid='arts_13906871']So while his kids are still trying to survive Logan Roy, they are oddly, suddenly, liberated from him.\u003c/p>\n\u003cp>Maybe. Sort of.\u003c/p>\n\u003cp>The first episode of this final season (of the four offered to critics) asks a new question, and hints at the way this story problem will be solved and stasis avoided: Without their father setting them against each other in the way he always has, and without the dynamic they have all known since birth that has prevented them — Shiv, Kendall, Roman and Connor — from developing durable and meaningful relationships with anyone as adults, who \u003cem>are\u003c/em> these people? What will drive them, if not that competitiveness for his approval? And without them as his playthings, will Logan somehow manage to … miss them? Can torturing Greg and being exasperated by Tom ever give Logan anything close to the visceral pleasure he gets from emotionally abusing his children?\u003c/p>\n\u003cp>The first episode also introduces an important choice that comes back over and over in the first few episodes: the comedy and the tension that’s inherent in the unseen. There is a discussion between Logan and Greg that sounds \u003cem>so\u003c/em> funny, the kind of exchange that the writers would dig into and that the actors could devour like a Christmas ham — but we don’t see it, we only hear Greg describe it. There is a series of telephone conversations where we seem to be watching the wrong side, the less important side — the listening side rather than the speaking side. Information arrives first via a telling flicker in the eye of a person who’s receiving it, who only later makes explicit what was said. \u003cem>Succession\u003c/em> has always been a sharply written show, but there is a delicious restraint in this season that feels new.\u003c/p>\n\u003cp>To do less, to say less, and to leave out scenes that could have been dramatic or comedic or both, requires confidence in both the writers and the cast. Jeremy Strong, Sarah Snook, Kieran Culkin and Alan Ruck have in common a talent for summoning both childlike, love-me expressions and loathsome, snide, ice-cold ones. They can sneer and snivel with only seconds separating the two.\u003c/p>\n\u003cp>[aside postid='arts_13925147']And doing without much in the way of contact between Logan and his children in the early going requires him to be surrounded by people who give his character shape. There’s Tom, and there’s Greg, but critically, this season also sees new opportunities for Logan’s cadre of suit-wearing opportunists played by the genius supporting cast. Gerri (J. Smith-Cameron) (whose relationship with Roman seems to be far less complex to her than it is to him) has managed to stick around even after the Photo That Shall Not Be Named, and she remains a ruthlessly efficient cipher. Karl (David Rasche) and Frank (Peter Friedman) continue to be the dry-witted Weasel-Dee and Weasel-Dum of corporate goobers, and poor Hugo (Fisher Stevens) and Karolina (Dagmara Dominczyk) are over and over forced into the position of translating this family’s disasters for the entire world. They are uniformly divine when called upon in new ways.\u003c/p>\n\u003cp>This is a season the creators are holding close to the vest for obvious reasons. But in the early going, it’s off to exactly the emotionally complicated, darkly funny, backstabbing, bantering, betraying, bewitching, tragicomic punch-packing start that the people who have followed the Roys since Kendall first sang along in the back seat of a limo are craving.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Succession%27+returns+for+a+fourth+and+final+season+of+family+back-stabbing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Season 4 of ‘Succession’ premieres on HBO Max on March 26, 2023. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Succession \u003c/em>began on Logan Roy’s birthday, with his first medical emergency. It had him nearly dying in his own helicopter, and it raised the question of what might come after Logan. Who would take over Waystar Royco? Who would run things? What would Logan have wanted? Since then, we’ve learned that this was an utter misdirect: \u003cem>Succession\u003c/em> is not about following Logan Roy at all. It is about \u003cem>surviving \u003c/em>Logan Roy. Can he be endured? Can his caustic influence be undone? Can he ever be outwitted, outplayed, or outlasted?\u003c/p>\n\u003cp>Despite dialogue so acerbic that it puckers the cast’s mouths like a salt and vinegar chip, and despite the dynamism of performances that harden, soften and harden again, stasis has always stalked the story of the Roys. Kendall, after all, has been vanquished in four separate rebellions against his father, each time ramming his quavering, sad-boy face into a different immovable object.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the board meeting in Season 1, it was weather and midtown traffic. At Shiv and Tom’s wedding, it was the dual grip of his own addiction and his cowardice in the face of consequences. After the press conference\u003ca href=\"https://www.npr.org/2019/10/14/770025859/roy-oh-roy-that-succession-finale-was-a-trip\"> at the end of Season 2,\u003c/a> it was systemic indifference to the wrongdoing of the billionaire class. And at the end of Season 3, when his siblings finally joined him, it was Logan’s legend itself. Tom had seen Kendall lose to his father before, believed he would lose again, and wound up bringing about that result in an effort to end up on the winning team (and spite his wife). Kendall had thought that an orderly approach could work, that the brutal truth could work, or that a united front could work. They didn’t.\u003c/p>\n\u003cp>\u003cem>Succession\u003c/em> can look like it’s stuck in a loop, but the way this conflict between Logan and his three youngest kids changes in shape but never in result served to establish the show’s central truth: Logan always wins. If that’s the case, though, there’s a story problem with one final season to go. If the kids do finally beat him, you’ve cheated on that truth. If they stop trying to beat him, the conflict is over. If they fail again, the family has just made one last round through the same cycle. And the last thing \u003cem>Succession \u003c/em>could ever end in is any sort of compromise. So what’s a storyteller to do?\u003c/p>\n\u003cp>Critically, though, at\u003ca href=\"https://www.npr.org/2021/12/12/1063561827/succession-recap-season-3-finale\"> the end of the third season,\u003c/a> something else changed in a way it never had. It wasn’t the dynamic between Shiv, Roman and Kendall and their father one-on-one, but the dynamics \u003cem>among\u003c/em> the three of them. Logan, even in winning again, had become so galled at their effort to defy him that he took his eye off the ball. He gave up his greatest advantage, the one he’d been using to control them all their lives: playing them against each other. He told them \u003cem>all \u003c/em>that they were fools. He had spent decades trapping them in separate emotional cells and giving them different information and different promises. Now, he had effectively shut them in a room together and walked out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wisely, the fourth season begins a while later, rather than dwelling on the immediate aftermath, which seems to have played out as one would expect. Family relationships? Busted. Shiv’s marriage? A wreck. The sale to GoJo? About to close. What’s more, it’s Logan’s birthday again.\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/t3D3ewle7XY'\n title='//www.youtube.com/embed/t3D3ewle7XY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>We find Roman, Shiv and Kendall hanging out at a compound somewhere beautiful, looking at mountains and blue sky through enormous windows that emphasize their opened-up world — particularly compared to the dark-wood family home, where Logan is celebrating another trip around the sun with his usual joyless scowl. The siblings are working on a terrible but brutally plausible idea for a new company, and their fixation is mostly on making fun of proposed logos. They are eyeing each other suspiciously now and then, wondering whether anyone is going to break with the group, but they are together, truly, more than we’ve ever seen. Meanwhile, only two members of the family remain in Logan’s circle: Tom, who proved his loyalty to his father-in-law by shivving Shiv, and Greg, who was won over by Tom’s appeal to the utter irrelevance of the human soul.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So while his kids are still trying to survive Logan Roy, they are oddly, suddenly, liberated from him.\u003c/p>\n\u003cp>Maybe. Sort of.\u003c/p>\n\u003cp>The first episode of this final season (of the four offered to critics) asks a new question, and hints at the way this story problem will be solved and stasis avoided: Without their father setting them against each other in the way he always has, and without the dynamic they have all known since birth that has prevented them — Shiv, Kendall, Roman and Connor — from developing durable and meaningful relationships with anyone as adults, who \u003cem>are\u003c/em> these people? What will drive them, if not that competitiveness for his approval? And without them as his playthings, will Logan somehow manage to … miss them? Can torturing Greg and being exasperated by Tom ever give Logan anything close to the visceral pleasure he gets from emotionally abusing his children?\u003c/p>\n\u003cp>The first episode also introduces an important choice that comes back over and over in the first few episodes: the comedy and the tension that’s inherent in the unseen. There is a discussion between Logan and Greg that sounds \u003cem>so\u003c/em> funny, the kind of exchange that the writers would dig into and that the actors could devour like a Christmas ham — but we don’t see it, we only hear Greg describe it. There is a series of telephone conversations where we seem to be watching the wrong side, the less important side — the listening side rather than the speaking side. Information arrives first via a telling flicker in the eye of a person who’s receiving it, who only later makes explicit what was said. \u003cem>Succession\u003c/em> has always been a sharply written show, but there is a delicious restraint in this season that feels new.\u003c/p>\n\u003cp>To do less, to say less, and to leave out scenes that could have been dramatic or comedic or both, requires confidence in both the writers and the cast. Jeremy Strong, Sarah Snook, Kieran Culkin and Alan Ruck have in common a talent for summoning both childlike, love-me expressions and loathsome, snide, ice-cold ones. They can sneer and snivel with only seconds separating the two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And doing without much in the way of contact between Logan and his children in the early going requires him to be surrounded by people who give his character shape. There’s Tom, and there’s Greg, but critically, this season also sees new opportunities for Logan’s cadre of suit-wearing opportunists played by the genius supporting cast. Gerri (J. Smith-Cameron) (whose relationship with Roman seems to be far less complex to her than it is to him) has managed to stick around even after the Photo That Shall Not Be Named, and she remains a ruthlessly efficient cipher. Karl (David Rasche) and Frank (Peter Friedman) continue to be the dry-witted Weasel-Dee and Weasel-Dum of corporate goobers, and poor Hugo (Fisher Stevens) and Karolina (Dagmara Dominczyk) are over and over forced into the position of translating this family’s disasters for the entire world. They are uniformly divine when called upon in new ways.\u003c/p>\n\u003cp>This is a season the creators are holding close to the vest for obvious reasons. But in the early going, it’s off to exactly the emotionally complicated, darkly funny, backstabbing, bantering, betraying, bewitching, tragicomic punch-packing start that the people who have followed the Roys since Kendall first sang along in the back seat of a limo are craving.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Succession%27+returns+for+a+fourth+and+final+season+of+family+back-stabbing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 4 of ‘Succession’ premieres on HBO Max on March 26, 2023. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Anthony Fauci Documentary on PBS Covers a Career of Crises",
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"content": "\u003cp>There’s a moment in the new PBS documentary about Dr. Anthony Fauci when a protester holds up a handmade sign reading, “Dr. Fauci, You Are Killing Us.”\u003c/p>\n\u003cp>[aside postid='trulyca_3456']It says something about Fauci that it’s not initially clear when that sign was waved in anger — in the 1980s as AIDS made its deadly rise or in the 2020s with COVID-19 vaccine opponents.\u003c/p>\n\u003cp>\u003cem>American Masters: Dr. Tony Fauci\u003c/em>, offers a portrait of an unlikely lightning rod: A government infectious disease scientist who advised seven presidents. Fauci hopes it can inspire more public servants like him.\u003c/p>\n\u003cp>“I just felt that there needed to be a story of people understanding what public health officials go through, but also I hope as a source of inspiration for young people who are either in science or interested in going into science,” he told \u003cem>The Associated Press\u003c/em>. The documentary airs Tuesday and later streams.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2eG_baY6QYQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fauci allowed a film crew to follow him for 23 months starting in January 2021. The documentary covers his career and its crises, especially the way COVID-19 was handled by the Trump administration.\u003c/p>\n\u003cp>“When you talk about all of the different things coming together for a disaster, that’s what happened: A divided country, a president who amplified the division and then a public health crisis — you couldn’t ask for a worse combination of things,” he said.\u003c/p>\n\u003cp>Director Mark Mannucci offers an intimate look at his subject, with images of Fauci running from meeting to meeting and wolfing down Wheat Thins between Zooms. His wife attests to the stress by pointing out their security detail due to threats.\u003c/p>\n\u003cp>[aside postid='arts_13925147']“The story illuminates — and he’d be the first to say it — some very dark stuff about this country and how a person who has devoted his life to helping individuals got so twisted in this current climate,” said Mannucci.\u003c/p>\n\u003cp>Michael Kantor, executive producer for the \u003cem>American Masters\u003c/em> series, says Fauci is a figure who has been central to American life for decades and deserves an examination, even if some virulently oppose him.\u003c/p>\n\u003cp>“Dr. Fauci is a very controversial figure, and there are going to be people who are going to voice — just as in the film — great displeasure about what he’s done and about his approach to things. But isn’t that the whole point of public media? It is intended to make that conversation happen in the best possible way.”\u003c/p>\n\u003cp>COVID-19 may have introduced Fauci to millions of Americans, but his long career at the National Institute of Allergy and Infectious Diseases was marked by numerous previous health scares, among them HIV, SARS, MERS, Ebola and even the nation’s 2001 anthrax attacks.\u003c/p>\n\u003cp>The film shows that Fauci learned a lesson in humility with AIDS, as the disease stubbornly persisted and activists argued not enough was being done from the government. “I went from a world of success and gratification to a world of frustration and failure,” he says in the film.\u003c/p>\n\u003cfigure id=\"attachment_13926623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/GettyImages-1356605800-800x533.jpg\" alt='A hand holds aloft a large printed sign that reads \"Dr. Fauci is a mass murderer.\" ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “medical freedom rally” held in St. Paul, Minnesota on Nov. 20, 2021. \u003ccite>(Michael Siluk/ Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mannucci’s camera flashes-forward to today, with Fauci cordially meeting up with the former AIDS activists who once decried him. They have long since reconciled; they were all on the same side, after all — science.\u003c/p>\n\u003cp>“I put aside the confrontational behavior and the attacks on me and listen to what they were saying,” Fauci explained in the interview. “And what they were saying was making perfect sense. It made me feel if I were in their shoes, I’d be doing exactly what they were doing.”\u003c/p>\n\u003cp>[aside postid='arts_13908266']That’s not the case when protesters in recent years began attacking Fauci for mask mandates, school closures, quarantines and bizarre claims about the COVID-19 vaccines.\u003c/p>\n\u003cp>“There’s one sign that says, ‘Fauci, You’re Killing Us’ and the other sign that says ‘Fauci, You’re Killing Us’ but the rationale for those from the 1980s to 2023 is enormously different,” Fauci said. “They couldn’t be more different.”\u003c/p>\n\u003cp>In one remarkable sequence in the documentary, Mannucci presses Fauci on whether he might have handled things differently looking back — like asking Americans to adopt masks sooner or ordering quarantines faster. “Maybe I should have done that,” he says. “Yeah, I was wrong.”\u003c/p>\n\u003cp>Mannucci relied on 10 long sit-downs with Fauci to develop trust with his subject and didn’t clutter the documentary with testimonials from talking heads, wanting to focus on Fauci’s experiences.\u003c/p>\n\u003cp>“I hope it’s not viewed as a partisan message, but as a portrait of who he is and what he went through,” said the director. “I hope that people on the other side, even if they never end up agreeing with him, will at least see somebody who is a real person, who’s a thinking person, who’s somebody maybe they can even relate to.”\u003c/p>\n\u003cp>The film ends with Fauci’s retirement from the NIAID late last year. Kantor suspects only time will tell where history will judge a man who dedicated his life to public service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think 10 years from now, hopefully the furor over him as a controversial figure will die down. But the legacy of the approach to pandemics and so on will still be super valuable,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The story illuminates — and he’d be the first to say it — some very dark stuff about this country and how a person who has devoted his life to helping individuals got so twisted in this current climate,” said Mannucci.\u003c/p>\n\u003cp>Michael Kantor, executive producer for the \u003cem>American Masters\u003c/em> series, says Fauci is a figure who has been central to American life for decades and deserves an examination, even if some virulently oppose him.\u003c/p>\n\u003cp>“Dr. Fauci is a very controversial figure, and there are going to be people who are going to voice — just as in the film — great displeasure about what he’s done and about his approach to things. But isn’t that the whole point of public media? It is intended to make that conversation happen in the best possible way.”\u003c/p>\n\u003cp>COVID-19 may have introduced Fauci to millions of Americans, but his long career at the National Institute of Allergy and Infectious Diseases was marked by numerous previous health scares, among them HIV, SARS, MERS, Ebola and even the nation’s 2001 anthrax attacks.\u003c/p>\n\u003cp>The film shows that Fauci learned a lesson in humility with AIDS, as the disease stubbornly persisted and activists argued not enough was being done from the government. “I went from a world of success and gratification to a world of frustration and failure,” he says in the film.\u003c/p>\n\u003cfigure id=\"attachment_13926623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/GettyImages-1356605800-800x533.jpg\" alt='A hand holds aloft a large printed sign that reads \"Dr. Fauci is a mass murderer.\" ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/GettyImages-1356605800-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “medical freedom rally” held in St. Paul, Minnesota on Nov. 20, 2021. \u003ccite>(Michael Siluk/ Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mannucci’s camera flashes-forward to today, with Fauci cordially meeting up with the former AIDS activists who once decried him. They have long since reconciled; they were all on the same side, after all — science.\u003c/p>\n\u003cp>“I put aside the confrontational behavior and the attacks on me and listen to what they were saying,” Fauci explained in the interview. “And what they were saying was making perfect sense. It made me feel if I were in their shoes, I’d be doing exactly what they were doing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s not the case when protesters in recent years began attacking Fauci for mask mandates, school closures, quarantines and bizarre claims about the COVID-19 vaccines.\u003c/p>\n\u003cp>“There’s one sign that says, ‘Fauci, You’re Killing Us’ and the other sign that says ‘Fauci, You’re Killing Us’ but the rationale for those from the 1980s to 2023 is enormously different,” Fauci said. “They couldn’t be more different.”\u003c/p>\n\u003cp>In one remarkable sequence in the documentary, Mannucci presses Fauci on whether he might have handled things differently looking back — like asking Americans to adopt masks sooner or ordering quarantines faster. “Maybe I should have done that,” he says. “Yeah, I was wrong.”\u003c/p>\n\u003cp>Mannucci relied on 10 long sit-downs with Fauci to develop trust with his subject and didn’t clutter the documentary with testimonials from talking heads, wanting to focus on Fauci’s experiences.\u003c/p>\n\u003cp>“I hope it’s not viewed as a partisan message, but as a portrait of who he is and what he went through,” said the director. “I hope that people on the other side, even if they never end up agreeing with him, will at least see somebody who is a real person, who’s a thinking person, who’s somebody maybe they can even relate to.”\u003c/p>\n\u003cp>The film ends with Fauci’s retirement from the NIAID late last year. Kantor suspects only time will tell where history will judge a man who dedicated his life to public service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think 10 years from now, hopefully the furor over him as a controversial figure will die down. But the legacy of the approach to pandemics and so on will still be super valuable,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Swarm’ is About How We’re Doing Fandom Wrong",
"headTitle": "‘Swarm’ is About How We’re Doing Fandom Wrong | KQED",
"content": "\u003cp>\u003cem>Many spoilers for Season 1 of \u003c/em>Swarm \u003cem>lie ahead. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13925147']Once upon a time, not so long ago, an internet personality dared to publicly criticize a very famous musician with an overly zealous fanbase. Those stans descended upon the critic swiftly, hopping into their mentions and DMs to talk trash and even go so far as to post death and rape threats. The involved parties shall remain nameless here because I’m not particularly interested in dealing with these stans myself. But let’s just say said artist — whose admirers are collectively named after a popular children’s toy — has elicited and even encouraged this behavior many times before. It’s one of the more nightmarish scenarios that can play out on the internet, an all-too-common “love” language spoken across fandoms of all kinds.\u003c/p>\n\u003cp>\u003cem>Swarm\u003c/em>, a bizarre new series created by \u003ca href=\"https://www.imdb.com/name/nm3958656/\">Janine Nabers\u003c/a> and Donald Glover and streaming on Prime Video, takes that nightmare and pushes it to its most extreme limits, concocting a thriller that serves as a spikey admonishment of celebrity worship. Like Glover’s previous project \u003cem>Atlanta\u003c/em> (which Nabers also contributed to), it expresses a discomfort with and cynical attitude toward social media and fame to sometimes frustrating results.\u003c/p>\n\u003ch3>Hive mind\u003c/h3>\n\u003cp>An excellent Dominique Fishback plays Dre, a socially inept retail worker with just two interests in life: Her sister Marissa (Chloe Bailey), an up-and-coming makeup artist, and the global pop superstar Ni’Jah (Nirine S. Brown). As kids, Dre and Marissa bonded over their shared love for Ni’Jah, but now that they’re both young adults rooming together and with bills to pay, Dre’s fandom remains in arrested development; she speaks breathlessly of the artist, and she takes anything that registers as less than glowing praise of the singer as a very personal affront. She can barely sustain a conversation without mentioning Ni’Jah and spends half of the rent on tickets to a concert, a surprise for Marissa’s birthday. From the get-go, it’s clear something is \u003cem>off\u003c/em> about Dre.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SDHxie2QcJI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the end of the first episode, Marissa is dead (she dies by suicide after finding out her boyfriend Khalid, played by Damson Idris, cheated on her) and Dre’s already simmering obsession with Ni’Jah boils over into fully unhinged. She sets off on a killing spree, hopping around various cities under assumed aliases and identities; most of her victims have spoken ill of Ni’Jah either online or in Dre’s presence. “Who’s your favorite artist?” she baits them. If they don’t say Ni’Jah or fail to muster up much enthusiasm for her artistry — which is often — they’re doomed.\u003c/p>\n\u003cp>Unlike me, the writers of \u003cem>Swarm \u003c/em>are far less opaque in their references to a pop culture icon and their devoted followers: Ni’Jah’s legion of fans are known as “The Swarm,” and the bumblebee emoji is their insignia; she’s revered as a \u003cem>queen \u003c/em>and a \u003cem>goddess\u003c/em>. She’s won dozens of Grammys; her husband is a famous rapper with whom she’s done a joint tour called “Running Scared.” There’s surveillance camera footage of said husband being attacked by a woman in an elevator while an expressionless Ni’Jah stands by and does nothing.\u003c/p>\n\u003cp>[aside postid='arts_13831328']She is an obvious, translucently veiled analog for the real-life \u003cem>queen\u003c/em> and \u003cem>goddess\u003c/em> Beyoncé Giselle Knowles-Carter — right down to the show’s clever depiction of a notoriously odd incident \u003ca href=\"https://www.essence.com/gallery/rihanna-was-the-fashion-queen-of-the-night-at-the-2023-oscars/\">long rumored to have involved the actress Sanaa Lathan\u003c/a>. Yet for all the highly specific Beyhive Easter eggs — or honeycombs? … actually, let me not force this metaphor — strewn throughout, there’s the dreadful understanding that this is only about Beyoncé in an abstract sense. Really, it’s about taking the idea of the devoted fan and stretching it to its limits, in calling upon the tendencies of obsessive fans and sadistic serial killers both fictional and real — like \u003cem>Misery\u003c/em>’s Annie Wilkes, Mark David Chapman, Jeffrey Dahmer, and \u003ca href=\"https://www.npr.org/2023/03/09/1162167877/you-is-back-and-joe-is-still-chaotic-evil\">\u003cem>You’\u003c/em>s Joe Goldberg\u003c/a> — and putting them in the shoes of a Black woman. To add to the surrealness of it all, Marissa’s ghost seems to be “communicating” with Dre via text message, egging her on like the dog that “inspired” the Son of Sam.\u003c/p>\n\u003ch3>‘Falling Through the Cracks’\u003c/h3>\n\u003cp>There’s been a small uptick in amoral or morally dubious Black women TV characters lately (see \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry’\u003c/em>s Harper\u003c/a>, for one), but there’s something especially notable about \u003cem>Swarm\u003c/em>, and its creators are absolutely aware of it. In the first couple of episodes, it falls into the trappings of many serial killer narratives by leaning into the shock value and novelty of a Black woman dropping bodies left and right; Dre is seen primarily through a series of tics (binge eating, rattling off Ni’Jah’s accomplishments) and a singlemindedness to commit murder.\u003c/p>\n\u003cp>Nevertheless, Fishback is mesmerizing and clearly committed to the role. And the show begins to find its groove a bit later when Dre ends up at a commune made up of woo-woo influencer types, including one played by Billie Eilish, who coerces Dre into unpacking her traumas and confronting, to some extent, her crimes. It feels like a direct reference to \u003cem>Get Out\u003c/em>’s Sunken Place, allowing a bit of Dre’s humanity to crack through to the surface and for us to more deeply contemplate what it means to form an attachment to an iconic figure you have no real interpersonal connection to.\u003c/p>\n\u003cfigure id=\"attachment_13926524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-800x534.png\" alt=\"A young Black woman sits in front of a campfire, a serene expression on her face. A white woman sits nearby, a half-smile on her face.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM.png 1518w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominique Fishback in ‘Swarm.’ \u003ccite>(Quantrell D. Colbert/Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The series suggests Dre has been able to get away with her crimes largely because of her invisibility as a Black woman, and the penultimate episode (one of the show’s best) is a faux crime documentary show-within-the-show called “Falling Through the Cracks.” It profiles a Black detective named Loretta Greene, who presents herself as uniquely capable of recognizing a Black woman serial killer based on explicit cultural clues like Hot Cheetos and shea butter.\u003c/p>\n\u003cp>[aside postid='arts_13925365']That Dre is ultimately seen in this way by another Black woman echoes how the show attempts to be in dialogue with its audience — it’s a very specific type of viewer who will recognize the irony in casting Paris Jackson in a cameo as a stripper who claims to be Black on her dad’s side. (As well as this kicker: “That’s why my stage name is \u003ca href=\"https://www.allure.com/story/halsey-cover-interview-august-2021\">Halsey\u003c/a>.”) Like the fandoms it’s satirizing and critiquing, it speaks a language all its own, one that requires being constantly online, knowing your memes, and staying up on your Black celeb gossip to even begin to unpack it.\u003c/p>\n\u003ch3>“Stan correct”\u003c/h3>\n\u003cp>Even if the reference points are plentiful and Dre is a refreshing spin on the sociopathic serial killer, what should we make of this funhouse mirror interpretation of fandom’s twisted facets? A bit can be gleaned from the second episode of \u003cem>Atlanta\u003c/em>, where local rapper Paper Boi (Brian Tyree Henry) encounters a fan at a restaurant. The interaction starts friendly enough, but then the fan’s tone gets more serious, almost grave: “Don’t let me down, man. If you let me down – I don’t know what I’d do.” Paper Boi’s confused and creeped out, as he should be.\u003c/p>\n\u003cp>The moment moves on quickly, but the man’s plea to the stranger he admires says a lot about how many of us project onto artists and perceive intimacy with them where none exists. Dre embodies that Paper Boi fan to the nth degree. Her relentless preoccupation ostensibly leads to a complete break from reality upon the death of her sister Marissa, and we’re left wondering whether what we’ve witnessed is only a product of Dre’s troubled mind: In the final moments of the last episode, Dre makes her way into a Ni’Jah concert, jumps on stage and stops the show. Ni’Jah encourages Dre to sing, though in a shocking reveal, the face of Marissa is now superimposed upon Ni’Jah’s body. Then Ni’Jah whisks Dre away into a limo and cradles her in her arms. Dre seems, finally, at peace.\u003c/p>\n\u003cfigure id=\"attachment_13926517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-800x533.jpg\" alt=\"A young Black woman wearing a low-cut, sequined lilac top looks inside a black envelope with the word Ni'Jah on the front, and smiles.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fishback in the Beyoncé-inspired thriller series. \u003ccite>(Warrick Page/Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the most time we spend in the presence of “Ni’Jah” for the entire series; heretofore, she’s only been refracted as a flat symbol, a montage of fleeting images, musical snippets, social media reactions and glowing adjectives. Who Ni’Jah really is as an artist is less important to Dre and the story than who she supposedly represents to her and other starry-eyed fans — and that, \u003cem>Swarm \u003c/em>implies, is the problem. The show’s tagline is “Stan correct,” a play on words that could possess multiple meanings; one that takes on the perspective of Dre and her ilk or one that points the finger at Dre and her ilk.\u003c/p>\n\u003cp>Curiously, this also makes it so that all the onus falls on the stans and that the many ways artists can fuel these responses, either directly or indirectly, are left uninterrogated. (It’s perhaps not a coincidence that Donald Glover and Chloe Bailey have had close working relationships with Beyoncé. It’s also probably not a coincidence that Glover once \u003ca href=\"https://www.interviewmagazine.com/culture/donald-glover-interviews-donald-glover\">infamously and irritatingly interviewed himself\u003c/a>.)\u003c/p>\n\u003cp>But \u003cem>Swarm \u003c/em>is at its best when it leans into the absurdities of social media and the ease of slippage between internet selves and “real” selves. Ultimately \u003cem>Swarm \u003c/em>seems to want viewers to recognize a bit of themselves in Dre — the part that might put a little too much stock in celebrity, the part that may occasionally forget that everyone, including those strangers you argue with on the internet, is human, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Swarm%27+is+about+how+we%27re+doing+fandom+wrong&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Swarm’ is streaming on Prime Video now. \u003ca href=\"https://www.amazon.com/Swarm-Season-1/dp/B0B8NLVH1L\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Many spoilers for Season 1 of \u003c/em>Swarm \u003cem>lie ahead. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Once upon a time, not so long ago, an internet personality dared to publicly criticize a very famous musician with an overly zealous fanbase. Those stans descended upon the critic swiftly, hopping into their mentions and DMs to talk trash and even go so far as to post death and rape threats. The involved parties shall remain nameless here because I’m not particularly interested in dealing with these stans myself. But let’s just say said artist — whose admirers are collectively named after a popular children’s toy — has elicited and even encouraged this behavior many times before. It’s one of the more nightmarish scenarios that can play out on the internet, an all-too-common “love” language spoken across fandoms of all kinds.\u003c/p>\n\u003cp>\u003cem>Swarm\u003c/em>, a bizarre new series created by \u003ca href=\"https://www.imdb.com/name/nm3958656/\">Janine Nabers\u003c/a> and Donald Glover and streaming on Prime Video, takes that nightmare and pushes it to its most extreme limits, concocting a thriller that serves as a spikey admonishment of celebrity worship. Like Glover’s previous project \u003cem>Atlanta\u003c/em> (which Nabers also contributed to), it expresses a discomfort with and cynical attitude toward social media and fame to sometimes frustrating results.\u003c/p>\n\u003ch3>Hive mind\u003c/h3>\n\u003cp>An excellent Dominique Fishback plays Dre, a socially inept retail worker with just two interests in life: Her sister Marissa (Chloe Bailey), an up-and-coming makeup artist, and the global pop superstar Ni’Jah (Nirine S. Brown). As kids, Dre and Marissa bonded over their shared love for Ni’Jah, but now that they’re both young adults rooming together and with bills to pay, Dre’s fandom remains in arrested development; she speaks breathlessly of the artist, and she takes anything that registers as less than glowing praise of the singer as a very personal affront. She can barely sustain a conversation without mentioning Ni’Jah and spends half of the rent on tickets to a concert, a surprise for Marissa’s birthday. From the get-go, it’s clear something is \u003cem>off\u003c/em> about Dre.\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/SDHxie2QcJI'\n title='//www.youtube.com/embed/SDHxie2QcJI'\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>At the end of the first episode, Marissa is dead (she dies by suicide after finding out her boyfriend Khalid, played by Damson Idris, cheated on her) and Dre’s already simmering obsession with Ni’Jah boils over into fully unhinged. She sets off on a killing spree, hopping around various cities under assumed aliases and identities; most of her victims have spoken ill of Ni’Jah either online or in Dre’s presence. “Who’s your favorite artist?” she baits them. If they don’t say Ni’Jah or fail to muster up much enthusiasm for her artistry — which is often — they’re doomed.\u003c/p>\n\u003cp>Unlike me, the writers of \u003cem>Swarm \u003c/em>are far less opaque in their references to a pop culture icon and their devoted followers: Ni’Jah’s legion of fans are known as “The Swarm,” and the bumblebee emoji is their insignia; she’s revered as a \u003cem>queen \u003c/em>and a \u003cem>goddess\u003c/em>. She’s won dozens of Grammys; her husband is a famous rapper with whom she’s done a joint tour called “Running Scared.” There’s surveillance camera footage of said husband being attacked by a woman in an elevator while an expressionless Ni’Jah stands by and does nothing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She is an obvious, translucently veiled analog for the real-life \u003cem>queen\u003c/em> and \u003cem>goddess\u003c/em> Beyoncé Giselle Knowles-Carter — right down to the show’s clever depiction of a notoriously odd incident \u003ca href=\"https://www.essence.com/gallery/rihanna-was-the-fashion-queen-of-the-night-at-the-2023-oscars/\">long rumored to have involved the actress Sanaa Lathan\u003c/a>. Yet for all the highly specific Beyhive Easter eggs — or honeycombs? … actually, let me not force this metaphor — strewn throughout, there’s the dreadful understanding that this is only about Beyoncé in an abstract sense. Really, it’s about taking the idea of the devoted fan and stretching it to its limits, in calling upon the tendencies of obsessive fans and sadistic serial killers both fictional and real — like \u003cem>Misery\u003c/em>’s Annie Wilkes, Mark David Chapman, Jeffrey Dahmer, and \u003ca href=\"https://www.npr.org/2023/03/09/1162167877/you-is-back-and-joe-is-still-chaotic-evil\">\u003cem>You’\u003c/em>s Joe Goldberg\u003c/a> — and putting them in the shoes of a Black woman. To add to the surrealness of it all, Marissa’s ghost seems to be “communicating” with Dre via text message, egging her on like the dog that “inspired” the Son of Sam.\u003c/p>\n\u003ch3>‘Falling Through the Cracks’\u003c/h3>\n\u003cp>There’s been a small uptick in amoral or morally dubious Black women TV characters lately (see \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry’\u003c/em>s Harper\u003c/a>, for one), but there’s something especially notable about \u003cem>Swarm\u003c/em>, and its creators are absolutely aware of it. In the first couple of episodes, it falls into the trappings of many serial killer narratives by leaning into the shock value and novelty of a Black woman dropping bodies left and right; Dre is seen primarily through a series of tics (binge eating, rattling off Ni’Jah’s accomplishments) and a singlemindedness to commit murder.\u003c/p>\n\u003cp>Nevertheless, Fishback is mesmerizing and clearly committed to the role. And the show begins to find its groove a bit later when Dre ends up at a commune made up of woo-woo influencer types, including one played by Billie Eilish, who coerces Dre into unpacking her traumas and confronting, to some extent, her crimes. It feels like a direct reference to \u003cem>Get Out\u003c/em>’s Sunken Place, allowing a bit of Dre’s humanity to crack through to the surface and for us to more deeply contemplate what it means to form an attachment to an iconic figure you have no real interpersonal connection to.\u003c/p>\n\u003cfigure id=\"attachment_13926524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-800x534.png\" alt=\"A young Black woman sits in front of a campfire, a serene expression on her face. A white woman sits nearby, a half-smile on her face.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM.png 1518w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominique Fishback in ‘Swarm.’ \u003ccite>(Quantrell D. Colbert/Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The series suggests Dre has been able to get away with her crimes largely because of her invisibility as a Black woman, and the penultimate episode (one of the show’s best) is a faux crime documentary show-within-the-show called “Falling Through the Cracks.” It profiles a Black detective named Loretta Greene, who presents herself as uniquely capable of recognizing a Black woman serial killer based on explicit cultural clues like Hot Cheetos and shea butter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That Dre is ultimately seen in this way by another Black woman echoes how the show attempts to be in dialogue with its audience — it’s a very specific type of viewer who will recognize the irony in casting Paris Jackson in a cameo as a stripper who claims to be Black on her dad’s side. (As well as this kicker: “That’s why my stage name is \u003ca href=\"https://www.allure.com/story/halsey-cover-interview-august-2021\">Halsey\u003c/a>.”) Like the fandoms it’s satirizing and critiquing, it speaks a language all its own, one that requires being constantly online, knowing your memes, and staying up on your Black celeb gossip to even begin to unpack it.\u003c/p>\n\u003ch3>“Stan correct”\u003c/h3>\n\u003cp>Even if the reference points are plentiful and Dre is a refreshing spin on the sociopathic serial killer, what should we make of this funhouse mirror interpretation of fandom’s twisted facets? A bit can be gleaned from the second episode of \u003cem>Atlanta\u003c/em>, where local rapper Paper Boi (Brian Tyree Henry) encounters a fan at a restaurant. The interaction starts friendly enough, but then the fan’s tone gets more serious, almost grave: “Don’t let me down, man. If you let me down – I don’t know what I’d do.” Paper Boi’s confused and creeped out, as he should be.\u003c/p>\n\u003cp>The moment moves on quickly, but the man’s plea to the stranger he admires says a lot about how many of us project onto artists and perceive intimacy with them where none exists. Dre embodies that Paper Boi fan to the nth degree. Her relentless preoccupation ostensibly leads to a complete break from reality upon the death of her sister Marissa, and we’re left wondering whether what we’ve witnessed is only a product of Dre’s troubled mind: In the final moments of the last episode, Dre makes her way into a Ni’Jah concert, jumps on stage and stops the show. Ni’Jah encourages Dre to sing, though in a shocking reveal, the face of Marissa is now superimposed upon Ni’Jah’s body. Then Ni’Jah whisks Dre away into a limo and cradles her in her arms. Dre seems, finally, at peace.\u003c/p>\n\u003cfigure id=\"attachment_13926517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-800x533.jpg\" alt=\"A young Black woman wearing a low-cut, sequined lilac top looks inside a black envelope with the word Ni'Jah on the front, and smiles.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fishback in the Beyoncé-inspired thriller series. \u003ccite>(Warrick Page/Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the most time we spend in the presence of “Ni’Jah” for the entire series; heretofore, she’s only been refracted as a flat symbol, a montage of fleeting images, musical snippets, social media reactions and glowing adjectives. Who Ni’Jah really is as an artist is less important to Dre and the story than who she supposedly represents to her and other starry-eyed fans — and that, \u003cem>Swarm \u003c/em>implies, is the problem. The show’s tagline is “Stan correct,” a play on words that could possess multiple meanings; one that takes on the perspective of Dre and her ilk or one that points the finger at Dre and her ilk.\u003c/p>\n\u003cp>Curiously, this also makes it so that all the onus falls on the stans and that the many ways artists can fuel these responses, either directly or indirectly, are left uninterrogated. (It’s perhaps not a coincidence that Donald Glover and Chloe Bailey have had close working relationships with Beyoncé. It’s also probably not a coincidence that Glover once \u003ca href=\"https://www.interviewmagazine.com/culture/donald-glover-interviews-donald-glover\">infamously and irritatingly interviewed himself\u003c/a>.)\u003c/p>\n\u003cp>But \u003cem>Swarm \u003c/em>is at its best when it leans into the absurdities of social media and the ease of slippage between internet selves and “real” selves. Ultimately \u003cem>Swarm \u003c/em>seems to want viewers to recognize a bit of themselves in Dre — the part that might put a little too much stock in celebrity, the part that may occasionally forget that everyone, including those strangers you argue with on the internet, is human, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Swarm%27+is+about+how+we%27re+doing+fandom+wrong&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Swarm’ is streaming on Prime Video now. \u003ca href=\"https://www.amazon.com/Swarm-Season-1/dp/B0B8NLVH1L\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Third Season of ‘Ted Lasso’ Basks in the Glow of Its Quirky Characters",
"headTitle": "The Third Season of ‘Ted Lasso’ Basks in the Glow of Its Quirky Characters | KQED",
"content": "\u003cp>How you feel about the latest — and possibly last — season of Apple TV+’s hit comedy \u003cem>Ted Lasso\u003c/em>, likely depends on how you feel about the characters in \u003cem>Ted Lasso\u003c/em>.\u003c/p>\n\u003cp>That’s because star/co-creator/executive producer Jason Sudeikis and his crew spend a lot of time this season savoring the quirky, familial vibe of the show’s signature personalities — serving up longer episodes at 43-50 minutes each, creating more complex storylines and cooking up new characters who have their own unique stories going on.\u003c/p>\n\u003cp>[aside postid='arts_13926110']As the third season opens, Sudeikis’ breathtakingly optimistic coach Ted Lasso is dropping his son off at Heathrow airport, returning him to America after a visit. The exchange prompts Ted to rethink his decision to leave a career in college football and lead a scrappy soccer team in Britain — where he still, inexplicably, doesn’t understand many of rules and doesn’t know who the biggest star players are.\u003c/p>\n\u003cp>Ted’s about to face off against his former assistant, Nick Mohammed’s unctuous strategist Nate Shelley, who left Ted’s team AFC Richmond in a jealous rage to become head coach for a rival team owned by the self-absorbed Rupert Mannion — ex-husband of Richmond’s owner, Rebecca Welton (Hannah Waddingham).\u003c/p>\n\u003cp>I expected this season to focus on the rivalry between Ted’s determinedly folksy good nature — he disagrees with one of his coaches by saying “I beg to differ, Claudia Schiffer” — and Nate’s darkly insecure hostility. But the first four episodes of the season made available to critics don’t spend much time on the competition between the two — even though the teams eventually play a match against each other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, we catch up with many different characters — from Juno Temple’s chirpy publicist Keeley Jones, who has started her own publicity firm, to Brett Goldstein’s superstar player-turned coach Roy Kent, who makes a fateful decision about his relationship with Keeley. Regret is a common theme this season, as various characters reconsider roads not taken and choices made, pondering the imponderable question of whether they would have been better leaving well enough alone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IR9yjn7Lkdg\u003c/p>\n\u003cp>Ted seems to have his panic attacks from last season under control, with a nod to continued therapy sessions. But he’s still struggling with a sense of melancholy, as he wonders whether his time in Britain is worth being apart from his family as they move on without him.\u003c/p>\n\u003cp>[aside postid='arts_13925147']Roy, in particular, grows sad after AFC Richmond plays against the team he retired from, despite the fact that fans of the opposing team gave him a hero’s welcome. He admits, part of him wonders if he shouldn’t have stayed in the game longer, enjoying his time on the field, instead of leaving the sport before his skills deteriorated until he was let go.\u003c/p>\n\u003cp>“A lot of folks think it’s better to quit than be fired,” Ted tells him, leaving little doubt he was also talking about something else. (Can’t say exactly what because — spoilers. But its a huge deal for Roy.)\u003c/p>\n\u003cfigure id=\"attachment_13926465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-800x450.jpg\" alt=\"A South Asian man with grey hair wearing a smart black suit stares up at a taller white man with a mustache, more casually dressed. In the distance between them, another man watches. A soccer emblem is displayed on the wall behind.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Mohammed, Anthony Head and Jason Sudeikis in ‘Ted Lasso.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who find such obvious signals in a character’s journey irritating or amateurish, this third season will likely be a tough slog. Characters here often reveal themselves in ways few people actually do in real life, offering emotional speeches with perceptive insights into how they’re really feeling, beneath the façade they usually present to the world.\u003c/p>\n\u003cp>[aside postid='arts_13924713']But if you’re a fan who enjoys \u003cem>Ted Lasso’\u003c/em>s extended family of characters and how they bounce off each other — yes, there is a moment where every member of the coaching staff names their favorite character played by Julie Andrews — then you’ll savor every minute of this season’s long stretches spent hanging with people in ways that often advance the show’s actual plots only incrementally.\u003c/p>\n\u003cp>The toughest challenge for established TV shows focused on a family — connected either by blood or through work and friendships — is to find new, believable ways of separating that family over the course of a TV season and then reuniting them.\u003c/p>\n\u003cfigure id=\"attachment_13926467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926467\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-800x450.jpg\" alt=\"Two tanned, blond women stand side-by-side smiling. One is middle aged and smartly dressed. The other is younger and a quirkier.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juno Temple and Hannah Waddingham in ‘Ted Lasso.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s one reason why I suspect Sudeikis has been telling press the show’s current storylines will wrap up with this third season. The goodwill that binds these characters this season is nearly palpable. And as fun as it is to bask in the glow of entertaining characters who enjoy each other, it’s not often the source of deeply compelling television, especially long term.\u003c/p>\n\u003cp>Despite Sudeikis’ talk that this season \u003ca href=\"https://deadline.com/2023/03/jason-sudeikis-ted-lasso-season-3-spoilers-series-finale-spinoffs-1235280998/\">wraps up the story he wanted to tell\u003c/a>, Apple TV+ hasn’t said for sure if \u003cem>Ted Lasso \u003c/em>will end here. And, so far, it’s tough to see if the fun and funny moments from these first few episodes will rise to fuel a truly great TV conclusion, if it does.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it remains a measure of \u003cem>Ted Lasso\u003c/em>’s quality that even a gentle end to these characters’ journeys would be better television than most series these days can muster.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+third+season+of+%27Ted+Lasso%27+basks+in+the+glow+of+its+quirky+characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Ted Lasso returns as folksy as ever, but one wonders if there’s enough personality to carry the series to a compelling end.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How you feel about the latest — and possibly last — season of Apple TV+’s hit comedy \u003cem>Ted Lasso\u003c/em>, likely depends on how you feel about the characters in \u003cem>Ted Lasso\u003c/em>.\u003c/p>\n\u003cp>That’s because star/co-creator/executive producer Jason Sudeikis and his crew spend a lot of time this season savoring the quirky, familial vibe of the show’s signature personalities — serving up longer episodes at 43-50 minutes each, creating more complex storylines and cooking up new characters who have their own unique stories going on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the third season opens, Sudeikis’ breathtakingly optimistic coach Ted Lasso is dropping his son off at Heathrow airport, returning him to America after a visit. The exchange prompts Ted to rethink his decision to leave a career in college football and lead a scrappy soccer team in Britain — where he still, inexplicably, doesn’t understand many of rules and doesn’t know who the biggest star players are.\u003c/p>\n\u003cp>Ted’s about to face off against his former assistant, Nick Mohammed’s unctuous strategist Nate Shelley, who left Ted’s team AFC Richmond in a jealous rage to become head coach for a rival team owned by the self-absorbed Rupert Mannion — ex-husband of Richmond’s owner, Rebecca Welton (Hannah Waddingham).\u003c/p>\n\u003cp>I expected this season to focus on the rivalry between Ted’s determinedly folksy good nature — he disagrees with one of his coaches by saying “I beg to differ, Claudia Schiffer” — and Nate’s darkly insecure hostility. But the first four episodes of the season made available to critics don’t spend much time on the competition between the two — even though the teams eventually play a match against each other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, we catch up with many different characters — from Juno Temple’s chirpy publicist Keeley Jones, who has started her own publicity firm, to Brett Goldstein’s superstar player-turned coach Roy Kent, who makes a fateful decision about his relationship with Keeley. Regret is a common theme this season, as various characters reconsider roads not taken and choices made, pondering the imponderable question of whether they would have been better leaving well enough alone.\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/IR9yjn7Lkdg'\n title='//www.youtube.com/embed/IR9yjn7Lkdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ted seems to have his panic attacks from last season under control, with a nod to continued therapy sessions. But he’s still struggling with a sense of melancholy, as he wonders whether his time in Britain is worth being apart from his family as they move on without him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Roy, in particular, grows sad after AFC Richmond plays against the team he retired from, despite the fact that fans of the opposing team gave him a hero’s welcome. He admits, part of him wonders if he shouldn’t have stayed in the game longer, enjoying his time on the field, instead of leaving the sport before his skills deteriorated until he was let go.\u003c/p>\n\u003cp>“A lot of folks think it’s better to quit than be fired,” Ted tells him, leaving little doubt he was also talking about something else. (Can’t say exactly what because — spoilers. But its a huge deal for Roy.)\u003c/p>\n\u003cfigure id=\"attachment_13926465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-800x450.jpg\" alt=\"A South Asian man with grey hair wearing a smart black suit stares up at a taller white man with a mustache, more casually dressed. In the distance between them, another man watches. A soccer emblem is displayed on the wall behind.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030401_wide-d87c23336f4051da2470ee0d087e6b084a6421a2-1-scaled-e1679075001244.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Mohammed, Anthony Head and Jason Sudeikis in ‘Ted Lasso.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who find such obvious signals in a character’s journey irritating or amateurish, this third season will likely be a tough slog. Characters here often reveal themselves in ways few people actually do in real life, offering emotional speeches with perceptive insights into how they’re really feeling, beneath the façade they usually present to the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But if you’re a fan who enjoys \u003cem>Ted Lasso’\u003c/em>s extended family of characters and how they bounce off each other — yes, there is a moment where every member of the coaching staff names their favorite character played by Julie Andrews — then you’ll savor every minute of this season’s long stretches spent hanging with people in ways that often advance the show’s actual plots only incrementally.\u003c/p>\n\u003cp>The toughest challenge for established TV shows focused on a family — connected either by blood or through work and friendships — is to find new, believable ways of separating that family over the course of a TV season and then reuniting them.\u003c/p>\n\u003cfigure id=\"attachment_13926467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926467\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-800x450.jpg\" alt=\"Two tanned, blond women stand side-by-side smiling. One is middle aged and smartly dressed. The other is younger and a quirkier.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/ted_lasso_photo_030106_wide-c0e97d2d08a2c96df46b63b6500bde44e63280cd-1-scaled-e1679075185885.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juno Temple and Hannah Waddingham in ‘Ted Lasso.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s one reason why I suspect Sudeikis has been telling press the show’s current storylines will wrap up with this third season. The goodwill that binds these characters this season is nearly palpable. And as fun as it is to bask in the glow of entertaining characters who enjoy each other, it’s not often the source of deeply compelling television, especially long term.\u003c/p>\n\u003cp>Despite Sudeikis’ talk that this season \u003ca href=\"https://deadline.com/2023/03/jason-sudeikis-ted-lasso-season-3-spoilers-series-finale-spinoffs-1235280998/\">wraps up the story he wanted to tell\u003c/a>, Apple TV+ hasn’t said for sure if \u003cem>Ted Lasso \u003c/em>will end here. And, so far, it’s tough to see if the fun and funny moments from these first few episodes will rise to fuel a truly great TV conclusion, if it does.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it remains a measure of \u003cem>Ted Lasso\u003c/em>’s quality that even a gentle end to these characters’ journeys would be better television than most series these days can muster.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+third+season+of+%27Ted+Lasso%27+basks+in+the+glow+of+its+quirky+characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Loyalty and Affection Is Threatened in ‘A Spy Among Friends’",
"headTitle": "Loyalty and Affection Is Threatened in ‘A Spy Among Friends’ | KQED",
"content": "\u003cp>A main character in \u003cem>A Spy Among Friends\u003c/em> is one of the Soviet Union’s most notorious double agents. But you don’t need to know anything about him — or really about spying in general — to enjoy the show.\u003c/p>\n\u003cp>The MGM+ series starring Damian Lewis and Guy Pearce dramatizes the true story of two British spies and lifelong friends, Nicholas Elliott (Lewis) and Kim Philby (Pearce.) The latter became a notorious British defector. But it’s the personal betrayal that the creators hope to explore, not stolen microfilm or dead drops.\u003c/p>\n\u003cp>[aside postid='arts_13925365']“We’re not principally telling a spy story. We’re telling a story about friendship. This is a series about friendship among people who happen to be in the espionage business,” says director Nick Murphy.\u003c/p>\n\u003cp>Creator and executive producer Alexander Cary and Murphy use 12 hours to unspool this epic betrayal over several decades, moving back and forth in time to capture past conversations and memories.\u003c/p>\n\u003cp>“I think really we tried to tell an aftermath story here a little bit. So we have tried to dig into the emotional and intelligence and political damage left by Philby,” says Lewis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s anchored by a dayslong meeting between Elliott and Philby in Beirut in 1963, in which both men play a final cat-and-mouse. Elliott wants to extract a full confession; Philby is feigning innocence. The latter will soon flee Lebanon and defect to the Soviet Union, where he died in 1988.\u003c/p>\n\u003cp>“Philby took a system that really ignored checks and balances because there was just a belief that the system was impenetrable,” says Pearce.\u003c/p>\n\u003cp>Anna Maxwell Martin plays Lily Thomas, an MI5 agent interrogating Elliott after Philby’s defection, trying to find out what exactly happened between these two men in Beirut. “Could you explain to me why you let the most dangerous Soviet penetration agent this country has ever known leg it?” she asks Elliott.\u003c/p>\n\u003cp>Thomas — a composite character — is used to signal a change is coming as the old boys’ club gets shaken, charting the rise in the ’60s of women, people of color and members of the middle class to positions of authority.\u003c/p>\n\u003cp>“She is representative of the next generation and a different type of person entirely — a woman and not from the social militia these guys come from,” says Lewis. “She is really there to illustrate that it’s time for a change.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sup7AGbwwMc\u003c/p>\n\u003cp>The series is adapted from a book by Ben Macintyre, who also wrote about the origins of Britain’s elite Special Air Service which was recently turned into the series \u003cem>Rogue Heroes\u003c/em>.\u003c/p>\n\u003cp>Unlike that kinetic series, \u003cem>A Spy Among Friends\u003c/em> is more measured, though no less gripping. It’s a series awash in fedoras, clunky telephones and many, many glasses of whiskey. There is pelting rain, the crisp burn of cigarette paper and cups of tea rattling.\u003c/p>\n\u003cp>Because it deals with people hiding their true identity, small gestures like a raised eyebrow can telegraph what a character is really thinking. Feelings leak out, not gush. In one scene, Elliott secretly weeps about the loss of his friend amid rollicking laughter from among the audience of a stage comedy.\u003c/p>\n\u003cp>[aside postid='arts_13925147']Philby’s betrayal cut deep in Britain’s psyche, more perhaps than American counterparts like Aldrich Ames or Robert Hanssen. Philby was a member of the privileged upper class, who went to the best schools and walked the elite corridors of power.\u003c/p>\n\u003cp>“He is an example of everything that is appealing about Englishmen and also dangerous,” says Cary. “Men of that upbringing were raised with huge levels of entitlement to believe they were the ruling class. That is the scar that England I think lives with today.”\u003c/p>\n\u003cp>Philby’s charm and guile also embarrassed the United States. He befriended Jim Angleton, a rising star at the newly created CIA who would go on to become its counter-intelligence chief, never guessing Philby was passing on his every confidence to Moscow.\u003c/p>\n\u003cp>As Philby tells his Russian handler after defecting: “It’s really remarkable the level of sentimentality and arrogance that it must take in order to be so willfully blind to the possibility that one of your own might possibly see things differently.”\u003c/p>\n\u003cp>Philby pierced the smugness of a strict system, posing a threat to the deluded status quo with the possibility that one of its leading lights was not buying into their project.\u003c/p>\n\u003cp>“It injures Britain,” says Murphy. “Everything that the class system holds itself up to be and therefore justifies itself with — the arguments that this class of people are honorable, they are trustworthy, they are decent people, they put country first, they put England first — is undermined by Philby.”\u003c/p>\n\u003cp>[aside postid='arts_13924687']On a more personal level, Philby’s deception shattered the decadeslong friendship between he and Elliott. It led Elliott to question whether there was ever a friendship in the first place. It is a show that makes you question all your relationships.\u003c/p>\n\u003cp>“I don’t think you need to have a Ph.D in British spycraft in order to understand that,” says Murphy. “What keeps you turning the pages in the story is not a regard for the intelligence safety of Britain. It’s a regard for the emotional survival of the characters.\u003c/p>\n\u003cp>Fittingly, Lewis and Pearce bonded nicely while making the series. \u003cem>A Spy Among Friends\u003c/em> marks the first time they’ve worked together and they ended up friends, planning visits. “I’m still waiting for that spare room,” Pearce teases Lewis. Replies Lewis: “The Pearce suite awaits.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A main character in \u003cem>A Spy Among Friends\u003c/em> is one of the Soviet Union’s most notorious double agents. But you don’t need to know anything about him — or really about spying in general — to enjoy the show.\u003c/p>\n\u003cp>The MGM+ series starring Damian Lewis and Guy Pearce dramatizes the true story of two British spies and lifelong friends, Nicholas Elliott (Lewis) and Kim Philby (Pearce.) The latter became a notorious British defector. But it’s the personal betrayal that the creators hope to explore, not stolen microfilm or dead drops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We’re not principally telling a spy story. We’re telling a story about friendship. This is a series about friendship among people who happen to be in the espionage business,” says director Nick Murphy.\u003c/p>\n\u003cp>Creator and executive producer Alexander Cary and Murphy use 12 hours to unspool this epic betrayal over several decades, moving back and forth in time to capture past conversations and memories.\u003c/p>\n\u003cp>“I think really we tried to tell an aftermath story here a little bit. So we have tried to dig into the emotional and intelligence and political damage left by Philby,” says Lewis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s anchored by a dayslong meeting between Elliott and Philby in Beirut in 1963, in which both men play a final cat-and-mouse. Elliott wants to extract a full confession; Philby is feigning innocence. The latter will soon flee Lebanon and defect to the Soviet Union, where he died in 1988.\u003c/p>\n\u003cp>“Philby took a system that really ignored checks and balances because there was just a belief that the system was impenetrable,” says Pearce.\u003c/p>\n\u003cp>Anna Maxwell Martin plays Lily Thomas, an MI5 agent interrogating Elliott after Philby’s defection, trying to find out what exactly happened between these two men in Beirut. “Could you explain to me why you let the most dangerous Soviet penetration agent this country has ever known leg it?” she asks Elliott.\u003c/p>\n\u003cp>Thomas — a composite character — is used to signal a change is coming as the old boys’ club gets shaken, charting the rise in the ’60s of women, people of color and members of the middle class to positions of authority.\u003c/p>\n\u003cp>“She is representative of the next generation and a different type of person entirely — a woman and not from the social militia these guys come from,” says Lewis. “She is really there to illustrate that it’s time for a change.”\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/Sup7AGbwwMc'\n title='//www.youtube.com/embed/Sup7AGbwwMc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series is adapted from a book by Ben Macintyre, who also wrote about the origins of Britain’s elite Special Air Service which was recently turned into the series \u003cem>Rogue Heroes\u003c/em>.\u003c/p>\n\u003cp>Unlike that kinetic series, \u003cem>A Spy Among Friends\u003c/em> is more measured, though no less gripping. It’s a series awash in fedoras, clunky telephones and many, many glasses of whiskey. There is pelting rain, the crisp burn of cigarette paper and cups of tea rattling.\u003c/p>\n\u003cp>Because it deals with people hiding their true identity, small gestures like a raised eyebrow can telegraph what a character is really thinking. Feelings leak out, not gush. In one scene, Elliott secretly weeps about the loss of his friend amid rollicking laughter from among the audience of a stage comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Philby’s betrayal cut deep in Britain’s psyche, more perhaps than American counterparts like Aldrich Ames or Robert Hanssen. Philby was a member of the privileged upper class, who went to the best schools and walked the elite corridors of power.\u003c/p>\n\u003cp>“He is an example of everything that is appealing about Englishmen and also dangerous,” says Cary. “Men of that upbringing were raised with huge levels of entitlement to believe they were the ruling class. That is the scar that England I think lives with today.”\u003c/p>\n\u003cp>Philby’s charm and guile also embarrassed the United States. He befriended Jim Angleton, a rising star at the newly created CIA who would go on to become its counter-intelligence chief, never guessing Philby was passing on his every confidence to Moscow.\u003c/p>\n\u003cp>As Philby tells his Russian handler after defecting: “It’s really remarkable the level of sentimentality and arrogance that it must take in order to be so willfully blind to the possibility that one of your own might possibly see things differently.”\u003c/p>\n\u003cp>Philby pierced the smugness of a strict system, posing a threat to the deluded status quo with the possibility that one of its leading lights was not buying into their project.\u003c/p>\n\u003cp>“It injures Britain,” says Murphy. “Everything that the class system holds itself up to be and therefore justifies itself with — the arguments that this class of people are honorable, they are trustworthy, they are decent people, they put country first, they put England first — is undermined by Philby.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On a more personal level, Philby’s deception shattered the decadeslong friendship between he and Elliott. It led Elliott to question whether there was ever a friendship in the first place. It is a show that makes you question all your relationships.\u003c/p>\n\u003cp>“I don’t think you need to have a Ph.D in British spycraft in order to understand that,” says Murphy. “What keeps you turning the pages in the story is not a regard for the intelligence safety of Britain. It’s a regard for the emotional survival of the characters.\u003c/p>\n\u003cp>Fittingly, Lewis and Pearce bonded nicely while making the series. \u003cem>A Spy Among Friends\u003c/em> marks the first time they’ve worked together and they ended up friends, planning visits. “I’m still waiting for that spare room,” Pearce teases Lewis. Replies Lewis: “The Pearce suite awaits.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Science That Spawned Fungal Fears in HBO’s ‘The Last of Us’",
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"content": "\u003cp>The video game series that spawned the new hit HBO drama,\u003cem> The Last of Us, \u003c/em>is the zombie genre with a twist.\u003c/p>\n\u003cp>Instead of a run-of-the-mill viral pandemic or bacterial disease pushing humanity to the brink, a \u003cem>Cordyceps \u003c/em>fungus evolves to survive in human bodies in part due to climate change.\u003c/p>\n\u003cp>[aside postid='arts_13925147']Fungal disease resulted in around 1.7 million deaths in 2021, but it was only last year that the World Health Organization published its first-ever \u003ca href=\"https://www.who.int/publications-detail-redirect/9789240060241\">list of fungal priority pathogens\u003c/a>.\u003c/p>\n\u003cp>To learn more about the science that inspired \u003cem>The Last of Us\u003c/em> and the real-life threats fungal researchers see in the ever-warming world, \u003ca href=\"https://www.npr.org/podcasts/510351/short-wave\">\u003cem>Short Wave \u003c/em>\u003c/a>co-host Aaron Scott recently sat down with \u003ca href=\"https://mgm.duke.edu/personnel/asiya-gusa\">Asiya Gusa\u003c/a>, a post-doctoral fungal researcher at Duke University.\u003c/p>\n\u003cp>As a mycologist, Gusa was excited from the first scene, “When I saw the opening few minutes, I nearly jumped off the couch and was yelling at the screen, ‘This is like what I study!’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OLNagvJHl3g\u003c/p>\n\u003cp>\u003cem>Cordyceps\u003c/em>, the fungus in \u003cem>The Last of Us\u003c/em>, does not affect humans — it affects insects. But Asiya Gusa does study one of the deadliest fungi infecting humans in the real world, \u003ca href=\"https://www.cdc.gov/fungal/diseases/cryptococcosis-neoformans/definition.html\">\u003cem>Cryptococcus neoformans\u003c/em>\u003c/a>. The fungus is found throughout the world. Still, most who are infected do not get sick. Most infections occur in those with weakened immune systems. In those instances, the lungs and central nervous system are usually affected.\u003c/p>\n\u003cp>Although \u003cem>C. neoformans\u003c/em> doesn’t bring about zombie-like symptoms, Gusa’s research does support one hypothesis from \u003cem>The Last of Us\u003c/em>: As the world warms, \u003ca href=\"https://www.cdc.gov/ncezid/what-we-do/climate-change-and-infectious-diseases/index.html\">fungi may adapt to survive\u003c/a>. That could introduce fungi that have the ability to bypass the human body’s first line of defense — its high temperature — and cause more frequent infections.\u003c/p>\n\u003cp>[aside postid='arts_13923656']Gusa will continue her work as an assistant professor at Duke University in May. And although she spends her days immersed in fungal research, she readily admits that the field has a PR problem. Until \u003cem>The Last of Us\u003c/em>, the wider public has been largely unaware of the threat they pose. She hopes the show brings lasting attention to those already suffering from fungal diseases and boosts the surveillance and research capacity for the fungi that pose real threats to humanity.\u003c/p>\n\u003cp>“Whenever you have something that’s understudied, under-researched, and we don’t have the proper tools to fight it — well, that’s a cause for concern,” says Gusa. “And so, you know, I don’t want to sound alarm bells, but at the same time, there are already millions of people suffering from deadly fungal infections, and the attention has just not reached them.”\u003c/p>\n\u003cp>\u003cem>Listen to Short Wave on \u003c/em>\u003ca href=\"https://n.pr/3HOQKeK\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://n.pr/3WA9vqh\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://n.pr/3Vi9Xsm\">\u003cem>Google Podcasts\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Curious to hear more about science in pop culture? Email us at \u003c/em>\u003ca href=\"mailto:shortwave@npr.org\">\u003cem>shortwave@npr.org\u003c/em>\u003c/a>\u003cem>. You can also follow \u003c/em>Short Wave\u003cem> on Twitter \u003c/em>\u003ca href=\"https://twitter.com/NPRShortWave?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">\u003cem>@NPRShortWave\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Liz Metzger, edited by Rebecca Ramirez and fact-checked by Anil Oza. Josh Newell was the audio engineer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+science+that+spawned+fungal+fears+in+HBO%27s+%27The+Last+of+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OLNagvJHl3g'\n title='//www.youtube.com/embed/OLNagvJHl3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Cordyceps\u003c/em>, the fungus in \u003cem>The Last of Us\u003c/em>, does not affect humans — it affects insects. But Asiya Gusa does study one of the deadliest fungi infecting humans in the real world, \u003ca href=\"https://www.cdc.gov/fungal/diseases/cryptococcosis-neoformans/definition.html\">\u003cem>Cryptococcus neoformans\u003c/em>\u003c/a>. The fungus is found throughout the world. Still, most who are infected do not get sick. Most infections occur in those with weakened immune systems. In those instances, the lungs and central nervous system are usually affected.\u003c/p>\n\u003cp>Although \u003cem>C. neoformans\u003c/em> doesn’t bring about zombie-like symptoms, Gusa’s research does support one hypothesis from \u003cem>The Last of Us\u003c/em>: As the world warms, \u003ca href=\"https://www.cdc.gov/ncezid/what-we-do/climate-change-and-infectious-diseases/index.html\">fungi may adapt to survive\u003c/a>. That could introduce fungi that have the ability to bypass the human body’s first line of defense — its high temperature — and cause more frequent infections.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gusa will continue her work as an assistant professor at Duke University in May. And although she spends her days immersed in fungal research, she readily admits that the field has a PR problem. Until \u003cem>The Last of Us\u003c/em>, the wider public has been largely unaware of the threat they pose. She hopes the show brings lasting attention to those already suffering from fungal diseases and boosts the surveillance and research capacity for the fungi that pose real threats to humanity.\u003c/p>\n\u003cp>“Whenever you have something that’s understudied, under-researched, and we don’t have the proper tools to fight it — well, that’s a cause for concern,” says Gusa. “And so, you know, I don’t want to sound alarm bells, but at the same time, there are already millions of people suffering from deadly fungal infections, and the attention has just not reached them.”\u003c/p>\n\u003cp>\u003cem>Listen to Short Wave on \u003c/em>\u003ca href=\"https://n.pr/3HOQKeK\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://n.pr/3WA9vqh\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://n.pr/3Vi9Xsm\">\u003cem>Google Podcasts\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Curious to hear more about science in pop culture? Email us at \u003c/em>\u003ca href=\"mailto:shortwave@npr.org\">\u003cem>shortwave@npr.org\u003c/em>\u003c/a>\u003cem>. You can also follow \u003c/em>Short Wave\u003cem> on Twitter \u003c/em>\u003ca href=\"https://twitter.com/NPRShortWave?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">\u003cem>@NPRShortWave\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Liz Metzger, edited by Rebecca Ramirez and fact-checked by Anil Oza. Josh Newell was the audio engineer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+science+that+spawned+fungal+fears+in+HBO%27s+%27The+Last+of+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The 12th Victim’ Dissects the Heart of an American Tragedy",
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"content": "\u003cp>It’s a case that has inspired American pop culture since it happened 65 years ago. Charles Starkweather and Caril Ann Fugate were a teenaged Bonnie and Clyde for the 1950s. In ’58, they murdered her family, holed up in her house for almost a week, hit the roads of Nebraska and went on a merciless killing spree. Starkweather was an 18-year-old ne’er-do-well. Fugate was a 14-year-old Lolita in love with her quintessential all-American bad boy. The couple’s story inspired movies like 1963’s \u003cem>The Sadist\u003c/em>, 1993’s \u003cem>Natural Born Killers\u003c/em> and 1973’s \u003cem>Badlands\u003c/em>, as well as the Bruce Springsteen song of the same name.\u003c/p>\n\u003cp>[aside postid='arts_13924520']Unfortunately for almost everyone involved, much of this popular narrative is false. The reality, as thoroughly dissected in Showtime’s new documentary series, \u003cem>The 12th Victim\u003c/em>, paints a far more complex picture — one that thoroughly exonerates Fugate for her role in the killings. By the end of four gripping episodes, what becomes clear is that this was not a story of youthful rebellion and lust run amok. It was a kidnapping, a major miscarriage of justice and one of the most egregious incidents of victim blaming in our nation’s history.\u003c/p>\n\u003cp>Starkweather was a remorseless spree killer who murdered 11 people in cold blood, alright. But Fugate wasn’t willingly along for the ride; she was a terrified hostage. After she finally escaped from Starkweather, the newly orphaned Fugate’s fortitude and survival was rewarded with a first degree murder conviction. She was the youngest person in American history ever charged with the crime.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Qy0ucSZuo0\u003c/p>\n\u003cp>One of the many pertinent points hammered home by \u003cem>The 12th Victim\u003c/em> is that Fugate’s version of events never wavered, no matter how many years passed. She told the same story under hypnosis and, at one point in the 1980s, she was found to be truthful by a televised lie detector test.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fugate’s version of events goes like this: After attempting to break up with Starkweather because she thought he was “crazy,” Fugate arrived home from school one day to find him in her house and armed. Starkweather told Fugate that if she didn’t do exactly as he instructed that he would have her family killed, including her beloved sister Betty-Jean, who was just two years old at the time. Starkweather told Fugate that her family were being held by associates of his and that she must go with him if she wanted them to live. She had no idea that Starkweather had already slaughtered her parents and baby sister and hidden their bodies.\u003c/p>\n\u003cp>[aside postid='pop_109009']After they hit the road, Starkweather killed almost everyone he and Fugate crossed paths with. By the time the pair were finally cornered by police officers, Fugate was in a deeply traumatized state. While Starkweather took on the cops, Fugate ran from their vehicle \u003ci>towards\u003c/i> the police, screaming for help and begging them to arrest Starkweather.\u003c/p>\n\u003cp>Once in custody, one of the first things Fugate asked for was her parents. She spent hours repeatedly begging to see her mother. Eventually an officer blurted out, “My God, girl, don’t you know they’re all dead?” Fugate became so distressed she had to be forcibly sedated.\u003c/p>\n\u003cp>In contrast, Starkweather proudly admitted to his crimes and, initially at least, stated that Fugate was indeed his hostage. As weeks dragged on, and as police found a variety of grossly inappropriate ways to pit Starkweather against Fugate, the murderer’s story began changing. By the time he was on death row and given an entire essay in \u003cem>Parade\u003c/em> magazine — one of the most popular publications of the time — Starkweather was claiming that his crimes were actually all Fugate’s idea.\u003c/p>\n\u003cp>“All the time the spree was taking place, I was scared,” Starkweather wrote in \u003cem>Parade\u003c/em>. “I was going to give up. Carol then threatened out loud that she wasn’t going to give up … With a shotgun laying across her lap with the barrel pointing directly at me, and with her fast talking, she convinced me that we didn’t have anything to gain by giving up.”\u003c/p>\n\u003cp>Despite being patently preposterous, the public ate it up. This version of events lined up with then-popular conservative ideas about the dangers of teen rebellion. And the public desire for answers that made sense were most quickly satiated by the scapegoating of Fugate. Plus, Starkweather’s version was infinitely more titillating for the press to have fun with.\u003c/p>\n\u003cp>After Starkweather was permitted to testify against Fugate at her trial, he famously stated: “If I fry in the electric chair, she should be sitting in my lap.”\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>’s primary focus is consistently the real Caril Ann Fugate — who she was before, during and after the crimes. Particularly heartbreaking to watch are her tireless attempts to prove her innocence — and to consistently demonstrate her good character — throughout the rest of her life.\u003c/p>\n\u003cp>[aside postid='arts_13913533']What elevates \u003cem>The 12th Victim\u003c/em> further is the way the series touches on how pop culture can impact justice. Popular pulp fiction of the 1950s indelibly influenced how receptive the public was to Starkweather and the authorities’ portrayal of Fugate. But that sensational false narrative has been getting fed back to us on a cultural loop ever since, keeping the issues (and misogyny) that plagued Fugate’s case ever-present in similar ways. In America, the show successfully argues, we’d always rather hear a story driven by sexualized violence than we would about a young woman surviving an impossible set of circumstances.\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>, at least, offers Caril Ann Fugate a final shot at redemption.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The 12th Victim’ premieres on Showtime on Feb. 17, 2023. \u003ca href=\"https://www.sho.com/the-12th-victim\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a case that has inspired American pop culture since it happened 65 years ago. Charles Starkweather and Caril Ann Fugate were a teenaged Bonnie and Clyde for the 1950s. In ’58, they murdered her family, holed up in her house for almost a week, hit the roads of Nebraska and went on a merciless killing spree. Starkweather was an 18-year-old ne’er-do-well. Fugate was a 14-year-old Lolita in love with her quintessential all-American bad boy. The couple’s story inspired movies like 1963’s \u003cem>The Sadist\u003c/em>, 1993’s \u003cem>Natural Born Killers\u003c/em> and 1973’s \u003cem>Badlands\u003c/em>, as well as the Bruce Springsteen song of the same name.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unfortunately for almost everyone involved, much of this popular narrative is false. The reality, as thoroughly dissected in Showtime’s new documentary series, \u003cem>The 12th Victim\u003c/em>, paints a far more complex picture — one that thoroughly exonerates Fugate for her role in the killings. By the end of four gripping episodes, what becomes clear is that this was not a story of youthful rebellion and lust run amok. It was a kidnapping, a major miscarriage of justice and one of the most egregious incidents of victim blaming in our nation’s history.\u003c/p>\n\u003cp>Starkweather was a remorseless spree killer who murdered 11 people in cold blood, alright. But Fugate wasn’t willingly along for the ride; she was a terrified hostage. After she finally escaped from Starkweather, the newly orphaned Fugate’s fortitude and survival was rewarded with a first degree murder conviction. She was the youngest person in American history ever charged with the crime.\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/2Qy0ucSZuo0'\n title='//www.youtube.com/embed/2Qy0ucSZuo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the many pertinent points hammered home by \u003cem>The 12th Victim\u003c/em> is that Fugate’s version of events never wavered, no matter how many years passed. She told the same story under hypnosis and, at one point in the 1980s, she was found to be truthful by a televised lie detector test.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fugate’s version of events goes like this: After attempting to break up with Starkweather because she thought he was “crazy,” Fugate arrived home from school one day to find him in her house and armed. Starkweather told Fugate that if she didn’t do exactly as he instructed that he would have her family killed, including her beloved sister Betty-Jean, who was just two years old at the time. Starkweather told Fugate that her family were being held by associates of his and that she must go with him if she wanted them to live. She had no idea that Starkweather had already slaughtered her parents and baby sister and hidden their bodies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After they hit the road, Starkweather killed almost everyone he and Fugate crossed paths with. By the time the pair were finally cornered by police officers, Fugate was in a deeply traumatized state. While Starkweather took on the cops, Fugate ran from their vehicle \u003ci>towards\u003c/i> the police, screaming for help and begging them to arrest Starkweather.\u003c/p>\n\u003cp>Once in custody, one of the first things Fugate asked for was her parents. She spent hours repeatedly begging to see her mother. Eventually an officer blurted out, “My God, girl, don’t you know they’re all dead?” Fugate became so distressed she had to be forcibly sedated.\u003c/p>\n\u003cp>In contrast, Starkweather proudly admitted to his crimes and, initially at least, stated that Fugate was indeed his hostage. As weeks dragged on, and as police found a variety of grossly inappropriate ways to pit Starkweather against Fugate, the murderer’s story began changing. By the time he was on death row and given an entire essay in \u003cem>Parade\u003c/em> magazine — one of the most popular publications of the time — Starkweather was claiming that his crimes were actually all Fugate’s idea.\u003c/p>\n\u003cp>“All the time the spree was taking place, I was scared,” Starkweather wrote in \u003cem>Parade\u003c/em>. “I was going to give up. Carol then threatened out loud that she wasn’t going to give up … With a shotgun laying across her lap with the barrel pointing directly at me, and with her fast talking, she convinced me that we didn’t have anything to gain by giving up.”\u003c/p>\n\u003cp>Despite being patently preposterous, the public ate it up. This version of events lined up with then-popular conservative ideas about the dangers of teen rebellion. And the public desire for answers that made sense were most quickly satiated by the scapegoating of Fugate. Plus, Starkweather’s version was infinitely more titillating for the press to have fun with.\u003c/p>\n\u003cp>After Starkweather was permitted to testify against Fugate at her trial, he famously stated: “If I fry in the electric chair, she should be sitting in my lap.”\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>’s primary focus is consistently the real Caril Ann Fugate — who she was before, during and after the crimes. Particularly heartbreaking to watch are her tireless attempts to prove her innocence — and to consistently demonstrate her good character — throughout the rest of her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What elevates \u003cem>The 12th Victim\u003c/em> further is the way the series touches on how pop culture can impact justice. Popular pulp fiction of the 1950s indelibly influenced how receptive the public was to Starkweather and the authorities’ portrayal of Fugate. But that sensational false narrative has been getting fed back to us on a cultural loop ever since, keeping the issues (and misogyny) that plagued Fugate’s case ever-present in similar ways. In America, the show successfully argues, we’d always rather hear a story driven by sexualized violence than we would about a young woman surviving an impossible set of circumstances.\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>, at least, offers Caril Ann Fugate a final shot at redemption.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The 12th Victim’ premieres on Showtime on Feb. 17, 2023. \u003ca href=\"https://www.sho.com/the-12th-victim\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Here’s my impression of any person telling me how much they loved any episode of \u003ca href=\"https://www.npr.org/2022/05/25/1101255458/this-is-us-finale-ending\">\u003cem>This Is Us\u003c/em>, \u003c/a>the NBC family drama from producer and writer\u003ca href=\"https://www.npr.org/2017/03/14/519986806/this-is-us-creator-dan-fogelman-says-he-didnt-mean-to-make-you-cry\"> Dan Fogelman \u003c/a>that enjoyed a very successful six-season run that ended in the spring of 2022: “I cried until my eyes were swollen shut and I was swimming in a pool of my own salty tears, then I watched it again, then I watched it while slowly contemplating a dying plant and it was even better; it is the best thing I have ever seen on television and I am devastated.”\u003c/p>\n\u003cp>Don’t get me wrong: This is not a criticism. It is extraordinarily impressive to get people to enjoy their own agony this much, and most people have \u003cem>some \u003c/em>kind of art that does something similar for them. Books, music, movies, TV, games — doesn’t matter. This is a weird thing art does that always seems weirder when it’s somebody else’s art than when it’s yours.\u003c/p>\n\u003cp>[aside postid='arts_13923656']The\u003ca href=\"https://www.wbur.org/hereandnow/2020/01/14/dear-edward-novel-ann-napolitano\"> Ann Napolitano novel\u003c/a> \u003cem>Dear Edward\u003c/em> serves as the inspiration for the new Apple TV drama series of the same name, created by Jason Katims, the producer of \u003ca href=\"https://www.npr.org/2011/07/16/137823040/as-friday-night-lights-ends-its-still-texas-forever\">\u003cem>Friday Night Lights\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2015/01/29/382413021/nbcs-parenthood-ends-as-a-family-drama-built-on-small-moments\">\u003cem>Parenthood\u003c/em>,\u003c/a> which were also big successes for people who cry a lot. And while Katims didn’t make \u003cem>This Is Us\u003c/em>, it’s the recent show by which \u003cem>Dear Edward \u003c/em>feels the most inspired.\u003c/p>\n\u003cp>In the story, a 12-year-old boy named Edward (Colin O’Brien) is the sole survivor of a plane crash that kills, among many others, his entire family. He goes to live with his Aunt Lacey and Uncle John (Taylor Schilling and Carter Hudson), who have long struggled with infertility and find their lives very much disrupted by the fact that they suddenly have a 12-year-old. And not just any 12-year-old — Edward is understandably very deeply traumatized, lonely, disoriented and angry, even if it’s in a quiet, interior kind of way. The only person he really relates to in his new home is an extroverted neighbor girl his age named Shay (Eva Ariel Binder). She practices roller derby in the street, and having lost his older brother, he fastens on her for company.\u003c/p>\n\u003cp>Meanwhile, Lacey is attending a support group for people who lost loved ones in the crash, and that’s where the rest of the stories in this many-threaded ensemble show come in. Dee Dee (Connie Britton) is a wealthy woman who lost her husband, and she’s now forced to both forge some kind of independence and confront some things she learns about him only now that he’s gone. Adriana (Anna Uzele) lost her grandmother, who happened to be a beloved New York Congresswoman. She befriends Kojo (Idris Debrand), who lost his sister and has come from Ghana to care for his young niece, who will eventually return there with him. More characters will eventually emerge over the course of 10 episodes, but these are the most important ones in the early going.\u003c/p>\n\u003cfigure id=\"attachment_13924791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg\" alt=\"Two people embrace. We see the back of one person's head and the face of the woman giving the hug. Her eyes are closed, facial expression pained.\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1020x463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1536x697.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connie Britton plays Dee Dee, a wealthy woman who has lost her husband, in ‘Dear Edward.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are a lot of good actors in this cast — nobody does this kind of work like Connie Britton — and to say Katims knows his stuff is an understatement. And his stuff is … well, at least some of it is basically “you crying a lot.” For a producer who loves big feelings, this is not a small move, it is a big move, in terms of sheer audacity — pick up this terribly sad book where a plane full of people die, leaving only one young boy behind, and then surround him with mourners with terrible, agonizing stories of their own. (The book, based on what I know of it, does not do this in the same way, although it does tell the stories of other people who die on the plane). It’s a dark kind of vow from Katims to \u003cem>This Is Us \u003c/em>viewers: If you liked that story where one family dealt with a ton of trauma and loss, you’re going to love a story about a whole \u003cem>lot \u003c/em>of families grieving at the same time, criss-crossing with each other, talking about loss \u003cem>constantly\u003c/em>. You liked the kiddie pool of tears? Dive into the \u003cem>Olympic \u003c/em>pool of tears!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are interesting themes here that are not exclusively about loss: The title of the series (and book) comes from the fact that Edward, as the sole survivor of this tragedy, becomes a figure of great fascination. People write him letters — sometimes because they lost someone in the crash and they want to know whether he saw their loved one at any point, sometimes because they want to give him advice or convert him to their faith, sometimes because they just figure he must have some special knowledge from having this experience. Without spoiling too much, it seems clear that the intent is to explore these letter-writers more in a future season; this theme only begins to emerge in this first set of episodes. I sort of found myself wishing they got more into this part of Edward’s struggle, that they stayed with a little narrower focus.\u003c/p>\n\u003cp>But ultimately, this isn’t that show. This is a rip-your-guts-out show. It’s a show where every moment, even if it’s seemingly small, is conceptually \u003cem>big\u003c/em>, \u003cem>big \u003c/em>with feelings, \u003cem>big \u003c/em>with meaning, \u003cem>big \u003c/em>with a certain kind of coffee-shop indie music that is precisely calculated and entirely expected. It is a show that is, in a word, manipulative. In two words, perhaps \u003cem>proudly \u003c/em>manipulative.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9afVcqqSXVo\u003c/p>\n\u003cp>Because all art manipulates, if by that we only mean provoking a response and doing it intentionally. Breaking your heart, making you mad, keeping you on the edge of your seat, cracking you up — these are all manipulations of the artist, if that term is defined broadly enough. But what we tend to mean in common usage when we refer to sentimentality as manipulative is that it’s too direct, a straight line rather than an interesting path we’ve never walked from provocation to response. We feel shoved along rather than shown the way to where we’re meant to end up.\u003c/p>\n\u003cp>[aside postid='arts_13924687']It’s awfully hard not to feel shoved along by \u003cem>Dear Edward\u003c/em>. It is swimming in death. Everybody is sad all the time. And when they are briefly not sad, even \u003cem>that\u003c/em> is sad, or at least bittersweet, because what in the life of a person deep in grief is not, even at its sweetest, only bittersweet? Grief is worth examining, grief is worth recognizing, and yet at some level, I did feel like the labors of everyone involved were so … well, \u003cem>labored\u003c/em> that it was almost like distorted sound when speakers are overwhelmed. I felt driven to all the intended feelings so hard that they couldn’t quite thrive. If there were any stories \u003cem>not \u003c/em>suffused by grief, as there usually are in ensemble dramas that follow multiple threads at the same time, it might be easier to catch your breath and stay in the story.\u003c/p>\n\u003cp>This show is just so \u003cem>much\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And yet, even as I watched it and felt a bit put off by it, I never doubted that it will have an audience. Sometimes people \u003cem>need \u003c/em>to cry, then cry again. They need to at least cry at something they can put away afterwards because it isn’t their reality. Tear-jerkers — and that has perhaps never been a more apt description — jerk tears from people who are prepared to have their tears jerked, just like a horror movie is there to startle people who showed up to be startled. I’m not sure \u003cem>Dear Edward \u003c/em>is the most nuanced or the most interesting show, but that same directness that can seem like manipulation can also be simple truth in advertising. If you loved crying at \u003cem>This Is Us \u003c/em>or \u003cem>Parenthood\u003c/em>, you will probably also enjoy crying at \u003cem>Dear Edward\u003c/em>. A lot! And that’s fine. Nothing wrong with a few tears, as long as you know what you’re getting into.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Dear+Edward%27+tugs+%E2%80%94+and+tugs%2C+and+tugs+%E2%80%94+at+your+heartstrings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s my impression of any person telling me how much they loved any episode of \u003ca href=\"https://www.npr.org/2022/05/25/1101255458/this-is-us-finale-ending\">\u003cem>This Is Us\u003c/em>, \u003c/a>the NBC family drama from producer and writer\u003ca href=\"https://www.npr.org/2017/03/14/519986806/this-is-us-creator-dan-fogelman-says-he-didnt-mean-to-make-you-cry\"> Dan Fogelman \u003c/a>that enjoyed a very successful six-season run that ended in the spring of 2022: “I cried until my eyes were swollen shut and I was swimming in a pool of my own salty tears, then I watched it again, then I watched it while slowly contemplating a dying plant and it was even better; it is the best thing I have ever seen on television and I am devastated.”\u003c/p>\n\u003cp>Don’t get me wrong: This is not a criticism. It is extraordinarily impressive to get people to enjoy their own agony this much, and most people have \u003cem>some \u003c/em>kind of art that does something similar for them. Books, music, movies, TV, games — doesn’t matter. This is a weird thing art does that always seems weirder when it’s somebody else’s art than when it’s yours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The\u003ca href=\"https://www.wbur.org/hereandnow/2020/01/14/dear-edward-novel-ann-napolitano\"> Ann Napolitano novel\u003c/a> \u003cem>Dear Edward\u003c/em> serves as the inspiration for the new Apple TV drama series of the same name, created by Jason Katims, the producer of \u003ca href=\"https://www.npr.org/2011/07/16/137823040/as-friday-night-lights-ends-its-still-texas-forever\">\u003cem>Friday Night Lights\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2015/01/29/382413021/nbcs-parenthood-ends-as-a-family-drama-built-on-small-moments\">\u003cem>Parenthood\u003c/em>,\u003c/a> which were also big successes for people who cry a lot. And while Katims didn’t make \u003cem>This Is Us\u003c/em>, it’s the recent show by which \u003cem>Dear Edward \u003c/em>feels the most inspired.\u003c/p>\n\u003cp>In the story, a 12-year-old boy named Edward (Colin O’Brien) is the sole survivor of a plane crash that kills, among many others, his entire family. He goes to live with his Aunt Lacey and Uncle John (Taylor Schilling and Carter Hudson), who have long struggled with infertility and find their lives very much disrupted by the fact that they suddenly have a 12-year-old. And not just any 12-year-old — Edward is understandably very deeply traumatized, lonely, disoriented and angry, even if it’s in a quiet, interior kind of way. The only person he really relates to in his new home is an extroverted neighbor girl his age named Shay (Eva Ariel Binder). She practices roller derby in the street, and having lost his older brother, he fastens on her for company.\u003c/p>\n\u003cp>Meanwhile, Lacey is attending a support group for people who lost loved ones in the crash, and that’s where the rest of the stories in this many-threaded ensemble show come in. Dee Dee (Connie Britton) is a wealthy woman who lost her husband, and she’s now forced to both forge some kind of independence and confront some things she learns about him only now that he’s gone. Adriana (Anna Uzele) lost her grandmother, who happened to be a beloved New York Congresswoman. She befriends Kojo (Idris Debrand), who lost his sister and has come from Ghana to care for his young niece, who will eventually return there with him. More characters will eventually emerge over the course of 10 episodes, but these are the most important ones in the early going.\u003c/p>\n\u003cfigure id=\"attachment_13924791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg\" alt=\"Two people embrace. We see the back of one person's head and the face of the woman giving the hug. Her eyes are closed, facial expression pained.\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1020x463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1536x697.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connie Britton plays Dee Dee, a wealthy woman who has lost her husband, in ‘Dear Edward.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are a lot of good actors in this cast — nobody does this kind of work like Connie Britton — and to say Katims knows his stuff is an understatement. And his stuff is … well, at least some of it is basically “you crying a lot.” For a producer who loves big feelings, this is not a small move, it is a big move, in terms of sheer audacity — pick up this terribly sad book where a plane full of people die, leaving only one young boy behind, and then surround him with mourners with terrible, agonizing stories of their own. (The book, based on what I know of it, does not do this in the same way, although it does tell the stories of other people who die on the plane). It’s a dark kind of vow from Katims to \u003cem>This Is Us \u003c/em>viewers: If you liked that story where one family dealt with a ton of trauma and loss, you’re going to love a story about a whole \u003cem>lot \u003c/em>of families grieving at the same time, criss-crossing with each other, talking about loss \u003cem>constantly\u003c/em>. You liked the kiddie pool of tears? Dive into the \u003cem>Olympic \u003c/em>pool of tears!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are interesting themes here that are not exclusively about loss: The title of the series (and book) comes from the fact that Edward, as the sole survivor of this tragedy, becomes a figure of great fascination. People write him letters — sometimes because they lost someone in the crash and they want to know whether he saw their loved one at any point, sometimes because they want to give him advice or convert him to their faith, sometimes because they just figure he must have some special knowledge from having this experience. Without spoiling too much, it seems clear that the intent is to explore these letter-writers more in a future season; this theme only begins to emerge in this first set of episodes. I sort of found myself wishing they got more into this part of Edward’s struggle, that they stayed with a little narrower focus.\u003c/p>\n\u003cp>But ultimately, this isn’t that show. This is a rip-your-guts-out show. It’s a show where every moment, even if it’s seemingly small, is conceptually \u003cem>big\u003c/em>, \u003cem>big \u003c/em>with feelings, \u003cem>big \u003c/em>with meaning, \u003cem>big \u003c/em>with a certain kind of coffee-shop indie music that is precisely calculated and entirely expected. It is a show that is, in a word, manipulative. In two words, perhaps \u003cem>proudly \u003c/em>manipulative.\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/9afVcqqSXVo'\n title='//www.youtube.com/embed/9afVcqqSXVo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because all art manipulates, if by that we only mean provoking a response and doing it intentionally. Breaking your heart, making you mad, keeping you on the edge of your seat, cracking you up — these are all manipulations of the artist, if that term is defined broadly enough. But what we tend to mean in common usage when we refer to sentimentality as manipulative is that it’s too direct, a straight line rather than an interesting path we’ve never walked from provocation to response. We feel shoved along rather than shown the way to where we’re meant to end up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s awfully hard not to feel shoved along by \u003cem>Dear Edward\u003c/em>. It is swimming in death. Everybody is sad all the time. And when they are briefly not sad, even \u003cem>that\u003c/em> is sad, or at least bittersweet, because what in the life of a person deep in grief is not, even at its sweetest, only bittersweet? Grief is worth examining, grief is worth recognizing, and yet at some level, I did feel like the labors of everyone involved were so … well, \u003cem>labored\u003c/em> that it was almost like distorted sound when speakers are overwhelmed. I felt driven to all the intended feelings so hard that they couldn’t quite thrive. If there were any stories \u003cem>not \u003c/em>suffused by grief, as there usually are in ensemble dramas that follow multiple threads at the same time, it might be easier to catch your breath and stay in the story.\u003c/p>\n\u003cp>This show is just so \u003cem>much\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And yet, even as I watched it and felt a bit put off by it, I never doubted that it will have an audience. Sometimes people \u003cem>need \u003c/em>to cry, then cry again. They need to at least cry at something they can put away afterwards because it isn’t their reality. Tear-jerkers — and that has perhaps never been a more apt description — jerk tears from people who are prepared to have their tears jerked, just like a horror movie is there to startle people who showed up to be startled. I’m not sure \u003cem>Dear Edward \u003c/em>is the most nuanced or the most interesting show, but that same directness that can seem like manipulation can also be simple truth in advertising. If you loved crying at \u003cem>This Is Us \u003c/em>or \u003cem>Parenthood\u003c/em>, you will probably also enjoy crying at \u003cem>Dear Edward\u003c/em>. A lot! And that’s fine. Nothing wrong with a few tears, as long as you know what you’re getting into.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Dear+Edward%27+tugs+%E2%80%94+and+tugs%2C+and+tugs+%E2%80%94+at+your+heartstrings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Clunky Title Aside, ‘Cunk on Earth’ is a Mockumentary With Cult Classic Potential",
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"content": "\u003cp>Diane Morgan stars in the new five-part Netflix mockumentary series \u003cem>Cunk on Earth\u003c/em>, but viewers in the U.S. might not recognize her — unless they saw her as one of the supporting players in the \u003ca href=\"https://www.npr.org/2016/05/01/476078487/ricky-gervais-on-controversial-jokes-celebrities-and-special-correspondents\">Ricky Gervais\u003c/a> comedy series \u003cem>After Life\u003c/em>. But in Great Britain, Morgan’s been on TV for years, especially playing one recurring character.\u003c/p>\n\u003cp>Ten years ago, \u003ca href=\"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season\">\u003cem>Black Mirror\u003c/em>\u003c/a> co-creator \u003ca href=\"https://www.npr.org/2016/10/20/498683379/black-mirror-creator-dramatizes-our-worst-nightmares-about-technology\">Charlie Brooker\u003c/a> wrote and hosted a British comedy series, \u003cem>Charlie Brooker’s Weekly Wipe. \u003c/em>It was a satirical review of the week’s news — part \u003ca href=\"https://www.npr.org/2022/09/30/1126207614/trevor-noah-daily-show-late-night-tv-comedy-central\">\u003cem>The Daily Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>and part, if you want to go way, way back,\u003cem> That Was the Week That Was\u003c/em>. Morgan was one of the featured players on\u003cem> Weekly Wipe, \u003c/em>playing a TV correspondent named Philomena Cunk. Cunk isn’t very well-informed, and she’s prone to mispronunciations and malapropisms, but she says what she thinks — and what she thinks is often very, very funny.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ia0ztwqCt4c\u003c/p>\n\u003cp>In the U.K., the character was then spun off into several sequels, either limited series or one-shot specials: \u003ca href=\"https://www.youtube.com/watch?v=9YeCpHoy9EQ\">\u003cem>Cunk on Shakespeare\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=MUM89s4N2BQ\">\u003cem>Cunk on Britain\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=OYQwGWYAXwM\">\u003cem>Cunk and Other Humans\u003c/em>\u003c/a>. They all have the same winning formula: Philomena is sent to real exotic locations around the world, to offer her observations and interview actual experts — all of whom are polite and befuddled in equal measure.\u003c/p>\n\u003cp>[aside postid='arts_13924494']\u003cem>Cunk on Earth\u003c/em> is in the same sweeping, visually stunning tradition of such historical documentaries as \u003cem>Civilisation\u003c/em> or \u003cem>Connections\u003c/em> — except the correspondent and interviewer is less Kenneth Clark or James Burke, and more \u003ca href=\"https://www.npr.org/2021/02/22/970115927/sacha-baron-cohen-on-borat-ethics-and-why-his-disguise-days-are-over\">Borat \u003c/a>or Jiminy Glick. That’s the setup — and you don’t have to have any prior exposure to Philomena Cunk to get up to speed instantly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opening of \u003cem>Cunk on Earth\u003c/em> cuts between scenes of Philomena standing amid quiet nature and loud city streets, establishing the premise of her newest TV show. Over the show’s five episodes, she travels from Pompeii to Russia to the Pyramids in Egypt. Philomena shoots one segment in front of the \u003cem>Mona Lisa\u003c/em>, and, for another, descends into a cave to look at ancient cave paintings, just as \u003ca href=\"https://www.npr.org/2014/08/22/342471828/werner-herzog-talks-about-madmen-and-caves-in-interviews-from-fresh-air-archives\">Werner Herzog\u003c/a> did in one of his documentaries. But he was in awe. Philomena, shining her flashlight onto the crude drawings of animals and people, is so unimpressed, she turns her flashlight off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5zabCBnUHLA\u003c/p>\n\u003cp>Despite her lack of enthusiasm and perspective, \u003cem>Cunk on Earth\u003c/em> does contain a lot of actual information — thanks to the endlessly patient experts, who gently correct her misconceptions. Morgan’s delivery is deliciously dry, and her improv skills, reacting to what historians say in their interviews with her, are formidable. She gets a writing credit for additional material, and absolutely deserves it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em> came over from England as an oddball series and an acquired taste, and quickly grew into a cult hit. This new, wider Netflix platform for \u003cem>Cunk on Earth \u003c/em>may accomplish the same thing. It’s a terrible title — but it’s a really funny show.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Clunky+title+aside%2C+%27Cunk+on+Earth%27+is+a+mockumentary+with+cult+classic+potential&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Diane Morgan stars in the new five-part Netflix mockumentary series \u003cem>Cunk on Earth\u003c/em>, but viewers in the U.S. might not recognize her — unless they saw her as one of the supporting players in the \u003ca href=\"https://www.npr.org/2016/05/01/476078487/ricky-gervais-on-controversial-jokes-celebrities-and-special-correspondents\">Ricky Gervais\u003c/a> comedy series \u003cem>After Life\u003c/em>. But in Great Britain, Morgan’s been on TV for years, especially playing one recurring character.\u003c/p>\n\u003cp>Ten years ago, \u003ca href=\"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season\">\u003cem>Black Mirror\u003c/em>\u003c/a> co-creator \u003ca href=\"https://www.npr.org/2016/10/20/498683379/black-mirror-creator-dramatizes-our-worst-nightmares-about-technology\">Charlie Brooker\u003c/a> wrote and hosted a British comedy series, \u003cem>Charlie Brooker’s Weekly Wipe. \u003c/em>It was a satirical review of the week’s news — part \u003ca href=\"https://www.npr.org/2022/09/30/1126207614/trevor-noah-daily-show-late-night-tv-comedy-central\">\u003cem>The Daily Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>and part, if you want to go way, way back,\u003cem> That Was the Week That Was\u003c/em>. Morgan was one of the featured players on\u003cem> Weekly Wipe, \u003c/em>playing a TV correspondent named Philomena Cunk. Cunk isn’t very well-informed, and she’s prone to mispronunciations and malapropisms, but she says what she thinks — and what she thinks is often very, very funny.\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/ia0ztwqCt4c'\n title='//www.youtube.com/embed/ia0ztwqCt4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the U.K., the character was then spun off into several sequels, either limited series or one-shot specials: \u003ca href=\"https://www.youtube.com/watch?v=9YeCpHoy9EQ\">\u003cem>Cunk on Shakespeare\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=MUM89s4N2BQ\">\u003cem>Cunk on Britain\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=OYQwGWYAXwM\">\u003cem>Cunk and Other Humans\u003c/em>\u003c/a>. They all have the same winning formula: Philomena is sent to real exotic locations around the world, to offer her observations and interview actual experts — all of whom are polite and befuddled in equal measure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The opening of \u003cem>Cunk on Earth\u003c/em> cuts between scenes of Philomena standing amid quiet nature and loud city streets, establishing the premise of her newest TV show. Over the show’s five episodes, she travels from Pompeii to Russia to the Pyramids in Egypt. Philomena shoots one segment in front of the \u003cem>Mona Lisa\u003c/em>, and, for another, descends into a cave to look at ancient cave paintings, just as \u003ca href=\"https://www.npr.org/2014/08/22/342471828/werner-herzog-talks-about-madmen-and-caves-in-interviews-from-fresh-air-archives\">Werner Herzog\u003c/a> did in one of his documentaries. But he was in awe. Philomena, shining her flashlight onto the crude drawings of animals and people, is so unimpressed, she turns her flashlight off.\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/5zabCBnUHLA'\n title='//www.youtube.com/embed/5zabCBnUHLA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite her lack of enthusiasm and perspective, \u003cem>Cunk on Earth\u003c/em> does contain a lot of actual information — thanks to the endlessly patient experts, who gently correct her misconceptions. Morgan’s delivery is deliciously dry, and her improv skills, reacting to what historians say in their interviews with her, are formidable. She gets a writing credit for additional material, and absolutely deserves it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em> came over from England as an oddball series and an acquired taste, and quickly grew into a cult hit. This new, wider Netflix platform for \u003cem>Cunk on Earth \u003c/em>may accomplish the same thing. It’s a terrible title — but it’s a really funny show.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Clunky+title+aside%2C+%27Cunk+on+Earth%27+is+a+mockumentary+with+cult+classic+potential&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Do You Need to Talk to Your Kids About Traumatic Events? ‘Sesame Street’ Has Some Tips",
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"content": "\u003cp>The brutal beating of Tyre Nichols by police officers in Memphis. Shootings in Monterey Park and Half Moon Bay, two of more than 50 mass shootings in the United States in the month of January alone, according to the \u003ca href=\"https://www.gunviolencearchive.org/\">Gun Violence Archive\u003c/a>.\u003c/p>\n\u003cp>But there is help from an unexpected source: \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>In 2017, Sesame Workshop, the non-profit educational organization behind \u003cem>Sesame Street\u003c/em>, started the \u003cem>\u003ca href=\"https://sesamestreetincommunities.org/\">Sesame Street in Communities\u003c/a>\u003c/em> program. Through resources like games, stories and videos featuring children’s favorite muppets, the program aimed to help parents and caregivers tackle difficult issues.\u003c/p>\n\u003cp>In one video, Elmo asks his Black friend Wes and Wes’s dad why they all have different colored skin. In another, a traumatized Big Bird \u003ca href=\"https://youtu.be/-z8UyREHqcg\">seeks comfort with a hug\u003c/a> from his friend, Alan.\u003c/p>\n\u003cp>https://youtu.be/-z8UyREHqcg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tools aren’t just for kids. \u003ca href=\"https://sesamestreetincommunities.org/activities/exploring-kids-circle-care/\">The website also includes guides \u003c/a>for those in the “circle of care.” “So it’s not only parents and caregivers,” says Jeanette Betancourt\u003cstrong>, \u003c/strong>the senior vice president for U.S. Social Impact at Sesame Workshop.\u003c/p>\n\u003cp>[aside postid='news_11764070']“It’s early childhood educators, the pediatric community, child welfare or social workers, health care workers, all the influencers on young children’s well-being.”\u003c/p>\n\u003cp>Betancourt says the program uses what they call the “Sesame Workshop Model” to develop new teaching material. It includes \u003ca href=\"https://www.sesameworkshop.org/what-we-do/research-and-innovation\">research and development in partnership with experts\u003c/a> from national partners such as the American Academy of Pediatrics or the American Psychological Association.\u003c/p>\n\u003cp>\u003cstrong>Talking about traumatic incidents\u003c/strong>\u003c/p>\n\u003cp>Betancourt believes that when talking to children about traumatic incidents, it is crucial to make them feel comfortable and secure.\u003c/p>\n\u003cp>Here are a few ways she recommends:\u003c/p>\n\u003cul>\n\u003cli>Provide safety: Assure the child that they are safe and taken care of. Offer comfort items and physical contact such as hugs or holding hands.\u003c/li>\n\u003cli>Keep routines: It’s important that the child doesn’t feel a big disruption in their life. That can mean having a meal together, reading together or simply walking.\u003c/li>\n\u003cli>Model healthy ways of coping: Children look to their parents for guidance, so adults need to practice self care and cope in a healthy way.\u003c/li>\n\u003cli>Spend time together: Activities such as playing games or reading stories together can make a child feel secure and comfortable.\u003c/li>\n\u003cli>Watch and listen: Pay attention to all signs of anxiety or discomfort. Ultimately, you know your child best and can see the change in behavior.\u003c/li>\n\u003c/ul>\n\u003cp>Although it may be helpful to use these tools to plan important conversations, Betancourt says that these conversations don’t have to be perfectly planned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In fact, the more you make it an everyday explanation, a moment when the little one asks a question or shows a sign of distress, it’s especially important to take advantage of these resources.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Do+you+need+to+talk+to+your+kids+about+traumatic+events%3F+Sesame+Street+has+some+tips&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The brutal beating of Tyre Nichols by police officers in Memphis. Shootings in Monterey Park and Half Moon Bay, two of more than 50 mass shootings in the United States in the month of January alone, according to the \u003ca href=\"https://www.gunviolencearchive.org/\">Gun Violence Archive\u003c/a>.\u003c/p>\n\u003cp>But there is help from an unexpected source: \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>In 2017, Sesame Workshop, the non-profit educational organization behind \u003cem>Sesame Street\u003c/em>, started the \u003cem>\u003ca href=\"https://sesamestreetincommunities.org/\">Sesame Street in Communities\u003c/a>\u003c/em> program. Through resources like games, stories and videos featuring children’s favorite muppets, the program aimed to help parents and caregivers tackle difficult issues.\u003c/p>\n\u003cp>In one video, Elmo asks his Black friend Wes and Wes’s dad why they all have different colored skin. In another, a traumatized Big Bird \u003ca href=\"https://youtu.be/-z8UyREHqcg\">seeks comfort with a hug\u003c/a> from his friend, Alan.\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/-z8UyREHqcg'\n title='//www.youtube.com/embed/-z8UyREHqcg'\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>The tools aren’t just for kids. \u003ca href=\"https://sesamestreetincommunities.org/activities/exploring-kids-circle-care/\">The website also includes guides \u003c/a>for those in the “circle of care.” “So it’s not only parents and caregivers,” says Jeanette Betancourt\u003cstrong>, \u003c/strong>the senior vice president for U.S. Social Impact at Sesame Workshop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s early childhood educators, the pediatric community, child welfare or social workers, health care workers, all the influencers on young children’s well-being.”\u003c/p>\n\u003cp>Betancourt says the program uses what they call the “Sesame Workshop Model” to develop new teaching material. It includes \u003ca href=\"https://www.sesameworkshop.org/what-we-do/research-and-innovation\">research and development in partnership with experts\u003c/a> from national partners such as the American Academy of Pediatrics or the American Psychological Association.\u003c/p>\n\u003cp>\u003cstrong>Talking about traumatic incidents\u003c/strong>\u003c/p>\n\u003cp>Betancourt believes that when talking to children about traumatic incidents, it is crucial to make them feel comfortable and secure.\u003c/p>\n\u003cp>Here are a few ways she recommends:\u003c/p>\n\u003cul>\n\u003cli>Provide safety: Assure the child that they are safe and taken care of. Offer comfort items and physical contact such as hugs or holding hands.\u003c/li>\n\u003cli>Keep routines: It’s important that the child doesn’t feel a big disruption in their life. That can mean having a meal together, reading together or simply walking.\u003c/li>\n\u003cli>Model healthy ways of coping: Children look to their parents for guidance, so adults need to practice self care and cope in a healthy way.\u003c/li>\n\u003cli>Spend time together: Activities such as playing games or reading stories together can make a child feel secure and comfortable.\u003c/li>\n\u003cli>Watch and listen: Pay attention to all signs of anxiety or discomfort. Ultimately, you know your child best and can see the change in behavior.\u003c/li>\n\u003c/ul>\n\u003cp>Although it may be helpful to use these tools to plan important conversations, Betancourt says that these conversations don’t have to be perfectly planned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In fact, the more you make it an everyday explanation, a moment when the little one asks a question or shows a sign of distress, it’s especially important to take advantage of these resources.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Do+you+need+to+talk+to+your+kids+about+traumatic+events%3F+Sesame+Street+has+some+tips&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "the-bay-area-was-hip-hop-before-there-was-hip-hop",
"title": "The Bay Area Was Hip-Hop Before There Was Hip-Hop",
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"headTitle": "The Bay Area Was Hip-Hop Before There Was Hip-Hop | KQED",
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"content": "\u003cfigure id=\"attachment_13924127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from upper left: Women of the Black Panther Party (BAMPFA/Pirkle Jones Foundation); the Black Resurgents (artist photo); Ntozake Shange (John Kisch Archive/Getty Images); Sun Ra in ‘Space is the Place’ (Harte Recordings); Sly Stone (CBS Records).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> This story is part of\u003c/span>\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> \u003cspan style=\"font-weight: 400\">That’s My Word\u003c/span>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>“People in the house, this is just for you/ A little rap to make you boogaloo”\u003c/em>\u003cbr>\n—The Sugarhill Gang, 1979\u003c/p>\n\u003cp>Grandmaster Caz, the Bronx pioneer who ghostwrote the Sugarhill Gang’s groundbreaking 1979 single “\u003ca href=\"https://www.youtube.com/watch?v=rKTUAESacQM\">Rapper’s Delight\u003c/a>,” once said, “Hip-hop didn’t invent anything. Hop-hop reinvented everything.”\u003c/p>\n\u003cp>That statement rings truer than ever as we approach the 50th anniversary of Kool Herc’s first party in the Bronx, where the globally influential music and culture were born. And it especially rings true here in the Bay Area.\u003c/p>\n\u003cp>Hip-hop wasn’t fully formed in 1973. In fact, it didn’t have an official name until 1982, the year the \u003ci>Village Voice\u003c/i> published a \u003ca href=\"https://digital.library.cornell.edu/catalog/ss:16057641\">profile of Zulu Nation founder Afrika Bambaataa\u003c/a>. Before Bambaataa joined the Black Spades street gang as a teenager, he hung out at the local Black Panther Information Center, and “his political leanings were encouraged by the appearance of songs like ‘Say It Loud, I’m Black and I’m Proud’ by James Brown and ‘Stand!’ by Sly and the Family Stone,” Steven Hager wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, two of the three cultural influences cited in one of the earliest known print references to hip-hop are from the Bay Area. Oh word? Say that then.\u003c/p>\n\u003cp>No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized. A thorough exploration of the Bay’s cultural and political movements of the 1960s and ’70s strongly suggests the Bay was hip-hop before there was hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg\" alt=\"illustrations of huey newton and sly stone\" width=\"800\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1020x543.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-768x409.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1536x818.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Bay Area, both Huey Newton and Sly Stone (L–R) helped sow the seeds of what would later be referred to as hip-hop. \u003ccite>(Illustrations by Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consider this: Before he became a funk superstar, Sly Stone was a fast-talking radio personality whose \u003ca href=\"https://soundcloud.com/djstef415/sly-stone-on-ksol-1967\">on-air patter\u003c/a>, laden with hep phrases, took the form of rapping before rap music. When it came to dance, the Bay Area had boogaloo, robotting and strutting, whose innovative moves preceded b-boying by almost 10 years. (There’s even evidence of breakdancing crews at local talent shows prior to nationwide releases of \u003cem>Breakin’\u003c/em> and \u003cem>Beat Street\u003c/em>.)\u003c/p>\n\u003cp>The \u003ca href=\"https://en.wikipedia.org/wiki/Wall_of_Respect\">community mural movement\u003c/a>, which parallels the \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a>, took root in the Bay before wildstyle frescoes appeared on New York subway trains. The Bay Area’s \u003ca href=\"https://legionsofboom.com/\">Filipino American mobile DJ scene\u003c/a> dates back to garage parties in the 1970s in South San Francisco and Daly City.\u003c/p>\n\u003cp>Consider also that the iconography of hip-hop was shaped by Bay Area activists, as well as street-level archetypes of badmen and tricksters whose legend became \u003ca href=\"https://www.youtube.com/watch?v=CsXK4_D6ByA\">urban folklore\u003c/a>. A key reason the Bay Area became an early adopter of hip-hop was because its culture not only anticipated its arrival, but contributed to its essence during its developmental stages.\u003c/p>\n\u003cfigure id=\"attachment_13924289\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BPP2.png\" alt=\"\" width=\"615\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2-160x216.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">A 1971 flyer for a Black Panther Party rally calling for Bobby Seale, Ericka Huggins, Angela Davis and Ruchell Magee to be freed from prison. \u003ccite>(Courtesy of Black Panther Party Alumni Legacy Network)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Black Panthers lay hip-hop’s ideological foundation\u003c/h2>\n\u003cp>Hip-hop began as an underground artform created by inner city youth with few resources, who were dynamic in how they expressed their style and identity. Much of its ideology and political viewpoints were shaped by the Black Panthers, who were founded in Oakland in 1966 and grew to 38 national chapters within two years.\u003c/p>\n\u003cp>The Black Panthers had a distinct influence on people like dancer Will “Mr. Penguin” Randolph, an early practitioner of boogaloo and co-founder of the dance crew the \u003ca href=\"https://www.blackresurgents.com/\">Black Resurgents.\u003c/a> Randolph, who grew up in East Oakland, remembers how the Panthers used culture to engage young people and push their revolutionary message.\u003c/p>\n\u003cp>“They had all these rallies with Elaine Brown and different people, and the Black Resurgents were the unofficial official dance group,” Randolph says. “And they would use us to draw the adults in to talk about the city’s plight politically. It was just phenomenal.” [aside postid='arts_13923938']\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener\">The Lumpen\u003c/a>, a Black Panther-affiliated touring funk band, spread the party’s message around the country. It’s no coincidence that groups like the Chi-Lites, the O’Jays and the Isley Brothers began to reference Panther talking points on songs like “\u003ca href=\"https://youtu.be/qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener\">Give More Power to the People\u003c/a>,” “\u003ca href=\"https://youtu.be/uebYua_vdPc\" target=\"_blank\" rel=\"noopener\">Give the People What They Want\u003c/a>” and “\u003ca href=\"https://youtu.be/8QZvoOqUkqw\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>.”\u003c/p>\n\u003cp>“You have to consider that the Black Panther ideology was steeped in, as are most cultural ideas, in the music of the day,” Randolph says. “The grittiness of the blue collar town of Oakland, and the rise of the ideology of the Black Panther Party, and the rise of the funk music of the town all came together.”\u003c/p>\n\u003cp>In the hip-hop era, children of Black Panthers like Tupac Shakur and Digital Underground’s Money B — known as “Panther cubs” — would be the ones to carry the Panthers’ vision for Black liberation forward. There’s no “\u003ca href=\"https://youtu.be/zfuF2jOeUx8\" target=\"_blank\" rel=\"noopener\">Rebel of the Underground\u003c/a>,” an early agitprop Tupac song, without the Black Panthers. No “Break the Grip of Shame,” the classic 1990 single by San Francisco rapper Paris, either.\u003c/p>\n\u003cp>https://youtu.be/HJ96GPtnH70\u003c/p>\n\u003cp>Hip-hop activism’s cornerstone issues, police reform and the prison-industrial complex, contain obvious through-lines back to the Black Panthers. In 1966, the Panthers’ manifesto, the Ten-Point Program, stated, “We Want An Immediate End to Police Brutality and the Murder of Black People,” followed by a call for “all Black People (to) be released from the many jails and prisons.”\u003c/p>\n\u003cp>N.W.A’s “Fuck Tha Police” seemed outrageous in 1989, but became prescient three years later, when LAPD officers were caught on video beating Rodney King. Political rappers like Public Enemy and KRS-One often harbored strong anti-police views, which were shared by such less-likely sources as New York’s L.L. Cool J and Houston’s UGK, on down to Vallejo’s The Mac.\u003c/p>\n\u003cp>Before the NYPD killing of Amadou Diallo inspired the Hip Hop for Respect project in 2000, the 1995 death of Aaron Williams in SFPD custody led to hip-hop activist organization Third Eye Movement protesting the SF Police Commission, and later resisting California’s Juvenile Crime initiative, Prop. 21. In 2009, Mistah F.A.B., Boots Riley and other local hip-hop artists took part in \u003ca href=\"https://www.kqed.org/arts/13847704/after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists\" target=\"_blank\" rel=\"noopener\">protests against Oscar Grant’s killing\u003c/a> by BART police.\u003c/p>\n\u003cp>More recently, the 2016 \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener\">Frisco Five\u003c/a> hunger strike, spearheaded by rapper Equipto, resulted in SFPD reform. In 2020, \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener\">graffiti artists and muralists took to the Oakland streets\u003c/a> in response to George Floyd’s murder.\u003c/p>\n\u003cp>Over the past decade, activists have rallied around the Black Lives Matter movement, and it’s no coincidence that the phrase was first coined by Black Lives Matter cofounder Alicia Garza, in Oakland, the home of the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_12159957\" class=\"wp-caption aligncenter\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/H95.18.802-398x600.jpg\" alt=\"Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802.jpg 1793w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before conscious rap, funk brought the message\u003c/h2>\n\u003cp>In the Bay Area, funk music was inextricably linked to the revolutionary movements of the 1960s. Beyond the Black Panthers were the Brown Berets, the Third World Liberation Front and the anti-Vietnam War movement, all animating young people to fight against an oppressive social order. One artist that emerged from this climate and eventually became one of hip-hop’s major influences was Sly Stone. A Vallejo-raised champion of multiculturalism and progressive social values, Sly transformed Black music during the ’60s and ’70s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/6QO0SJgNdiPaDRpwHMPySi?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sly’s records often contained social commentary that mixed the personal with the political. “Stand!” is an anthem of self-determination positing that freedom is attainable “at least in your mind if you want to be”; Sly released similarly-themed songs like “\u003ca href=\"https://youtu.be/l8sz_7TPWE0\" target=\"_blank\" rel=\"noopener\">You Can Make It If You Try\u003c/a>,” “\u003ca href=\"https://youtu.be/HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>” and “\u003ca href=\"https://youtu.be/Ruq2HJGs31g\" target=\"_blank\" rel=\"noopener\">Skin I’m In\u003c/a>.”\u003c/p>\n\u003cp>In addition to his contributions to hip-hop’s lexicon — Sly and the Family Stone’s album \u003ci>Fresh\u003c/i> predates hip-hop’s popularizing of the term by at least a decade — there’s the music itself, which has become part of hip-hop’s genetic code. According to online sample databases, Sly and The Family Stone’s music has been sampled an astounding 967 times — up there with James Brown and the Meters.\u003c/p>\n\u003cp>Greg Errico’s drums on “\u003ca href=\"https://youtu.be/42YGprrAOj0\" target=\"_blank\" rel=\"noopener\">Sing A Simple Song\u003c/a>” alone have resurfaced in gangsta, alternative and even international rap songs, including Digital Underground’s “\u003ca href=\"https://youtu.be/PBsjggc5jHM\" target=\"_blank\" rel=\"noopener\">The Humpty Dance\u003c/a>,” Tupac’s “\u003ca href=\"https://youtu.be/skg0w8DpEe4\" target=\"_blank\" rel=\"noopener\">Temptations\u003c/a>,” Public Enemy’s “\u003ca href=\"https://youtu.be/mmo3HFa2vjg\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>,” KRS-One’s “\u003ca href=\"https://youtu.be/9ZrAYxWPN6c\" target=\"_blank\" rel=\"noopener\">Sound of Da Police\u003c/a>,” A Tribe Called Quest’s “\u003ca href=\"https://youtu.be/cxN4nKk2cfk\" target=\"_blank\" rel=\"noopener\">Jazz\u003c/a>” and countless others.\u003c/p>\n\u003cp>Family Stone bassist and Oakland native Larry Graham’s slap-bass technique, prominently displayed on 1968’s “\u003ca href=\"https://youtu.be/N5BP2KlPD4U\" target=\"_blank\" rel=\"noopener\">Thank You (Falettinme Be Mice Elf Again)\u003c/a>,” became a defining characteristic of funk, later used by musicians like Bootsy Collins as well as Chic’s Bernard Edwards, whose “Good Times” bassline would later drive “Rapper’s Delight.” [pullquote size='large']No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized.[/pullquote]\u003c/p>\n\u003cp>Sly also created a template for the artist-producer and independent label entrepreneur. He produced other artists for his short-lived Stone Flower label, often playing every musical instrument. His production of Little Sister’s “Somebody’s Watching You” became the first Top 40 hit to use electronic drums — a staple of nearly all hip-hop production.\u003c/p>\n\u003cp>“I feel like particularly with Sly, [he’s] part of the whole kind of mashup of the streets and the church,” says Lateef Daumont, a Panther cub best known as hip-hop artist Lateef the Truthspeaker of the Quannum collective. “They just had all of the things that would be blueprints for hip-hop later on — even business-wise, in a lot of ways.”\u003c/p>\n\u003cp>“Sly was the integrationist,” says author and educator Cecil Brown, a Berkeley resident during the ’70s who taught at Merritt College’s former campus on Grove Street (now Martin Luther King Jr. Way) in Oakland. “Also, Sly had an element of militancy in him, too, that was \u003cem>not\u003c/em> flower power, you know? It was like, ‘We got something that is going to make us feel better, and that belongs to us.’”\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sly Stone in a still from Questlove’s new film ‘Summer of Soul.’ \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remarkably, Stone was able to cross over to the pop charts while maintaining an unapologetically Black identity. In a \u003ca href=\"https://www.youtube.com/watch?v=zDOyaGvOyPk\">1974 clip from \u003ci>The Mike Douglas Show\u003c/i>\u003c/a>, Sly is asked if his young, white middle-class fans know what he’s singing about. “Yeah, they know,” he says. Hip-hop exemplifies the same paradigm: It appeals to white youth precisely because it offers entry into a different cultural space, with its own reference points and vernacular.\u003c/p>\n\u003cp>Just as The Coup’s Boots Riley performed his song “\u003ca href=\"https://youtu.be/_2bkG0wwdXc\" target=\"_blank\" rel=\"noopener\">Underdogs\u003c/a>” during the Occupy Oakland demonstrations of 2011, Sly occasionally performed at Black Panther rallies while living in Oakland. His ear-to-the-street perspective, containing equal parts optimism and cynicism, is evidenced by the No. 1 album \u003ci>There’s A Riot Goin’ On\u003c/i>, released in 1971. As cultural critic Okla Jones wrote on the occasion of the album’s 50th anniversary, “America was a nation in transition, feeling the effects of the previous decade. The shadow of Dr. King’s assassination loomed over the Black community, and the Vietnam War divided an entire country. What Sly and the Family Stone’s fifth album did was give a voice to a new generation yearning to be heard.”\u003c/p>\n\u003cp>This dynamic — young people speaking their minds and determining their own identities through cultural expression — not only defined the early ’70s but connected the funk era to the rap era. Once you depart from the New York-centric breakbeat aesthetic, funk becomes \u003cem>the\u003c/em> defining element of hip-hop’s sound, particularly in the Southern United States and parts of the Midwest, and especially in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther funk band The Lumpen performed between 1970 and 1972; afterwards, party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before breaking, the Bay had boogaloo\u003c/h2>\n\u003cp>The dance style known as Oakland boogaloo began in the 1960s with R&B and soul as its soundtrack, but the emergence of funk raised the bar for creative expression. “The thumping of the bass and the snapping of the snare drum and the thumping of the bass drum, you started to see people doing this free-form movement, with a hit and with body contortions,” says Will Randolph, whose group the Black Resurgents once performed during a 1977 Parliament concert at the Oakland Coliseum Arena, where they emerged from the iconic mothership in front of more than 10,000 fans.\u003c/p>\n\u003cp>“When you talk about hip-hop dance, primarily people think of breaking and popping,” Randolph says. “When you talk about street dance on a nationwide level prior to hip-hop dance coming out of primarily New York, you have this whole West Coast sea of dance and street dance. The Bay Area in particular is really the debut for hip-hop.”\u003c/p>\n\u003cp>https://youtu.be/IUdS6kxw2aI\u003c/p>\n\u003cp>From the mid-1960s to the early ’70s, years before hip-hop had a name, Oakland groups like the Black Resurgents, One Plus One, the Black Messengers and Pirate and the Easy Walkers perfected moves that would become part of the hip-hop dance vernacular.\u003c/p>\n\u003cp>“What I’m saying is that boogaloo, robotting, and strutting dance styles predate hip-hop as a culture, as a name, and even hip-hop dance as an artform,” says Randolph. (In 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=QDApdzFa3OI\">U Make Me Want Some\u003c/a>,” Mac Dre’s mentor and namesake The Mac even raps: “You can do the boogaloo / Like they used to do in 1972.”)\u003c/p>\n\u003cp>As boogaloo branched off into Richmond robotting and San Francisco strutting in the mid-1970s to become the predominant form of urban youth culture in the Bay Area, dancers adopted the sartorial flamboyance associated with pimps, incorporating top hats, canes and pointy-toed shoes into their aesthetic. White gloves created a mesmerizing effect under blacklight during performances in dark halls.\u003c/p>\n\u003cp>Fueled by talent show competitions, which brought local fame and popularity, the artform continued to develop into the early ’80s. Synchronized group routines, costumes, and stage props all became part of the mix. Most routines developed for competitions were performed just once. Some groups practiced in secret so no one could steal their moves. (The Black Resurgents were an exception; they were known to practice in front of an open window, often drawing crowds from their neighborhood.)\u003c/p>\n\u003cp>Coded signals between dancers would indicate they were participants in the same culture and ready to battle at a moment’s notice, such as popping one’s collar — which later became a signature hallmark of Bay Area hip-hop expression. Being known as a boogaloo, strutter or robotter also conferred social status, and could give practitioners a ghetto pass through hostile territory or nullify threats of violence altogether.\u003c/p>\n\u003cp>As boogaloo spread in the latter half of the ’70s to San Jose, Sacramento, Fresno and Los Angeles, a move originally known as “The Oakland Hit” became the “pop,” and blended with the locking style indigenous to Southern California. Pop-locking was born.\u003c/p>\n\u003cfigure id=\"attachment_13924302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg\" alt=\"\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8.jpg 924w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents on ‘The Jay Payton Show,’ July 18, 1976. \u003ccite>(Courtesy AAMLO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the Bay Area’s contributions didn’t make the history books. In 1979, the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=rkejPbx9zSI\">appeared on \u003ci>Soul Train\u003c/i>\u003c/a> and were erroneously announced as the originators of boogaloo by host Don Cornelius. Boogaloo also spread to New York through Bay Area dancers like Jerry Rentie, who served active military duty there, but wasn’t recognized as a distinct style by New York rappers like Run-DMC, who said “let the poppers pop and the breakers break” on 1984’s “Rock Box.”\u003c/p>\n\u003cp>The Northern California origins of popping became further obscured when breakdancing arrived on the West Coast in the early ’80s, and boogaloo, strutting, robotting, popping and breaking were all subsumed into the amalgamation of hip-hop dance. In “\u003ca href=\"https://youtu.be/HshF2AOx4VM\" target=\"_blank\" rel=\"noopener\">West Coast Pop Lock\u003c/a>,” a 1982 hit for Ronnie Hudson that most know as the hook of Tupac’s “California Love,” Hudson shouts out Los Angeles, Watts and Compton — with no mention of Oakland at all.\u003c/p>\n\u003ch2>Pimp culture becomes pop culture\u003c/h2>\n\u003cp>Another key influence on hip-hop was Richard Pryor, who moved to Berkeley in 1969 and soaked up the city’s counterculture vibe. Pryor performed locally at venues like Laney College, and, similar to Tupac, key parts of his development came from the Bay Area before he moved to L.A. and became a superstar.\u003c/p>\n\u003cp>Pryor has been sampled in rap more than 400 times, which speaks to his street-level Black cultural perspective that placed more emphasis on barbershops, juke joints and strip clubs than churches and schools. And it was Pryor’s involvement in a 1973 movie, filmed in Oakland, that would cement his relationship to Bay Area hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg\" alt=\"\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-768x1168.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1920x2920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-scaled.jpg 1683w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mack, US poster, top from left: Max Julien, Richard Pryor, from a 1977 re-release of the film. \u003ccite>(Photo by LMPC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Mack\u003c/i> is ostensibly a cautionary tale about the rise and fall of a pimp named Goldie (Max Julien), yet it glorified the illegal sex trade and the flamboyant pimp lifestyle. The movie’s lead was based directly on the notorious Oakland pimp and drug dealer Frank Ward, and infamously featured several real-life pimps and sex workers, in exchange for cameo roles for Ward and his brothers.\u003c/p>\n\u003cp>In \u003cem>The Mack\u003c/em>, Pryor played Slim, Goldie’s partner. Another character, Fat Man, coincidentally had the same initials as infamous Oakland drug kingpin Felix Mitchell. With Goldie’s brother Olinga as a Panther-esque Black nationalist, the film’s subtext hints at the real-life tension between the Black Panthers and Oakland’s gangster underworld. It’s a dynamic that foreshadowed the divisions between conscious and gangsta rap, and predated the way Tupac and many Bay Area rappers mixed elements of both.\u003c/p>\n\u003cp>When Melvin Van Peebles’ directorial debut \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> was released in 1971, Panther leaders used their widely circulated newspaper to encourage Party members to see the film, which also featured the all-Black East Bay Dragons motorcycle club. “No distributors were supporting it,” says the Lumpen’s Dr. Saturu Ned, who worked in the Party’s newspaper office before he became a musician. “Because of the Black Panther Party, millions of people went to see the movie.”\u003c/p>\n\u003cp>\u003ci>Sweet Sweetback\u003c/i> birthed the so-called blaxploitation films of this era, championing a gritty view of street life with an undercurrent of anti-authoritarianism. The genre became a key reference point for hip-hop, along with the Panthers’ messages of Black power and resistance. [aside postid='arts_13923766']\u003c/p>\n\u003ch2>Hip-hop’s inspiration from the criminal underworld\u003c/h2>\n\u003cp>Without a doubt, one of hip-hop’s overarching themes has been the criminal underworld and the archetype of the pimp/player/hustler as hero and ghetto superstar. This, too, has significant ties to the Bay Area, and especially Oakland, which counts among its rap classics MC Pooh’s \u003ci>Life of a Criminal\u003c/i> and Too Short’s \u003ci>Born to Mack\u003c/i>.\u003c/p>\n\u003cp>In the Bay Area, a systemic devastation of Black neighborhoods created a formula for poverty. Blue-collar industrial jobs left after World War II, and the “urban renewal” of the ’60s and ’70s demolished homes and businesses in San Francisco as well as Oakland. For some, the underground economy became an appealing means of upward mobility.\u003c/p>\n\u003cp>Felix Mitchell operated out of the San Antonio Villa, a.k.a. 6-9 Ville, in East Oakland, which became the headquarters for the “69 Mob,” a criminal organization that established a nationwide heroin distribution network and employed young children as lookouts. The housing project’s notoriety extended well beyond Mitchell’s death in 1986: in 1992, the rapper Seagram released the single “The Ville,” which references “the M.O.B.” — an acronym for My Other Brother, the “official” name of Mitchell’s gang.\u003c/p>\n\u003cp>In the ’70s, the Black Panthers operated a school and community center just a few blocks from 6-9 Ville. This led to conflict over control of the neighborhood. Ned recalls that intakes at the community center for heroin overdoses were common, while the Black Resurgents’ Randolph, who lived nearby on Sunnyside and 82nd Avenue, remembers gun battles sometimes erupting between the two factions.\u003c/p>\n\u003cp>In the post-Felix Mitchell crack cocaine era, rapping about pimping, drug dealing, drive-by shootings and sideshows all became part of Oakland’s hip-hop lexicon — see Dru Down and the Luniz’ “Ice Cream Man,” Richie Rich’s “Sideshow” and “Half Thang,” or Dru Down’s “Pimp of the Year,” which stayed on the Billboard charts for 24 weeks and would often evoke boisterous sing-alongs when played in local clubs.\u003c/p>\n\u003cp>https://youtu.be/qnVtwzaw6lM\u003c/p>\n\u003cp>Mitchell himself had reportedly popularized drive-by shootings, becoming one of the inspirations for the Nino Brown character in the 1991 movie \u003ci>New Jack City\u003c/i>, which featured a hip-hop soundtrack.. And Mitchell’s rival, Milton “Mickey Mo” Moore, financed the first rap record to come out of the Bay Area: Motorcycle Mike’s “Super Rat.”\u003c/p>\n\u003cp>So while Philadelphia’s Schooly-D and L.A.’s Ice-T are often credited as the first gangsta rap artists, the genre has been heavily influenced by Bay Area criminal icons like Moore, Ward, Mitchell and San Francisco’s Fillmore Slim. Just like the Panthers predated conscious rap and progressive politics, the Bay basically been gangsta for years.\u003c/p>\n\u003ch2>Afrofuturism is at the heart of hip-hop’s imagination\u003c/h2>\n\u003cp>Not all hip-hop artists follow a street playbook. Nearly as influential as \u003ci>The Mack\u003c/i> was Sun Ra’s 1974 cult classic \u003ci>Space is the Place\u003c/i>, filmed at locations in Oakland, including the current Merritt College campus. Its origins date back to a 1971 \u003ca href=\"https://www.openculture.com/2014/07/full-lecture-and-reading-list-from-sun-ras-1971-uc-berkeley-course.html\">lecture course\u003c/a> given by Sun Ra at UC Berkeley, titled “The Black Man in the Cosmos.” The film’s convoluted plot depicts Ra as a time-traveling jazz musician who engages in a game of tarot with an “overseer” to decide the fate of the Black race. Ra eventually wins the contest thanks to his use of sound vibrations during a free jazz concert, boards a spaceship joined by young African Americans he’s recruited from Oakland, and travels to a better world.\u003c/p>\n\u003cp>Afrofuturistic themes in \u003ci>Space is the Place\u003c/i> not only preceded Parliament’s \u003ci>Clones of Dr. Funkenstein\u003c/i> and \u003ci>Mothership Connection\u003c/i> albums, but established a cultural precedent for those themes to be revisited by hip-hop, first in the electro-funk era, and subsequently through abstract, esoteric, spiritually and conceptually minded rappers and producers. In the Bay Area, Hieroglyphics’ Del the Funky Homosapien would imagine dystopian futures worthy of anime treatments; Blackalicious’ work would contain themes of technology as a means of liberation; and Zion I’s lyrics would reach towards spiritual enlightenment.\u003c/p>\n\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Sun Ra Archestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun Ra was part of the Black Arts Movement (BAM) of the 1960s, which began in Harlem but was grounded in the Bay Area. Influential author, writer and BAM co-founder Amiri Bakara moved from New York in 1962 to teach at San Francisco State University; in 1964, he worked with a young graphic designer named Emory Douglas on set design for a play in San Francisco. Three years later, Douglas met Bobby Seale and Huey Newton at the Black Door, a Black-operated theater known for presenting avant-garde productions, and became the Black Panther’s minister of culture.\u003c/p>\n\u003cp>Douglas’ revolutionary illustrations were featured in the Panther newspaper, and went on to influence politically-minded graffiti artists and muralists worldwide, including in San Francisco’s famed Clarion Alley. The Coup’s logo, depicting a mother carrying a child in a sling while holding a rifle, is a \u003ca href=\"http://american-studies-uea.blogspot.com/2021/05/the-art-of-emory-douglas-and-asali.html\">direct descendant of Douglas’ work\u003c/a>. And during the late ’80s, a flourishing of political graffiti around the anti-apartheid movement crested into bold statements against police brutality and Christopher Columbus by Bay Area aerosol legends Mike Dream, Spie and the TDK collective in the early ’90s.\u003c/p>\n\u003cp>Baraka later became a founding board member of Oakland’s Eastside Arts Alliance, whose annual Malcolm X Jazz Arts Festival in San Antonio Park has featured hip-hop freestyle rhyme and dance cyphers, live painting in honor of Mike Dream, tributes to boogaloo, and performances by The Coup and the Last Poets’ Umar Bin Hassan. Meanwhile, Baraka’s daughter Dominique DiPrima would become the KRON-TV host of the popular Bay Area hip-hop show \u003cem>Home Turf\u003c/em>. [aside postid='arts_13906176']\u003c/p>\n\u003ch2>Spoken word, feminism\u003c/h2>\n\u003cp>From the Black Arts Movement lineage comes a local emphasis on spoken word poetry and alternative theater. This legacy of artistic expression ultimately connects pioneering poet/playwright Ntozake Shange to the hip-hop inspired Oakland poet Chinaka Hodge, and to the field of hip-hop theater explored by Marc Bamuthi Joseph in the Bay.\u003c/p>\n\u003cp>In her 1976 choreopoem \u003cem>for colored girls who’ve considered suicide/when the rainbow is enuf\u003c/em>, first performed at a lesbian bar on Solano Avenue in Albany, Shange foreshadowed women in hip-hop’s existential struggle with sexuality, self-affirmation and self-love while dealing with misogyny, toxic relationships and Black female identity. In “No More Love Poems pt 1,” Shange’s Lady in Orange describes “being left screaming in a street full of lunatics whispering slut, \u003cem>beeitch\u003c/em>…” — pronouncing the word with the same drawn-out intonation as Too Short would a decade later.\u003c/p>\n\u003cfigure id=\"attachment_13924299\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg\" alt=\"\" width=\"801\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-768x981.jpg 768w\" sizes=\"auto, (max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Ntozake Shange in 1978. \u003ccite>(Barnard College/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These same themes are present to some degree in the music of Bay Area women in funk — a list that includes Little Sister, Sugar Pie DeSanto, the Brides of Funkenstein, and Betty Davis (who recorded her first two albums in San Francisco with Bay Area musicians). The Pointer Sisters, the Oakland group whose career began with the self-affirming hit “\u003ca href=\"https://youtu.be/F2U1OUxXSMM\" target=\"_blank\" rel=\"noopener\">Yes We Can Can\u003c/a>,” would later be referenced by Ice Cube, the Treacherous Three and Salt-n-Pepa.\u003c/p>\n\u003cp>As SF State professor and cultural anthropologist Dawn-Elissa Fischer points out, the tradition extends even further back. “Some of the ideas that Angela Davis and Patricia Collins write about in terms of the impact of blues women — when we talk about the Panthers, we want to remember, while there are obvious ties, there’s this longer tradition of posting, boasting and rapping in the work of blues women in the Bay Area and elsewhere.” The same ideas and themes of the blues era, she says, were magnified and amplified during the funk era, and again in the hip-hop era.\u003c/p>\n\u003cp>Fischer, a contributor to \u003cem>The Smithsonian Anthology of Hip-Hop and Rap\u003c/em> and an advisor on KQED’s \u003ci>That’s My Word\u003c/i>, regularly studies funk music as well as contemporary rap in her work, connecting dots between generational movements. She maintains the funky divas of the 1970s provided not only an artistic blueprint for rappers like the Conscious Daughters to talk about gender, sexuality and reproductive rights, but an aesthetic influence as well. Local emcee Coco Peila, she says, is an example of both, along with Mystic, Suga-T and Ryan Nicole.\u003c/p>\n\u003cp>In looking critically at the intersection of funk, boogaloo, and the Black Panthers, Fischer says, “There was a lot of labor, gender and sexuality components of all of these movements, and specifically various forms of Black power. And \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener\">Black women are a critical part of this paradigm\u003c/a>.”\u003c/p>\n\u003cp>The legacy of these movements is not only part of hip-hop history and American history, but Bay Area history specifically. What made these movements so significant and generational in their influence was their intersectional longevity. Funk, boogaloo, and social movements all spoke to each other throughout their existence. That dialogue has become a longer discussion with the advent of hip-hop, which, as it’s evolved, has carried along with it the aesthetics of past movements \u003cspan style=\"font-weight: 400\">—\u003c/span> be they Afros and boots, Black Power salutes, or tick-tocking robot moves over bass grooves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "In the ’60s and ’70s, the Black Panthers, boogaloo dancers and Sly Stone anticipated the arrival of hip-hop.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13924127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from upper left: Women of the Black Panther Party (BAMPFA/Pirkle Jones Foundation); the Black Resurgents (artist photo); Ntozake Shange (John Kisch Archive/Getty Images); Sun Ra in ‘Space is the Place’ (Harte Recordings); Sly Stone (CBS Records).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> This story is part of\u003c/span>\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> \u003cspan style=\"font-weight: 400\">That’s My Word\u003c/span>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>“People in the house, this is just for you/ A little rap to make you boogaloo”\u003c/em>\u003cbr>\n—The Sugarhill Gang, 1979\u003c/p>\n\u003cp>Grandmaster Caz, the Bronx pioneer who ghostwrote the Sugarhill Gang’s groundbreaking 1979 single “\u003ca href=\"https://www.youtube.com/watch?v=rKTUAESacQM\">Rapper’s Delight\u003c/a>,” once said, “Hip-hop didn’t invent anything. Hop-hop reinvented everything.”\u003c/p>\n\u003cp>That statement rings truer than ever as we approach the 50th anniversary of Kool Herc’s first party in the Bronx, where the globally influential music and culture were born. And it especially rings true here in the Bay Area.\u003c/p>\n\u003cp>Hip-hop wasn’t fully formed in 1973. In fact, it didn’t have an official name until 1982, the year the \u003ci>Village Voice\u003c/i> published a \u003ca href=\"https://digital.library.cornell.edu/catalog/ss:16057641\">profile of Zulu Nation founder Afrika Bambaataa\u003c/a>. Before Bambaataa joined the Black Spades street gang as a teenager, he hung out at the local Black Panther Information Center, and “his political leanings were encouraged by the appearance of songs like ‘Say It Loud, I’m Black and I’m Proud’ by James Brown and ‘Stand!’ by Sly and the Family Stone,” Steven Hager wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, two of the three cultural influences cited in one of the earliest known print references to hip-hop are from the Bay Area. Oh word? Say that then.\u003c/p>\n\u003cp>No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized. A thorough exploration of the Bay’s cultural and political movements of the 1960s and ’70s strongly suggests the Bay was hip-hop before there was hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg\" alt=\"illustrations of huey newton and sly stone\" width=\"800\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1020x543.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-768x409.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1536x818.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Bay Area, both Huey Newton and Sly Stone (L–R) helped sow the seeds of what would later be referred to as hip-hop. \u003ccite>(Illustrations by Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consider this: Before he became a funk superstar, Sly Stone was a fast-talking radio personality whose \u003ca href=\"https://soundcloud.com/djstef415/sly-stone-on-ksol-1967\">on-air patter\u003c/a>, laden with hep phrases, took the form of rapping before rap music. When it came to dance, the Bay Area had boogaloo, robotting and strutting, whose innovative moves preceded b-boying by almost 10 years. (There’s even evidence of breakdancing crews at local talent shows prior to nationwide releases of \u003cem>Breakin’\u003c/em> and \u003cem>Beat Street\u003c/em>.)\u003c/p>\n\u003cp>The \u003ca href=\"https://en.wikipedia.org/wiki/Wall_of_Respect\">community mural movement\u003c/a>, which parallels the \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a>, took root in the Bay before wildstyle frescoes appeared on New York subway trains. The Bay Area’s \u003ca href=\"https://legionsofboom.com/\">Filipino American mobile DJ scene\u003c/a> dates back to garage parties in the 1970s in South San Francisco and Daly City.\u003c/p>\n\u003cp>Consider also that the iconography of hip-hop was shaped by Bay Area activists, as well as street-level archetypes of badmen and tricksters whose legend became \u003ca href=\"https://www.youtube.com/watch?v=CsXK4_D6ByA\">urban folklore\u003c/a>. A key reason the Bay Area became an early adopter of hip-hop was because its culture not only anticipated its arrival, but contributed to its essence during its developmental stages.\u003c/p>\n\u003cfigure id=\"attachment_13924289\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BPP2.png\" alt=\"\" width=\"615\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2-160x216.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">A 1971 flyer for a Black Panther Party rally calling for Bobby Seale, Ericka Huggins, Angela Davis and Ruchell Magee to be freed from prison. \u003ccite>(Courtesy of Black Panther Party Alumni Legacy Network)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Black Panthers lay hip-hop’s ideological foundation\u003c/h2>\n\u003cp>Hip-hop began as an underground artform created by inner city youth with few resources, who were dynamic in how they expressed their style and identity. Much of its ideology and political viewpoints were shaped by the Black Panthers, who were founded in Oakland in 1966 and grew to 38 national chapters within two years.\u003c/p>\n\u003cp>The Black Panthers had a distinct influence on people like dancer Will “Mr. Penguin” Randolph, an early practitioner of boogaloo and co-founder of the dance crew the \u003ca href=\"https://www.blackresurgents.com/\">Black Resurgents.\u003c/a> Randolph, who grew up in East Oakland, remembers how the Panthers used culture to engage young people and push their revolutionary message.\u003c/p>\n\u003cp>“They had all these rallies with Elaine Brown and different people, and the Black Resurgents were the unofficial official dance group,” Randolph says. “And they would use us to draw the adults in to talk about the city’s plight politically. It was just phenomenal.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener\">The Lumpen\u003c/a>, a Black Panther-affiliated touring funk band, spread the party’s message around the country. It’s no coincidence that groups like the Chi-Lites, the O’Jays and the Isley Brothers began to reference Panther talking points on songs like “\u003ca href=\"https://youtu.be/qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener\">Give More Power to the People\u003c/a>,” “\u003ca href=\"https://youtu.be/uebYua_vdPc\" target=\"_blank\" rel=\"noopener\">Give the People What They Want\u003c/a>” and “\u003ca href=\"https://youtu.be/8QZvoOqUkqw\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>.”\u003c/p>\n\u003cp>“You have to consider that the Black Panther ideology was steeped in, as are most cultural ideas, in the music of the day,” Randolph says. “The grittiness of the blue collar town of Oakland, and the rise of the ideology of the Black Panther Party, and the rise of the funk music of the town all came together.”\u003c/p>\n\u003cp>In the hip-hop era, children of Black Panthers like Tupac Shakur and Digital Underground’s Money B — known as “Panther cubs” — would be the ones to carry the Panthers’ vision for Black liberation forward. There’s no “\u003ca href=\"https://youtu.be/zfuF2jOeUx8\" target=\"_blank\" rel=\"noopener\">Rebel of the Underground\u003c/a>,” an early agitprop Tupac song, without the Black Panthers. No “Break the Grip of Shame,” the classic 1990 single by San Francisco rapper Paris, either.\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/HJ96GPtnH70'\n title='//www.youtube.com/embed/HJ96GPtnH70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hip-hop activism’s cornerstone issues, police reform and the prison-industrial complex, contain obvious through-lines back to the Black Panthers. In 1966, the Panthers’ manifesto, the Ten-Point Program, stated, “We Want An Immediate End to Police Brutality and the Murder of Black People,” followed by a call for “all Black People (to) be released from the many jails and prisons.”\u003c/p>\n\u003cp>N.W.A’s “Fuck Tha Police” seemed outrageous in 1989, but became prescient three years later, when LAPD officers were caught on video beating Rodney King. Political rappers like Public Enemy and KRS-One often harbored strong anti-police views, which were shared by such less-likely sources as New York’s L.L. Cool J and Houston’s UGK, on down to Vallejo’s The Mac.\u003c/p>\n\u003cp>Before the NYPD killing of Amadou Diallo inspired the Hip Hop for Respect project in 2000, the 1995 death of Aaron Williams in SFPD custody led to hip-hop activist organization Third Eye Movement protesting the SF Police Commission, and later resisting California’s Juvenile Crime initiative, Prop. 21. In 2009, Mistah F.A.B., Boots Riley and other local hip-hop artists took part in \u003ca href=\"https://www.kqed.org/arts/13847704/after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists\" target=\"_blank\" rel=\"noopener\">protests against Oscar Grant’s killing\u003c/a> by BART police.\u003c/p>\n\u003cp>More recently, the 2016 \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener\">Frisco Five\u003c/a> hunger strike, spearheaded by rapper Equipto, resulted in SFPD reform. In 2020, \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener\">graffiti artists and muralists took to the Oakland streets\u003c/a> in response to George Floyd’s murder.\u003c/p>\n\u003cp>Over the past decade, activists have rallied around the Black Lives Matter movement, and it’s no coincidence that the phrase was first coined by Black Lives Matter cofounder Alicia Garza, in Oakland, the home of the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_12159957\" class=\"wp-caption aligncenter\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/H95.18.802-398x600.jpg\" alt=\"Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802.jpg 1793w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before conscious rap, funk brought the message\u003c/h2>\n\u003cp>In the Bay Area, funk music was inextricably linked to the revolutionary movements of the 1960s. Beyond the Black Panthers were the Brown Berets, the Third World Liberation Front and the anti-Vietnam War movement, all animating young people to fight against an oppressive social order. One artist that emerged from this climate and eventually became one of hip-hop’s major influences was Sly Stone. A Vallejo-raised champion of multiculturalism and progressive social values, Sly transformed Black music during the ’60s and ’70s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/6QO0SJgNdiPaDRpwHMPySi?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sly’s records often contained social commentary that mixed the personal with the political. “Stand!” is an anthem of self-determination positing that freedom is attainable “at least in your mind if you want to be”; Sly released similarly-themed songs like “\u003ca href=\"https://youtu.be/l8sz_7TPWE0\" target=\"_blank\" rel=\"noopener\">You Can Make It If You Try\u003c/a>,” “\u003ca href=\"https://youtu.be/HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>” and “\u003ca href=\"https://youtu.be/Ruq2HJGs31g\" target=\"_blank\" rel=\"noopener\">Skin I’m In\u003c/a>.”\u003c/p>\n\u003cp>In addition to his contributions to hip-hop’s lexicon — Sly and the Family Stone’s album \u003ci>Fresh\u003c/i> predates hip-hop’s popularizing of the term by at least a decade — there’s the music itself, which has become part of hip-hop’s genetic code. According to online sample databases, Sly and The Family Stone’s music has been sampled an astounding 967 times — up there with James Brown and the Meters.\u003c/p>\n\u003cp>Greg Errico’s drums on “\u003ca href=\"https://youtu.be/42YGprrAOj0\" target=\"_blank\" rel=\"noopener\">Sing A Simple Song\u003c/a>” alone have resurfaced in gangsta, alternative and even international rap songs, including Digital Underground’s “\u003ca href=\"https://youtu.be/PBsjggc5jHM\" target=\"_blank\" rel=\"noopener\">The Humpty Dance\u003c/a>,” Tupac’s “\u003ca href=\"https://youtu.be/skg0w8DpEe4\" target=\"_blank\" rel=\"noopener\">Temptations\u003c/a>,” Public Enemy’s “\u003ca href=\"https://youtu.be/mmo3HFa2vjg\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>,” KRS-One’s “\u003ca href=\"https://youtu.be/9ZrAYxWPN6c\" target=\"_blank\" rel=\"noopener\">Sound of Da Police\u003c/a>,” A Tribe Called Quest’s “\u003ca href=\"https://youtu.be/cxN4nKk2cfk\" target=\"_blank\" rel=\"noopener\">Jazz\u003c/a>” and countless others.\u003c/p>\n\u003cp>Family Stone bassist and Oakland native Larry Graham’s slap-bass technique, prominently displayed on 1968’s “\u003ca href=\"https://youtu.be/N5BP2KlPD4U\" target=\"_blank\" rel=\"noopener\">Thank You (Falettinme Be Mice Elf Again)\u003c/a>,” became a defining characteristic of funk, later used by musicians like Bootsy Collins as well as Chic’s Bernard Edwards, whose “Good Times” bassline would later drive “Rapper’s Delight.” \u003c/p>\u003c/div>",
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"content": "No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sly also created a template for the artist-producer and independent label entrepreneur. He produced other artists for his short-lived Stone Flower label, often playing every musical instrument. His production of Little Sister’s “Somebody’s Watching You” became the first Top 40 hit to use electronic drums — a staple of nearly all hip-hop production.\u003c/p>\n\u003cp>“I feel like particularly with Sly, [he’s] part of the whole kind of mashup of the streets and the church,” says Lateef Daumont, a Panther cub best known as hip-hop artist Lateef the Truthspeaker of the Quannum collective. “They just had all of the things that would be blueprints for hip-hop later on — even business-wise, in a lot of ways.”\u003c/p>\n\u003cp>“Sly was the integrationist,” says author and educator Cecil Brown, a Berkeley resident during the ’70s who taught at Merritt College’s former campus on Grove Street (now Martin Luther King Jr. Way) in Oakland. “Also, Sly had an element of militancy in him, too, that was \u003cem>not\u003c/em> flower power, you know? It was like, ‘We got something that is going to make us feel better, and that belongs to us.’”\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sly Stone in a still from Questlove’s new film ‘Summer of Soul.’ \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remarkably, Stone was able to cross over to the pop charts while maintaining an unapologetically Black identity. In a \u003ca href=\"https://www.youtube.com/watch?v=zDOyaGvOyPk\">1974 clip from \u003ci>The Mike Douglas Show\u003c/i>\u003c/a>, Sly is asked if his young, white middle-class fans know what he’s singing about. “Yeah, they know,” he says. Hip-hop exemplifies the same paradigm: It appeals to white youth precisely because it offers entry into a different cultural space, with its own reference points and vernacular.\u003c/p>\n\u003cp>Just as The Coup’s Boots Riley performed his song “\u003ca href=\"https://youtu.be/_2bkG0wwdXc\" target=\"_blank\" rel=\"noopener\">Underdogs\u003c/a>” during the Occupy Oakland demonstrations of 2011, Sly occasionally performed at Black Panther rallies while living in Oakland. His ear-to-the-street perspective, containing equal parts optimism and cynicism, is evidenced by the No. 1 album \u003ci>There’s A Riot Goin’ On\u003c/i>, released in 1971. As cultural critic Okla Jones wrote on the occasion of the album’s 50th anniversary, “America was a nation in transition, feeling the effects of the previous decade. The shadow of Dr. King’s assassination loomed over the Black community, and the Vietnam War divided an entire country. What Sly and the Family Stone’s fifth album did was give a voice to a new generation yearning to be heard.”\u003c/p>\n\u003cp>This dynamic — young people speaking their minds and determining their own identities through cultural expression — not only defined the early ’70s but connected the funk era to the rap era. Once you depart from the New York-centric breakbeat aesthetic, funk becomes \u003cem>the\u003c/em> defining element of hip-hop’s sound, particularly in the Southern United States and parts of the Midwest, and especially in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther funk band The Lumpen performed between 1970 and 1972; afterwards, party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before breaking, the Bay had boogaloo\u003c/h2>\n\u003cp>The dance style known as Oakland boogaloo began in the 1960s with R&B and soul as its soundtrack, but the emergence of funk raised the bar for creative expression. “The thumping of the bass and the snapping of the snare drum and the thumping of the bass drum, you started to see people doing this free-form movement, with a hit and with body contortions,” says Will Randolph, whose group the Black Resurgents once performed during a 1977 Parliament concert at the Oakland Coliseum Arena, where they emerged from the iconic mothership in front of more than 10,000 fans.\u003c/p>\n\u003cp>“When you talk about hip-hop dance, primarily people think of breaking and popping,” Randolph says. “When you talk about street dance on a nationwide level prior to hip-hop dance coming out of primarily New York, you have this whole West Coast sea of dance and street dance. The Bay Area in particular is really the debut for hip-hop.”\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/IUdS6kxw2aI'\n title='//www.youtube.com/embed/IUdS6kxw2aI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the mid-1960s to the early ’70s, years before hip-hop had a name, Oakland groups like the Black Resurgents, One Plus One, the Black Messengers and Pirate and the Easy Walkers perfected moves that would become part of the hip-hop dance vernacular.\u003c/p>\n\u003cp>“What I’m saying is that boogaloo, robotting, and strutting dance styles predate hip-hop as a culture, as a name, and even hip-hop dance as an artform,” says Randolph. (In 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=QDApdzFa3OI\">U Make Me Want Some\u003c/a>,” Mac Dre’s mentor and namesake The Mac even raps: “You can do the boogaloo / Like they used to do in 1972.”)\u003c/p>\n\u003cp>As boogaloo branched off into Richmond robotting and San Francisco strutting in the mid-1970s to become the predominant form of urban youth culture in the Bay Area, dancers adopted the sartorial flamboyance associated with pimps, incorporating top hats, canes and pointy-toed shoes into their aesthetic. White gloves created a mesmerizing effect under blacklight during performances in dark halls.\u003c/p>\n\u003cp>Fueled by talent show competitions, which brought local fame and popularity, the artform continued to develop into the early ’80s. Synchronized group routines, costumes, and stage props all became part of the mix. Most routines developed for competitions were performed just once. Some groups practiced in secret so no one could steal their moves. (The Black Resurgents were an exception; they were known to practice in front of an open window, often drawing crowds from their neighborhood.)\u003c/p>\n\u003cp>Coded signals between dancers would indicate they were participants in the same culture and ready to battle at a moment’s notice, such as popping one’s collar — which later became a signature hallmark of Bay Area hip-hop expression. Being known as a boogaloo, strutter or robotter also conferred social status, and could give practitioners a ghetto pass through hostile territory or nullify threats of violence altogether.\u003c/p>\n\u003cp>As boogaloo spread in the latter half of the ’70s to San Jose, Sacramento, Fresno and Los Angeles, a move originally known as “The Oakland Hit” became the “pop,” and blended with the locking style indigenous to Southern California. Pop-locking was born.\u003c/p>\n\u003cfigure id=\"attachment_13924302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg\" alt=\"\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8.jpg 924w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents on ‘The Jay Payton Show,’ July 18, 1976. \u003ccite>(Courtesy AAMLO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the Bay Area’s contributions didn’t make the history books. In 1979, the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=rkejPbx9zSI\">appeared on \u003ci>Soul Train\u003c/i>\u003c/a> and were erroneously announced as the originators of boogaloo by host Don Cornelius. Boogaloo also spread to New York through Bay Area dancers like Jerry Rentie, who served active military duty there, but wasn’t recognized as a distinct style by New York rappers like Run-DMC, who said “let the poppers pop and the breakers break” on 1984’s “Rock Box.”\u003c/p>\n\u003cp>The Northern California origins of popping became further obscured when breakdancing arrived on the West Coast in the early ’80s, and boogaloo, strutting, robotting, popping and breaking were all subsumed into the amalgamation of hip-hop dance. In “\u003ca href=\"https://youtu.be/HshF2AOx4VM\" target=\"_blank\" rel=\"noopener\">West Coast Pop Lock\u003c/a>,” a 1982 hit for Ronnie Hudson that most know as the hook of Tupac’s “California Love,” Hudson shouts out Los Angeles, Watts and Compton — with no mention of Oakland at all.\u003c/p>\n\u003ch2>Pimp culture becomes pop culture\u003c/h2>\n\u003cp>Another key influence on hip-hop was Richard Pryor, who moved to Berkeley in 1969 and soaked up the city’s counterculture vibe. Pryor performed locally at venues like Laney College, and, similar to Tupac, key parts of his development came from the Bay Area before he moved to L.A. and became a superstar.\u003c/p>\n\u003cp>Pryor has been sampled in rap more than 400 times, which speaks to his street-level Black cultural perspective that placed more emphasis on barbershops, juke joints and strip clubs than churches and schools. And it was Pryor’s involvement in a 1973 movie, filmed in Oakland, that would cement his relationship to Bay Area hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg\" alt=\"\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-768x1168.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1920x2920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-scaled.jpg 1683w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mack, US poster, top from left: Max Julien, Richard Pryor, from a 1977 re-release of the film. \u003ccite>(Photo by LMPC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Mack\u003c/i> is ostensibly a cautionary tale about the rise and fall of a pimp named Goldie (Max Julien), yet it glorified the illegal sex trade and the flamboyant pimp lifestyle. The movie’s lead was based directly on the notorious Oakland pimp and drug dealer Frank Ward, and infamously featured several real-life pimps and sex workers, in exchange for cameo roles for Ward and his brothers.\u003c/p>\n\u003cp>In \u003cem>The Mack\u003c/em>, Pryor played Slim, Goldie’s partner. Another character, Fat Man, coincidentally had the same initials as infamous Oakland drug kingpin Felix Mitchell. With Goldie’s brother Olinga as a Panther-esque Black nationalist, the film’s subtext hints at the real-life tension between the Black Panthers and Oakland’s gangster underworld. It’s a dynamic that foreshadowed the divisions between conscious and gangsta rap, and predated the way Tupac and many Bay Area rappers mixed elements of both.\u003c/p>\n\u003cp>When Melvin Van Peebles’ directorial debut \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> was released in 1971, Panther leaders used their widely circulated newspaper to encourage Party members to see the film, which also featured the all-Black East Bay Dragons motorcycle club. “No distributors were supporting it,” says the Lumpen’s Dr. Saturu Ned, who worked in the Party’s newspaper office before he became a musician. “Because of the Black Panther Party, millions of people went to see the movie.”\u003c/p>\n\u003cp>\u003ci>Sweet Sweetback\u003c/i> birthed the so-called blaxploitation films of this era, championing a gritty view of street life with an undercurrent of anti-authoritarianism. The genre became a key reference point for hip-hop, along with the Panthers’ messages of Black power and resistance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Hip-hop’s inspiration from the criminal underworld\u003c/h2>\n\u003cp>Without a doubt, one of hip-hop’s overarching themes has been the criminal underworld and the archetype of the pimp/player/hustler as hero and ghetto superstar. This, too, has significant ties to the Bay Area, and especially Oakland, which counts among its rap classics MC Pooh’s \u003ci>Life of a Criminal\u003c/i> and Too Short’s \u003ci>Born to Mack\u003c/i>.\u003c/p>\n\u003cp>In the Bay Area, a systemic devastation of Black neighborhoods created a formula for poverty. Blue-collar industrial jobs left after World War II, and the “urban renewal” of the ’60s and ’70s demolished homes and businesses in San Francisco as well as Oakland. For some, the underground economy became an appealing means of upward mobility.\u003c/p>\n\u003cp>Felix Mitchell operated out of the San Antonio Villa, a.k.a. 6-9 Ville, in East Oakland, which became the headquarters for the “69 Mob,” a criminal organization that established a nationwide heroin distribution network and employed young children as lookouts. The housing project’s notoriety extended well beyond Mitchell’s death in 1986: in 1992, the rapper Seagram released the single “The Ville,” which references “the M.O.B.” — an acronym for My Other Brother, the “official” name of Mitchell’s gang.\u003c/p>\n\u003cp>In the ’70s, the Black Panthers operated a school and community center just a few blocks from 6-9 Ville. This led to conflict over control of the neighborhood. Ned recalls that intakes at the community center for heroin overdoses were common, while the Black Resurgents’ Randolph, who lived nearby on Sunnyside and 82nd Avenue, remembers gun battles sometimes erupting between the two factions.\u003c/p>\n\u003cp>In the post-Felix Mitchell crack cocaine era, rapping about pimping, drug dealing, drive-by shootings and sideshows all became part of Oakland’s hip-hop lexicon — see Dru Down and the Luniz’ “Ice Cream Man,” Richie Rich’s “Sideshow” and “Half Thang,” or Dru Down’s “Pimp of the Year,” which stayed on the Billboard charts for 24 weeks and would often evoke boisterous sing-alongs when played in local clubs.\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/qnVtwzaw6lM'\n title='//www.youtube.com/embed/qnVtwzaw6lM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mitchell himself had reportedly popularized drive-by shootings, becoming one of the inspirations for the Nino Brown character in the 1991 movie \u003ci>New Jack City\u003c/i>, which featured a hip-hop soundtrack.. And Mitchell’s rival, Milton “Mickey Mo” Moore, financed the first rap record to come out of the Bay Area: Motorcycle Mike’s “Super Rat.”\u003c/p>\n\u003cp>So while Philadelphia’s Schooly-D and L.A.’s Ice-T are often credited as the first gangsta rap artists, the genre has been heavily influenced by Bay Area criminal icons like Moore, Ward, Mitchell and San Francisco’s Fillmore Slim. Just like the Panthers predated conscious rap and progressive politics, the Bay basically been gangsta for years.\u003c/p>\n\u003ch2>Afrofuturism is at the heart of hip-hop’s imagination\u003c/h2>\n\u003cp>Not all hip-hop artists follow a street playbook. Nearly as influential as \u003ci>The Mack\u003c/i> was Sun Ra’s 1974 cult classic \u003ci>Space is the Place\u003c/i>, filmed at locations in Oakland, including the current Merritt College campus. Its origins date back to a 1971 \u003ca href=\"https://www.openculture.com/2014/07/full-lecture-and-reading-list-from-sun-ras-1971-uc-berkeley-course.html\">lecture course\u003c/a> given by Sun Ra at UC Berkeley, titled “The Black Man in the Cosmos.” The film’s convoluted plot depicts Ra as a time-traveling jazz musician who engages in a game of tarot with an “overseer” to decide the fate of the Black race. Ra eventually wins the contest thanks to his use of sound vibrations during a free jazz concert, boards a spaceship joined by young African Americans he’s recruited from Oakland, and travels to a better world.\u003c/p>\n\u003cp>Afrofuturistic themes in \u003ci>Space is the Place\u003c/i> not only preceded Parliament’s \u003ci>Clones of Dr. Funkenstein\u003c/i> and \u003ci>Mothership Connection\u003c/i> albums, but established a cultural precedent for those themes to be revisited by hip-hop, first in the electro-funk era, and subsequently through abstract, esoteric, spiritually and conceptually minded rappers and producers. In the Bay Area, Hieroglyphics’ Del the Funky Homosapien would imagine dystopian futures worthy of anime treatments; Blackalicious’ work would contain themes of technology as a means of liberation; and Zion I’s lyrics would reach towards spiritual enlightenment.\u003c/p>\n\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Sun Ra Archestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun Ra was part of the Black Arts Movement (BAM) of the 1960s, which began in Harlem but was grounded in the Bay Area. Influential author, writer and BAM co-founder Amiri Bakara moved from New York in 1962 to teach at San Francisco State University; in 1964, he worked with a young graphic designer named Emory Douglas on set design for a play in San Francisco. Three years later, Douglas met Bobby Seale and Huey Newton at the Black Door, a Black-operated theater known for presenting avant-garde productions, and became the Black Panther’s minister of culture.\u003c/p>\n\u003cp>Douglas’ revolutionary illustrations were featured in the Panther newspaper, and went on to influence politically-minded graffiti artists and muralists worldwide, including in San Francisco’s famed Clarion Alley. The Coup’s logo, depicting a mother carrying a child in a sling while holding a rifle, is a \u003ca href=\"http://american-studies-uea.blogspot.com/2021/05/the-art-of-emory-douglas-and-asali.html\">direct descendant of Douglas’ work\u003c/a>. And during the late ’80s, a flourishing of political graffiti around the anti-apartheid movement crested into bold statements against police brutality and Christopher Columbus by Bay Area aerosol legends Mike Dream, Spie and the TDK collective in the early ’90s.\u003c/p>\n\u003cp>Baraka later became a founding board member of Oakland’s Eastside Arts Alliance, whose annual Malcolm X Jazz Arts Festival in San Antonio Park has featured hip-hop freestyle rhyme and dance cyphers, live painting in honor of Mike Dream, tributes to boogaloo, and performances by The Coup and the Last Poets’ Umar Bin Hassan. Meanwhile, Baraka’s daughter Dominique DiPrima would become the KRON-TV host of the popular Bay Area hip-hop show \u003cem>Home Turf\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Spoken word, feminism\u003c/h2>\n\u003cp>From the Black Arts Movement lineage comes a local emphasis on spoken word poetry and alternative theater. This legacy of artistic expression ultimately connects pioneering poet/playwright Ntozake Shange to the hip-hop inspired Oakland poet Chinaka Hodge, and to the field of hip-hop theater explored by Marc Bamuthi Joseph in the Bay.\u003c/p>\n\u003cp>In her 1976 choreopoem \u003cem>for colored girls who’ve considered suicide/when the rainbow is enuf\u003c/em>, first performed at a lesbian bar on Solano Avenue in Albany, Shange foreshadowed women in hip-hop’s existential struggle with sexuality, self-affirmation and self-love while dealing with misogyny, toxic relationships and Black female identity. In “No More Love Poems pt 1,” Shange’s Lady in Orange describes “being left screaming in a street full of lunatics whispering slut, \u003cem>beeitch\u003c/em>…” — pronouncing the word with the same drawn-out intonation as Too Short would a decade later.\u003c/p>\n\u003cfigure id=\"attachment_13924299\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg\" alt=\"\" width=\"801\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-768x981.jpg 768w\" sizes=\"auto, (max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Ntozake Shange in 1978. \u003ccite>(Barnard College/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These same themes are present to some degree in the music of Bay Area women in funk — a list that includes Little Sister, Sugar Pie DeSanto, the Brides of Funkenstein, and Betty Davis (who recorded her first two albums in San Francisco with Bay Area musicians). The Pointer Sisters, the Oakland group whose career began with the self-affirming hit “\u003ca href=\"https://youtu.be/F2U1OUxXSMM\" target=\"_blank\" rel=\"noopener\">Yes We Can Can\u003c/a>,” would later be referenced by Ice Cube, the Treacherous Three and Salt-n-Pepa.\u003c/p>\n\u003cp>As SF State professor and cultural anthropologist Dawn-Elissa Fischer points out, the tradition extends even further back. “Some of the ideas that Angela Davis and Patricia Collins write about in terms of the impact of blues women — when we talk about the Panthers, we want to remember, while there are obvious ties, there’s this longer tradition of posting, boasting and rapping in the work of blues women in the Bay Area and elsewhere.” The same ideas and themes of the blues era, she says, were magnified and amplified during the funk era, and again in the hip-hop era.\u003c/p>\n\u003cp>Fischer, a contributor to \u003cem>The Smithsonian Anthology of Hip-Hop and Rap\u003c/em> and an advisor on KQED’s \u003ci>That’s My Word\u003c/i>, regularly studies funk music as well as contemporary rap in her work, connecting dots between generational movements. She maintains the funky divas of the 1970s provided not only an artistic blueprint for rappers like the Conscious Daughters to talk about gender, sexuality and reproductive rights, but an aesthetic influence as well. Local emcee Coco Peila, she says, is an example of both, along with Mystic, Suga-T and Ryan Nicole.\u003c/p>\n\u003cp>In looking critically at the intersection of funk, boogaloo, and the Black Panthers, Fischer says, “There was a lot of labor, gender and sexuality components of all of these movements, and specifically various forms of Black power. And \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener\">Black women are a critical part of this paradigm\u003c/a>.”\u003c/p>\n\u003cp>The legacy of these movements is not only part of hip-hop history and American history, but Bay Area history specifically. What made these movements so significant and generational in their influence was their intersectional longevity. Funk, boogaloo, and social movements all spoke to each other throughout their existence. That dialogue has become a longer discussion with the advent of hip-hop, which, as it’s evolved, has carried along with it the aesthetics of past movements \u003cspan style=\"font-weight: 400\">—\u003c/span> be they Afros and boots, Black Power salutes, or tick-tocking robot moves over bass grooves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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