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"title": "‘Swarm’ is About How We’re Doing Fandom Wrong",
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"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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"excerpt": "The bizarre new thriller created by Janine Nabers and Donald Glover serves as a spikey admonishment of celebrity worship.",
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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>\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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"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>\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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"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>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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/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",
"headTitle": "‘The 12th Victim’ Dissects the Heart of an American Tragedy | KQED",
"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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"title": "‘Dear Edward’ Tugs — and Tugs, and Tugs — at Your Heartstrings",
"headTitle": "‘Dear Edward’ Tugs — and Tugs, and Tugs — at Your Heartstrings | KQED",
"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",
"headTitle": "Clunky Title Aside, ‘Cunk on Earth’ is a Mockumentary With Cult Classic Potential | KQED",
"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>\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>\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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"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>“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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"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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"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": "\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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"title": "‘Fleishman Is in Trouble’ Is a Trojan Horse for Women’s Stories, Says Lizzy Caplan",
"headTitle": "‘Fleishman Is in Trouble’ Is a Trojan Horse for Women’s Stories, Says Lizzy Caplan | KQED",
"content": "\u003cp>At first glance, the series \u003cem>Fleishman is in Trouble \u003c/em>seems to be a story about a divorced dad (Jesse Eisenberg) navigating single parenthood and the mid-life dating scene. But right away there’s a clue that things are not as straightforward as they seem: The series is narrated not by Toby Fleishman, but his old college friend, Libby, played by Lizzy Caplan.\u003c/p>\n\u003cp>Caplan likens the series, which is based on \u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\">the novel \u003c/a>by showrunner\u003ca href=\"https://www.npr.org/2023/01/11/1147818087/fleishman-is-in-trouble-taffy-brodesser-akner\"> Taffy Brodesser-Akner\u003c/a>, to a Trojan horse: “You think that you’re watching this story about a man getting divorced, figuring out dating apps, and you’re really not watching that story at all.”\u003c/p>\n\u003cp>[aside postid='pop_997']Over the course of the series’ eight episodes, the story shifts its focus, so that by the end, in addition to seeing things from Toby’s point of view, we also hear from Libby and from Toby’s ex-wife Rachel, played by Claire Danes. Caplan says the structuring was deliberate.\u003c/p>\n\u003cp>“It’s a sad truth … which is: I don’t know if this show would have been watched by as many people if it was about a woman [Rachel] going through horrific postpartum depression and anxiety, and another woman [Libby] having sort of a slower burn mid-life crisis,” Caplan says. “I think that immediately turns off a lot of male viewers and honestly, a lot of female viewers as well.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2jyBu4xGeH4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Caplan’s first acting job ever was in the 1999 high school drama, \u003cem>Freaks and Geeks\u003c/em>. More recently she was nominated for an Emmy for her role as a sex researcher in the Showtime series, \u003cem>Masters of Sex.\u003c/em> Libby, her character on \u003cem>Fleishman is in Trouble, \u003c/em>is a former magazine writer who’s become a suburban stay-at-home mom. Libby’s struggling with marriage, motherhood and identity — and mourning the loss of her own youth and potential. Caplan began shooting \u003cem>Fleishman \u003c/em>shortly after becoming a mother herself, which made Libby’s struggles even more resonant.\u003c/p>\n\u003cp>“It was just a lucky break to get to do this show at the dawn of my own motherhood,” she says. “The curtain was being ripped away on a daily basis for me, especially in those first three months, as I think it is for many new mothers.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On being stuck auditioning for the same female archetypes earlier in her career \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13920514']I feel like the roles for women, especially in television, they just get more interesting … as I’ve gotten older. But I know that is certainly not something that everybody feels. I know that I’m lucky to feel that way. But I definitely remember when I was younger and auditioning for a lot of this high school stuff or some early-twenties stuff and the male roles were always better. They always got to do the more fun stuff. And you were sort of relegated to a few different archetypes as a girl, especially back then. It has changed a lot, I see. A lot of the teen shows now, there is a shift, but there was the hot popular girl, there was the nerd. There was, like, the alternative best friend, which was very much my lane for a while. And I was very fortunate to be in some projects that kind of skewered the archetypal nature of those things. But for the most part, the things I auditioned for, certainly I remember asking many times when I was younger, like, “Can I audition for the guy part? Is there any way? There’s no reason why this character has to be a guy. It can be a girl.” And I certainly had nowhere near enough clout in the business for anybody to do anything other than laugh at that request.\u003c/p>\n\u003cp>\u003cstrong>On losing her mother when she was 13 and turning to acting in her grief \u003c/strong>\u003c/p>\n\u003cp>I had no idea how to process my mother’s death. It took me many, many years, but I knew that it gave me a darkness that in my mind was a requirement for being an actor, or the kind of actor I wanted to be. I needed to have this inner pain in order to do it. I remember going to an acting class and auditing it when I was 16 years old, and it was in Hollywood. It was a pretty prestigious acting class and it was full of 100 people in it and it went really late, till 1:00 a.m. And I stayed there and I watched it the whole time. And then I met with the teacher afterwards to see if I could join the class. And she looked at me and asked me how old I was, and I said I was 16. And she said, “You haven’t had any life experience. You can’t be in this class,” and booted me out. And that moment, it’s so crystallized in my brain because I remember feeling like, ‘Oh, no, this is the community that’s supposed to see these things in me — that I do have the depth that is required to be in this class — but you just see some dumb little teenager who hasn’t been through anything.’ When the reality was I had been through what is still the most monumental tragedy of my life.\u003c/p>\n\u003cp>\u003cstrong>On her first role in the series \u003c/strong>\u003cstrong>\u003cem>Freaks and Geeks\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Little did I know that “critically acclaimed and short-lived” would describe the vast majority of my future projects. The experience itself was very overwhelming … just stepping into this completely different universe that I had no idea about. I grew up in L.A., but I had never been on a movie set before. I didn’t know how any of it worked. I didn’t know about marks on the ground and coverage and close ups and how long everything was going to take and hair and makeup and how many outfits I’d have to try on for this one line that I was going to say.\u003c/p>\n\u003cp>I remember … just looking in the mirror for hours, just reciting this one line over and over and over and over again and being terrified and just in love with the idea of this moving village with these hundreds of people all working towards this goal together, but also feeling, again, completely overwhelmed, very shy, not bonding in any way with any of my castmates or anybody. I look back at that experience and it was just honestly pure luck to end up on a show that ended up being so loved and so respected for so many years, because I really did audition for all kinds of nonsense, and just that was the first place that picked me. But it wasn’t a fun experience for me. It was mostly just scary.\u003c/p>\n\u003cp>\u003cstrong>On her break-out role in 2004’s \u003c/strong>\u003cstrong>\u003cem>Mean Girls \u003c/em>\u003c/strong>\u003cstrong>as “alternative” girl Janis Ian\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921477']All I knew was that it was the funniest script I had ever read and I would do anything to be in it. And then the making of that was so fun. We were in Toronto and young and living in this hotel together, and it was just a wonderful experience. And then it did well when it first opened. And so I thought that meant that I was off to the races. And that is certainly not what happened. I didn’t work after that for a year. I didn’t really understand how I could be in something that seemed to be successful and none of that success seemed to be rubbing off on me. So I did what most actresses in the early aughts did and got a spray tan and dyed my hair blond and just joined a show [\u003cem>Related\u003c/em>] on the WB network. That felt like the antidote.\u003c/p>\n\u003cfigure id=\"attachment_13924497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg\" alt=\"A young woman with pale skin, wearing black eye make-up, a studded bracelet and a sleeveless denim jacket sits at a kitchen table, pen in hand.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The making of that was so fun,” Caplan says of the 2004 film ‘Mean Girls.’ \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On relating to the characters in\u003c/strong> \u003cstrong>the 2009 Starz sitcom\u003c/strong>\u003cstrong>\u003cem> Party Down\u003c/em>\u003c/strong>\u003cstrong>, which was about struggling actors working as catering servers\u003c/strong>\u003c/p>\n\u003cp>I remember very vividly catering the \u003cem>Being John Malkovich\u003c/em> premiere party and walking around with a tray of passed apps and none of these people looking me in the eye at all. I was just, like, a tray that moved, and feeling those feelings that all the characters in \u003cem>Party Down\u003c/em> were feeling, which was basically like, “Oh, you don’t know who I am now, but you just wait!” I actually think there’s like two schools of thought for actors: One, when you’re starting to come up, one group takes rejection and internalizes it and believes it to be true. All the things that they say about them, that they’re not funny enough, pretty enough, whatever. And then the other school, the other group feels like, this is just ammo for me and this is just fueling my inner fire and I’m going to prove all of you guys wrong and you just wait and see! And like I, for whatever reason, fell into the second group and every rejection, I like to imagine it making me stronger and angrier and more determined.\u003c/p>\n\u003cp>\u003cstrong>On how filming sex scenes has changed so much now with intimacy coordinators \u003c/strong>\u003c/p>\n\u003cp>So much [has changed]. Which is wonderful, especially for the young people starting out, for the young actresses that don’t yet feel powerful enough to speak up on set, because it’s a very intimidating place to be when you’re young and new. So [with my first time doing a sex scene in] \u003cem>True Blood\u003c/em>, it would never happen like that again now, where I was just, like, drinking vodka at 7:00 in the morning to try to build up the courage to do this. And they were wonderful on that set. I’m very, very fortunate. I never found myself in a situation doing any of these jobs where I felt unsafe or pressured into anything. And so I’m not really even the person the intimacy coordinator is there for. They’re there for the people that are having a very different experience. \u003cem>Masters of Sex\u003c/em>, definitely no intimacy coordinator. And it’s like a completely different time because since then I have worked on shows where there have been intimacy coordinators and there’s this whole other step that just didn’t exist at all back then.\u003c/p>\n\u003cp>\u003cstrong>On starring in a reimagining of the 1987 film \u003c/strong>\u003cstrong>\u003cem>Fatal Attraction \u003c/em>\u003c/strong>\u003cstrong>(coming April 2023 on Paramount+)\u003c/strong>\u003c/p>\n\u003cp>It’s important to note that I love the movie \u003cem>Fatal Attraction\u003c/em>. I think it’s wonderful. I think it holds up in so many ways. It’s still scary. It’s still exciting. It’s still very sexy. The performances are incredible. It looks beautiful. I love the film. But when you watch even the film now, I find, as an audience member, it’s really difficult to see it in the same way that audiences saw it in 1987.\u003c/p>\n\u003cp>[aside postid='pop_105090']In 1987, you go to a movie about a married man, who’s married with a child who has this torrid weekend-long affair, [and] everything obviously goes haywire. [The other woman] becomes obsessed with him and we walk away feeling like that woman was evil, horrible, despicable, deserved to die. This poor man who made this one little mistake deserves nothing more than to ride off into the sunset with his wife and child. Thank God he prevailed against this horrible woman!\u003c/p>\n\u003cp>When you watch it now, it’s very difficult to not have some follow up questions about that. That version of the film can’t exist in 2023 because of these questions, because we’re now primed as audiences to want to know more about the woman, where she was coming from, and also to place some very well-deserved blame on the man. There’s no blame placed on him in the film. So I think while I completely understand wanting to preserve things that meant a lot to us as audience members, like the holiness of a movie you loved growing up, there are other ones like \u003cem>Fatal Attraction \u003c/em>where I think, Why not? Let’s do a deeper dive into this, because there are now more questions when you rewatch it. And if nothing else, I really think that it holds a magnifying glass up to audiences and how much we’ve changed, that a movie like that was so hugely commercially successful as well as critically acclaimed and awards … audiences today can’t see it through that same prism anymore. We just have changed so much as a culture.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Seth Kelley and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\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=%27Fleishman+Is+in+Trouble%27+is+a+Trojan+horse+for+women%27s+stories%2C+says+Lizzy+Caplan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, the series \u003cem>Fleishman is in Trouble \u003c/em>seems to be a story about a divorced dad (Jesse Eisenberg) navigating single parenthood and the mid-life dating scene. But right away there’s a clue that things are not as straightforward as they seem: The series is narrated not by Toby Fleishman, but his old college friend, Libby, played by Lizzy Caplan.\u003c/p>\n\u003cp>Caplan likens the series, which is based on \u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\">the novel \u003c/a>by showrunner\u003ca href=\"https://www.npr.org/2023/01/11/1147818087/fleishman-is-in-trouble-taffy-brodesser-akner\"> Taffy Brodesser-Akner\u003c/a>, to a Trojan horse: “You think that you’re watching this story about a man getting divorced, figuring out dating apps, and you’re really not watching that story at all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Caplan’s first acting job ever was in the 1999 high school drama, \u003cem>Freaks and Geeks\u003c/em>. More recently she was nominated for an Emmy for her role as a sex researcher in the Showtime series, \u003cem>Masters of Sex.\u003c/em> Libby, her character on \u003cem>Fleishman is in Trouble, \u003c/em>is a former magazine writer who’s become a suburban stay-at-home mom. Libby’s struggling with marriage, motherhood and identity — and mourning the loss of her own youth and potential. Caplan began shooting \u003cem>Fleishman \u003c/em>shortly after becoming a mother herself, which made Libby’s struggles even more resonant.\u003c/p>\n\u003cp>“It was just a lucky break to get to do this show at the dawn of my own motherhood,” she says. “The curtain was being ripped away on a daily basis for me, especially in those first three months, as I think it is for many new mothers.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On being stuck auditioning for the same female archetypes earlier in her career \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I feel like the roles for women, especially in television, they just get more interesting … as I’ve gotten older. But I know that is certainly not something that everybody feels. I know that I’m lucky to feel that way. But I definitely remember when I was younger and auditioning for a lot of this high school stuff or some early-twenties stuff and the male roles were always better. They always got to do the more fun stuff. And you were sort of relegated to a few different archetypes as a girl, especially back then. It has changed a lot, I see. A lot of the teen shows now, there is a shift, but there was the hot popular girl, there was the nerd. There was, like, the alternative best friend, which was very much my lane for a while. And I was very fortunate to be in some projects that kind of skewered the archetypal nature of those things. But for the most part, the things I auditioned for, certainly I remember asking many times when I was younger, like, “Can I audition for the guy part? Is there any way? There’s no reason why this character has to be a guy. It can be a girl.” And I certainly had nowhere near enough clout in the business for anybody to do anything other than laugh at that request.\u003c/p>\n\u003cp>\u003cstrong>On losing her mother when she was 13 and turning to acting in her grief \u003c/strong>\u003c/p>\n\u003cp>I had no idea how to process my mother’s death. It took me many, many years, but I knew that it gave me a darkness that in my mind was a requirement for being an actor, or the kind of actor I wanted to be. I needed to have this inner pain in order to do it. I remember going to an acting class and auditing it when I was 16 years old, and it was in Hollywood. It was a pretty prestigious acting class and it was full of 100 people in it and it went really late, till 1:00 a.m. And I stayed there and I watched it the whole time. And then I met with the teacher afterwards to see if I could join the class. And she looked at me and asked me how old I was, and I said I was 16. And she said, “You haven’t had any life experience. You can’t be in this class,” and booted me out. And that moment, it’s so crystallized in my brain because I remember feeling like, ‘Oh, no, this is the community that’s supposed to see these things in me — that I do have the depth that is required to be in this class — but you just see some dumb little teenager who hasn’t been through anything.’ When the reality was I had been through what is still the most monumental tragedy of my life.\u003c/p>\n\u003cp>\u003cstrong>On her first role in the series \u003c/strong>\u003cstrong>\u003cem>Freaks and Geeks\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Little did I know that “critically acclaimed and short-lived” would describe the vast majority of my future projects. The experience itself was very overwhelming … just stepping into this completely different universe that I had no idea about. I grew up in L.A., but I had never been on a movie set before. I didn’t know how any of it worked. I didn’t know about marks on the ground and coverage and close ups and how long everything was going to take and hair and makeup and how many outfits I’d have to try on for this one line that I was going to say.\u003c/p>\n\u003cp>I remember … just looking in the mirror for hours, just reciting this one line over and over and over and over again and being terrified and just in love with the idea of this moving village with these hundreds of people all working towards this goal together, but also feeling, again, completely overwhelmed, very shy, not bonding in any way with any of my castmates or anybody. I look back at that experience and it was just honestly pure luck to end up on a show that ended up being so loved and so respected for so many years, because I really did audition for all kinds of nonsense, and just that was the first place that picked me. But it wasn’t a fun experience for me. It was mostly just scary.\u003c/p>\n\u003cp>\u003cstrong>On her break-out role in 2004’s \u003c/strong>\u003cstrong>\u003cem>Mean Girls \u003c/em>\u003c/strong>\u003cstrong>as “alternative” girl Janis Ian\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All I knew was that it was the funniest script I had ever read and I would do anything to be in it. And then the making of that was so fun. We were in Toronto and young and living in this hotel together, and it was just a wonderful experience. And then it did well when it first opened. And so I thought that meant that I was off to the races. And that is certainly not what happened. I didn’t work after that for a year. I didn’t really understand how I could be in something that seemed to be successful and none of that success seemed to be rubbing off on me. So I did what most actresses in the early aughts did and got a spray tan and dyed my hair blond and just joined a show [\u003cem>Related\u003c/em>] on the WB network. That felt like the antidote.\u003c/p>\n\u003cfigure id=\"attachment_13924497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg\" alt=\"A young woman with pale skin, wearing black eye make-up, a studded bracelet and a sleeveless denim jacket sits at a kitchen table, pen in hand.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The making of that was so fun,” Caplan says of the 2004 film ‘Mean Girls.’ \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On relating to the characters in\u003c/strong> \u003cstrong>the 2009 Starz sitcom\u003c/strong>\u003cstrong>\u003cem> Party Down\u003c/em>\u003c/strong>\u003cstrong>, which was about struggling actors working as catering servers\u003c/strong>\u003c/p>\n\u003cp>I remember very vividly catering the \u003cem>Being John Malkovich\u003c/em> premiere party and walking around with a tray of passed apps and none of these people looking me in the eye at all. I was just, like, a tray that moved, and feeling those feelings that all the characters in \u003cem>Party Down\u003c/em> were feeling, which was basically like, “Oh, you don’t know who I am now, but you just wait!” I actually think there’s like two schools of thought for actors: One, when you’re starting to come up, one group takes rejection and internalizes it and believes it to be true. All the things that they say about them, that they’re not funny enough, pretty enough, whatever. And then the other school, the other group feels like, this is just ammo for me and this is just fueling my inner fire and I’m going to prove all of you guys wrong and you just wait and see! And like I, for whatever reason, fell into the second group and every rejection, I like to imagine it making me stronger and angrier and more determined.\u003c/p>\n\u003cp>\u003cstrong>On how filming sex scenes has changed so much now with intimacy coordinators \u003c/strong>\u003c/p>\n\u003cp>So much [has changed]. Which is wonderful, especially for the young people starting out, for the young actresses that don’t yet feel powerful enough to speak up on set, because it’s a very intimidating place to be when you’re young and new. So [with my first time doing a sex scene in] \u003cem>True Blood\u003c/em>, it would never happen like that again now, where I was just, like, drinking vodka at 7:00 in the morning to try to build up the courage to do this. And they were wonderful on that set. I’m very, very fortunate. I never found myself in a situation doing any of these jobs where I felt unsafe or pressured into anything. And so I’m not really even the person the intimacy coordinator is there for. They’re there for the people that are having a very different experience. \u003cem>Masters of Sex\u003c/em>, definitely no intimacy coordinator. And it’s like a completely different time because since then I have worked on shows where there have been intimacy coordinators and there’s this whole other step that just didn’t exist at all back then.\u003c/p>\n\u003cp>\u003cstrong>On starring in a reimagining of the 1987 film \u003c/strong>\u003cstrong>\u003cem>Fatal Attraction \u003c/em>\u003c/strong>\u003cstrong>(coming April 2023 on Paramount+)\u003c/strong>\u003c/p>\n\u003cp>It’s important to note that I love the movie \u003cem>Fatal Attraction\u003c/em>. I think it’s wonderful. I think it holds up in so many ways. It’s still scary. It’s still exciting. It’s still very sexy. The performances are incredible. It looks beautiful. I love the film. But when you watch even the film now, I find, as an audience member, it’s really difficult to see it in the same way that audiences saw it in 1987.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1987, you go to a movie about a married man, who’s married with a child who has this torrid weekend-long affair, [and] everything obviously goes haywire. [The other woman] becomes obsessed with him and we walk away feeling like that woman was evil, horrible, despicable, deserved to die. This poor man who made this one little mistake deserves nothing more than to ride off into the sunset with his wife and child. Thank God he prevailed against this horrible woman!\u003c/p>\n\u003cp>When you watch it now, it’s very difficult to not have some follow up questions about that. That version of the film can’t exist in 2023 because of these questions, because we’re now primed as audiences to want to know more about the woman, where she was coming from, and also to place some very well-deserved blame on the man. There’s no blame placed on him in the film. So I think while I completely understand wanting to preserve things that meant a lot to us as audience members, like the holiness of a movie you loved growing up, there are other ones like \u003cem>Fatal Attraction \u003c/em>where I think, Why not? Let’s do a deeper dive into this, because there are now more questions when you rewatch it. And if nothing else, I really think that it holds a magnifying glass up to audiences and how much we’ve changed, that a movie like that was so hugely commercially successful as well as critically acclaimed and awards … audiences today can’t see it through that same prism anymore. We just have changed so much as a culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Seth Kelley and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\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=%27Fleishman+Is+in+Trouble%27+is+a+Trojan+horse+for+women%27s+stories%2C+says+Lizzy+Caplan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "No Lie: Natasha Lyonne is Unforgettable in ‘Poker Face’",
"headTitle": "No Lie: Natasha Lyonne is Unforgettable in ‘Poker Face’ | KQED",
"content": "\u003cp>From the start, it’s no secret that the new series \u003cem>Poker Face \u003c/em>is a throwback to an earlier era of television — to \u003cem>Columbo\u003c/em>, especially. The opening titles even recall the yellow \u003cem>Columbo \u003c/em>font. And while it might not be instantly obvious that Natasha Lyonne is the Peter Falk of her generation, by the end of a couple of episodes, you will believe.\u003c/p>\n\u003cp>\u003cem>Poker Face \u003c/em>was created by Rian Johnson, the writer and director of\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\"> \u003cem>Knives Out \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2022/12/12/1142183112/glass-onion-knives-out-rian-johnson\">\u003cem>Glass Onion\u003c/em>, \u003c/a>who directed and wrote some, though not all, of the episodes. His sense of structure — the idea that you don’t withhold everything until the end, even in something that’s done in the style of a mystery — recalled \u003cem>Columbo \u003c/em>to begin with. (Every episode of \u003cem>Columbo\u003c/em>, for those who may not be fans, started with the viewer seeing what actually happened, and the rest was watching Columbo figure it out.) So it makes sense that he’s created a show here that, in a similar fashion, shows the crime itself at the top, then tells the longer story of how it came to happen and how it unravels. But instead of a detective, these stories intersect with the life of Charlie Cale, played by Lyonne, whom we first meet as a casino worker prized for her ability to tell when people are lying.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4x2NzusLAqk\u003c/p>\n\u003cp>The first episode sees Charlie get tangled up in a mess that involves her boss (Adrien Brody) and his henchman (Benjamin Bratt). That mystery, in turn, puts her in danger and sends her on the run. Subsequent episodes find her in various parts of the country, scratching together cash in odd jobs.\u003c/p>\n\u003cp>One advantage of this format is that it allows Charlie to cross paths with an impressive lineup of guest stars. There’s trucker played by (new Oscar nominee for \u003cem>The Whale\u003c/em>) Hong Chau, feuding actors played by Ellen Barkin and Tim Meadows, a barbecue entrepreneur played by Lil Rel Howery, retirement community residents played by Judith Light and \u003cem>Law & Order \u003c/em>legend S. Epatha Merkerson, and musicians played by Chloe Sevigny and The Mountain Goats’ John Darnielle. All these stories are self-contained, because even as she tries to escape her own perilous situation, Charlie stumbles into a crime in every town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Naturally, Charlie’s story is in part a travelogue. \u003cem>Poker Face \u003c/em>takes her to a lot of different locations, but Johnson’s love of the dusty landscapes he shot in a couple of great episodes of \u003cem>Breaking Bad \u003c/em>is echoed in Charlie’s initial Vegas home (there’s a terrific shot of her sitting in a folding chair outside her trailer) and in some of the desolate roads she ends up on later. But these standalone episodes (critics have gotten to see six out of what will eventually be 10) take the series into a marvelous variety of different worlds.\u003c/p>\n\u003cp>[aside postid='arts_13923656']At the center of the show and its appeal is Natasha Lyonne. On the one hand, she is an actor who is always herself — she doesn’t often disappear into roles in a way that will make you say, “Oh wow, that’s Natasha Lyonne?” But at the same time, there are shadings to her work here that are different from, for instance, her highly regarded role in Netflix’s \u003cem>Russian Doll\u003c/em>. She’s more relaxed and under control in this part, still funny and still utterly unique, but also careful and deliberate. Charlie is a good bit happier, too, even when she’s in trouble.\u003c/p>\n\u003cp>Lyonne’s affect is almost always one of world-weariness, of having seen \u003cem>a lot\u003c/em>, which makes her a natural as a woman like Charlie, whose accumulated experiences make her skeptical, quick on her feet and sympathetic. If Columbo was always getting tied up in mysteries because he’s a detective and it’s his job, Charlie keeps getting tied up in them because she doesn’t like liars and it bugs her when unfair things — whether violence or false accusations — happen to people she meets and likes.\u003c/p>\n\u003cfigure id=\"attachment_13924194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg\" alt=\"A Black man wearing 1980s-style glasses, a white cowboy hat, blue denim shirt and bolo tie looks confounded.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Rel Howery is just one of the guest stars who crosses paths with Charlie as she runs from her problems.\u003c/figcaption>\u003c/figure>\n\u003cp>And the focus remains on the characters, because fortunately, \u003cem>Poker Face \u003c/em>makes sparing use of Charlie’s special talent for knowing when people are lying. As she explains it, as long as a person is lying intentionally — that is, they know what they’re saying isn’t true, as opposed to being wrong — she can always tell. This could easily become a lazy shortcut, where she always suddenly solves the whole case based on her magical abilities. But her special radar is deployed rarely, to the point where you’ll forget she even can do this until it comes up. And it isn’t usually about a big and central lie (like “I didn’t kill him!”), but about a small and seemingly insignificant lie (like “I had fish for dinner”) that sends her looking for an explanation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13923488']The drop schedule for \u003cem>Poker Face \u003c/em>honestly is a bit baffling; a natural candidate for a week-to-week release, it’s instead getting four episodes dropped on Peacock on January 26, and then the rest will be one per week. But whatever pacing you choose, this is a terrific show, funny and smart, that accomplishes exactly the combination of homage and experimentation that it promises.\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=No+lie%3A+Natasha+Lyonne+is+unforgettable+in+%27Poker+Face%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the start, it’s no secret that the new series \u003cem>Poker Face \u003c/em>is a throwback to an earlier era of television — to \u003cem>Columbo\u003c/em>, especially. The opening titles even recall the yellow \u003cem>Columbo \u003c/em>font. And while it might not be instantly obvious that Natasha Lyonne is the Peter Falk of her generation, by the end of a couple of episodes, you will believe.\u003c/p>\n\u003cp>\u003cem>Poker Face \u003c/em>was created by Rian Johnson, the writer and director of\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\"> \u003cem>Knives Out \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2022/12/12/1142183112/glass-onion-knives-out-rian-johnson\">\u003cem>Glass Onion\u003c/em>, \u003c/a>who directed and wrote some, though not all, of the episodes. His sense of structure — the idea that you don’t withhold everything until the end, even in something that’s done in the style of a mystery — recalled \u003cem>Columbo \u003c/em>to begin with. (Every episode of \u003cem>Columbo\u003c/em>, for those who may not be fans, started with the viewer seeing what actually happened, and the rest was watching Columbo figure it out.) So it makes sense that he’s created a show here that, in a similar fashion, shows the crime itself at the top, then tells the longer story of how it came to happen and how it unravels. But instead of a detective, these stories intersect with the life of Charlie Cale, played by Lyonne, whom we first meet as a casino worker prized for her ability to tell when people are lying.\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/4x2NzusLAqk'\n title='//www.youtube.com/embed/4x2NzusLAqk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first episode sees Charlie get tangled up in a mess that involves her boss (Adrien Brody) and his henchman (Benjamin Bratt). That mystery, in turn, puts her in danger and sends her on the run. Subsequent episodes find her in various parts of the country, scratching together cash in odd jobs.\u003c/p>\n\u003cp>One advantage of this format is that it allows Charlie to cross paths with an impressive lineup of guest stars. There’s trucker played by (new Oscar nominee for \u003cem>The Whale\u003c/em>) Hong Chau, feuding actors played by Ellen Barkin and Tim Meadows, a barbecue entrepreneur played by Lil Rel Howery, retirement community residents played by Judith Light and \u003cem>Law & Order \u003c/em>legend S. Epatha Merkerson, and musicians played by Chloe Sevigny and The Mountain Goats’ John Darnielle. All these stories are self-contained, because even as she tries to escape her own perilous situation, Charlie stumbles into a crime in every town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Naturally, Charlie’s story is in part a travelogue. \u003cem>Poker Face \u003c/em>takes her to a lot of different locations, but Johnson’s love of the dusty landscapes he shot in a couple of great episodes of \u003cem>Breaking Bad \u003c/em>is echoed in Charlie’s initial Vegas home (there’s a terrific shot of her sitting in a folding chair outside her trailer) and in some of the desolate roads she ends up on later. But these standalone episodes (critics have gotten to see six out of what will eventually be 10) take the series into a marvelous variety of different worlds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the show and its appeal is Natasha Lyonne. On the one hand, she is an actor who is always herself — she doesn’t often disappear into roles in a way that will make you say, “Oh wow, that’s Natasha Lyonne?” But at the same time, there are shadings to her work here that are different from, for instance, her highly regarded role in Netflix’s \u003cem>Russian Doll\u003c/em>. She’s more relaxed and under control in this part, still funny and still utterly unique, but also careful and deliberate. Charlie is a good bit happier, too, even when she’s in trouble.\u003c/p>\n\u003cp>Lyonne’s affect is almost always one of world-weariness, of having seen \u003cem>a lot\u003c/em>, which makes her a natural as a woman like Charlie, whose accumulated experiences make her skeptical, quick on her feet and sympathetic. If Columbo was always getting tied up in mysteries because he’s a detective and it’s his job, Charlie keeps getting tied up in them because she doesn’t like liars and it bugs her when unfair things — whether violence or false accusations — happen to people she meets and likes.\u003c/p>\n\u003cfigure id=\"attachment_13924194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg\" alt=\"A Black man wearing 1980s-style glasses, a white cowboy hat, blue denim shirt and bolo tie looks confounded.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Rel Howery is just one of the guest stars who crosses paths with Charlie as she runs from her problems.\u003c/figcaption>\u003c/figure>\n\u003cp>And the focus remains on the characters, because fortunately, \u003cem>Poker Face \u003c/em>makes sparing use of Charlie’s special talent for knowing when people are lying. As she explains it, as long as a person is lying intentionally — that is, they know what they’re saying isn’t true, as opposed to being wrong — she can always tell. This could easily become a lazy shortcut, where she always suddenly solves the whole case based on her magical abilities. But her special radar is deployed rarely, to the point where you’ll forget she even can do this until it comes up. And it isn’t usually about a big and central lie (like “I didn’t kill him!”), but about a small and seemingly insignificant lie (like “I had fish for dinner”) that sends her looking for an explanation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The drop schedule for \u003cem>Poker Face \u003c/em>honestly is a bit baffling; a natural candidate for a week-to-week release, it’s instead getting four episodes dropped on Peacock on January 26, and then the rest will be one per week. But whatever pacing you choose, this is a terrific show, funny and smart, that accomplishes exactly the combination of homage and experimentation that it promises.\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=No+lie%3A+Natasha+Lyonne+is+unforgettable+in+%27Poker+Face%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At the End of Humanity, 'The Last of Us' Locates What Makes Us Human",
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"content": "\u003cp>\u003cem>The Walking Dead. Fear the Walking Dead. Y: The Last Man. The Passage. The Strain. The Stand. Sweet Tooth. Invasion. Station Zero. Resident Evil.\u003c/em>\u003c/p>\n\u003cp>Given the glut of post-apocalyptic fare that television has been serving up over just the past few years, you’d be forgiven for approaching HBO’s \u003cem>The Last of Us\u003c/em> with a skeptical mind. Some not-insignificant percentage of potential viewers, upon learning that the series is based on a video game, will adopt a kind of mental defensive crouch. (To be clear, these people have never played the excellent, heart-wrenching video game(s) in question.)\u003c/p>\n\u003cp>[aside postid='arts_13923488']\u003cem>What is there new to say?\u003c/em> is a valid question. \u003cem>Or, for that matter, to show?\u003c/em> There is a limit, after all, to the number of times one can watch grizzled, greasy-haired bands of armed survivors who look as if they smell like a particularly runny cheese tiptoeing through crumbling cityscapes overrun with lush vegetation before one concludes, “No, yeah, I got it, thanks.”\u003c/p>\n\u003cp>\u003cem>The Last of Us \u003c/em>contains several such sequences, and others that prove similarly familiar: Militarized outposts imposing martial law. Idyllic pockets of civilization that Hide a Dark Secret\u003csup>TM\u003c/sup>. Mistrust. Violence. The horror of realizing that a loved one has been infected, followed by the grim acknowledgement of what must be done about it.\u003c/p>\n\u003cp>But these are all genre trappings, the parameters that any post-apocalypse show and its viewers agree to establish, and work within. You don’t go into a science fiction series and roll your eyes at every spaceship, do you? Or sneer every time a forensic investigator busts out the luminol?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, what matters is what takes place within its genre conventions — the precise narrative fuel mixture that drives the show in question: Are the zombies/vampires/mutants/cannibals/militias the real stars of the series, or does it belong to the survivors?\u003c/p>\n\u003cp>\u003cem>The Last of Us\u003c/em> belongs entirely, gratifyingly, to the survivors — two in particular. There’s laconic, hard-bitten (but not yet \u003cem>actually \u003c/em>bitten) Joel, played by Pedro Pascal, and young Ellie, played by Bella Ramsey — she may carry the future of humanity in her blood. They join up to trek across the country with tangentially related agendas — he to find his brother, she to find a lab where scientists may figure out a way to replicate her mysterious immunity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uLtkt8BonwM\u003c/p>\n\u003cp>Along the way, they encounter quasi-fascist government operatives (“FEDRA”), antigovernmental freedom-fighter/terrorists (“Fireflies”), raiders, revolutionaries and some friendly faces as well. The series is confident enough to give two such allies — a doomsday prepper played by Nick Offerman and a sly charmer played by Murray Bartlett — the screen time necessary for us to grow emotionally invested in their fates. That confidence proves well-earned, as Offerman and Bartlett turn in the season’s highlight episode.\u003c/p>\n\u003cp>Of course, there’s plenty of scenes where our hardy heroes fight or evade the various fungi-festooned monsters dutifully reproduced from the video games — runners, stalkers, shamblers and, most memorably, clickers (whose heads have turned into toadstools, and who echolocate their prey via some seriously unnerving sound design).\u003c/p>\n\u003cp>[aside postid='pop_104874']But \u003cem>The Last of Us\u003c/em> of is about those assorted mushroom-baddies in exactly the same way that \u003cem>The Sopranos\u003c/em> was about RICO charges. Which is to say — they’re a threat, yes, and they loom ever-present, but the show’s really about what the characters do despite them.\u003c/p>\n\u003cp>And what they do, on \u003cem>The Last of Us\u003c/em> at least, is grow deeper and more complex in meaningful ways. Pascal plays Joel in the early episodes as if he’s encased his heart in his beskar steel armor from \u003cem>The Mandalorian\u003c/em>, but as his connection to Ellie grows, he starts talking more — \u003cem>risking \u003c/em>more, emotionally, in every scene — and it lands on us with a satisfying heft.\u003c/p>\n\u003cp>Ramsey’s young Lady Mormont was a heartening surprise back on \u003cem>Game of Thrones\u003c/em>, but that character was written to do one thing — be a badass — and Ramsey did it well. Last year, in Lena Dunham’s \u003cem>Catherine Called Birdy\u003c/em>, she got to show us a good deal more. Even so, she’s an absolute revelation here, investing Ellie with a toughness that manages to carve out plenty of room for vulnerability, teenage silliness, the pangs of first love, grief, rage and steely resolution.\u003c/p>\n\u003cp>Some may balk at the series’ choice to spend so much time showing us two people learning to rely on each other, instead of throwing ceaseless hordes of CGI-enhanced fungal foes at them. But by allowing the monsters to serve chiefly as catalysts to the complex emotional reactions of its characters, \u003cem>The Last of Us\u003c/em> accomplishes what \u003cem>Station Eleven\u003c/em> did last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a hopeful show about the end of humanity — one that manages to find, and nurture, moments of grace amid the ruins.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+end+of+humanity%2C+%27The+Last+of+Us%27+locates+what+makes+us+human&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Walking Dead. Fear the Walking Dead. Y: The Last Man. The Passage. The Strain. The Stand. Sweet Tooth. Invasion. Station Zero. Resident Evil.\u003c/em>\u003c/p>\n\u003cp>Given the glut of post-apocalyptic fare that television has been serving up over just the past few years, you’d be forgiven for approaching HBO’s \u003cem>The Last of Us\u003c/em> with a skeptical mind. Some not-insignificant percentage of potential viewers, upon learning that the series is based on a video game, will adopt a kind of mental defensive crouch. (To be clear, these people have never played the excellent, heart-wrenching video game(s) in question.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>What is there new to say?\u003c/em> is a valid question. \u003cem>Or, for that matter, to show?\u003c/em> There is a limit, after all, to the number of times one can watch grizzled, greasy-haired bands of armed survivors who look as if they smell like a particularly runny cheese tiptoeing through crumbling cityscapes overrun with lush vegetation before one concludes, “No, yeah, I got it, thanks.”\u003c/p>\n\u003cp>\u003cem>The Last of Us \u003c/em>contains several such sequences, and others that prove similarly familiar: Militarized outposts imposing martial law. Idyllic pockets of civilization that Hide a Dark Secret\u003csup>TM\u003c/sup>. Mistrust. Violence. The horror of realizing that a loved one has been infected, followed by the grim acknowledgement of what must be done about it.\u003c/p>\n\u003cp>But these are all genre trappings, the parameters that any post-apocalypse show and its viewers agree to establish, and work within. You don’t go into a science fiction series and roll your eyes at every spaceship, do you? Or sneer every time a forensic investigator busts out the luminol?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, what matters is what takes place within its genre conventions — the precise narrative fuel mixture that drives the show in question: Are the zombies/vampires/mutants/cannibals/militias the real stars of the series, or does it belong to the survivors?\u003c/p>\n\u003cp>\u003cem>The Last of Us\u003c/em> belongs entirely, gratifyingly, to the survivors — two in particular. There’s laconic, hard-bitten (but not yet \u003cem>actually \u003c/em>bitten) Joel, played by Pedro Pascal, and young Ellie, played by Bella Ramsey — she may carry the future of humanity in her blood. They join up to trek across the country with tangentially related agendas — he to find his brother, she to find a lab where scientists may figure out a way to replicate her mysterious immunity.\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/uLtkt8BonwM'\n title='//www.youtube.com/embed/uLtkt8BonwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Along the way, they encounter quasi-fascist government operatives (“FEDRA”), antigovernmental freedom-fighter/terrorists (“Fireflies”), raiders, revolutionaries and some friendly faces as well. The series is confident enough to give two such allies — a doomsday prepper played by Nick Offerman and a sly charmer played by Murray Bartlett — the screen time necessary for us to grow emotionally invested in their fates. That confidence proves well-earned, as Offerman and Bartlett turn in the season’s highlight episode.\u003c/p>\n\u003cp>Of course, there’s plenty of scenes where our hardy heroes fight or evade the various fungi-festooned monsters dutifully reproduced from the video games — runners, stalkers, shamblers and, most memorably, clickers (whose heads have turned into toadstools, and who echolocate their prey via some seriously unnerving sound design).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>The Last of Us\u003c/em> of is about those assorted mushroom-baddies in exactly the same way that \u003cem>The Sopranos\u003c/em> was about RICO charges. Which is to say — they’re a threat, yes, and they loom ever-present, but the show’s really about what the characters do despite them.\u003c/p>\n\u003cp>And what they do, on \u003cem>The Last of Us\u003c/em> at least, is grow deeper and more complex in meaningful ways. Pascal plays Joel in the early episodes as if he’s encased his heart in his beskar steel armor from \u003cem>The Mandalorian\u003c/em>, but as his connection to Ellie grows, he starts talking more — \u003cem>risking \u003c/em>more, emotionally, in every scene — and it lands on us with a satisfying heft.\u003c/p>\n\u003cp>Ramsey’s young Lady Mormont was a heartening surprise back on \u003cem>Game of Thrones\u003c/em>, but that character was written to do one thing — be a badass — and Ramsey did it well. Last year, in Lena Dunham’s \u003cem>Catherine Called Birdy\u003c/em>, she got to show us a good deal more. Even so, she’s an absolute revelation here, investing Ellie with a toughness that manages to carve out plenty of room for vulnerability, teenage silliness, the pangs of first love, grief, rage and steely resolution.\u003c/p>\n\u003cp>Some may balk at the series’ choice to spend so much time showing us two people learning to rely on each other, instead of throwing ceaseless hordes of CGI-enhanced fungal foes at them. But by allowing the monsters to serve chiefly as catalysts to the complex emotional reactions of its characters, \u003cem>The Last of Us\u003c/em> accomplishes what \u003cem>Station Eleven\u003c/em> did last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a hopeful show about the end of humanity — one that manages to find, and nurture, moments of grace amid the ruins.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+end+of+humanity%2C+%27The+Last+of+Us%27+locates+what+makes+us+human&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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