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"content": "\u003cp>This year’s Super Bowl commercials were packed with superstar cameos and in-your-face messages — from Ellen DeGeneres \u003ca href=\"https://www.youtube.com/watch?v=RF9t2rFmTVE&feature=emb_title\">speaking up\u003c/a> for Amazon’s Alexa to an ad about \u003ca href=\"https://www.youtube.com/watch?v=ANarZ_113Xc\">organic farmland.\u003c/a> But they had a few unintended messages, too.\u003c/p>\n\u003cp>These were the stories America’s largest corporations developed to entertain, inform and sell products on the biggest stage in television – costing as much as $5.6 million per 30 seconds this year. Sometimes, those stories said a lot more than their sponsors may have intended.\u003c/p>\n\u003cp>Consider Kia’s spot, featuring Raiders running back Josh Jacobs driving an SUV, imagining what advice he would give his younger self. Jacobs grew up homeless on the streets of Tulsa, Okla.; in the ad, he’s watching a young black boy sprint across the broken streets of Tulsa’s struggling neighborhoods. “Push yourself to be someone,” Jacobs says, “and I promise, someday, you will.”\u003c/p>\n\u003cp>https://youtu.be/YyMev6_XZ9s\u003c/p>\n\u003cp>It’s nice message for a day centered on scarfing snacks and watching football. But for anyone who knows how unlikely it is for a kid to actually \u003cem>become\u003c/em> a pro football player, it’s also a sobering reminder of how much young people who aren’t blessed with NFL-level athletic skills will have to achieve to escape similar circumstances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a look at some other ads that sent double messages, along with some of the more entertaining, provocative and just plain weird commercials aired on the biggest global showcase for TV advertising:\u003c/p>\n\u003cp>\u003cstrong>Oddest use of vaguely nationalistic language to sell beer: Budweiser’s “Typical American”\u003c/strong>\u003c/p>\n\u003cp>The self-styled “king of beers” offers some championship-level pandering in this ad, which features a gritty-voiced announcer sarcastically noting how “typical Americans” are always showing off their strength — as images of a heroic firefighter in action play across the screen. The ad urges viewers to celebrate the nobility of “typical Americans.” But I couldn’t help wonder who the narrator was referencing when he said, “they call us ‘typical Americans.’ ” Who exactly is “they?” And why is Budweiser developing brand loyalty by urging “typical Americans” to rise up against this unnamed source of insult? Vaguely nationalistic, condescending and solicitous all at once — hardly a regal combination.\u003c/p>\n\u003cp>https://youtu.be/yt-zXuAAD6Q\u003c/p>\n\u003cp>\u003cstrong>Best wishful thinking: Little Caesars’ “Best Thing Since Sliced Bread”\u003c/strong>\u003c/p>\n\u003cp>A customer getting a Little Caesars pizza delivered calls it the “best thing since sliced bread.” This sends a company called “Sliced Bread” — led by an increasingly grizzled Rainn Wilson — into a panic, which involves crying jags and chaotic office meetings with one employee riding an ostrich around. (Really.) But anyone who has tasted Little Caesars’ takeout pizza knows sliced bread probably doesn’t have much to worry about. \u003c/p>\n\u003cp>https://youtu.be/vnLBmYCHjZI\u003c/p>\n\u003cp>\u003cstrong>Savviest use of a billionaire’s pizza money: Michael Bloomberg’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>A \u003cem>Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/graphics/2020/politics/wealth-comparison/\">analysis found\u003c/a> that if Bloomberg spent $11 million on his Super Bowl ad, it would impact his net worth like the average American buying a pizza. For that pocket money, Bloomberg crafted a spot focused on his efforts to secure tougher gun laws, featuring the mother of George Kemp Jr. — a young black man who dreamed of playing in the NFL, shot dead after an altercation in 2013. The ad doesn’t mention Trump or any Democratic contenders and barely features Bloomberg, who has faced sharp questions over how his stop and frisk policies disproportionately affected people of color while he was mayor of New York. A bold example of buying your way past racial controversy and into the political conversation.\u003c/p>\n\u003cp>https://youtu.be/9Yp0yN8UxVg\u003c/p>\n\u003cp>\u003cstrong>Look on the bright side award: Donald Trump’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>The president aired two ads during the Super Bowl; one featured Alice Johnson, a woman whose life sentence Trump commuted after lobbying from Kim Kardashian. The other was a more traditional campaign ad with shots of the military and Trump at his beloved rallies, as complimentary economic statistics displayed on the screen featuring the tagline “Stronger, safer, more prosperous.” One ad seemed aimed right at his base supporters, while the other was a rare pitch to those who might not be among his core voters. Impeachment? What impeachment?\u003c/p>\n\u003cp>https://youtu.be/m4sVnOsXlAA\u003c/p>\n\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 1: Post Malone for Bud Light\u003c/strong>\u003c/p>\n\u003cp>There were actually two ads created starring the heavily tattooed rapper/songwriter: Fans picked the one that would land in the game. Both took viewers inside Malone’s mind as various characters debated his reaction to drinking Bud Light hard seltzer. My fave, which didn’t air during the Big Game, shows Malone, who has tats around his eyebrows and eyes, decked out in a white sweater yelling at his spleen in a bar, like an accountant on mescaline.\u003c/p>\n\u003cp>https://youtu.be/pj1meOmpezs\u003c/p>\n\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 2: MC Hammer for Cheetos\u003c/strong>\u003c/p>\n\u003cp>Hammer’s head pops out of a rolled-up carpet and a coiled water hose as his signature hit “U Can’t Touch This” plays. The joke: A young guy eating new Cheetos popcorn can’t touch anything — declining to help somebody move furniture, for example — because his fingers are coated in yellow dust. Why Cheetos would remind us of one of the most annoying elements of its product in a mega-expensive Super Bowl commercial is beyond me. But I’m glad to see Hammer can still squeeze into those genie pants.\u003c/p>\n\u003cp>https://youtu.be/qgQllY4GtkE\u003c/p>\n\u003cp>\u003cstrong>Best use of a ’90s movie to sell a modern product: Jeep’s “Groundhog Day”\u003c/strong>\u003c/p>\n\u003cp>Bill Murray provides one of the best celebrity Super Bowl ad appearances this year, re-creating his 1993 movie \u003cem>Groundhog Day\u003c/em> with a twist. This time, he steals the groundhog in a Jeep Gladiator truck, living a new adventure every day thanks to his great car. The scene where Murray is playing a Whack-A-Mole game, assuring the groundhog it’s nothing personal, was simply priceless.\u003c/p>\n\u003cp>https://youtu.be/AnhzGUcENWo\u003c/p>\n\u003cp>\u003cstrong>Best use of a Boston accent since \u003c/strong>\u003cstrong>\u003cem>The Departed\u003c/em>\u003c/strong>\u003cstrong>: Hyundai’s Smaaht Paahk\u003c/strong>\u003c/p>\n\u003cp>The carmaker won the pre-Super Bowl competition for attention with this ad — featured in loads of preview stories about the game’s commercials — with Chris Evans, Rachel Dratch and John Krasinski deploying their best Boston \u003cem>patois\u003c/em>. They’re touting Hyundai’s “remote smart park” feature, which guides cars into tight spaces on its own, while lampooning all the cartoonishly thick accents actors take on for roles set in Beantown. (Best of all, the ad has subtitles with words like “caah,” “paahk” “smahtypants” and “clickah.”)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://youtu.be/85iRQdjCzj0\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+Ads+2020%3A+Strange%2C+Serious%2C+Smaaht%2C+And+So+Very+Expensive&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s Super Bowl commercials were packed with superstar cameos and in-your-face messages — from Ellen DeGeneres \u003ca href=\"https://www.youtube.com/watch?v=RF9t2rFmTVE&feature=emb_title\">speaking up\u003c/a> for Amazon’s Alexa to an ad about \u003ca href=\"https://www.youtube.com/watch?v=ANarZ_113Xc\">organic farmland.\u003c/a> But they had a few unintended messages, too.\u003c/p>\n\u003cp>These were the stories America’s largest corporations developed to entertain, inform and sell products on the biggest stage in television – costing as much as $5.6 million per 30 seconds this year. Sometimes, those stories said a lot more than their sponsors may have intended.\u003c/p>\n\u003cp>Consider Kia’s spot, featuring Raiders running back Josh Jacobs driving an SUV, imagining what advice he would give his younger self. Jacobs grew up homeless on the streets of Tulsa, Okla.; in the ad, he’s watching a young black boy sprint across the broken streets of Tulsa’s struggling neighborhoods. “Push yourself to be someone,” Jacobs says, “and I promise, someday, you will.”\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/YyMev6_XZ9s'\n title='//www.youtube.com/embed/YyMev6_XZ9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s nice message for a day centered on scarfing snacks and watching football. But for anyone who knows how unlikely it is for a kid to actually \u003cem>become\u003c/em> a pro football player, it’s also a sobering reminder of how much young people who aren’t blessed with NFL-level athletic skills will have to achieve to escape similar circumstances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s a look at some other ads that sent double messages, along with some of the more entertaining, provocative and just plain weird commercials aired on the biggest global showcase for TV advertising:\u003c/p>\n\u003cp>\u003cstrong>Oddest use of vaguely nationalistic language to sell beer: Budweiser’s “Typical American”\u003c/strong>\u003c/p>\n\u003cp>The self-styled “king of beers” offers some championship-level pandering in this ad, which features a gritty-voiced announcer sarcastically noting how “typical Americans” are always showing off their strength — as images of a heroic firefighter in action play across the screen. The ad urges viewers to celebrate the nobility of “typical Americans.” But I couldn’t help wonder who the narrator was referencing when he said, “they call us ‘typical Americans.’ ” Who exactly is “they?” And why is Budweiser developing brand loyalty by urging “typical Americans” to rise up against this unnamed source of insult? Vaguely nationalistic, condescending and solicitous all at once — hardly a regal combination.\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/yt-zXuAAD6Q'\n title='//www.youtube.com/embed/yt-zXuAAD6Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best wishful thinking: Little Caesars’ “Best Thing Since Sliced Bread”\u003c/strong>\u003c/p>\n\u003cp>A customer getting a Little Caesars pizza delivered calls it the “best thing since sliced bread.” This sends a company called “Sliced Bread” — led by an increasingly grizzled Rainn Wilson — into a panic, which involves crying jags and chaotic office meetings with one employee riding an ostrich around. (Really.) But anyone who has tasted Little Caesars’ takeout pizza knows sliced bread probably doesn’t have much to worry about. \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/vnLBmYCHjZI'\n title='//www.youtube.com/embed/vnLBmYCHjZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Savviest use of a billionaire’s pizza money: Michael Bloomberg’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>A \u003cem>Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/graphics/2020/politics/wealth-comparison/\">analysis found\u003c/a> that if Bloomberg spent $11 million on his Super Bowl ad, it would impact his net worth like the average American buying a pizza. For that pocket money, Bloomberg crafted a spot focused on his efforts to secure tougher gun laws, featuring the mother of George Kemp Jr. — a young black man who dreamed of playing in the NFL, shot dead after an altercation in 2013. The ad doesn’t mention Trump or any Democratic contenders and barely features Bloomberg, who has faced sharp questions over how his stop and frisk policies disproportionately affected people of color while he was mayor of New York. A bold example of buying your way past racial controversy and into the political conversation.\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/9Yp0yN8UxVg'\n title='//www.youtube.com/embed/9Yp0yN8UxVg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Look on the bright side award: Donald Trump’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>The president aired two ads during the Super Bowl; one featured Alice Johnson, a woman whose life sentence Trump commuted after lobbying from Kim Kardashian. The other was a more traditional campaign ad with shots of the military and Trump at his beloved rallies, as complimentary economic statistics displayed on the screen featuring the tagline “Stronger, safer, more prosperous.” One ad seemed aimed right at his base supporters, while the other was a rare pitch to those who might not be among his core voters. Impeachment? What impeachment?\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/m4sVnOsXlAA'\n title='//www.youtube.com/embed/m4sVnOsXlAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 1: Post Malone for Bud Light\u003c/strong>\u003c/p>\n\u003cp>There were actually two ads created starring the heavily tattooed rapper/songwriter: Fans picked the one that would land in the game. Both took viewers inside Malone’s mind as various characters debated his reaction to drinking Bud Light hard seltzer. My fave, which didn’t air during the Big Game, shows Malone, who has tats around his eyebrows and eyes, decked out in a white sweater yelling at his spleen in a bar, like an accountant on mescaline.\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/pj1meOmpezs'\n title='//www.youtube.com/embed/pj1meOmpezs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 2: MC Hammer for Cheetos\u003c/strong>\u003c/p>\n\u003cp>Hammer’s head pops out of a rolled-up carpet and a coiled water hose as his signature hit “U Can’t Touch This” plays. The joke: A young guy eating new Cheetos popcorn can’t touch anything — declining to help somebody move furniture, for example — because his fingers are coated in yellow dust. Why Cheetos would remind us of one of the most annoying elements of its product in a mega-expensive Super Bowl commercial is beyond me. But I’m glad to see Hammer can still squeeze into those genie pants.\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/qgQllY4GtkE'\n title='//www.youtube.com/embed/qgQllY4GtkE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best use of a ’90s movie to sell a modern product: Jeep’s “Groundhog Day”\u003c/strong>\u003c/p>\n\u003cp>Bill Murray provides one of the best celebrity Super Bowl ad appearances this year, re-creating his 1993 movie \u003cem>Groundhog Day\u003c/em> with a twist. This time, he steals the groundhog in a Jeep Gladiator truck, living a new adventure every day thanks to his great car. The scene where Murray is playing a Whack-A-Mole game, assuring the groundhog it’s nothing personal, was simply priceless.\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/AnhzGUcENWo'\n title='//www.youtube.com/embed/AnhzGUcENWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best use of a Boston accent since \u003c/strong>\u003cstrong>\u003cem>The Departed\u003c/em>\u003c/strong>\u003cstrong>: Hyundai’s Smaaht Paahk\u003c/strong>\u003c/p>\n\u003cp>The carmaker won the pre-Super Bowl competition for attention with this ad — featured in loads of preview stories about the game’s commercials — with Chris Evans, Rachel Dratch and John Krasinski deploying their best Boston \u003cem>patois\u003c/em>. They’re touting Hyundai’s “remote smart park” feature, which guides cars into tight spaces on its own, while lampooning all the cartoonishly thick accents actors take on for roles set in Beantown. (Best of all, the ad has subtitles with words like “caah,” “paahk” “smahtypants” and “clickah.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>These days, the act or \u003cem>re\u003c/em>acting is everywhere. Twitter is essentially one giant stream of people’s snappy takes on current events. An entire cottage industry of YouTube reaction videos thrives. Twitch allows you to watch thousands of people around the world narrating video games.\u003c/p>\n\u003cp>Go back in time, though, and you won’t find too much in the way of reacting-as-entertainment. That, is, except for \u003cem>Mystery Science Theater 3000\u003c/em>, the quirky, groundbreaking TV show that premiered on a small Minnesota TV station in 1988.\u003c/p>\n\u003cp>The show’s premise was wonderfully bizarre: a guy and two robots stuck on a spaceship, forced to watch bad movies and coping by wisecracking their way through the films. Aside from some comic segues, the bad movie was essentially the entirety of the show, plus witty remarks by show creator Joel Hodgson and his two robots, Tom Servo and Crow. It predated even DVD commentary tracks, and presaged the way we consume entertainment today.\u003c/p>\n\u003cp>A live version of \u003cem>Mystery Science Theater 3000\u003c/em> comes to San Francisco for two nights this weekend. For the diehard, day-one fans, the shows include Hodgson, along with new cast members, mocking terrible films. Hodgson is calling it his last \u003cem>Mystery Science Theater\u003c/em> tour—he’s been on and off the road since the show was crowdfunded to resurrection on Netflix in 2017—and, in a short phone conversation from the road, he says he means it.\u003c/p>\n\u003cp>“I’m turning 60 next month,” Hodgson says. “My whole job now is to work with the brand and get it ready for the next guy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That “next guy” is new host Jonah Ray, who stars in the new Netflix episodes. (“He’s just a natural, positive force, and he’s amazing in that role,” Hodgson says.) But fans will always be particularly attached to Hodgson, who has had three decades of understanding the nerdy cult around the show. On tour, he meets many fans face-to-face, “and they’re all super-sweet,” he says. “You get a few people who are a little socially awkward, but I’m awkward in my own way, so it kind of works out.”\u003c/p>\n\u003cp>A lifetime of watching bad movies hasn’t dulled Hodgson’s senses so much that he can’t enjoy a good movie; he cites the latest Star Wars film as one he recently enjoyed. But he does find that, when he sees movies with others, some people expect him to rip a movie apart. “It’s our job. You try not to bring it with you,” Hodgson explains. “And I do feel like we like good movies just as much as bad ones.”\u003c/p>\n\u003cp>For this tour, the films on \u003cem>Mystery Science Theater\u003c/em>‘s sacrificial altar include \u003cem>No Retreat, No Surrender\u003c/em> and \u003cem>Circus of Horrors\u003c/em>. And if Hodgson is sad about this being his final tour, he doesn’t show it. \u003c/p>\n\u003cp>“I’m pretty happy, and I’m totally thinking about the end of it, for me. You kind of age out of it at a certain point. I’m not going to be one of those guys that’s so attached to it that they do it until they take him out in a box.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>‘Mystery Science Theater 3000’ comes to town for three shows, on Jan. 31 and Feb. 1, at the Golden Gate Theater in San Francisco. \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, the act or \u003cem>re\u003c/em>acting is everywhere. Twitter is essentially one giant stream of people’s snappy takes on current events. An entire cottage industry of YouTube reaction videos thrives. Twitch allows you to watch thousands of people around the world narrating video games.\u003c/p>\n\u003cp>Go back in time, though, and you won’t find too much in the way of reacting-as-entertainment. That, is, except for \u003cem>Mystery Science Theater 3000\u003c/em>, the quirky, groundbreaking TV show that premiered on a small Minnesota TV station in 1988.\u003c/p>\n\u003cp>The show’s premise was wonderfully bizarre: a guy and two robots stuck on a spaceship, forced to watch bad movies and coping by wisecracking their way through the films. Aside from some comic segues, the bad movie was essentially the entirety of the show, plus witty remarks by show creator Joel Hodgson and his two robots, Tom Servo and Crow. It predated even DVD commentary tracks, and presaged the way we consume entertainment today.\u003c/p>\n\u003cp>A live version of \u003cem>Mystery Science Theater 3000\u003c/em> comes to San Francisco for two nights this weekend. For the diehard, day-one fans, the shows include Hodgson, along with new cast members, mocking terrible films. Hodgson is calling it his last \u003cem>Mystery Science Theater\u003c/em> tour—he’s been on and off the road since the show was crowdfunded to resurrection on Netflix in 2017—and, in a short phone conversation from the road, he says he means it.\u003c/p>\n\u003cp>“I’m turning 60 next month,” Hodgson says. “My whole job now is to work with the brand and get it ready for the next guy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That “next guy” is new host Jonah Ray, who stars in the new Netflix episodes. (“He’s just a natural, positive force, and he’s amazing in that role,” Hodgson says.) But fans will always be particularly attached to Hodgson, who has had three decades of understanding the nerdy cult around the show. On tour, he meets many fans face-to-face, “and they’re all super-sweet,” he says. “You get a few people who are a little socially awkward, but I’m awkward in my own way, so it kind of works out.”\u003c/p>\n\u003cp>A lifetime of watching bad movies hasn’t dulled Hodgson’s senses so much that he can’t enjoy a good movie; he cites the latest Star Wars film as one he recently enjoyed. But he does find that, when he sees movies with others, some people expect him to rip a movie apart. “It’s our job. You try not to bring it with you,” Hodgson explains. “And I do feel like we like good movies just as much as bad ones.”\u003c/p>\n\u003cp>For this tour, the films on \u003cem>Mystery Science Theater\u003c/em>‘s sacrificial altar include \u003cem>No Retreat, No Surrender\u003c/em> and \u003cem>Circus of Horrors\u003c/em>. And if Hodgson is sad about this being his final tour, he doesn’t show it. \u003c/p>\n\u003cp>“I’m pretty happy, and I’m totally thinking about the end of it, for me. You kind of age out of it at a certain point. I’m not going to be one of those guys that’s so attached to it that they do it until they take him out in a box.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>‘Mystery Science Theater 3000’ comes to town for three shows, on Jan. 31 and Feb. 1, at the Golden Gate Theater in San Francisco. \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In New Documentary 'Miss Americana,' Taylor Swift Shows Girls How to Break Free",
"headTitle": "In New Documentary ‘Miss Americana,’ Taylor Swift Shows Girls How to Break Free | KQED",
"content": "\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=40RsbcFRwNA\u003c/p>\n\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\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/40RsbcFRwNA'\n title='//www.youtube.com/embed/40RsbcFRwNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gwen Ifill didn’t want it to be a big deal. \u003c/p>\n\u003cp>The legendary journalist knew she’d served as a trailblazer for women and especially a beacon of what is professionally possible for women of color. But in an interview with \u003cem>The New York Times,\u003c/em> she said she was eager for the days when it would not seem “like any breakthrough at all” for a black woman to be anchoring a national news program. \u003c/p>\n\u003cp>And yet, more than three years after her death, Ifill is still making breakthroughs. This time, on a stamp. \u003c/p>\n\u003cfigure id=\"attachment_13874108\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-160x252.jpg\" alt=\"Gwen Ifill stamp.\" width=\"160\" height=\"252\" class=\"size-thumbnail wp-image-13874108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-160x252.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-800x1259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-768x1209.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-1020x1606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-762x1200.jpg 762w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5.jpg 1212w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The Gwen Ifill stamp. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ifill, who died at the age of 61 after battling cancer, will be memorialized on a new U.S. Postal Service Forever stamp. She’ll be the \u003ca href=\"https://about.usps.com/newsroom/national-releases/2019/1022-usps-unveils-2020-stamps.htm\">43rd stamp in the Black Heritage series\u003c/a>. \u003c/p>\n\u003cp>It features a photo of her taken in 2008 by photographer Robert Severi. She looks relaxed, her smile reassuring and her gaze direct and friendly. Essentially, the same image she projected into living rooms for decades as the host of some of television’s most respected news programs. \u003c/p>\n\u003cp>“She touched my life because she was a damn good reporter,” Allison Davis, one of the founders of the National Association of Black Journalists told NPR. “She is what everybody should aspire to be.”\u003c/p>\n\u003cp>Ifill started out writing for newspapers at a time when it was rare to have a black woman in the newsroom — the late 1970s. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I came to work one day and found that someone had left at my workspace a little note that said [expletive] go home,” Ifill \u003ca href=\"https://www.npr.org/2016/11/15/502111459/veteran-washington-journalist-gwen-ifill-dies-at-61\">recalled \u003c/a>of her time as a college intern at the \u003cem>The Boston Herald\u003c/em> in the \u003cem>Makers \u003c/em>documentary. \u003c/p>\n\u003cp>She went on to work for the\u003cem> Baltimore Evening Sun\u003c/em>, \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post\u003c/em> before transitioning to broadcast journalism. \u003c/p>\n\u003cp>As NPR’s Eric Deggans wrote: \u003c/p>\n\u003cblockquote>\u003cp>\n“She developed a reputation as a tough, incisive reporter who was serious about the work but never took herself too seriously. She achieved a lot of firsts. In 1999, she became the first black woman to host a national political talk show on TV – PBS’ ‘Washington Week In Review.’ She was the first black woman to moderate a vice presidential debate in 2004, returning for the 2008 VP debate. \n\u003c/p>\u003c/blockquote>\n\u003cp>The postal service receives about 40,000 suggestions for commemorative stamps each year. But only a handful of them actually make it to the post office.\u003c/p>\n\u003cp>While Davis says a woman of Ifill’s influence is deserving of the national honor, she says she resents somewhat that the gestures to honor important African Americans are made primarily made in February, Black History Month. \u003c/p>\n\u003cp>“She’s historical, and she should be honored all the months of the year. Because that’s the incredible legacy she leaves,” Davis said of Ifill.\u003c/p>\n\u003cp>The Ifill commemorative stamp will be issued on Thursday, Jan. 30. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Journalist+Gwen+Ifill+Honored+With+Black+Heritage+Forever+Stamp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gwen Ifill didn’t want it to be a big deal. \u003c/p>\n\u003cp>The legendary journalist knew she’d served as a trailblazer for women and especially a beacon of what is professionally possible for women of color. But in an interview with \u003cem>The New York Times,\u003c/em> she said she was eager for the days when it would not seem “like any breakthrough at all” for a black woman to be anchoring a national news program. \u003c/p>\n\u003cp>And yet, more than three years after her death, Ifill is still making breakthroughs. This time, on a stamp. \u003c/p>\n\u003cfigure id=\"attachment_13874108\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-160x252.jpg\" alt=\"Gwen Ifill stamp.\" width=\"160\" height=\"252\" class=\"size-thumbnail wp-image-13874108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-160x252.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-800x1259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-768x1209.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-1020x1606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-762x1200.jpg 762w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5.jpg 1212w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The Gwen Ifill stamp. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ifill, who died at the age of 61 after battling cancer, will be memorialized on a new U.S. Postal Service Forever stamp. She’ll be the \u003ca href=\"https://about.usps.com/newsroom/national-releases/2019/1022-usps-unveils-2020-stamps.htm\">43rd stamp in the Black Heritage series\u003c/a>. \u003c/p>\n\u003cp>It features a photo of her taken in 2008 by photographer Robert Severi. She looks relaxed, her smile reassuring and her gaze direct and friendly. Essentially, the same image she projected into living rooms for decades as the host of some of television’s most respected news programs. \u003c/p>\n\u003cp>“She touched my life because she was a damn good reporter,” Allison Davis, one of the founders of the National Association of Black Journalists told NPR. “She is what everybody should aspire to be.”\u003c/p>\n\u003cp>Ifill started out writing for newspapers at a time when it was rare to have a black woman in the newsroom — the late 1970s. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I came to work one day and found that someone had left at my workspace a little note that said [expletive] go home,” Ifill \u003ca href=\"https://www.npr.org/2016/11/15/502111459/veteran-washington-journalist-gwen-ifill-dies-at-61\">recalled \u003c/a>of her time as a college intern at the \u003cem>The Boston Herald\u003c/em> in the \u003cem>Makers \u003c/em>documentary. \u003c/p>\n\u003cp>She went on to work for the\u003cem> Baltimore Evening Sun\u003c/em>, \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post\u003c/em> before transitioning to broadcast journalism. \u003c/p>\n\u003cp>As NPR’s Eric Deggans wrote: \u003c/p>\n\u003cblockquote>\u003cp>\n“She developed a reputation as a tough, incisive reporter who was serious about the work but never took herself too seriously. She achieved a lot of firsts. In 1999, she became the first black woman to host a national political talk show on TV – PBS’ ‘Washington Week In Review.’ She was the first black woman to moderate a vice presidential debate in 2004, returning for the 2008 VP debate. \n\u003c/p>\u003c/blockquote>\n\u003cp>The postal service receives about 40,000 suggestions for commemorative stamps each year. But only a handful of them actually make it to the post office.\u003c/p>\n\u003cp>While Davis says a woman of Ifill’s influence is deserving of the national honor, she says she resents somewhat that the gestures to honor important African Americans are made primarily made in February, Black History Month. \u003c/p>\n\u003cp>“She’s historical, and she should be honored all the months of the year. Because that’s the incredible legacy she leaves,” Davis said of Ifill.\u003c/p>\n\u003cp>The Ifill commemorative stamp will be issued on Thursday, Jan. 30. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Journalist+Gwen+Ifill+Honored+With+Black+Heritage+Forever+Stamp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Charting Michael Che's Fall From Endearing Comic to Embarrassing Bully",
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"content": "\u003cp>The signs have been there for a while. For months now, Michael Che—one half of \u003cem>Saturday Night Live\u003c/em>‘s “Weekend Update” team and one of the show’s head writers—has been increasingly punching down in his comedy.\u003c/p>\n\u003cp>It started slowly. He was a super-likable presence during his brief stint on \u003cem>The Daily Show\u003c/em> in 2014, and a welcome addition to the on-screen talent of \u003cem>SNL\u003c/em> that same year, after working behind the scenes as a writer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oFrp_pWajmA\u003c/p>\n\u003cp>By 2016’s \u003ca href=\"https://www.imdb.com/title/tt6209400/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Michael Che Matters\u003c/em>\u003c/a>, the comedian had started to walk a fine line that wasn’t quite as successful. In that Netflix special, brilliant material about Black Lives Matter, religion and gentrification rubbed uncomfortably up against jokes making light of street harassment and homelessness, and criticizing the sexual practices of both straight women and gay men. For the most part, though, Che was careful when stepping into offensive territory to first openly acknowledge that he was doing so, and second, to make a larger point in order to justify it.\u003c/p>\n\u003cp>In one particularly infamous bit, the comic used a transgender slur. “I just recently stopped using the word ‘tranny’ because a trans friend of mine told me how much it hurts,” he said. “I was like ‘What? How the f–k is ‘tranny’ hurtful? I just added a Y!’ … She was like ‘How would you like it if I called you ‘blacky’? Well played, tranny. Well played…” Is it difficult to hear Che use this language? Of course. But at least he did so in the course of drawing connections between marginalized groups, and trying to help one understand the other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More recently, however, Che has descended straight into territory that punches down just for the hell of it.\u003c/p>\n\u003cp>In an October “Weekend Update” segment, Che plunged headfirst into transphobic misgendering, for no valid reason at all. While attempting to make a joke about Kanye West’s music going “G-rated,” he said: “At first, I thought Kanye was losing his mind, and now I feel like he’s … just turning into an old white lady … It’s like, how long before this guy changes his name to Kathy? … Now, you might think I’m crazy, but about five years ago there was a fella named Bruce Jenner…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fMdn2Ao7-88\u003c/p>\n\u003cp>A week later, he made sexist and ageist comments on the show after a 67-year-old woman gave birth in China. Che prompted a mix of laughter and groans when he said: “She can breastfeed just by standing over the crib,” and “doctors described the birth as pulling a penny out of a wad of gum.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tw0l6e1iOsU&feature=emb_logo\u003c/p>\n\u003cp>Even more troubling than his recent descent into unfunny is Che’s penchant for using his social media to call out specific individuals who happen to not share his views.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://theoutline.com/post/8583/michael-che-feud-snl-jack-allison?utm_source=TW&zr=mi2arnha&zd=1&zi=mpawsoe6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Outline\u003c/em> published a story\u003c/a> by ex-\u003cem>Jimmy Kimmel Live\u003c/em> writer Jack Allison that detailed bullying behavior by Che. After Allison took to Twitter to criticize a (definitely shady) practice used by \u003cem>Saturday Night Live\u003c/em> to acquire jokes, Che called out Allison directly on Instagram, listing his Twitter handle and using specific insults about Allison’s appearance and social life. (“he’s one of those bearded white guys with glasses that hates snl, but talks a lot about snl.. not much about his personal life on there, but i’m sure its awesome.”)\u003c/p>\n\u003cp>In the article, Allison describes in detail how Che repeatedly reignited their squabble online, criticizing Allison’s career (“continue to submit your packet to shows that don’t know/like you! lol i heard thingssssss!”) and personality, and even attempting to paint him as a disingenuous drug addict.\u003c/p>\n\u003cp>https://twitter.com/jackallisonLOL/status/1210296178996203520\u003c/p>\n\u003cp>Allison notes: “Sometimes weeks or whole months would go by with nothing, before all of a sudden, I made another appearance on [Che’s] Instagram Story.”\u003c/p>\n\u003cp>In the same \u003cem>Outline\u003c/em> article, an Uproxx critic named Steven Hyden describes coming under similar fire after writing \u003ca href=\"https://uproxx.com/tv/colin-jost-hate-saturday-night-live/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> about Che’s “Weekend Update” co-anchor Colin Jost that described him as “the epitome of white-male mediocrity.” Hyden explained that Che “decided to mock me on his Instagram. He called me a ‘mediocre ass white dude’ and then said I like to ‘suck off rescue dogs.’ … Also, someone—can’t say it was Che, though it happened immediately after he went into his tirade against me—went into my Wikipedia page and changed it to reflect my supposed preference for having sex with canines.”\u003c/p>\n\u003cp>Similarly, when \u003cem>Daily Beast\u003c/em> writer Samantha Allen wrote an article about \u003ca href=\"https://www.thedailybeast.com/dear-ricky-gervais-and-other-comics-your-caitlyn-jenner-jokes-are-getting-old\" target=\"_blank\" rel=\"noopener noreferrer\">transphobia in comedy\u003c/a>, Che—who wasn’t even mentioned in the piece—responded by pointing his 440,000 Instagram followers squarely in her direction. The incident appeared to be less about defending controversial comedy and more about an attempt to dox a writer for having a different opinion to him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1920x1782.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-2-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1920x1783.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Reports suggest that Che has been taking things this personally since before his TV career even took off. In 2013, after writing \u003ca href=\"https://blackgirlnerds.com/the-trouble-with-snls-white-christmas/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> for \u003cem>Black Girl Nerds\u003c/em> that criticized one of Che’s \u003cem>SNL\u003c/em> skits, writer Faye McCray claimed that he “made personal attacks on [her], the editor and the publication.” (McCray’s original article has since disappeared from the website.)\u003c/p>\n\u003cp>Che’s social media bullying could now be considered a full-blown pattern. And, aside from obvious issues relating to pettiness, fragile masculinity and a flagrant imbalance of power, there is also some deep irony here. In \u003cem>Michael Che Matters\u003c/em>, the comedian made a point of saying that he was open to hear criticism about his more controversial viewpoints, in order to learn from them. “Maybe you’ve got some f–ked up views about something,” he said, “but unless you’re honest about it, how are you going to get better? You’ve gotta stop accusing people just for being honest. You can school me!”\u003c/p>\n\u003cp>Clearly not.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you are a public figure actively working in a profession that attracts critics, it goes without saying that having a much thicker skin than this is an essential part of the job. Not only is Che’s laser-like focus on anyone who hurts his feelings exhausting to watch, it’s deeply embarrassing—for SNL, for fans watching, and most of all, for him.\u003c/p>\n\n",
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"excerpt": "In six years, Michael Che's gone from a 'Daily Show' correspondent to one of the most important figures at 'SNL.' Along the way, he also turned into a bully.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The signs have been there for a while. For months now, Michael Che—one half of \u003cem>Saturday Night Live\u003c/em>‘s “Weekend Update” team and one of the show’s head writers—has been increasingly punching down in his comedy.\u003c/p>\n\u003cp>It started slowly. He was a super-likable presence during his brief stint on \u003cem>The Daily Show\u003c/em> in 2014, and a welcome addition to the on-screen talent of \u003cem>SNL\u003c/em> that same year, after working behind the scenes as a writer.\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/oFrp_pWajmA'\n title='//www.youtube.com/embed/oFrp_pWajmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By 2016’s \u003ca href=\"https://www.imdb.com/title/tt6209400/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Michael Che Matters\u003c/em>\u003c/a>, the comedian had started to walk a fine line that wasn’t quite as successful. In that Netflix special, brilliant material about Black Lives Matter, religion and gentrification rubbed uncomfortably up against jokes making light of street harassment and homelessness, and criticizing the sexual practices of both straight women and gay men. For the most part, though, Che was careful when stepping into offensive territory to first openly acknowledge that he was doing so, and second, to make a larger point in order to justify it.\u003c/p>\n\u003cp>In one particularly infamous bit, the comic used a transgender slur. “I just recently stopped using the word ‘tranny’ because a trans friend of mine told me how much it hurts,” he said. “I was like ‘What? How the f–k is ‘tranny’ hurtful? I just added a Y!’ … She was like ‘How would you like it if I called you ‘blacky’? Well played, tranny. Well played…” Is it difficult to hear Che use this language? Of course. But at least he did so in the course of drawing connections between marginalized groups, and trying to help one understand the other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More recently, however, Che has descended straight into territory that punches down just for the hell of it.\u003c/p>\n\u003cp>In an October “Weekend Update” segment, Che plunged headfirst into transphobic misgendering, for no valid reason at all. While attempting to make a joke about Kanye West’s music going “G-rated,” he said: “At first, I thought Kanye was losing his mind, and now I feel like he’s … just turning into an old white lady … It’s like, how long before this guy changes his name to Kathy? … Now, you might think I’m crazy, but about five years ago there was a fella named Bruce Jenner…”\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/fMdn2Ao7-88'\n title='//www.youtube.com/embed/fMdn2Ao7-88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A week later, he made sexist and ageist comments on the show after a 67-year-old woman gave birth in China. Che prompted a mix of laughter and groans when he said: “She can breastfeed just by standing over the crib,” and “doctors described the birth as pulling a penny out of a wad of gum.”\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/tw0l6e1iOsU'\n title='//www.youtube.com/embed/tw0l6e1iOsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even more troubling than his recent descent into unfunny is Che’s penchant for using his social media to call out specific individuals who happen to not share his views.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://theoutline.com/post/8583/michael-che-feud-snl-jack-allison?utm_source=TW&zr=mi2arnha&zd=1&zi=mpawsoe6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Outline\u003c/em> published a story\u003c/a> by ex-\u003cem>Jimmy Kimmel Live\u003c/em> writer Jack Allison that detailed bullying behavior by Che. After Allison took to Twitter to criticize a (definitely shady) practice used by \u003cem>Saturday Night Live\u003c/em> to acquire jokes, Che called out Allison directly on Instagram, listing his Twitter handle and using specific insults about Allison’s appearance and social life. (“he’s one of those bearded white guys with glasses that hates snl, but talks a lot about snl.. not much about his personal life on there, but i’m sure its awesome.”)\u003c/p>\n\u003cp>In the article, Allison describes in detail how Che repeatedly reignited their squabble online, criticizing Allison’s career (“continue to submit your packet to shows that don’t know/like you! lol i heard thingssssss!”) and personality, and even attempting to paint him as a disingenuous drug addict.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Allison notes: “Sometimes weeks or whole months would go by with nothing, before all of a sudden, I made another appearance on [Che’s] Instagram Story.”\u003c/p>\n\u003cp>In the same \u003cem>Outline\u003c/em> article, an Uproxx critic named Steven Hyden describes coming under similar fire after writing \u003ca href=\"https://uproxx.com/tv/colin-jost-hate-saturday-night-live/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> about Che’s “Weekend Update” co-anchor Colin Jost that described him as “the epitome of white-male mediocrity.” Hyden explained that Che “decided to mock me on his Instagram. He called me a ‘mediocre ass white dude’ and then said I like to ‘suck off rescue dogs.’ … Also, someone—can’t say it was Che, though it happened immediately after he went into his tirade against me—went into my Wikipedia page and changed it to reflect my supposed preference for having sex with canines.”\u003c/p>\n\u003cp>Similarly, when \u003cem>Daily Beast\u003c/em> writer Samantha Allen wrote an article about \u003ca href=\"https://www.thedailybeast.com/dear-ricky-gervais-and-other-comics-your-caitlyn-jenner-jokes-are-getting-old\" target=\"_blank\" rel=\"noopener noreferrer\">transphobia in comedy\u003c/a>, Che—who wasn’t even mentioned in the piece—responded by pointing his 440,000 Instagram followers squarely in her direction. The incident appeared to be less about defending controversial comedy and more about an attempt to dox a writer for having a different opinion to him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1920x1782.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-2-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1920x1783.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Reports suggest that Che has been taking things this personally since before his TV career even took off. In 2013, after writing \u003ca href=\"https://blackgirlnerds.com/the-trouble-with-snls-white-christmas/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> for \u003cem>Black Girl Nerds\u003c/em> that criticized one of Che’s \u003cem>SNL\u003c/em> skits, writer Faye McCray claimed that he “made personal attacks on [her], the editor and the publication.” (McCray’s original article has since disappeared from the website.)\u003c/p>\n\u003cp>Che’s social media bullying could now be considered a full-blown pattern. And, aside from obvious issues relating to pettiness, fragile masculinity and a flagrant imbalance of power, there is also some deep irony here. In \u003cem>Michael Che Matters\u003c/em>, the comedian made a point of saying that he was open to hear criticism about his more controversial viewpoints, in order to learn from them. “Maybe you’ve got some f–ked up views about something,” he said, “but unless you’re honest about it, how are you going to get better? You’ve gotta stop accusing people just for being honest. You can school me!”\u003c/p>\n\u003cp>Clearly not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you are a public figure actively working in a profession that attracts critics, it goes without saying that having a much thicker skin than this is an essential part of the job. Not only is Che’s laser-like focus on anyone who hurts his feelings exhausting to watch, it’s deeply embarrassing—for SNL, for fans watching, and most of all, for him.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Terry Jones, a founding member of the anarchic Monty Python troupe who was hailed by colleagues as “the complete Renaissance comedian” and “a man of endless enthusiasms,” has died at age 77 after suffering from dementia.\u003c/p>\n\u003cp>Jones’s family said he died Tuesday evening at his home in London “after a long, extremely brave but always good humored battle with a rare form of dementia.”\u003c/p>\n\u003cp>“We have all lost a kind, funny, warm, creative and truly loving man whose uncompromising individuality, relentless intellect and extraordinary humor has given pleasure to countless millions across six decades,” Jones’s wife, Anna Soderstrom, and children Bill, Sally and Siri, said in a statement.\u003c/p>\n\u003cp>Born in Wales in 1942, Jones attended Oxford University, where he began writing and performing with fellow student Michael Palin.\u003c/p>\n\u003cp>After leaving university, he wrote for seminal 1960s comedy series, including \u003cem>The Frost Report\u003c/em> and \u003cem>Do Not Adjust Your Set\u003c/em>. At the end of the decade he and Palin, along with Eric Idle, John Cleese, Graham Chapman and Terry Gilliam, formed Monty Python’s Flying Circus. The troupe’s irreverent humor—a blend of satire, surrealism and silliness—helped revolutionize British comedy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Terry was one of my closest, most valued friends. He was kind, generous, supportive and passionate about living life to the full,” Palin said in a statement.\u003c/p>\n\u003cp>“He was far more than one of the funniest writer-performers of his generation. He was the complete Renaissance comedian—writer, director, presenter, historian, brilliant children’s author, and the warmest, most wonderful company you could wish to have,” Palin said.\u003c/p>\n\u003cp>Jones wrote and performed for the troupe’s early-70s TV series and films including \u003cem>Monty Python and the Holy Grail\u003c/em> in 1975 and \u003cem>Monty Python’s Life of Brian\u003c/em> in 1979.\u003c/p>\n\u003cp>Playing the mother of Brian, a hapless young man who is mistaken for Jesus, he delivered one of the Pythons’ most famous lines: “He’s not the Messiah. He’s a very naughty boy!”\u003c/p>\n\u003cp>A more understated presence than the 6-foot-five-inch (1.95 meters) Cleese or the energetic Idle, Jones was a deft comic performer, who played many of the Pythons’ female characters. He was also, among many other characters, a grinning nude organist, Spanish Inquisitor Cardinal Biggles and the explosively gluttonous restaurant patron Mr. Creosote.\u003c/p>\n\u003cp>Cleese tweeted: “It feels strange that a man of so many talents and such endless enthusiasm, should have faded so gently away…”\u003c/p>\n\u003cp>He added: “Two down, four to go,” a reference to the six members of the troupe. Chapman died of cancer in 1989.\u003c/p>\n\u003cp>As well as performing, Jones co-directed \u003cem>Holy Grail\u003c/em> with Gilliam, and directed \u003cem>Life of Brian\u003c/em> and the 1983 Python film \u003cem>The Meaning of Life\u003c/em>.\u003c/p>\n\u003cp>During the 1970s, Jones also created the show \u003cem>Ripping Yarns\u003c/em> with Palin and wrote sketches for comedy duo The Two Ronnies.\u003c/p>\n\u003cp>After the Pythons largely disbanded in the 1980s, Jones wrote books on medieval and ancient history, presented documentaries, wrote poetry and directed films, including \u003cem>Personal Services\u003c/em>, about a suburban brothel madam, and the comedy adventure \u003cem>Erik the Viking\u003c/em>. He also scripted the Jim Henson-directed fantasy film \u003cem>Labyrinth\u003c/em>, which starred David Bowie.\u003c/p>\n\u003cp>In 2014, more than three decades after their last live performance, the five surviving Pythons reunited for a string of stage shows that revived their old skits for adoring audiences.\u003c/p>\n\u003cp>Palin would recall that during the stage run, Jones struggled for the first time with remembering lines. Two years later, Jones’s family announced he had been diagnosed with frontotemporal dementia, which gradually robbed him of the ability to write and speak.\u003c/p>\n\u003cp>“It is a cruel and sad thing,” surviving troupe member Idle tweeted Wednesday. “But let’s remember just what joy he brought to all of us.\u003c/p>\n\u003cp>“So many laughs, moments of total hilarity onstage and off, we have all shared with him. It’s too sad if you knew him, but if you didn’t you will always smile at the many wonderfully funny moments he gave us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is survived by his wife, his ex-wife Alison Telfer, and three children.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Terry Jones, a founding member of the anarchic Monty Python troupe who was hailed by colleagues as “the complete Renaissance comedian” and “a man of endless enthusiasms,” has died at age 77 after suffering from dementia.\u003c/p>\n\u003cp>Jones’s family said he died Tuesday evening at his home in London “after a long, extremely brave but always good humored battle with a rare form of dementia.”\u003c/p>\n\u003cp>“We have all lost a kind, funny, warm, creative and truly loving man whose uncompromising individuality, relentless intellect and extraordinary humor has given pleasure to countless millions across six decades,” Jones’s wife, Anna Soderstrom, and children Bill, Sally and Siri, said in a statement.\u003c/p>\n\u003cp>Born in Wales in 1942, Jones attended Oxford University, where he began writing and performing with fellow student Michael Palin.\u003c/p>\n\u003cp>After leaving university, he wrote for seminal 1960s comedy series, including \u003cem>The Frost Report\u003c/em> and \u003cem>Do Not Adjust Your Set\u003c/em>. At the end of the decade he and Palin, along with Eric Idle, John Cleese, Graham Chapman and Terry Gilliam, formed Monty Python’s Flying Circus. The troupe’s irreverent humor—a blend of satire, surrealism and silliness—helped revolutionize British comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Terry was one of my closest, most valued friends. He was kind, generous, supportive and passionate about living life to the full,” Palin said in a statement.\u003c/p>\n\u003cp>“He was far more than one of the funniest writer-performers of his generation. He was the complete Renaissance comedian—writer, director, presenter, historian, brilliant children’s author, and the warmest, most wonderful company you could wish to have,” Palin said.\u003c/p>\n\u003cp>Jones wrote and performed for the troupe’s early-70s TV series and films including \u003cem>Monty Python and the Holy Grail\u003c/em> in 1975 and \u003cem>Monty Python’s Life of Brian\u003c/em> in 1979.\u003c/p>\n\u003cp>Playing the mother of Brian, a hapless young man who is mistaken for Jesus, he delivered one of the Pythons’ most famous lines: “He’s not the Messiah. He’s a very naughty boy!”\u003c/p>\n\u003cp>A more understated presence than the 6-foot-five-inch (1.95 meters) Cleese or the energetic Idle, Jones was a deft comic performer, who played many of the Pythons’ female characters. He was also, among many other characters, a grinning nude organist, Spanish Inquisitor Cardinal Biggles and the explosively gluttonous restaurant patron Mr. Creosote.\u003c/p>\n\u003cp>Cleese tweeted: “It feels strange that a man of so many talents and such endless enthusiasm, should have faded so gently away…”\u003c/p>\n\u003cp>He added: “Two down, four to go,” a reference to the six members of the troupe. Chapman died of cancer in 1989.\u003c/p>\n\u003cp>As well as performing, Jones co-directed \u003cem>Holy Grail\u003c/em> with Gilliam, and directed \u003cem>Life of Brian\u003c/em> and the 1983 Python film \u003cem>The Meaning of Life\u003c/em>.\u003c/p>\n\u003cp>During the 1970s, Jones also created the show \u003cem>Ripping Yarns\u003c/em> with Palin and wrote sketches for comedy duo The Two Ronnies.\u003c/p>\n\u003cp>After the Pythons largely disbanded in the 1980s, Jones wrote books on medieval and ancient history, presented documentaries, wrote poetry and directed films, including \u003cem>Personal Services\u003c/em>, about a suburban brothel madam, and the comedy adventure \u003cem>Erik the Viking\u003c/em>. He also scripted the Jim Henson-directed fantasy film \u003cem>Labyrinth\u003c/em>, which starred David Bowie.\u003c/p>\n\u003cp>In 2014, more than three decades after their last live performance, the five surviving Pythons reunited for a string of stage shows that revived their old skits for adoring audiences.\u003c/p>\n\u003cp>Palin would recall that during the stage run, Jones struggled for the first time with remembering lines. Two years later, Jones’s family announced he had been diagnosed with frontotemporal dementia, which gradually robbed him of the ability to write and speak.\u003c/p>\n\u003cp>“It is a cruel and sad thing,” surviving troupe member Idle tweeted Wednesday. “But let’s remember just what joy he brought to all of us.\u003c/p>\n\u003cp>“So many laughs, moments of total hilarity onstage and off, we have all shared with him. It’s too sad if you knew him, but if you didn’t you will always smile at the many wonderfully funny moments he gave us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is survived by his wife, his ex-wife Alison Telfer, and three children.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the latest round of chaotic volleys around the Grammy Awards, the Recording Academy’s short-lived president and CEO, Deborah Dugan — the organization’s first female chief executive — announced Tuesday afternoon that she has filed a discrimination complaint with the Equal Employment Opportunity Commission (EEOC) against the Academy, the organization that gives out the Grammys.\u003c/p>\n\u003cp>The EEOC complaint includes several bombshell accusations, including that her predecessor, Neil Portnow, raped a female artist in New York; that she was pressed to hire Portnow as a consultant for $750,000 by the Academy’s then-board chair, John Poppo; and that the Academy’s general counsel and former board chair, Joel Katz, sexually harassed Dugan in May 2019, as she was being courted for the top Academy job. \u003c/p>\n\u003cp>Last Thursday, Dugan was put on administrative leave just ten days before this year’s Grammy Awards telecast, which will take place on Sunday. She was announced as the organization’s leader last May, and took up her post in August.\u003c/p>\n\u003cp>As recently as last month, Dugan was giving interviews in which she \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">promised\u003c/a> “a major restructuring” of the Grammys. The pledged changes included meeting concrete, measurable goals meant to add greater gender and racial diversity to the awards process, and to ensure voting and membership transparency across the awards, and the Academy.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/WigdorLaw/status/1219730474526019584?s=20\">statement\u003c/a> issued Tuesday afternoon, her attorneys Douglas H. Wigdor and Michael J. Willemin said: “The complaint that we filed today against the National Academy of Recording Arts and Sciences (NARAS, the Academy’s former full name) highlights tactics reminiscent of those deployed by individuals defending Harvey Weinstein.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wigdor also represents a Jane Doe, one of the women who is \u003ca href=\"https://www.wigdorlaw.com/harvey-weinstein-criminal-trial-jane-doe-testify/\">slated to testify\u003c/a> in the Weinstein trial, which is \u003ca href=\"https://www.npr.org/2020/01/16/796912859/harvey-weinsteins-lawyers-want-jury-selection-done-in-private\">getting underway\u003c/a> in New York.\u003c/p>\n\u003cp>The lawyers’ statement continues: “The attempt by the Recording Academy to impugn the character of Deborah Dugan is a transparent effort to shift the focus away from its own unlawful activity. This blatant form of retaliation in corporate America is all too common, even post #MeToo, and we will utilize all lawful means necessary to ensure that those responsible are held accountable for their actions.”\u003c/p>\n\u003cp>In the EEOC complaint, Dugan describes the Academy as a “‘boys’ club network where men work together to the disadvantage of women and disenfranchised groups in order to line their own pockets and maintain a firm grip on the Academy’s dealings.”\u003c/p>\n\u003cp>In a statement sent Tuesday evening to NPR, the Academy said: “It is curious that Ms. Dugan never raised these grave allegations until a week after legal claims were made against her personally by a female employee who alleged Ms. Dugan had created a ‘toxic and intolerable’ work environment and engaged in ‘abusive and bullying conduct’. When Ms. Dugan did raise her ‘concerns’ to HR, she specifically instructed HR ‘not to take any action’ in response.”\u003c/p>\n\u003cp>“Nonetheless,” the Academy statement continues, “we immediately launched independent investigations to review both Ms. Dugan’s potential misconduct and her subsequent allegations. Both of these investigations remain ongoing. Ms. Dugan was placed on administrative leave only after offering to step down and demanding $22 million from the Academy, which is a not-for-profit organization. Our loyalty will always be to the 21,000 members of the Recording Industry. We regret that Music’s Biggest Night is being stolen from them by Ms. Dugan’s actions and we are working to resolve the matter as quickly as possible.”\u003c/p>\n\u003cp>In response, Dugan’s lawyer sent NPR another statement on Tuesday evening that disputed the timeline presented by the Academy, saying in part that she had “repeatedly raised concerns throughout her entire tenure” and that unnamed artists and board members had raised the same issues to the organization. In addition, Dugan’s lawyers said that on the morning she was placed on leave, the Academy offered her “millions of dollars” if she would drop her concerns, but only if she left within an hour. Dugan says that when she refused to accept that deal, she was placed on leave. \u003c/p>\n\u003cp>NPR asked the Recording Academy on Tuesday eveningf for a response to Dugan’s version of the chronology. As of Wednesday morning, the organization had not answered.\u003c/p>\n\u003cp>Since Dugan was placed on leave, the Recording Academy and its erstwhile leader have exchanged dueling narratives in the trade press about the reasons behind the move.\u003c/p>\n\u003cp>A statement from the Academy last Thursday stated, “In light of concerns raised to the Recording Academy board of trustees, including a formal allegation of misconduct by a senior female member of the Recording Academy team, the Board has placed Recording Academy President and CEO Deborah Dugan on administrative leave, effective immediately.”\u003c/p>\n\u003cp>But Dugan’s camp argued to \u003ca href=\"https://www.nytimes.com/2020/01/16/arts/music/grammys-deborah-dugan-misconduct.html\">\u003cem>The New York Times\u003c/em>\u003c/a>\u003cem> \u003c/em>the same day that the real reason for her dismissal was linked to a memo that she had sent the Academy’s HR department three weeks prior, in which she voiced the concerns her lawyers referenced, including “exorbitant and unnecessary” legal bills — including some \u003ca href=\"https://variety.com/2020/music/news/recording-academy-grammys-paid-millions-law-firms-deborah-dugan-1203471913\">$15 million\u003c/a> paid to two outside law firms between the years 2013 and 2017.\u003c/p>\n\u003cp>One of Dugan’s attorneys, Bryan Freedman, \u003ca href=\"https://twitter.com/ftllp/status/1218169527734661121?s=20\">tweeted\u003c/a> on Friday: “What has been reported is not nearly the story that needs to be told. When our ability to speak is not restrained by a 28-page contract and legal threats, we will expose what happens when you ‘step up’ at the Recording Academy, a public nonprofit.” \u003c/p>\n\u003cp>Freedman was referring to an infamous 2018 comment made by Dugan’s predecessor, Neil Portnow, in which the former Grammy chief opined that women working in the music industry would need to \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> in order to be recognized. (In 2002, Portnow replaced Michael Greene, who was forced to resign after allegations that he had sexually harassed and abused another Academy executive became public.) \u003cem>The\u003c/em> \u003cem>New York Times \u003c/em>identified the woman accusing Dugan as Portnow’s former assistant, who claimed that Dugan has a “bullying” style of managing employees.\u003c/p>\n\u003cp>On Monday, the Academy alleged via \u003cem>Billboard\u003c/em> that Dugan had offered to resign and drop her own accusations against the organization in exchange for a \u003ca href=\"https://www.billboard.com/articles/business/8548478/grammy-chief-deborah-dugan-buyout-recording-academy\">$22 million\u003c/a> payout. Similar accusations were repeated by the Academy board president, Harvey Mason Jr., in a \u003ca href=\"https://variety.com/2020/music/news/grammy-chiefslams-deborah-dugan-grammy-1203473731/\">memo\u003c/a> sent to Grammy members, in which Mason also claims that Dugan made her allegations only after the Academy began its investigation of her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Most recently before her Grammys appointment, Dugan led Red, the nonprofit group dedicated to fighting HIV/AIDS across Africa that was co-founded by U2’s Bono and Bobby Shriver. Before joining Red, Dugan was a lawyer, an executive at the EMI Record Group and a former president of Disney Publishing Worldwide. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ousted+Female+Chief+Files+Discrimination+Complaint+Against+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latest round of chaotic volleys around the Grammy Awards, the Recording Academy’s short-lived president and CEO, Deborah Dugan — the organization’s first female chief executive — announced Tuesday afternoon that she has filed a discrimination complaint with the Equal Employment Opportunity Commission (EEOC) against the Academy, the organization that gives out the Grammys.\u003c/p>\n\u003cp>The EEOC complaint includes several bombshell accusations, including that her predecessor, Neil Portnow, raped a female artist in New York; that she was pressed to hire Portnow as a consultant for $750,000 by the Academy’s then-board chair, John Poppo; and that the Academy’s general counsel and former board chair, Joel Katz, sexually harassed Dugan in May 2019, as she was being courted for the top Academy job. \u003c/p>\n\u003cp>Last Thursday, Dugan was put on administrative leave just ten days before this year’s Grammy Awards telecast, which will take place on Sunday. She was announced as the organization’s leader last May, and took up her post in August.\u003c/p>\n\u003cp>As recently as last month, Dugan was giving interviews in which she \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">promised\u003c/a> “a major restructuring” of the Grammys. The pledged changes included meeting concrete, measurable goals meant to add greater gender and racial diversity to the awards process, and to ensure voting and membership transparency across the awards, and the Academy.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/WigdorLaw/status/1219730474526019584?s=20\">statement\u003c/a> issued Tuesday afternoon, her attorneys Douglas H. Wigdor and Michael J. Willemin said: “The complaint that we filed today against the National Academy of Recording Arts and Sciences (NARAS, the Academy’s former full name) highlights tactics reminiscent of those deployed by individuals defending Harvey Weinstein.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wigdor also represents a Jane Doe, one of the women who is \u003ca href=\"https://www.wigdorlaw.com/harvey-weinstein-criminal-trial-jane-doe-testify/\">slated to testify\u003c/a> in the Weinstein trial, which is \u003ca href=\"https://www.npr.org/2020/01/16/796912859/harvey-weinsteins-lawyers-want-jury-selection-done-in-private\">getting underway\u003c/a> in New York.\u003c/p>\n\u003cp>The lawyers’ statement continues: “The attempt by the Recording Academy to impugn the character of Deborah Dugan is a transparent effort to shift the focus away from its own unlawful activity. This blatant form of retaliation in corporate America is all too common, even post #MeToo, and we will utilize all lawful means necessary to ensure that those responsible are held accountable for their actions.”\u003c/p>\n\u003cp>In the EEOC complaint, Dugan describes the Academy as a “‘boys’ club network where men work together to the disadvantage of women and disenfranchised groups in order to line their own pockets and maintain a firm grip on the Academy’s dealings.”\u003c/p>\n\u003cp>In a statement sent Tuesday evening to NPR, the Academy said: “It is curious that Ms. Dugan never raised these grave allegations until a week after legal claims were made against her personally by a female employee who alleged Ms. Dugan had created a ‘toxic and intolerable’ work environment and engaged in ‘abusive and bullying conduct’. When Ms. Dugan did raise her ‘concerns’ to HR, she specifically instructed HR ‘not to take any action’ in response.”\u003c/p>\n\u003cp>“Nonetheless,” the Academy statement continues, “we immediately launched independent investigations to review both Ms. Dugan’s potential misconduct and her subsequent allegations. Both of these investigations remain ongoing. Ms. Dugan was placed on administrative leave only after offering to step down and demanding $22 million from the Academy, which is a not-for-profit organization. Our loyalty will always be to the 21,000 members of the Recording Industry. We regret that Music’s Biggest Night is being stolen from them by Ms. Dugan’s actions and we are working to resolve the matter as quickly as possible.”\u003c/p>\n\u003cp>In response, Dugan’s lawyer sent NPR another statement on Tuesday evening that disputed the timeline presented by the Academy, saying in part that she had “repeatedly raised concerns throughout her entire tenure” and that unnamed artists and board members had raised the same issues to the organization. In addition, Dugan’s lawyers said that on the morning she was placed on leave, the Academy offered her “millions of dollars” if she would drop her concerns, but only if she left within an hour. Dugan says that when she refused to accept that deal, she was placed on leave. \u003c/p>\n\u003cp>NPR asked the Recording Academy on Tuesday eveningf for a response to Dugan’s version of the chronology. As of Wednesday morning, the organization had not answered.\u003c/p>\n\u003cp>Since Dugan was placed on leave, the Recording Academy and its erstwhile leader have exchanged dueling narratives in the trade press about the reasons behind the move.\u003c/p>\n\u003cp>A statement from the Academy last Thursday stated, “In light of concerns raised to the Recording Academy board of trustees, including a formal allegation of misconduct by a senior female member of the Recording Academy team, the Board has placed Recording Academy President and CEO Deborah Dugan on administrative leave, effective immediately.”\u003c/p>\n\u003cp>But Dugan’s camp argued to \u003ca href=\"https://www.nytimes.com/2020/01/16/arts/music/grammys-deborah-dugan-misconduct.html\">\u003cem>The New York Times\u003c/em>\u003c/a>\u003cem> \u003c/em>the same day that the real reason for her dismissal was linked to a memo that she had sent the Academy’s HR department three weeks prior, in which she voiced the concerns her lawyers referenced, including “exorbitant and unnecessary” legal bills — including some \u003ca href=\"https://variety.com/2020/music/news/recording-academy-grammys-paid-millions-law-firms-deborah-dugan-1203471913\">$15 million\u003c/a> paid to two outside law firms between the years 2013 and 2017.\u003c/p>\n\u003cp>One of Dugan’s attorneys, Bryan Freedman, \u003ca href=\"https://twitter.com/ftllp/status/1218169527734661121?s=20\">tweeted\u003c/a> on Friday: “What has been reported is not nearly the story that needs to be told. When our ability to speak is not restrained by a 28-page contract and legal threats, we will expose what happens when you ‘step up’ at the Recording Academy, a public nonprofit.” \u003c/p>\n\u003cp>Freedman was referring to an infamous 2018 comment made by Dugan’s predecessor, Neil Portnow, in which the former Grammy chief opined that women working in the music industry would need to \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> in order to be recognized. (In 2002, Portnow replaced Michael Greene, who was forced to resign after allegations that he had sexually harassed and abused another Academy executive became public.) \u003cem>The\u003c/em> \u003cem>New York Times \u003c/em>identified the woman accusing Dugan as Portnow’s former assistant, who claimed that Dugan has a “bullying” style of managing employees.\u003c/p>\n\u003cp>On Monday, the Academy alleged via \u003cem>Billboard\u003c/em> that Dugan had offered to resign and drop her own accusations against the organization in exchange for a \u003ca href=\"https://www.billboard.com/articles/business/8548478/grammy-chief-deborah-dugan-buyout-recording-academy\">$22 million\u003c/a> payout. Similar accusations were repeated by the Academy board president, Harvey Mason Jr., in a \u003ca href=\"https://variety.com/2020/music/news/grammy-chiefslams-deborah-dugan-grammy-1203473731/\">memo\u003c/a> sent to Grammy members, in which Mason also claims that Dugan made her allegations only after the Academy began its investigation of her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most recently before her Grammys appointment, Dugan led Red, the nonprofit group dedicated to fighting HIV/AIDS across Africa that was co-founded by U2’s Bono and Bobby Shriver. Before joining Red, Dugan was a lawyer, an executive at the EMI Record Group and a former president of Disney Publishing Worldwide. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ousted+Female+Chief+Files+Discrimination+Complaint+Against+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Country music channel CMT will now give equal airtime to male and female artists during its early-morning music video hours. The channel announced the news \u003ca href=\"https://twitter.com/CMT/status/1219650866082242562\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter today\u003c/a>, expanding on their previous policy (60-40, male to female).\u003c/p>\n\u003cp>CMT airs music videos every day from 4 a.m. to 9 a.m., and also operates a separate channel dedicated to airing music videos around the clock.\u003c/p>\n\u003cp>Leslie Fram, senior vice president of music strategy for CMT, says the decision was driven by women being under-represented in country music—whether on TV, streaming platforms, or terrestrial radio.\u003c/p>\n\u003cp>“We’re not saying every female artist and every single song from a female artist should be played,” Fram tells NPR. “We’re saying, let’s have an equal playing field and let the fans decide.”\u003c/p>\n\u003cp>Women being overlooked by the country music establishment has been a long-standing issue. In the press release announcing its new policy, CMT linked to a segment, from the TBS show \u003cem>Full Frontal with Samantha Bee\u003c/em>, about the issue. A \u003ca href=\"https://www.npr.org/2019/04/05/710262673/country-music-excludes-women-especially-over-age-40-study-finds\" target=\"_blank\" rel=\"noopener noreferrer\">study released last year\u003c/a> by researchers at the University of Southern California’s Annenberg Inclusion Initiative found that across 500 of the top country songs from 2014-2018, only 16% were from female artists.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Country+Music+Channel+Promises+Equal+Video+Plays+For+Women+And+Men&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Country music channel CMT will now give equal airtime to male and female artists during its early-morning music video hours. The channel announced the news \u003ca href=\"https://twitter.com/CMT/status/1219650866082242562\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter today\u003c/a>, expanding on their previous policy (60-40, male to female).\u003c/p>\n\u003cp>CMT airs music videos every day from 4 a.m. to 9 a.m., and also operates a separate channel dedicated to airing music videos around the clock.\u003c/p>\n\u003cp>Leslie Fram, senior vice president of music strategy for CMT, says the decision was driven by women being under-represented in country music—whether on TV, streaming platforms, or terrestrial radio.\u003c/p>\n\u003cp>“We’re not saying every female artist and every single song from a female artist should be played,” Fram tells NPR. “We’re saying, let’s have an equal playing field and let the fans decide.”\u003c/p>\n\u003cp>Women being overlooked by the country music establishment has been a long-standing issue. In the press release announcing its new policy, CMT linked to a segment, from the TBS show \u003cem>Full Frontal with Samantha Bee\u003c/em>, about the issue. A \u003ca href=\"https://www.npr.org/2019/04/05/710262673/country-music-excludes-women-especially-over-age-40-study-finds\" target=\"_blank\" rel=\"noopener noreferrer\">study released last year\u003c/a> by researchers at the University of Southern California’s Annenberg Inclusion Initiative found that across 500 of the top country songs from 2014-2018, only 16% were from female artists.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Country+Music+Channel+Promises+Equal+Video+Plays+For+Women+And+Men&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://www.grammy.com/recording-academy\">National Academy of Recording Arts and Sciences\u003c/a> has placed its president and CEO, Deborah Dugan, on administrative leave in a major shakeup at the organization less than two weeks before this year’s Grammy Awards ceremony.\u003c/p>\n\u003cp>A statement released by the Recording Academy’s board of trustees referred to “a formal allegation of misconduct by a senior female member of the Recording Academy team” and said it had placed Dugan “on administrative leave, effective immediately.”\u003c/p>\n\u003cp>The statement did not specify the nature of the allegation, nor who is accused of committing the misconduct.\u003c/p>\n\u003cp>Dugan became the Recording Academy’s first female CEO less than six months ago. She followed Neil Portnow, who led the group for 17 years, but sparked controversy with a comment after the 2018 show that \u003ca href=\"https://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\">women needed to “step up”\u003c/a> to get ahead in the music industry.\u003c/p>\n\u003cp>“The board has also retained two independent third-party investigators to conduct independent investigations of the allegations,” the statement said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The board determined this action to be necessary in order to restore the confidence of the Recording Academy’s membership, repair Recording Academy employee morale, and allow the Recording Academy to focus on its mission of serving all music creators,” it continued. “The Recording Academy Board of Trustees is committed to fostering a safe, diverse, and inclusive workplace, music industry, and society.”\u003c/p>\n\u003cp>The Recording Academy’s board chair, \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%E2%84%A2-announces-harvey-mason-jr-tammy-hurt-terry-hemmings-and-christine\">Harvey Mason Jr.\u003c/a>, a music producer who has worked with such recording artists as Chris Brown and Jennifer Hudson, will step in as interim president and CEO, the statement said.\u003c/p>\n\u003cp>Dugan headed Bono’s \u003ca href=\"https://www.red.org/\">(RED)\u003c/a>, an organization focused on combating HIV/AIDS, before coming to the Academy and had previously been president of Disney Publishing Worldwide and executive vice president at EMI/Capitol Records.\u003c/p>\n\u003cp>She came in promising to “reinvent” the organization, telling \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">NPR in an interview in December\u003c/a> that she was leading “a major restructuring to allow for immediate diversity.”\u003c/p>\n\u003cp>Dugan said she and Mason were “personally and professionally committed to advance and champion diversity, inclusivity, transparency — making processes simple and understandable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.grammy.com/grammys/news/billie-eilish-lizzo-aerosmith-gwen-stefani-and-blake-shelton-perform-2020-grammys\">Grammy Awards ceremony\u003c/a>, to be held Jan. 26, will feature performances by Lizzo — who tops the list with eight nominations — as well as Aerosmith, Camila Cabello, Billie Eilish, H.E.R., the Jonas Brothers, Demi Lovato, Bonnie Raitt, Rosalía, Run-DMC, Blake Shelton, Gwen Stefani, Charlie Wilson and Tyler, the Creator, among others. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Recording+Academy+CEO+Suspended+Amid+Misconduct+Allegations+Ahead+Of+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.grammy.com/recording-academy\">National Academy of Recording Arts and Sciences\u003c/a> has placed its president and CEO, Deborah Dugan, on administrative leave in a major shakeup at the organization less than two weeks before this year’s Grammy Awards ceremony.\u003c/p>\n\u003cp>A statement released by the Recording Academy’s board of trustees referred to “a formal allegation of misconduct by a senior female member of the Recording Academy team” and said it had placed Dugan “on administrative leave, effective immediately.”\u003c/p>\n\u003cp>The statement did not specify the nature of the allegation, nor who is accused of committing the misconduct.\u003c/p>\n\u003cp>Dugan became the Recording Academy’s first female CEO less than six months ago. She followed Neil Portnow, who led the group for 17 years, but sparked controversy with a comment after the 2018 show that \u003ca href=\"https://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\">women needed to “step up”\u003c/a> to get ahead in the music industry.\u003c/p>\n\u003cp>“The board has also retained two independent third-party investigators to conduct independent investigations of the allegations,” the statement said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Seven Worlds, One Planet, \u003c/em>BBC America’s new big-budget, big-scope documentary series, devotes one episode to each of Earth’s continents—beginning with an episode devoted to Australia.\u003c/p>\n\u003cp>Filmed before that continent’s still-ongoing \u003ca href=\"https://www.npr.org/2020/01/05/793754335/australia-deploys-military-reservists-to-combat-wildfire-as-thousands-evacuate\" target=\"_blank\" rel=\"noopener noreferrer\">wildfire outbreak\u003c/a>, the entire “Australia” episode has even more resonance now. \u003ca href=\"https://www.npr.org/2018/12/25/680079474/sir-david-attenboroughs-field-recordings-from-across-the-planet\" target=\"_blank\" rel=\"noopener noreferrer\">Sir David Attenborough\u003c/a>, the narrator, has been presiding over these wonderful nature films for close to 70 years, and his opening words in the “Australia” program are so on-point it’s spooky: “This is a land of survivors,” he says.\u003c/p>\n\u003cp>It has to be. Recent news reports from Australia say that the wildfires have swept across as many as 27 million acres of land and killed up to a billion animals. A billion. On Kangaroo Island alone, 25,000 koalas have been killed—and their habitat, especially the lush eucalyptus trees, gone.\u003c/p>\n\u003cp>Koalas and kangaroos figure prominently in this “Australia” episode. So do Tasmanian devils and wild budgies, dingoes and jumping spiders, and so much more.\u003c/p>\n\u003cp>The filmmakers capture these creatures doing amazing things, with state-of-the-art technology that makes sure to remember the “art” part. Some of the behaviors caught on tape are very rare sights—as are some of the animals. At episode’s end, in another prescient piece of narration, Attenborough points that the very survival of the animals in Australia depends on us.\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/IlFRPkT-hVc'\n title='//www.youtube.com/embed/IlFRPkT-hVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Every installment of \u003cem>Seven Worlds, One Planet \u003c/em>ends with a behind-the-scenes featurette showing how the filmmakers captured the footage they did. It’s a delicious dessert, but the episodes themselves are the true treat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Each weekly episode premieres on BBC America, but also on AMC, IFC and Sundance TV. Wherever you watch them, watch and record them all. The narration is so clear and concise—and Attenborough such an inviting guide—that \u003cem>Seven Worlds, One Planet \u003c/em>is just as thrilling for younger viewers as for adults. Every episode includes sequences that will make your jaw drop—and the variety of subjects, which in these seven episodes range from polar bears to fireflies, is astounding. As a work of television, this nature series is astounding, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmed+Before+The+Fires%2C+%27Seven+Worlds%27+Shows+Off+Australia%27s+Amazing+Wildlife&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "HBO's Adaptation of Stephen King's 'The Outsider' is Full of Frightening Promise",
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"content": "\u003cp>The first thing you should know about HBO’s new limited series\u003cem> \u003c/em>is that it makes Jason Bateman’s role in \u003ca href=\"https://www.imdb.com/title/tt5071412/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ozark\u003c/em>\u003c/a> look like \u003cem>Peppa Pig\u003c/em>. It’s difficult to overstate the shock of seeing this clean-cut American treasure emerging from a forest, drenched in blood and holding a stare that could prompt hell to freeze over—but it does give you some idea of the unrelenting nature of \u003cem>The Outsider\u003c/em>.\u003c/p>\n\u003cp>The 10-part adaptation of Stephen King’s best-selling 2018 novel premieres Jan. 12. And judging from a press preview screening of the first two episodes, it’s seeped in all that makes King’s literature so beloved: small town wholesomeness rubbing up against a seedy underworld, mundane family life invaded by frightening forces and calm, rational adults trying to wrestle with deeply mysterious circumstances.\u003c/p>\n\u003cp>At the center of \u003cem>The Outsider\u003c/em> is the gruesome murder of a child, and a suspect standing next to a mountain of evidence that simultaneously exonerates him and confirms his guilt. Can someone be in two places at once? Do doppelgängers exist? Or is a supernatural third party involved? \u003cem>The Outsider\u003c/em> sets up these questions early on and leaves them hanging tantalizingly in the air.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eNDKWr3Xmjk\u003c/p>\n\u003cp>Searing scenes from the two episodes further hammer home the King-ian dichotomies at play. A mom smashes up a table of quaint finger foods with a baseball bat; an average Joe dog-walker finds a scene of abject, bloody horror in the woods; a sweet-faced little girl stares into the corner of her empty room and insists a man is there. These kinds of juxtapositions set a tone that is both deeply unsettling and thoroughly compelling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Further enhancing these visuals are classic themes, and nods to the original texts they came from. In the first two hours alone, as tragedy keeps begetting tragedy, it’s impossible not to think of \u003cem>Hamlet\u003c/em>. Lest we fail to notice the thematic resemblance, a character quotes the Shakespearean text directly. (“There are more things in heaven and Earth, Horatio, than are dreamt of in your philosophy,” District Attorney Bill Samuels tells Detective Ralph Anderson,)\u003c/p>\n\u003cp>There are also nods to 1955’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Night_of_the_Hunter_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Night of the Hunter\u003c/em>\u003c/a>, with its aggrieved widow, stalked children and mysterious, shadowy killer. The parallels between \u003cem>Night\u003c/em>‘s killer with his “Love” and “Hate” knuckle tattoos and \u003cem>The Outsider\u003c/em>‘s recovering addict with “Must” and “Can’t” tattooed on his knuckles doesn’t feel like a coincidence.\u003c/p>\n\u003cp>What remains to be seen is if HBO can maintain this exquisite momentum for the rest of the series. Hulu’s Stephen King series \u003cem>Castle Rock \u003c/em>started in similarly brilliant form, then promptly \u003ca href=\"https://www.kqed.org/pop/105585/the-castle-rock-finale-is-probably-going-to-disappoint-us-all\" target=\"_blank\" rel=\"noopener noreferrer\">fell apart in spectacular style\u003c/a> at the end of Season 1. \u003cem>Castle Rock\u003c/em> was focused on an outsider who prompted death and mayhem wherever he went, and\u003cem> The Outsider\u003c/em> has a hooded figure who appears to do the same.\u003c/p>\n\u003cp>With that in mind, viewers will have to hope against hope that HBO can provide a more satisfying explanation and ending to their King story than Hulu did in 2018. If \u003cem>The Outsider\u003c/em> can successfully maintain what it’s done in these two episodes, there’ll be no stopping it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>HBO’s\u003c/em> The Outsider \u003cem>premieres Sunday, Jan. 12 at 9pm.\u003c/em>\u003c/p>\n\n",
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"excerpt": "KQED Arts watched the first two episodes of 'The Outsider' and—so far at least—it's everything fans could want from a Stephen King adaptation. ",
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"description": "KQED Arts watched the first two episodes of 'The Outsider' and—so far at least—it's everything fans could want from a Stephen King adaptation. ",
"title": "HBO's Adaptation of Stephen King's 'The Outsider' is Full of Frightening Promise | KQED",
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"headline": "HBO's Adaptation of Stephen King's 'The Outsider' is Full of Frightening Promise",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing you should know about HBO’s new limited series\u003cem> \u003c/em>is that it makes Jason Bateman’s role in \u003ca href=\"https://www.imdb.com/title/tt5071412/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ozark\u003c/em>\u003c/a> look like \u003cem>Peppa Pig\u003c/em>. It’s difficult to overstate the shock of seeing this clean-cut American treasure emerging from a forest, drenched in blood and holding a stare that could prompt hell to freeze over—but it does give you some idea of the unrelenting nature of \u003cem>The Outsider\u003c/em>.\u003c/p>\n\u003cp>The 10-part adaptation of Stephen King’s best-selling 2018 novel premieres Jan. 12. And judging from a press preview screening of the first two episodes, it’s seeped in all that makes King’s literature so beloved: small town wholesomeness rubbing up against a seedy underworld, mundane family life invaded by frightening forces and calm, rational adults trying to wrestle with deeply mysterious circumstances.\u003c/p>\n\u003cp>At the center of \u003cem>The Outsider\u003c/em> is the gruesome murder of a child, and a suspect standing next to a mountain of evidence that simultaneously exonerates him and confirms his guilt. Can someone be in two places at once? Do doppelgängers exist? Or is a supernatural third party involved? \u003cem>The Outsider\u003c/em> sets up these questions early on and leaves them hanging tantalizingly in the air.\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/eNDKWr3Xmjk'\n title='//www.youtube.com/embed/eNDKWr3Xmjk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Searing scenes from the two episodes further hammer home the King-ian dichotomies at play. A mom smashes up a table of quaint finger foods with a baseball bat; an average Joe dog-walker finds a scene of abject, bloody horror in the woods; a sweet-faced little girl stares into the corner of her empty room and insists a man is there. These kinds of juxtapositions set a tone that is both deeply unsettling and thoroughly compelling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Further enhancing these visuals are classic themes, and nods to the original texts they came from. In the first two hours alone, as tragedy keeps begetting tragedy, it’s impossible not to think of \u003cem>Hamlet\u003c/em>. Lest we fail to notice the thematic resemblance, a character quotes the Shakespearean text directly. (“There are more things in heaven and Earth, Horatio, than are dreamt of in your philosophy,” District Attorney Bill Samuels tells Detective Ralph Anderson,)\u003c/p>\n\u003cp>There are also nods to 1955’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Night_of_the_Hunter_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Night of the Hunter\u003c/em>\u003c/a>, with its aggrieved widow, stalked children and mysterious, shadowy killer. The parallels between \u003cem>Night\u003c/em>‘s killer with his “Love” and “Hate” knuckle tattoos and \u003cem>The Outsider\u003c/em>‘s recovering addict with “Must” and “Can’t” tattooed on his knuckles doesn’t feel like a coincidence.\u003c/p>\n\u003cp>What remains to be seen is if HBO can maintain this exquisite momentum for the rest of the series. Hulu’s Stephen King series \u003cem>Castle Rock \u003c/em>started in similarly brilliant form, then promptly \u003ca href=\"https://www.kqed.org/pop/105585/the-castle-rock-finale-is-probably-going-to-disappoint-us-all\" target=\"_blank\" rel=\"noopener noreferrer\">fell apart in spectacular style\u003c/a> at the end of Season 1. \u003cem>Castle Rock\u003c/em> was focused on an outsider who prompted death and mayhem wherever he went, and\u003cem> The Outsider\u003c/em> has a hooded figure who appears to do the same.\u003c/p>\n\u003cp>With that in mind, viewers will have to hope against hope that HBO can provide a more satisfying explanation and ending to their King story than Hulu did in 2018. If \u003cem>The Outsider\u003c/em> can successfully maintain what it’s done in these two episodes, there’ll be no stopping it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>HBO’s\u003c/em> The Outsider \u003cem>premieres Sunday, Jan. 12 at 9pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-guide-to-self-care-in-jane-austens-time",
"title": "A Guide to Self-Care in Jane Austen's Time",
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"content": "\u003cp>\u003cem>PBS’s \u003c/em>\u003ca href=\"https://www.pbs.org/wgbh/masterpiece/shows/sanditon/\">Sanditon\u003c/a>\u003cem>, the television series based on an unfinished novel by Jane Austen, comes to KQED Sunday, Jan. 12. Since it’s set in the Regency-era equivalent of a coastal spa, we asked Bay Area Austen expert Bianca Hernandez of the \u003c/em>\u003ca href=\"https://drunkausten.com/\">Drunk Austen\u003c/a>\u003cem> podcast to give us a primer.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>elf-care is no modern invention. The upcoming PBS Masterpiece adaptation of Jane Austen’s \u003cem>Sanditon\u003c/em> highlights the Regency-era craze around being health-conscious. And though some of the advice from the early 1800s doesn’t hold up (we frown on drinking lead nowadays), it does include some tips that can make nice additions to your routine. \u003c/p>\n\u003cp>Read on to get in the mood for a trip to a Regency seaside resort.\u003c/p>\n\u003cfigure id=\"attachment_13872439\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13872439 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast take in the seaside air in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. (Masterpiece PBS)\u003c/figcaption>\u003c/figure>\n\u003ch2>Get to the sea\u003c/h2>\n\u003cp>\u003cem>“The sea air and sea bathing together were neatly infallible, one or the other of them being a match for every disorder, of the stomach, the lungs or the blood.”—‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Though some of the advice from the era doesn’t age well, taking a vacation is a timeless, tried-and-true way to clear one’s mind. During the Regency era, places like Bath and Brighton were a must for those suffering from ailments like gout and leprosy.\u003c/p>\n\u003cp>Sea air was thought to be rejuvenating, and sea-bathing, as seen in \u003cem>Sanditon\u003c/em>, was a real option for those in search of wellness. Though Sanditon itself is a fictional seaside resort, Brighton and Lyme were real seaside getaways during Austen’s time.\u003c/p>\n\u003cp>\u003cem> “Depend upon it my dear, it is exactly a case for the sea. Saline air and immersion will be the very thing.” – Mr. Parker, ‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1jIHH9_C2bU\u003c/p>\n\u003cp>But our Regency heroines wouldn’t bring a beach towel and flip-flops to the water—a bathing machine (yes, that was a real thing) would be rented. On the beach, a lady would board the small covered wagon-like contraption, and once the machine traveled deep enough into the water, the lady would emerge wearing a bathing outfit that covered everything from the neck down. Some sea-weathered assistants would then help the lady down a small ladder or set of stairs and safely into the sea.\u003c/p>\n\u003cp>While boarding a wagon to take you into the ocean may sound a little like ordering an Uber to go around the corner, taking an invigorating dip is always a nice option to make you feel alive.\u003c/p>\n\u003cfigure id=\"attachment_13872442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Molyneux (Jyuddah James), Charlotte Heywood (Rose Williams) and Miss Lambe (Crystal Clarke) in PBS’s ‘Sanditon,’ which premieres Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Drink up\u003c/h2>\n\u003cp>If bathing isn’t your speed, you can set the mood by drinking some Bath water. And by that I mean water from the other famous Regency place of healing, Bath. (Did you think I meant water from a bathtub?)\u003c/p>\n\u003cp>The natural hot water that bubbles out from under the city has been heralded for its healing powers since the Romans were there nearly 2,000 years ago. You can still take a walk around the Roman baths should you visit the city today, and can drink the sulfurous water from their springs (though you won’t want to swim in them, since we now know their lead pipes work against the whole “healing” idea). Thankfully, safe mineral water can also be readily found on store shelves today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you want a little more of a kick, you can reach for the wine, but take heed. In the unfinished \u003cem>Sanditon\u003c/em>, Arthur Parker says he feels that wine in moderation benefits him (though it disagrees with him). Take his advice with a grain of salt, since he’s one of Austen’s contradictory characters.\u003c/p>\n\u003cp>\u003cem>“The more wine I drink (in moderation) the better I am.”—Arthur Parker, ‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Have a sweet tooth? Never fear: hot cocoa existed during the Regency era, though it would have been more like rich, spicy drinking chocolate than Swiss Miss. During a scene in Austen’s \u003cem>Sanditon\u003c/em>, Charlotte Heywood witnesses Arthur Parker pour a strong batch of cocoa for himself while explaining how agreeable it is. Whether you make your cocoa strong or weak, there’s probably good reason why the drink has stayed popular (though no one can promise it \u003cem>does\u003c/em> have health benefits).\u003c/p>\n\u003cfigure id=\"attachment_13872441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lady Denham (Anne Reid) in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cover up\u003c/h2>\n\u003cp>Sunscreen as we know it didn’t exist during the Regency era, so that meant covering oneself to avoid sunburn. Luckily, having to cover up meant accessorizing!\u003c/p>\n\u003cp>If you’re looking to accessorize the Regency way, parasols would have been the most basic way to keep oneself shielded from the sun during a 19th-century day. If you want your hands to be free, then a bonnet is the way to go.\u003c/p>\n\u003cp>Bonnets are also much more versatile as an accessorizing option. In the Regency era, one would add ribbons and trim to spruce up a bonnet, or merely customize it to match a favorite outfit. Remember, a lot of travel to Regency resorts was about being seen (and partially about curing whatever ill brought one there).\u003c/p>\n\u003cfigure id=\"attachment_13872449\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Capture-800x524.png\" alt=\"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture.png 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Heywood (Rose Williams) and Sidney Parker (Theo James) in PBS’s ‘Sanditon.’ \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Buy the shoes\u003c/h2>\n\u003cp>When not taking part in social intrigue, matchmaking or healing, one in Austen’s time would be very concerned about what to wear for the next ball. Dances were a prime time to either sneak a conversation with your paramour, or simply impress society.\u003c/p>\n\u003cp>In \u003cem>Sandition\u003c/em>, Charlotte Heywood finds herself longing for a divine pair of blue shoes ahead of the first ball of the season. With encouragement, she purchases them so she can dance the night away in style.\u003c/p>\n\u003cp>Being seen as fashionable was a very important part of visiting Regency resort towns. While we don’t face the exact social pressures people at that time would have, perhaps there is a lesson in there about treating yourself to something you want.\u003c/p>\n\u003cp>Whether you decide to take a vacation, imbibe some hot cocoa or just buy yourself a fashionable accessory, there are some useful lessons to be learned from Regency customs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>\u003cem>‘Sanditon’ airs on KQED starting Jan. 12 at 9pm. \u003ca href=\"https://video.kqed.org/show/sanditon/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Before Jane Austen's 'Sanditon' comes to PBS on Jan. 12, get a primer on Regency-era self-care.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>PBS’s \u003c/em>\u003ca href=\"https://www.pbs.org/wgbh/masterpiece/shows/sanditon/\">Sanditon\u003c/a>\u003cem>, the television series based on an unfinished novel by Jane Austen, comes to KQED Sunday, Jan. 12. Since it’s set in the Regency-era equivalent of a coastal spa, we asked Bay Area Austen expert Bianca Hernandez of the \u003c/em>\u003ca href=\"https://drunkausten.com/\">Drunk Austen\u003c/a>\u003cem> podcast to give us a primer.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>elf-care is no modern invention. The upcoming PBS Masterpiece adaptation of Jane Austen’s \u003cem>Sanditon\u003c/em> highlights the Regency-era craze around being health-conscious. And though some of the advice from the early 1800s doesn’t hold up (we frown on drinking lead nowadays), it does include some tips that can make nice additions to your routine. \u003c/p>\n\u003cp>Read on to get in the mood for a trip to a Regency seaside resort.\u003c/p>\n\u003cfigure id=\"attachment_13872439\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13872439 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast take in the seaside air in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. (Masterpiece PBS)\u003c/figcaption>\u003c/figure>\n\u003ch2>Get to the sea\u003c/h2>\n\u003cp>\u003cem>“The sea air and sea bathing together were neatly infallible, one or the other of them being a match for every disorder, of the stomach, the lungs or the blood.”—‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Though some of the advice from the era doesn’t age well, taking a vacation is a timeless, tried-and-true way to clear one’s mind. During the Regency era, places like Bath and Brighton were a must for those suffering from ailments like gout and leprosy.\u003c/p>\n\u003cp>Sea air was thought to be rejuvenating, and sea-bathing, as seen in \u003cem>Sanditon\u003c/em>, was a real option for those in search of wellness. Though Sanditon itself is a fictional seaside resort, Brighton and Lyme were real seaside getaways during Austen’s time.\u003c/p>\n\u003cp>\u003cem> “Depend upon it my dear, it is exactly a case for the sea. Saline air and immersion will be the very thing.” – Mr. Parker, ‘Sanditon’\u003c/em>\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/1jIHH9_C2bU'\n title='//www.youtube.com/embed/1jIHH9_C2bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But our Regency heroines wouldn’t bring a beach towel and flip-flops to the water—a bathing machine (yes, that was a real thing) would be rented. On the beach, a lady would board the small covered wagon-like contraption, and once the machine traveled deep enough into the water, the lady would emerge wearing a bathing outfit that covered everything from the neck down. Some sea-weathered assistants would then help the lady down a small ladder or set of stairs and safely into the sea.\u003c/p>\n\u003cp>While boarding a wagon to take you into the ocean may sound a little like ordering an Uber to go around the corner, taking an invigorating dip is always a nice option to make you feel alive.\u003c/p>\n\u003cfigure id=\"attachment_13872442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Molyneux (Jyuddah James), Charlotte Heywood (Rose Williams) and Miss Lambe (Crystal Clarke) in PBS’s ‘Sanditon,’ which premieres Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Drink up\u003c/h2>\n\u003cp>If bathing isn’t your speed, you can set the mood by drinking some Bath water. And by that I mean water from the other famous Regency place of healing, Bath. (Did you think I meant water from a bathtub?)\u003c/p>\n\u003cp>The natural hot water that bubbles out from under the city has been heralded for its healing powers since the Romans were there nearly 2,000 years ago. You can still take a walk around the Roman baths should you visit the city today, and can drink the sulfurous water from their springs (though you won’t want to swim in them, since we now know their lead pipes work against the whole “healing” idea). Thankfully, safe mineral water can also be readily found on store shelves today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you want a little more of a kick, you can reach for the wine, but take heed. In the unfinished \u003cem>Sanditon\u003c/em>, Arthur Parker says he feels that wine in moderation benefits him (though it disagrees with him). Take his advice with a grain of salt, since he’s one of Austen’s contradictory characters.\u003c/p>\n\u003cp>\u003cem>“The more wine I drink (in moderation) the better I am.”—Arthur Parker, ‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Have a sweet tooth? Never fear: hot cocoa existed during the Regency era, though it would have been more like rich, spicy drinking chocolate than Swiss Miss. During a scene in Austen’s \u003cem>Sanditon\u003c/em>, Charlotte Heywood witnesses Arthur Parker pour a strong batch of cocoa for himself while explaining how agreeable it is. Whether you make your cocoa strong or weak, there’s probably good reason why the drink has stayed popular (though no one can promise it \u003cem>does\u003c/em> have health benefits).\u003c/p>\n\u003cfigure id=\"attachment_13872441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lady Denham (Anne Reid) in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cover up\u003c/h2>\n\u003cp>Sunscreen as we know it didn’t exist during the Regency era, so that meant covering oneself to avoid sunburn. Luckily, having to cover up meant accessorizing!\u003c/p>\n\u003cp>If you’re looking to accessorize the Regency way, parasols would have been the most basic way to keep oneself shielded from the sun during a 19th-century day. If you want your hands to be free, then a bonnet is the way to go.\u003c/p>\n\u003cp>Bonnets are also much more versatile as an accessorizing option. In the Regency era, one would add ribbons and trim to spruce up a bonnet, or merely customize it to match a favorite outfit. Remember, a lot of travel to Regency resorts was about being seen (and partially about curing whatever ill brought one there).\u003c/p>\n\u003cfigure id=\"attachment_13872449\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Capture-800x524.png\" alt=\"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture.png 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Heywood (Rose Williams) and Sidney Parker (Theo James) in PBS’s ‘Sanditon.’ \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Buy the shoes\u003c/h2>\n\u003cp>When not taking part in social intrigue, matchmaking or healing, one in Austen’s time would be very concerned about what to wear for the next ball. Dances were a prime time to either sneak a conversation with your paramour, or simply impress society.\u003c/p>\n\u003cp>In \u003cem>Sandition\u003c/em>, Charlotte Heywood finds herself longing for a divine pair of blue shoes ahead of the first ball of the season. With encouragement, she purchases them so she can dance the night away in style.\u003c/p>\n\u003cp>Being seen as fashionable was a very important part of visiting Regency resort towns. While we don’t face the exact social pressures people at that time would have, perhaps there is a lesson in there about treating yourself to something you want.\u003c/p>\n\u003cp>Whether you decide to take a vacation, imbibe some hot cocoa or just buy yourself a fashionable accessory, there are some useful lessons to be learned from Regency customs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>\u003cem>‘Sanditon’ airs on KQED starting Jan. 12 at 9pm. \u003ca href=\"https://video.kqed.org/show/sanditon/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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