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"content": "\u003cp>Who knew so many movie ideas could be found while rummaging through your attic?\u003c/p>\n\u003cp>This year we’ve had movies on Tetris ( \u003cem>Tetris\u003c/em>), Nike ( \u003cem>Air\u003c/em> ), Blackberry (\u003cem>Blackberry\u003c/em>) and Cheetos (\u003ca href=\"https://www.kqed.org/arts/13930224/flamin-hot-cheetos-origin-story-movie-eva-longoria-richard-montanez\">\u003cem>Flamin’ Hot\u003c/em>\u003c/a>). The latest is \u003cem>The Beanie Bubble\u003c/em>, a comic drama about the Beanie Baby craze of the 1990s.\u003c/p>\n\u003cp>[aside postid='arts_13931753']We once debated the ethics of product placement in movies — now the product IS the movie. It may not say entirely wonderful things about our capitalistic society that we’re pumping out big-screen movies and streaming-service content that exalts the stories behind snacks, sneaks and stuffies.\u003c/p>\n\u003cp>\u003cem>The Beanie Bubble\u003c/em>, which lands on Apple TV+ Friday, may be part of a ‘20s trend but its interest is unpacking a late-20th century phenomenon and some of the women exploited along the way. Zach Galifianakis plays Ty Warner, the chief executive of Ty Inc., the maker of the stuffed animals that — thanks to a few ingenious innovations and lucky twists of fate — became, as one character says in the film, “little plush lotto tickets.”\u003c/p>\n\u003cp>With a softer, under-stuffed design, limited editions to drive up demand and the help of the then-nascent online second-hand market of eBay, Beanie fever took hold before, a few years later, dissipating as fast as it began. “We didn’t set out to make America lose its mind, but that’s what happened,” says Warner’s business partner Robbie (Elizabeth Banks).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KV32siOI9mU\u003c/p>\n\u003cp>The backdrop is full of Clinton-era kitsch. But \u003cem>The Beanie Bubble\u003c/em> — a first feature by a pair of people with first-hand experience with the early days of the internet: Kristin Gore, daughter of Al, and Damion Kulash, lead singer of the band OK Go — is most concerned with a triptych of stories about the women who helped foster the Beanie craze but whose contributions were co-opted by Warner.\u003c/p>\n\u003cp>[aside postid='arts_13930224']They unfold in parallel storylines. There’s Banks’ Robbie, a friend and Ty Inc. co-founder who finds herself pushed out once success arrives. There’s Sheila (Sarah Snook), a single mother of two who’s initially won over by Warner’s charisma and playfulness with her children, only to eventually discover a warped, immature side to him. And there’s Maya (Geraldine Viswanathan), a young Ty Inc. hire who presciently leads the company’s lucrative dive into the internet yet is kept on an hourly wage.\u003c/p>\n\u003cp>The script, by Gore, comes from Zac Bissonnette’s 2015 book, \u003cem>The Great Beanie Bubble: Mass Delusion and the Dark Side of Cute\u003c/em>. (Warner was convicted of tax evasion in 2013.) In mixing up the Beanie Baby timeline to play out each storyline simultaneously, \u003cem>The Beanie Bubble\u003c/em> needlessly complicates itself. But it also makes a compelling reflection of history repeating itself.\u003c/p>\n\u003cp>Robbie, Sheila and Maya all follow the same arc: Initial infatuation followed by the harsher onset of reality. It’s the same story for the Beanie craze, and, as the film notes in a montage, countless other bubbles that have come and gone. America, it’s said in the film, is “the land of comebacks and second chances.” Here, that means an excuse for betray one woman after another.\u003c/p>\n\u003cfigure id=\"attachment_13932264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png\" alt=\"An attractive woman with chin-length red hair walks through a doorway in a dark hall. She looks concerned.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM.png 1340w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Snook — best known for her work in ‘Succession’ — plays a single mother of two in Apple TV+’s ‘The Beanie Bubble.’ \u003ccite>(Apple via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While those historical corollaries are neat enough, it also makes \u003cem>The Beanie Bubble\u003c/em>, well, kind of repetitive. Gore and Kulash’s film is far from the first to follow such ups and downs. Outside of some easy irony given the cuddliness of the product at hand, there may not be enough that makes this iteration of such a familiar cycle especially interesting.\u003c/p>\n\u003cp>What keeps \u003cem>The Beanie Bubble\u003c/em> from bursting, though, is the likability of its central performers. Banks, Snook and especially Viswanathan are all terrific comic actors who individually capture the exasperations of women fed up with an egotistical adolescent executive. And Galifianakis gives perhaps the best non-\u003cem>Between Two Ferns\u003c/em> performance of his career. His Warner is a man whose charm, and face lifts, steadily peel away. In Galifianakis’ long line of man-children, he’s the biggest baby of them all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Beanie Bubble’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who knew so many movie ideas could be found while rummaging through your attic?\u003c/p>\n\u003cp>This year we’ve had movies on Tetris ( \u003cem>Tetris\u003c/em>), Nike ( \u003cem>Air\u003c/em> ), Blackberry (\u003cem>Blackberry\u003c/em>) and Cheetos (\u003ca href=\"https://www.kqed.org/arts/13930224/flamin-hot-cheetos-origin-story-movie-eva-longoria-richard-montanez\">\u003cem>Flamin’ Hot\u003c/em>\u003c/a>). The latest is \u003cem>The Beanie Bubble\u003c/em>, a comic drama about the Beanie Baby craze of the 1990s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We once debated the ethics of product placement in movies — now the product IS the movie. It may not say entirely wonderful things about our capitalistic society that we’re pumping out big-screen movies and streaming-service content that exalts the stories behind snacks, sneaks and stuffies.\u003c/p>\n\u003cp>\u003cem>The Beanie Bubble\u003c/em>, which lands on Apple TV+ Friday, may be part of a ‘20s trend but its interest is unpacking a late-20th century phenomenon and some of the women exploited along the way. Zach Galifianakis plays Ty Warner, the chief executive of Ty Inc., the maker of the stuffed animals that — thanks to a few ingenious innovations and lucky twists of fate — became, as one character says in the film, “little plush lotto tickets.”\u003c/p>\n\u003cp>With a softer, under-stuffed design, limited editions to drive up demand and the help of the then-nascent online second-hand market of eBay, Beanie fever took hold before, a few years later, dissipating as fast as it began. “We didn’t set out to make America lose its mind, but that’s what happened,” says Warner’s business partner Robbie (Elizabeth Banks).\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/KV32siOI9mU'\n title='//www.youtube.com/embed/KV32siOI9mU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The backdrop is full of Clinton-era kitsch. But \u003cem>The Beanie Bubble\u003c/em> — a first feature by a pair of people with first-hand experience with the early days of the internet: Kristin Gore, daughter of Al, and Damion Kulash, lead singer of the band OK Go — is most concerned with a triptych of stories about the women who helped foster the Beanie craze but whose contributions were co-opted by Warner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They unfold in parallel storylines. There’s Banks’ Robbie, a friend and Ty Inc. co-founder who finds herself pushed out once success arrives. There’s Sheila (Sarah Snook), a single mother of two who’s initially won over by Warner’s charisma and playfulness with her children, only to eventually discover a warped, immature side to him. And there’s Maya (Geraldine Viswanathan), a young Ty Inc. hire who presciently leads the company’s lucrative dive into the internet yet is kept on an hourly wage.\u003c/p>\n\u003cp>The script, by Gore, comes from Zac Bissonnette’s 2015 book, \u003cem>The Great Beanie Bubble: Mass Delusion and the Dark Side of Cute\u003c/em>. (Warner was convicted of tax evasion in 2013.) In mixing up the Beanie Baby timeline to play out each storyline simultaneously, \u003cem>The Beanie Bubble\u003c/em> needlessly complicates itself. But it also makes a compelling reflection of history repeating itself.\u003c/p>\n\u003cp>Robbie, Sheila and Maya all follow the same arc: Initial infatuation followed by the harsher onset of reality. It’s the same story for the Beanie craze, and, as the film notes in a montage, countless other bubbles that have come and gone. America, it’s said in the film, is “the land of comebacks and second chances.” Here, that means an excuse for betray one woman after another.\u003c/p>\n\u003cfigure id=\"attachment_13932264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png\" alt=\"An attractive woman with chin-length red hair walks through a doorway in a dark hall. She looks concerned.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM.png 1340w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Snook — best known for her work in ‘Succession’ — plays a single mother of two in Apple TV+’s ‘The Beanie Bubble.’ \u003ccite>(Apple via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While those historical corollaries are neat enough, it also makes \u003cem>The Beanie Bubble\u003c/em>, well, kind of repetitive. Gore and Kulash’s film is far from the first to follow such ups and downs. Outside of some easy irony given the cuddliness of the product at hand, there may not be enough that makes this iteration of such a familiar cycle especially interesting.\u003c/p>\n\u003cp>What keeps \u003cem>The Beanie Bubble\u003c/em> from bursting, though, is the likability of its central performers. Banks, Snook and especially Viswanathan are all terrific comic actors who individually capture the exasperations of women fed up with an egotistical adolescent executive. And Galifianakis gives perhaps the best non-\u003cem>Between Two Ferns\u003c/em> performance of his career. His Warner is a man whose charm, and face lifts, steadily peel away. In Galifianakis’ long line of man-children, he’s the biggest baby of them all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Beanie Bubble’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘When Crack Was King’ Follows Four People Who Lived Through the Drug Epidemic",
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"content": "\u003cfigure id=\"attachment_13931506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg\" alt='An orange book cover with white writing that says \"When Crack Was King.\" In the lower left corner is a Black teen overlooking a bleak cityscape.' width=\"800\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1020x1556.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1007x1536.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1342x2048.jpg 1342w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8.jpg 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When Crack Was King’ by Donovan X. Ramsey. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the introduction to his new book, \u003cem>When Crack Was King: A People’s History of a Misunderstood Era\u003c/em>, journalist Donovan X. Ramsey recalls how during his childhood in the early 1990s, the term “crackhead” was used as an insult.\u003c/p>\n\u003cp>[aside postid='arts_13930279']“I suppose we made it a slur,” he writes, “because we feared what it represented, a rock bottom to which any of us could sink. That’s what children do when they’re in search of power over things that frighten us. We reduce them to words, bite-size things that can be spat out at a moment’s notice.”\u003c/p>\n\u003cp>If only that same urge wasn’t so common among adults, especially those in positions of power. But as Ramsey details in \u003cem>King\u003c/em>, the crack epidemic is (still) misunderstood in large part due to the willful ignorance reflected in mainstream media coverage in the 1980s and ’90s, as well as the political convenience of soundbites like “crack baby” and “superpredator,” which were actively used to pass legislation that further policed and controlled poor communities of color, and Black people in particular.\u003c/p>\n\u003cp>Crack is the common term for cocaine that’s been processed using baking soda or ammonia and water in order to make it smokable. This method of cocaine use is highly addictive in part because it provides an intense and fast high that requires frequent use in order to maintain. As with other drug epidemics, there is no single event that led to crack’s popularity and its disastrous effects on so many of its users and dealers.\u003c/p>\n\u003cp>Rather, the epidemic spread due to a multitude of reasons such as government policies that economically isolated poor communities of color, the so-called War on Drugs and its focus on criminalization, and the falling price of cocaine and the ease with which it could be turned to crack. Ramsey focuses, too, on another important element: grief. The \u003ca href=\"https://news.arizona.edu/story/understanding-black-grief\">generational trauma\u003c/a> and grief Black Americans live with is part of that, of course, but Ramsey focuses as well on the “profound grief [which was the] result of everything they lost in the sixties and seventies — assassinations of leaders, destruction of their communities from riots, a Civil Rights Movement that cost them so much but ultimately missed the mark securing opportunity and freedom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>When Crack Was King\u003c/em> follows four people who lived through the epidemic in various ways. Lennie Woodley, now a substance abuse counselor for LA county, grew up in a tumultuous and abusive home, with a mother who yelled and beat her and an uncle who started as a source of solace before he began molesting her. She started using cocaine, first as powder and then as crack, during her early adolescence, and spent nearly three decades in the grips of her addiction. Through her story, Ramsey looks at how “[w]omen users, black women in particular, fell to the absolute lowest rung on the nation’s social ladder” and how these women users had “fewer avenues for income and were often steered into sex work, if they weren’t sex workers already.”\u003c/p>\n\u003cp>[aside postid='arts_13931389']Ramsey also follows the stories of Elgin Swift and Shawn McCray, two men who worked for a time as dealers, though in different ways and with different scopes. Swift grew up in Yonkers, NY, with a single father who became addicted to crack while Swift was still young, leaving him to largely fend for himself, which included, eventually, dealing small amounts of crack. McCray, on the other hand, was part of Zoo Crew, a now-legendary drug trafficking ring in Newark, NJ, which spun off to become a local apparel brand name as well as, eventually, the name of McCray’s successful youth basketball program.\u003c/p>\n\u003cp>Through these men’s narratives, Ramsey highlights the nuances of drug dealing, how for many it’s less a chosen career and more a way to make money when there are no other jobs to be found. Additionally, despite the well-worn stereotype of morally corrupt dealers, these men weren’t trying to broaden their customer base by encouraging addiction in young people. By the height of the crack epidemic in the mid-1980s, there simply weren’t many casual users of the drug, and young people in the 1990s were disdainful of the substance and turning away from it and heroin as well.\u003c/p>\n\u003cp>The final character Ramsey follows is Kurt Schmoke, who served as the mayor of Baltimore during much of the 1980s and who advocated for drug decriminalization long before there was support for such an approach.\u003c/p>\n\u003cp>[aside postid='arts_13931196']Threaded through the four character studies are details of the era’s politics, the crime bills that led to the drastic increase in mass incarceration, legacy media’s insistence on sensationalizing crack and deploring its users, the ineffective War on Drugs and its disastrous consequences, and more, always in clear prose that focuses as much as possible on the flesh and blood individuals who were harmed by the epidemic.\u003c/p>\n\u003cp>An excellent work of people-first journalism, \u003cem>When Crack Was King \u003c/em>offers not only a vivid and frank history, but points to the way communities tend to save themselves even as they’re being actively targeted by state policy and violence. The crack epidemic may be over, Ramsey notes at book’s end, but drug fads and epidemics come and go, and our government and media apparatus must learn to respond to them better — which, judging by \u003ca href=\"https://theappeal.org/media-frame-fentanyl-panic-is-worsening-the-overdose-crisis/\">the coverage of\u003c/a> \u003ca href=\"https://theappeal.org/pulitzer-prize-matt-bevin-commutations/\">and response to\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/16/761329037/lawsuits-highlight-government-failures-in-opioid-crisis\">the opioid\u003c/a> \u003ca href=\"https://www.michigandaily.com/opinion/as-overdose-deaths-rise-the-opioid-crisis-response-fails/\">epidemic\u003c/a>, may yet take some time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is a fiction writer, book critic, and author of the novel ‘All My Mother’s Lovers.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+Crack+Was+King%27+follows+four+people+who+lived+through+the+drug+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13931506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg\" alt='An orange book cover with white writing that says \"When Crack Was King.\" In the lower left corner is a Black teen overlooking a bleak cityscape.' width=\"800\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1020x1556.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1007x1536.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1342x2048.jpg 1342w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8.jpg 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When Crack Was King’ by Donovan X. Ramsey. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the introduction to his new book, \u003cem>When Crack Was King: A People’s History of a Misunderstood Era\u003c/em>, journalist Donovan X. Ramsey recalls how during his childhood in the early 1990s, the term “crackhead” was used as an insult.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I suppose we made it a slur,” he writes, “because we feared what it represented, a rock bottom to which any of us could sink. That’s what children do when they’re in search of power over things that frighten us. We reduce them to words, bite-size things that can be spat out at a moment’s notice.”\u003c/p>\n\u003cp>If only that same urge wasn’t so common among adults, especially those in positions of power. But as Ramsey details in \u003cem>King\u003c/em>, the crack epidemic is (still) misunderstood in large part due to the willful ignorance reflected in mainstream media coverage in the 1980s and ’90s, as well as the political convenience of soundbites like “crack baby” and “superpredator,” which were actively used to pass legislation that further policed and controlled poor communities of color, and Black people in particular.\u003c/p>\n\u003cp>Crack is the common term for cocaine that’s been processed using baking soda or ammonia and water in order to make it smokable. This method of cocaine use is highly addictive in part because it provides an intense and fast high that requires frequent use in order to maintain. As with other drug epidemics, there is no single event that led to crack’s popularity and its disastrous effects on so many of its users and dealers.\u003c/p>\n\u003cp>Rather, the epidemic spread due to a multitude of reasons such as government policies that economically isolated poor communities of color, the so-called War on Drugs and its focus on criminalization, and the falling price of cocaine and the ease with which it could be turned to crack. Ramsey focuses, too, on another important element: grief. The \u003ca href=\"https://news.arizona.edu/story/understanding-black-grief\">generational trauma\u003c/a> and grief Black Americans live with is part of that, of course, but Ramsey focuses as well on the “profound grief [which was the] result of everything they lost in the sixties and seventies — assassinations of leaders, destruction of their communities from riots, a Civil Rights Movement that cost them so much but ultimately missed the mark securing opportunity and freedom.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>When Crack Was King\u003c/em> follows four people who lived through the epidemic in various ways. Lennie Woodley, now a substance abuse counselor for LA county, grew up in a tumultuous and abusive home, with a mother who yelled and beat her and an uncle who started as a source of solace before he began molesting her. She started using cocaine, first as powder and then as crack, during her early adolescence, and spent nearly three decades in the grips of her addiction. Through her story, Ramsey looks at how “[w]omen users, black women in particular, fell to the absolute lowest rung on the nation’s social ladder” and how these women users had “fewer avenues for income and were often steered into sex work, if they weren’t sex workers already.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ramsey also follows the stories of Elgin Swift and Shawn McCray, two men who worked for a time as dealers, though in different ways and with different scopes. Swift grew up in Yonkers, NY, with a single father who became addicted to crack while Swift was still young, leaving him to largely fend for himself, which included, eventually, dealing small amounts of crack. McCray, on the other hand, was part of Zoo Crew, a now-legendary drug trafficking ring in Newark, NJ, which spun off to become a local apparel brand name as well as, eventually, the name of McCray’s successful youth basketball program.\u003c/p>\n\u003cp>Through these men’s narratives, Ramsey highlights the nuances of drug dealing, how for many it’s less a chosen career and more a way to make money when there are no other jobs to be found. Additionally, despite the well-worn stereotype of morally corrupt dealers, these men weren’t trying to broaden their customer base by encouraging addiction in young people. By the height of the crack epidemic in the mid-1980s, there simply weren’t many casual users of the drug, and young people in the 1990s were disdainful of the substance and turning away from it and heroin as well.\u003c/p>\n\u003cp>The final character Ramsey follows is Kurt Schmoke, who served as the mayor of Baltimore during much of the 1980s and who advocated for drug decriminalization long before there was support for such an approach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Threaded through the four character studies are details of the era’s politics, the crime bills that led to the drastic increase in mass incarceration, legacy media’s insistence on sensationalizing crack and deploring its users, the ineffective War on Drugs and its disastrous consequences, and more, always in clear prose that focuses as much as possible on the flesh and blood individuals who were harmed by the epidemic.\u003c/p>\n\u003cp>An excellent work of people-first journalism, \u003cem>When Crack Was King \u003c/em>offers not only a vivid and frank history, but points to the way communities tend to save themselves even as they’re being actively targeted by state policy and violence. The crack epidemic may be over, Ramsey notes at book’s end, but drug fads and epidemics come and go, and our government and media apparatus must learn to respond to them better — which, judging by \u003ca href=\"https://theappeal.org/media-frame-fentanyl-panic-is-worsening-the-overdose-crisis/\">the coverage of\u003c/a> \u003ca href=\"https://theappeal.org/pulitzer-prize-matt-bevin-commutations/\">and response to\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/16/761329037/lawsuits-highlight-government-failures-in-opioid-crisis\">the opioid\u003c/a> \u003ca href=\"https://www.michigandaily.com/opinion/as-overdose-deaths-rise-the-opioid-crisis-response-fails/\">epidemic\u003c/a>, may yet take some time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is a fiction writer, book critic, and author of the novel ‘All My Mother’s Lovers.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+Crack+Was+King%27+follows+four+people+who+lived+through+the+drug+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>“Permanent Behavior: Getting Tatted in the Bay,” is our\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\"> four-part series\u003c/a>, about local tattoo artists. In these stories, we dive into the permanence of ink as it resides on impermanent beings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“It’s only on you for the rest of your life,” reads the Instagram bio of tattoo artist Shannon Anderson aka \u003ca href=\"https://www.instagram.com/mbtat2/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mo’Better\u003c/a>.\u003c/p>\n\u003cp>A widely recognized tattoo artist, he’s done notable pieces on famous athletes and entertainers. But he’s also inked multiple generations of Bay Area families. He’s a self-taught tattoo veteran paving the way for others to traverse an industry that hasn’t been to kind to Black people.\u003c/p>\n\u003cfigure id=\"attachment_13919315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919315 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/qPZwTGp8-800x533.jpg\" alt=\"At the center of Mo'Better's workspace, his client sits on a black leather recliner chair. Bottles of color ink are arranged on a shelf on the wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mo’ Better at work inside of his Livermore tattoo studio, Inkestry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past twelve years, Mo’Better’s been the owner of \u003ca href=\"https://www.inkestry.com/\"> Inkestry Custom Tattoos\u003c/a> in Livermore. But before he held a tattoo gun, he was known as a talented airbrush artist, and before that he was a skilled barber. He learned each craft out of necessity. And each craft has earned him money, broadened his following and expanded his community.\u003c/p>\n\u003cfigure id=\"attachment_13919379\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919379 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-800x533.jpg\" alt=\"A closeup of a black ink tattoo design, a skeleton with florals. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon “Mo’Better” Anderson tattoos longtime client Leslie Howerton. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this experience has led to a wealth of knowledge on the ins-and-outs of tattoo culture in the Bay Area and a profound stance on the ideas of permanence and impermanence when it comes to tattoos.\u003c/p>\n\u003cp>For the final entry in our series on tattoo culture in the Bay Area, we talk to Mo’ Better about his craft, and his life.\u003c/p>\n\u003cfigure id=\"attachment_13919316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919316 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/ZvYlMQY-800x533.jpg\" alt=\"Tattoo artist Mo' Better focuses on his client's forearm. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mo’ Better gives intense focus during a tattoo session. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7215377139&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://drive.google.com/file/d/1d5NgTGPvL6LrmLqyMNqBVXE8fHqouSvk/view\">\u003cem>Read the podcast transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of our conversation with Mo’Better. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: \u003c/em>\u003cem>\u003cspan style=\"font-weight: 400\">What’s the difference in approach between doing airbrush work and doing tattoo work?\u003cbr>\n\u003c/span>\u003cbr>\nMo’Better: \u003c/em>\u003ci>\u003cspan style=\"font-weight: 400\">T\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">he only thing with tattooing is \u003c/span>\u003cspan style=\"font-weight: 400\">I can’t make mistakes. I can’t just go grab another shirt like I can with airbrush. It’s somebody’s skin, you know? So I have to have to think that this is on somebody literally for the rest of their life. \u003c/span>\u003cspan style=\"font-weight: 400\">That’s why I get so mad at so many people that when they’re like, ‘Oh, I just want to go grab somebody, I don’t care who does it.’ Nah, you should care who does who do it.\u003c/span> \u003cspan style=\"font-weight: 400\">You should focus a little bit more on like the permanency of the tattoo and think of the longevity of the tattoo.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: I guess tattoo artists catch people when they’re going through some transition in life. And so you are kind of an usher as people go through this gateway of transition. Do you ever feel that way or am I tripping? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Mo’Better: \u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">Nah, you not tripping at all. W\u003c/span>\u003cspan style=\"font-weight: 400\">hen you’re happy, you get a tattoo. When you’re sad, you get a tattoo. When you get a new job, you get a tattoo. When you lose your job, you get a tattoo. When someone’s born, you get a tattoo. When someone dies, you get a tattoo. No matter what goes on in your life, there’s a reason for you to get a tattoo. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: Why? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Mo’Better\u003c/em>: Mental comfort. Different people have different ways of soothing themselves, different ways of coping with different things. And some people like the physical pain of a tattoo. Some people like the emotional attachment of a tattoo. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">S\u003c/span>\u003cspan style=\"font-weight: 400\">ometimes I have to get out of my head because not every tattoo needs to have a meaning. I had a dude that came in one day and he wanted a gerbil on his knee with a bee. The gerbil has sunglasses on, too. And I was like, ‘Why?’ He’s like, ‘Because he’s cool, he’s the bee’s knees. And I’m like, ‘Oh, my God. All right, let’s do this.’ \u003c/span>\u003cspan style=\"font-weight: 400\">I couldn’t quantify anything to make sense for it. But it came out hella cool.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>“Permanent Behavior: Getting Tatted in the Bay,” is our\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\"> four-part series\u003c/a>, about local tattoo artists. In these stories, we dive into the permanence of ink as it resides on impermanent beings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“It’s only on you for the rest of your life,” reads the Instagram bio of tattoo artist Shannon Anderson aka \u003ca href=\"https://www.instagram.com/mbtat2/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mo’Better\u003c/a>.\u003c/p>\n\u003cp>A widely recognized tattoo artist, he’s done notable pieces on famous athletes and entertainers. But he’s also inked multiple generations of Bay Area families. He’s a self-taught tattoo veteran paving the way for others to traverse an industry that hasn’t been to kind to Black people.\u003c/p>\n\u003cfigure id=\"attachment_13919315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919315 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/qPZwTGp8-800x533.jpg\" alt=\"At the center of Mo'Better's workspace, his client sits on a black leather recliner chair. Bottles of color ink are arranged on a shelf on the wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/qPZwTGp8.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mo’ Better at work inside of his Livermore tattoo studio, Inkestry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past twelve years, Mo’Better’s been the owner of \u003ca href=\"https://www.inkestry.com/\"> Inkestry Custom Tattoos\u003c/a> in Livermore. But before he held a tattoo gun, he was known as a talented airbrush artist, and before that he was a skilled barber. He learned each craft out of necessity. And each craft has earned him money, broadened his following and expanded his community.\u003c/p>\n\u003cfigure id=\"attachment_13919379\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919379 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-800x533.jpg\" alt=\"A closeup of a black ink tattoo design, a skeleton with florals. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/011_KQEDArts_TattooArtistMoBetter_0812022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon “Mo’Better” Anderson tattoos longtime client Leslie Howerton. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this experience has led to a wealth of knowledge on the ins-and-outs of tattoo culture in the Bay Area and a profound stance on the ideas of permanence and impermanence when it comes to tattoos.\u003c/p>\n\u003cp>For the final entry in our series on tattoo culture in the Bay Area, we talk to Mo’ Better about his craft, and his life.\u003c/p>\n\u003cfigure id=\"attachment_13919316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919316 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/ZvYlMQY-800x533.jpg\" alt=\"Tattoo artist Mo' Better focuses on his client's forearm. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/ZvYlMQY.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mo’ Better gives intense focus during a tattoo session. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7215377139&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://drive.google.com/file/d/1d5NgTGPvL6LrmLqyMNqBVXE8fHqouSvk/view\">\u003cem>Read the podcast transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of our conversation with Mo’Better. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: \u003c/em>\u003cem>\u003cspan style=\"font-weight: 400\">What’s the difference in approach between doing airbrush work and doing tattoo work?\u003cbr>\n\u003c/span>\u003cbr>\nMo’Better: \u003c/em>\u003ci>\u003cspan style=\"font-weight: 400\">T\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">he only thing with tattooing is \u003c/span>\u003cspan style=\"font-weight: 400\">I can’t make mistakes. I can’t just go grab another shirt like I can with airbrush. It’s somebody’s skin, you know? So I have to have to think that this is on somebody literally for the rest of their life. \u003c/span>\u003cspan style=\"font-weight: 400\">That’s why I get so mad at so many people that when they’re like, ‘Oh, I just want to go grab somebody, I don’t care who does it.’ Nah, you should care who does who do it.\u003c/span> \u003cspan style=\"font-weight: 400\">You should focus a little bit more on like the permanency of the tattoo and think of the longevity of the tattoo.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: I guess tattoo artists catch people when they’re going through some transition in life. And so you are kind of an usher as people go through this gateway of transition. Do you ever feel that way or am I tripping? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Mo’Better: \u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">Nah, you not tripping at all. W\u003c/span>\u003cspan style=\"font-weight: 400\">hen you’re happy, you get a tattoo. When you’re sad, you get a tattoo. When you get a new job, you get a tattoo. When you lose your job, you get a tattoo. When someone’s born, you get a tattoo. When someone dies, you get a tattoo. No matter what goes on in your life, there’s a reason for you to get a tattoo. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: Why? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Mo’Better\u003c/em>: Mental comfort. Different people have different ways of soothing themselves, different ways of coping with different things. And some people like the physical pain of a tattoo. Some people like the emotional attachment of a tattoo. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">S\u003c/span>\u003cspan style=\"font-weight: 400\">ometimes I have to get out of my head because not every tattoo needs to have a meaning. I had a dude that came in one day and he wanted a gerbil on his knee with a bee. The gerbil has sunglasses on, too. And I was like, ‘Why?’ He’s like, ‘Because he’s cool, he’s the bee’s knees. And I’m like, ‘Oh, my God. All right, let’s do this.’ \u003c/span>\u003cspan style=\"font-weight: 400\">I couldn’t quantify anything to make sense for it. But it came out hella cool.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "25 Years On, Lilith Fair is a Reminder of How One Woman's Radical Idea Changed Music",
"headTitle": "25 Years On, Lilith Fair is a Reminder of How One Woman’s Radical Idea Changed Music | KQED",
"content": "\u003cp>It was July 5th 1997: Opening night of the groundbreaking all-female music festival Lilith Fair.\u003c/p>\n\u003cp>The lineup featured a who’s who of female alternative musicians of the moment: Sheryl Crow, Jewel, The Indigo Girls, Lisa Loeb, Fiona Apple, Shawn Colvin, Tracy Chapman, Natalie Merchant and more.\u003c/p>\n\u003cp>Lilith Fair was the culmination of a year of work by its founder, a Canadian singer-songwriter. \u003ca href=\"https://www.npr.org/artists/15397450/sarah-mclachlan\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah McLachlan\u003c/a> had been told by music and concert industry executives that putting more than one woman back-to-back on a lineup or radio playlist wouldn’t sell.\u003c/p>\n\u003cp>“Like, I’d walk in and do an interview and they said, ‘Well, we’d love to add this song but we can’t add you this week because we had a Tori Amos or because we added Tracy Chapman or because we added Sinéad O’Connor,'” she recalls. “And it was extremely frustrating. So the beginning of this was just born out of a desire to come together as a community. And it became this—we’re going to break down some barriers. We’re going to prove these guys wrong.”\u003c/p>\n\u003cp>So McLachlan started to fundraise and work with performers to join her on stage before launching Lilith in the summer of 1997.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XBhUjdHv7-I\u003c/p>\n\u003cp>In its first summer, Lilith easily outpaced the then-fading Lollapolooza festival, in both audience size and ticket sales. It returned for two more summers and went on to become the top-grossing music festival of the late 1990s, racking up $60 million in ticket sales over its three-year run.\u003c/p>\n\u003cp>The eclectic group of women artists included folk, rock, country and pop musicians and sold out nearly every single show its first year. But as Lilith’s popularity increased, critics disparaged the festival as “mom music” and called out its mostly white bill of performers.\u003c/p>\n\u003cp>[aside postid='arts_13805002']Exactly 25 years later, musicians who participated in Lilith Fair and journalists who covered it reflected on the festival’s importance in interviews with NPR.\u003c/p>\n\u003cp>Jessica Hopper, who authored an \u003ca href=\"https://www.vanityfair.com/style/2019/09/an-oral-history-of-lilith-fair\" target=\"_blank\" rel=\"noopener noreferrer\">oral history of the Lilith Fair\u003c/a>, says Lilith’s lessons remain relevant today.\u003c/p>\n\u003cp>“Safe space is something that we’re still trying to foster and kind of hold it up as an ideal, and it’s like wait—this was accomplished three summers in a row with the biggest names in music,” she explains. “It showed people models of possibility.”\u003c/p>\n\u003ch3>Criticism was quick, but so was change\u003c/h3>\n\u003cp>Perhaps inevitably, Lilith became a target for comedians and cultural critics scoring points at the expense of female musical agency. It took just a few months after Lilith’s very first show for \u003cem>Saturday Night Live\u003c/em> to introduce a recurring character mocking the overly earnest stereotype of a Lilith artist, played by Ana Gasteyer, who droned on about her folkist approach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dFid15XOwPo\u003c/p>\n\u003cp>By 1998, the organizers of Lilith had more money to work with, and could point to the marked success of the previous summer. The festival expanded from 37 shows to 57 shows, expanding its lineup to include more than 100 artists across three stages. Festival programmers challenged perceptions of Lilith Fair as a majority-white group of folk and alternative artists at a time when R&B, rap and hip-hop were gaining broader popularity.\u003c/p>\n\u003cp>[aside postid='arts_13915779']In the lead-up to its second year, McLachlan worked with organizers to intentionally add more artists of color to the ticket: Erykah Badu and Queen Latifah joined the main stage for Lilith’s second year, along with up-and-coming Missy Elliott, who made her debut live performance at Lilith Fair in a giant vinyl trash-bag-inspired suit.\u003c/p>\n\u003cp>“All of that second year, I think, is really significant because those were artists who were changing things in different worlds than the world that [McLachlan] occupies,” says \u003ca href=\"https://www.npr.org/people/140955737/ann-powers\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Music critic Ann Powers\u003c/a>, who attended all three summers of Lilith Fair. “And through a 2022 lens, we could say, ‘Oh I wish it’d been even more diverse’ … but you got to give them credit.”\u003c/p>\n\u003cp>The addition of more artists of color opened the festival to a broader audience, and exposed its up-and-coming Black female artists to a new set of fans. \u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\" target=\"_blank\" rel=\"noopener noreferrer\">Meshell Ndegeocello\u003c/a>, a bassist and composer who joined the show in 1998, recalls the festival’s comforting atmosphere and the thrill of getting to see such powerful female artists—from Paula Cole to Erykah Badu to Natalie Merchant—performing together and supporting each other.\u003c/p>\n\u003cfigure id=\"attachment_13915788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915788\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-800x600.jpg\" alt=\"A Black woman wearing a white embroidered bucket hat, a white sweater and flowing red and white scarf takes a pause for breath, while holding a microphone attached to a stand, mid-performance.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician Me’Shell Ndegeocello credits Lilith Fair with helping to significantly expand her audience. Here she is performing on The Tonight Show with Jay Leno in 2002. \u003ccite>(Kevin Winter/ImageDirect)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was able to see people I admired but cherished in a way that had a musical connection to me that was uplifting and healing,” she remembers. “And I think I flourished as a musician because I was out of the male gaze and music where it’s just, you know, ‘Show me what you got.’ And it was more like, ‘What can you make me feel?'”\u003c/p>\n\u003cp>Sarah McLachlan said that’s exactly what Lilith Fair was always supposed to achieve.\u003c/p>\n\u003cp>“To create an environment where everybody gets to be seen and heard and valued, and come as you are, you know, let your freak flag fly … this is the place you get to do that and there is no judgment here,” she recalls.\u003c/p>\n\u003ch3>But the show couldn’t go on forever—or make a comeback\u003c/h3>\n\u003cp>After its third successful summer on the road, the ’90s iteration of Lilith came to an end.\u003c/p>\n\u003cp>By that time, many stars could look back and point to Lilith Fair as a major catalyst for their success—like Jewel, who graced the cover of \u003cem>Time Magazine \u003c/em>in 1997 and sang the National Anthem at the 1998 Super Bowl. Or English singer Dido, whose song “Thank you” was featured in movie soundtracks and sampled in Eminem’s award-winning single “Stan.”\u003c/p>\n\u003cp>[aside postid='arts_13900997']“Some of these women were told by their agents, ‘This is going to kill your career if you do this,'” says Hopper, referring to early industry doubts around the festival’s founding. “And in fact the opposite happened … it minted stars.”\u003c/p>\n\u003cp>It was partly the demands of Sarah McLachlan’s own celestial career that brought an end to Lilith Fair. Releasing two albums in three years, kick-starting a major touring festival and getting married—all milestones that left the singer exhausted. As McLachlan recounted to \u003ca href=\"https://www.glamour.com/story/the-oral-history-of-lilith-fair\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Glamour Magazine\u003c/em> in 2017,\u003c/a> “I’ve got to go home. And I have to have a life. People have been having babies and getting married and divorced, and I’ve missed it all.”\u003c/p>\n\u003cp>But in 2010, McLachlan tried to get Lilith off the ground again, turning to former festival favorites such as Erykah Badu and Tegan and Sara.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hwMnXVAixhg\u003c/p>\n\u003cp>Lilith Fair’s second iteration faced several obstacles. For one, McLachlan was now the mother of two daughters and was busy finishing yet another album. As she explained to \u003cem>Glamour\u003c/em>, she was headlining the tour and working with many of the same behind-the-scenes coordinators who had helped manage previous tours. Still, disorganization and shoddy financial management caused many artists—including \u003ca href=\"https://www.rollingstone.com/music/music-news/lilith-fair-loses-10-dates-kelly-clarkson-quits-179394/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Clarkson\u003c/a> and \u003ca href=\"https://ew.com/article/2010/07/01/lilith-fair-cancels-10-dates/\">Norah Jones\u003c/a>—to drop out of shows at the last minute.\u003c/p>\n\u003cp>What’s more, the music industry had undergone a seismic change over a decade. The digital music era meant that audiences were now discovering new music online, rather than on touring festival lineups. Ticket prices had also increased, with some Lilith VIP packages costing $750.\u003c/p>\n\u003cp>McLachlan later speculated that, much like herself, Lilith’s original audience had developed a different set of priorities. “A lot of the young women who came to Lilith back then now have kids at home, have busy careers,” she told the \u003ca href=\"https://www.cbc.ca/news/entertainment/sarah-mclachlan-on-young-women-and-feminism-1.1176538\" target=\"_blank\" rel=\"noopener noreferrer\">Canadian Broadcasting Corporation \u003c/a>in 2012. “And I don’t think we did enough due diligence in discovering how our audience had changed and how to reflect that. In a new show, we kind of threw up the same model, which, you know, obviously in hindsight was quite stupid and it didn’t get the audiences that we expected to get.”\u003c/p>\n\u003cp>McLachlan and her partners ended up canceling the tour after only a few shows.\u003c/p>\n\u003ch3>Lilith’s legacy 25 years later\u003c/h3>\n\u003cp>Looking back, did Lilith achieve what it set out to accomplish?\u003c/p>\n\u003cp>Ann Powers says yes. She says it upended longstanding presumptions that audiences wouldn’t connect with the femininity and eclecticism of an all-female music festival. Not only that, Lilith Fair radically expanded creative possibilities for women musicians, who took to its stages to triumph, to experiment, even to fail and to try again.\u003c/p>\n\u003cp>“This is a snapshot of a huge array of what women were doing in music in this era when there was a lot of space and demand for women of all kinds to be taking risks in music,” Powers says. “And Lilith Fair is almost like, ‘Here’s your compilation of every wild idea that women had in music in the ’90s.’ And I think so much of that stuff is just, like, forgotten.”\u003c/p>\n\u003cp>For the artists and fans who experienced it, Lilith Fair felt revolutionary. Its success upended concert industry norms and created a new place where female artistry could evolve and flourish. Lilith Fair was a cultural phenomenon that coalesced at just the right time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>NPR researcher Will Chase contributed to this report\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=25+years+on%2C+Lilith+Fair+is+a+reminder+of+how+one+woman%27s+radical+idea+changed+music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was July 5th 1997: Opening night of the groundbreaking all-female music festival Lilith Fair.\u003c/p>\n\u003cp>The lineup featured a who’s who of female alternative musicians of the moment: Sheryl Crow, Jewel, The Indigo Girls, Lisa Loeb, Fiona Apple, Shawn Colvin, Tracy Chapman, Natalie Merchant and more.\u003c/p>\n\u003cp>Lilith Fair was the culmination of a year of work by its founder, a Canadian singer-songwriter. \u003ca href=\"https://www.npr.org/artists/15397450/sarah-mclachlan\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah McLachlan\u003c/a> had been told by music and concert industry executives that putting more than one woman back-to-back on a lineup or radio playlist wouldn’t sell.\u003c/p>\n\u003cp>“Like, I’d walk in and do an interview and they said, ‘Well, we’d love to add this song but we can’t add you this week because we had a Tori Amos or because we added Tracy Chapman or because we added Sinéad O’Connor,'” she recalls. “And it was extremely frustrating. So the beginning of this was just born out of a desire to come together as a community. And it became this—we’re going to break down some barriers. We’re going to prove these guys wrong.”\u003c/p>\n\u003cp>So McLachlan started to fundraise and work with performers to join her on stage before launching Lilith in the summer of 1997.\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/XBhUjdHv7-I'\n title='//www.youtube.com/embed/XBhUjdHv7-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In its first summer, Lilith easily outpaced the then-fading Lollapolooza festival, in both audience size and ticket sales. It returned for two more summers and went on to become the top-grossing music festival of the late 1990s, racking up $60 million in ticket sales over its three-year run.\u003c/p>\n\u003cp>The eclectic group of women artists included folk, rock, country and pop musicians and sold out nearly every single show its first year. But as Lilith’s popularity increased, critics disparaged the festival as “mom music” and called out its mostly white bill of performers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Exactly 25 years later, musicians who participated in Lilith Fair and journalists who covered it reflected on the festival’s importance in interviews with NPR.\u003c/p>\n\u003cp>Jessica Hopper, who authored an \u003ca href=\"https://www.vanityfair.com/style/2019/09/an-oral-history-of-lilith-fair\" target=\"_blank\" rel=\"noopener noreferrer\">oral history of the Lilith Fair\u003c/a>, says Lilith’s lessons remain relevant today.\u003c/p>\n\u003cp>“Safe space is something that we’re still trying to foster and kind of hold it up as an ideal, and it’s like wait—this was accomplished three summers in a row with the biggest names in music,” she explains. “It showed people models of possibility.”\u003c/p>\n\u003ch3>Criticism was quick, but so was change\u003c/h3>\n\u003cp>Perhaps inevitably, Lilith became a target for comedians and cultural critics scoring points at the expense of female musical agency. It took just a few months after Lilith’s very first show for \u003cem>Saturday Night Live\u003c/em> to introduce a recurring character mocking the overly earnest stereotype of a Lilith artist, played by Ana Gasteyer, who droned on about her folkist approach.\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/dFid15XOwPo'\n title='//www.youtube.com/embed/dFid15XOwPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By 1998, the organizers of Lilith had more money to work with, and could point to the marked success of the previous summer. The festival expanded from 37 shows to 57 shows, expanding its lineup to include more than 100 artists across three stages. Festival programmers challenged perceptions of Lilith Fair as a majority-white group of folk and alternative artists at a time when R&B, rap and hip-hop were gaining broader popularity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the lead-up to its second year, McLachlan worked with organizers to intentionally add more artists of color to the ticket: Erykah Badu and Queen Latifah joined the main stage for Lilith’s second year, along with up-and-coming Missy Elliott, who made her debut live performance at Lilith Fair in a giant vinyl trash-bag-inspired suit.\u003c/p>\n\u003cp>“All of that second year, I think, is really significant because those were artists who were changing things in different worlds than the world that [McLachlan] occupies,” says \u003ca href=\"https://www.npr.org/people/140955737/ann-powers\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Music critic Ann Powers\u003c/a>, who attended all three summers of Lilith Fair. “And through a 2022 lens, we could say, ‘Oh I wish it’d been even more diverse’ … but you got to give them credit.”\u003c/p>\n\u003cp>The addition of more artists of color opened the festival to a broader audience, and exposed its up-and-coming Black female artists to a new set of fans. \u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\" target=\"_blank\" rel=\"noopener noreferrer\">Meshell Ndegeocello\u003c/a>, a bassist and composer who joined the show in 1998, recalls the festival’s comforting atmosphere and the thrill of getting to see such powerful female artists—from Paula Cole to Erykah Badu to Natalie Merchant—performing together and supporting each other.\u003c/p>\n\u003cfigure id=\"attachment_13915788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915788\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-800x600.jpg\" alt=\"A Black woman wearing a white embroidered bucket hat, a white sweater and flowing red and white scarf takes a pause for breath, while holding a microphone attached to a stand, mid-performance.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/gettyimages-2258784-05140b4a07816657b44d5245704168d5c5d0fbf3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician Me’Shell Ndegeocello credits Lilith Fair with helping to significantly expand her audience. Here she is performing on The Tonight Show with Jay Leno in 2002. \u003ccite>(Kevin Winter/ImageDirect)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was able to see people I admired but cherished in a way that had a musical connection to me that was uplifting and healing,” she remembers. “And I think I flourished as a musician because I was out of the male gaze and music where it’s just, you know, ‘Show me what you got.’ And it was more like, ‘What can you make me feel?'”\u003c/p>\n\u003cp>Sarah McLachlan said that’s exactly what Lilith Fair was always supposed to achieve.\u003c/p>\n\u003cp>“To create an environment where everybody gets to be seen and heard and valued, and come as you are, you know, let your freak flag fly … this is the place you get to do that and there is no judgment here,” she recalls.\u003c/p>\n\u003ch3>But the show couldn’t go on forever—or make a comeback\u003c/h3>\n\u003cp>After its third successful summer on the road, the ’90s iteration of Lilith came to an end.\u003c/p>\n\u003cp>By that time, many stars could look back and point to Lilith Fair as a major catalyst for their success—like Jewel, who graced the cover of \u003cem>Time Magazine \u003c/em>in 1997 and sang the National Anthem at the 1998 Super Bowl. Or English singer Dido, whose song “Thank you” was featured in movie soundtracks and sampled in Eminem’s award-winning single “Stan.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Some of these women were told by their agents, ‘This is going to kill your career if you do this,'” says Hopper, referring to early industry doubts around the festival’s founding. “And in fact the opposite happened … it minted stars.”\u003c/p>\n\u003cp>It was partly the demands of Sarah McLachlan’s own celestial career that brought an end to Lilith Fair. Releasing two albums in three years, kick-starting a major touring festival and getting married—all milestones that left the singer exhausted. As McLachlan recounted to \u003ca href=\"https://www.glamour.com/story/the-oral-history-of-lilith-fair\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Glamour Magazine\u003c/em> in 2017,\u003c/a> “I’ve got to go home. And I have to have a life. People have been having babies and getting married and divorced, and I’ve missed it all.”\u003c/p>\n\u003cp>But in 2010, McLachlan tried to get Lilith off the ground again, turning to former festival favorites such as Erykah Badu and Tegan and Sara.\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/hwMnXVAixhg'\n title='//www.youtube.com/embed/hwMnXVAixhg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lilith Fair’s second iteration faced several obstacles. For one, McLachlan was now the mother of two daughters and was busy finishing yet another album. As she explained to \u003cem>Glamour\u003c/em>, she was headlining the tour and working with many of the same behind-the-scenes coordinators who had helped manage previous tours. Still, disorganization and shoddy financial management caused many artists—including \u003ca href=\"https://www.rollingstone.com/music/music-news/lilith-fair-loses-10-dates-kelly-clarkson-quits-179394/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Clarkson\u003c/a> and \u003ca href=\"https://ew.com/article/2010/07/01/lilith-fair-cancels-10-dates/\">Norah Jones\u003c/a>—to drop out of shows at the last minute.\u003c/p>\n\u003cp>What’s more, the music industry had undergone a seismic change over a decade. The digital music era meant that audiences were now discovering new music online, rather than on touring festival lineups. Ticket prices had also increased, with some Lilith VIP packages costing $750.\u003c/p>\n\u003cp>McLachlan later speculated that, much like herself, Lilith’s original audience had developed a different set of priorities. “A lot of the young women who came to Lilith back then now have kids at home, have busy careers,” she told the \u003ca href=\"https://www.cbc.ca/news/entertainment/sarah-mclachlan-on-young-women-and-feminism-1.1176538\" target=\"_blank\" rel=\"noopener noreferrer\">Canadian Broadcasting Corporation \u003c/a>in 2012. “And I don’t think we did enough due diligence in discovering how our audience had changed and how to reflect that. In a new show, we kind of threw up the same model, which, you know, obviously in hindsight was quite stupid and it didn’t get the audiences that we expected to get.”\u003c/p>\n\u003cp>McLachlan and her partners ended up canceling the tour after only a few shows.\u003c/p>\n\u003ch3>Lilith’s legacy 25 years later\u003c/h3>\n\u003cp>Looking back, did Lilith achieve what it set out to accomplish?\u003c/p>\n\u003cp>Ann Powers says yes. She says it upended longstanding presumptions that audiences wouldn’t connect with the femininity and eclecticism of an all-female music festival. Not only that, Lilith Fair radically expanded creative possibilities for women musicians, who took to its stages to triumph, to experiment, even to fail and to try again.\u003c/p>\n\u003cp>“This is a snapshot of a huge array of what women were doing in music in this era when there was a lot of space and demand for women of all kinds to be taking risks in music,” Powers says. “And Lilith Fair is almost like, ‘Here’s your compilation of every wild idea that women had in music in the ’90s.’ And I think so much of that stuff is just, like, forgotten.”\u003c/p>\n\u003cp>For the artists and fans who experienced it, Lilith Fair felt revolutionary. Its success upended concert industry norms and created a new place where female artistry could evolve and flourish. Lilith Fair was a cultural phenomenon that coalesced at just the right time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR researcher Will Chase contributed to this report\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=25+years+on%2C+Lilith+Fair+is+a+reminder+of+how+one+woman%27s+radical+idea+changed+music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Chloe Sherman’s ‘Renegade’ Photography Captures ’90s Queer Culture in SF",
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"content": "\u003cp>Thirty years ago, San Francisco was a place where people who were misfits everywhere else—queers, punks and artists alike—could come and find their chosen families regardless of how much money they had. \u003ca href=\"https://www.chloeshermanphotography.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Sherman\u003c/a>’s new exhibit at Schlomer Haus Gallery, \u003cem>Renegade San Francisco: The 1990s\u003c/em>, is a vibrant snapshot of what happened after they got here.\u003c/p>\n\u003cp>With her camera’s lens focused primarily on the lesbian community, Sherman captured the sticky dive bars, messy bedrooms and freewheeling couples of the era who lived unapologetically on their own terms.\u003c/p>\n\u003cfigure id=\"attachment_13915086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png\" alt=\"Five butch women with short hair and leather accessories stand at a lunch counter, casually waiting to be served.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM.png 1590w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Folsom St Fair,’ 1994. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The freedom \u003cem>Renegade\u003c/em>’s photos capture is still a joy to behold. It’s a journey through the Mission District, Castro and SoMa; through parties, street corner hangouts and car rides. The locations—the Lexington, Hole in the Wall and Folsom Street Fair included—remain secondary, however, to the characters on show and the tight-knit community they represented.\u003c/p>\n\u003cp>Whether they were lounging at home in silk gowns or donning duct tape bustiers to hit the town, these butch and femme rebels were clearly having the time of their lives. Their closeness and casual elation in that feeling of community is palpable throughout. And the things that were incidental to them at the time—talking on landlines, smoking cigarettes indoors and embodying a relentlessly thrifty fashion sensibility—are a delight to look back on.\u003c/p>\n\u003cfigure id=\"attachment_13915096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png\" alt=\"A woman in a red halter neck maxi dress sweeps her long hair behind her neck, while standing next to an old red car in San Francisco. In front of the woman stands a butch person in a black and red cowboy shirt. A friend crouches next to them on the sidewalk, almost out of shot. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM.png 1594w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘The Heist,’ 1996. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chloe Sherman first moved to the city in 1991, before studying fine art photography at the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a>. That she had the foresight to document her community at the time is fortunate. That she’s sharing those images with the world now is a gift.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Chloe Sherman’s ‘Renegade San Francisco: The 1990s’ is on view at Schlomer Haus Gallery (2128 Market St., San Francisco) through July 30, 2022. \u003ca href=\"https://schlomerhaus.com/chloe-sherman\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Thirty years ago, Chloe Sherman photographed queer nightlife. A new exhibit shares what she saw. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty years ago, San Francisco was a place where people who were misfits everywhere else—queers, punks and artists alike—could come and find their chosen families regardless of how much money they had. \u003ca href=\"https://www.chloeshermanphotography.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Sherman\u003c/a>’s new exhibit at Schlomer Haus Gallery, \u003cem>Renegade San Francisco: The 1990s\u003c/em>, is a vibrant snapshot of what happened after they got here.\u003c/p>\n\u003cp>With her camera’s lens focused primarily on the lesbian community, Sherman captured the sticky dive bars, messy bedrooms and freewheeling couples of the era who lived unapologetically on their own terms.\u003c/p>\n\u003cfigure id=\"attachment_13915086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png\" alt=\"Five butch women with short hair and leather accessories stand at a lunch counter, casually waiting to be served.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM.png 1590w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Folsom St Fair,’ 1994. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The freedom \u003cem>Renegade\u003c/em>’s photos capture is still a joy to behold. It’s a journey through the Mission District, Castro and SoMa; through parties, street corner hangouts and car rides. The locations—the Lexington, Hole in the Wall and Folsom Street Fair included—remain secondary, however, to the characters on show and the tight-knit community they represented.\u003c/p>\n\u003cp>Whether they were lounging at home in silk gowns or donning duct tape bustiers to hit the town, these butch and femme rebels were clearly having the time of their lives. Their closeness and casual elation in that feeling of community is palpable throughout. And the things that were incidental to them at the time—talking on landlines, smoking cigarettes indoors and embodying a relentlessly thrifty fashion sensibility—are a delight to look back on.\u003c/p>\n\u003cfigure id=\"attachment_13915096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png\" alt=\"A woman in a red halter neck maxi dress sweeps her long hair behind her neck, while standing next to an old red car in San Francisco. In front of the woman stands a butch person in a black and red cowboy shirt. A friend crouches next to them on the sidewalk, almost out of shot. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM.png 1594w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘The Heist,’ 1996. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chloe Sherman first moved to the city in 1991, before studying fine art photography at the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a>. That she had the foresight to document her community at the time is fortunate. That she’s sharing those images with the world now is a gift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Chloe Sherman’s ‘Renegade San Francisco: The 1990s’ is on view at Schlomer Haus Gallery (2128 Market St., San Francisco) through July 30, 2022. \u003ca href=\"https://schlomerhaus.com/chloe-sherman\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Cypress Hill Documentary 'Insane in the Brain' Chronicles a Blazing Triumph",
"headTitle": "New Cypress Hill Documentary ‘Insane in the Brain’ Chronicles a Blazing Triumph | KQED",
"content": "\u003cp>If you come to \u003cem>Cypress Hill: Insane in the Brain\u003c/em> expecting weed smoke, raucous live footage and a gritty back story—congratulations! There’s an ample amount of all three.\u003c/p>\n\u003cp>You’ll also get the usual documentary staples: archival footage, personal stories, and a smattering of glowing commentary from hip-hop insiders, including Ice-T and Chuck D. What elevates Insane in the Brain—a Showtime production \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">premiering, naturally, on 4/20\u003c/a>—is its journey through the sheer unlikelihood of Cypress Hill’s success, and the barriers they overcame to achieve it.\u003c/p>\n\u003cp>[aside postid='arts_13909610']The film is directed by Estevan Oriol—a longtime friend and tour manager to the band, as well as a talented photographer and music video director in his own right. Across 87 minutes, Oriol effectively breaks down the great number of cultural and legal barriers that could have prevented B-Real, Sen Dog and DJ Muggs from becoming global stars with record sales exceeding 20 million. And he does it from a uniquely personal perspective.\u003c/p>\n\u003cp>First, the Los Angeles group managed to get out from being under gang affiliations, and the danger that posed. (B-Real recounts getting shot in the back by rival gang members in the 1980s.) Second, they had to wheedle their way into a hip-hop scene sorely lacking in Latino representation. (Cypress Hill was the first Latino rap group to go platinum.)\u003c/p>\n\u003cp>Third, they had to stay out of jail while publicly flouting anti-marijuana laws all over the world. (Much is made here of the fact that Cypress Hill were one of the first artists to openly and enthusiastically smoke weed on stage nightly, including during a now-infamous appearance on \u003cem>SNL\u003c/em> that \u003ca href=\"https://youtu.be/U3CJ4AO5-p4?t=169\" rel=\"noopener noreferrer\" target=\"_blank\">earned them a lifetime ban\u003c/a> from the show.) Fourth, they needed to transcend genres. A major source of their success in the 1990s was winning over crowds at alternative rock festivals like Lollapalooza and the UK’s Reading Festival. (They warmly recall their time on the road with Nirvana and Hole here.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ezoTkEIivrY\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> explains exactly how Cypress Hill smoothly scaled all those hurdles. And the trio’s combination of savvy, tenacity, talent and plain old-fashioned good luck is fairly remarkable to behold. One particularly delightful portion features DJ Muggs admitting he’d never heard the word “concept” until Def Jam’s Bill Stephney told him Cypress Hill needed one. Muggs went home, pondered it, then told his friends: “Y’all gotta be the Cheech and Chong of this motherfucka.” (Stoners will be thrilled to hear that the weed movie legends do show up for a bizarre interview.)\u003c/p>\n\u003cp>Certain nuggets in the documentary seem tailor-made to delight hardcore fans—particularly some early demos, recorded before B-Real had landed on the nasal delivery that gave Cypress Hill their unmistakable sound. But casual viewers will enjoy it as a story about triumphing over odds, and one that also happens to come with some hilarious anecdotes. (The night Sen Dog took too many mushrooms and got into a fight with a hat someone threw onstage is worth a viewing alone.)\u003c/p>\n\u003cp>[aside postid='arts_13906331']That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you come to \u003cem>Cypress Hill: Insane in the Brain\u003c/em> expecting weed smoke, raucous live footage and a gritty back story—congratulations! There’s an ample amount of all three.\u003c/p>\n\u003cp>You’ll also get the usual documentary staples: archival footage, personal stories, and a smattering of glowing commentary from hip-hop insiders, including Ice-T and Chuck D. What elevates Insane in the Brain—a Showtime production \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">premiering, naturally, on 4/20\u003c/a>—is its journey through the sheer unlikelihood of Cypress Hill’s success, and the barriers they overcame to achieve it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film is directed by Estevan Oriol—a longtime friend and tour manager to the band, as well as a talented photographer and music video director in his own right. Across 87 minutes, Oriol effectively breaks down the great number of cultural and legal barriers that could have prevented B-Real, Sen Dog and DJ Muggs from becoming global stars with record sales exceeding 20 million. And he does it from a uniquely personal perspective.\u003c/p>\n\u003cp>First, the Los Angeles group managed to get out from being under gang affiliations, and the danger that posed. (B-Real recounts getting shot in the back by rival gang members in the 1980s.) Second, they had to wheedle their way into a hip-hop scene sorely lacking in Latino representation. (Cypress Hill was the first Latino rap group to go platinum.)\u003c/p>\n\u003cp>Third, they had to stay out of jail while publicly flouting anti-marijuana laws all over the world. (Much is made here of the fact that Cypress Hill were one of the first artists to openly and enthusiastically smoke weed on stage nightly, including during a now-infamous appearance on \u003cem>SNL\u003c/em> that \u003ca href=\"https://youtu.be/U3CJ4AO5-p4?t=169\" rel=\"noopener noreferrer\" target=\"_blank\">earned them a lifetime ban\u003c/a> from the show.) Fourth, they needed to transcend genres. A major source of their success in the 1990s was winning over crowds at alternative rock festivals like Lollapalooza and the UK’s Reading Festival. (They warmly recall their time on the road with Nirvana and Hole here.)\u003c/p>\n\u003cp>\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/ezoTkEIivrY'\n title='//www.youtube.com/embed/ezoTkEIivrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Insane in the Brain\u003c/em> explains exactly how Cypress Hill smoothly scaled all those hurdles. And the trio’s combination of savvy, tenacity, talent and plain old-fashioned good luck is fairly remarkable to behold. One particularly delightful portion features DJ Muggs admitting he’d never heard the word “concept” until Def Jam’s Bill Stephney told him Cypress Hill needed one. Muggs went home, pondered it, then told his friends: “Y’all gotta be the Cheech and Chong of this motherfucka.” (Stoners will be thrilled to hear that the weed movie legends do show up for a bizarre interview.)\u003c/p>\n\u003cp>Certain nuggets in the documentary seem tailor-made to delight hardcore fans—particularly some early demos, recorded before B-Real had landed on the nasal delivery that gave Cypress Hill their unmistakable sound. But casual viewers will enjoy it as a story about triumphing over odds, and one that also happens to come with some hilarious anecdotes. (The night Sen Dog took too many mushrooms and got into a fight with a hat someone threw onstage is worth a viewing alone.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back in September, Alanis Morissette refused to attend the premiere of \u003cem>Jagged\u003c/em>, HBO’s new documentary about her\u003cem>.\u003c/em> “i ultimately won’t be supporting someone else’s reductive take on a story much too nuanced for them to ever grasp or tell,” the singer wrote in a statement, adding, “this was not the story i agreed to tell.” She said that the interview she did for \u003cem>Jagged\u003c/em> took place “during a very vulnerable time (while in the midst of my third postpartum depression during lockdown).” The singer even claimed that director Alison Klayman had a “salacious agenda” and “did not warrant being trusted.”\u003c/p>\n\u003cp>Morissette’s ire suggested \u003cem>Jagged\u003c/em> would be supremely revealing. It suggested that fans would finally get answers to the questions they’ve pondered ever since \u003cem>Jagged Little Pill\u003c/em> first exploded in 1995. Who were the music industry men who exploited her in her teens? And \u003ca href=\"https://www.businessinsider.com/alanis-morissettes-you-oughta-know-about-dave-coulier-2013-9\" target=\"_blank\" rel=\"noopener noreferrer\">was the older man from “You Oughta Know” really Dave Coulier\u003c/a> (Uncle Joey from \u003cem>Full House)\u003c/em>? Some viewers might be disappointed, then, to find out that the film stays as vague about those details as Morissette herself always has been. Salacious, \u003cem>Jagged\u003c/em> most certainly is not.\u003c/p>\n\u003cp>[aside postid='arts_13904188']Instead, \u003cem>Jagged\u003c/em> is a dizzying snapshot of the period in which Morissette was suddenly transformed from former Canadian pop singer to a global rock superstar via the overwhelming success of \u003cem>Jagged Little Pill\u003c/em>. We hear about her hyper-productive, organic writing sessions with Glen Ballard. We see her getting signed to Madonna’s label, Maverick, after a slew of major labels turned her down. We see her putting together her first band, which included Foo Fighters drummer Taylor Hawkins and a bass player she didn’t actually mean to call back. We see the adoration that audiences poured onto her at every live show of a grueling 18-month world tour. And we see her musing about the freedom that comes with being acknowledged as a good songwriter—something she was denied in her teens while signed to MCA in Canada.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CWtvC5a5TB0\u003c/p>\n\u003cp>The film draws many lines between the treatment of Morissette as a teen pop star—starvation diets, long working hours and sexual abuse included—and the rage and catharsis she channeled on \u003cem>Jagged Little Pill\u003c/em>. One of the things that makes \u003cem>Jagged\u003c/em> most compelling as a film is an undercurrent that runs throughout about exploitative men in the music industry and where that leaves female artists. There’s a sense of dread that casts a shadow, if not on Morissette’s stage, then certainly in the wings of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Morissette’s first single, “Fate Stay With Me,” came out when she was 12. And from that point on she was trying to make it as a singer-songwriter. When she hit 15, she explains in \u003cem>Jagged\u003c/em>, the industry predators stopped tip-toeing around her and “all bets were off.”\u003c/p>\n\u003cp>“I just thought it was my fault because almost every single person that I would work with, there would be some turning point,” Morissette says, “and I would just wait for it. Like ‘Okay, this won’t happen in the first week with this one, but it’ll happen.’ And then sure enough it would. And then it would either end the relationship or just be some big secret that we’d keep forever.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']Morissette says she stayed quiet about sexual assaults that took place in her teens as a means to protect her family, her future relationships and her own personal safety. Towards the end of the film, she admits it took years of therapy to even admit that she’d been abused. “I would say ‘I was consenting,'” she explains, “and then I’d be reminded, ‘Hey, you were 15. You’re not consenting at 15.’ And now it’s like, ‘Oh, they were all pedophiles. They were all statutory rape.'”\u003c/p>\n\u003cp>The only time Morissette’s habitually calm demeanor breaks at all during \u003cem>Jagged\u003c/em> is when she talks about how survivors are silenced. “People are like ‘Why did that woman wait 30 years?’ And it’s like, ‘Fuck off. They didn’t wait 30 years. No one was listening, or their livelihood was threatened, or their family was threatened.’ So yeah. The whole ‘Why do women wait?’ thing? Women don’t wait. Our culture doesn’t listen.”\u003c/p>\n\u003cp>\u003cem>Jagged\u003c/em> isn’t shy about looking at that culture either. The film is careful to show how fixated the male-dominated music press was on Morissette’s perceived anger at the time, despite the abundant optimism that was also present on \u003cem>Jagged Little Pill\u003c/em>. “I wasn’t writing to punish,” Morissette points out, “I was writing to express and get it out of my body because I didn’t want to get sick.”\u003c/p>\n\u003cp>Her former band is also forced to admit that they engaged in exploitative practices during Morissette’s world tour in 1995 and ’96. They describe handing out stacks of passes to female fans and inviting them backstage to an area that Morissette herself didn’t know about for most of the tour. “The most debaucherous tour I’ve ever done in my life,” Taylor Hawkins sheepishly admits, “was with Alanis Morissette.”\u003c/p>\n\u003cp>[aside postid='arts_13892800']When asked about her band’s behavior in \u003cem>Jagged\u003c/em>, Morissette calls it “a betrayal.” But she admits she didn’t fire them because her experience in the industry told her that a new set of musicians would behave in exactly the same way, but “wouldn’t sound as great.” When asked if she could’ve hired an all-female band, she says at the time there was so little space for female artists in rock that she worried women in her band—”women who wanted to be in my seat”—might try to steal focus.\u003c/p>\n\u003cp>One of the things that most strikes you, watching old footage in \u003cem>Jagged \u003c/em>now, is how incredibly young Morissette was at the time of her superstardom. She had turned 21 less than two weeks after \u003cem>Jagged Little Pill\u003c/em> came out—a point that was under-acknowledged at the time, probably because the maturity of her songs and life experiences belied her youth.\u003c/p>\n\u003cp>In the end, it’s difficult to fathom what in \u003cem>Jagged\u003c/em> upset Morissette enough to boycott its premiere at the Toronto Film Festival. The documentary portrays her with awe and reverence: as a great vocalist, a gifted songwriter, a survivor and a voice for others. It also carefully positions her in the music industry during a period when it was an all-powerful machine that thought nothing of chewing young women up and spitting them out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Only in hindsight,” Garbage vocalist Shirley Manson says in the film, “am I aware of what Alanis did for every woman that’s come up behind her. When you’re battering down 13 million doors, that’s helping everyone.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in September, Alanis Morissette refused to attend the premiere of \u003cem>Jagged\u003c/em>, HBO’s new documentary about her\u003cem>.\u003c/em> “i ultimately won’t be supporting someone else’s reductive take on a story much too nuanced for them to ever grasp or tell,” the singer wrote in a statement, adding, “this was not the story i agreed to tell.” She said that the interview she did for \u003cem>Jagged\u003c/em> took place “during a very vulnerable time (while in the midst of my third postpartum depression during lockdown).” The singer even claimed that director Alison Klayman had a “salacious agenda” and “did not warrant being trusted.”\u003c/p>\n\u003cp>Morissette’s ire suggested \u003cem>Jagged\u003c/em> would be supremely revealing. It suggested that fans would finally get answers to the questions they’ve pondered ever since \u003cem>Jagged Little Pill\u003c/em> first exploded in 1995. Who were the music industry men who exploited her in her teens? And \u003ca href=\"https://www.businessinsider.com/alanis-morissettes-you-oughta-know-about-dave-coulier-2013-9\" target=\"_blank\" rel=\"noopener noreferrer\">was the older man from “You Oughta Know” really Dave Coulier\u003c/a> (Uncle Joey from \u003cem>Full House)\u003c/em>? Some viewers might be disappointed, then, to find out that the film stays as vague about those details as Morissette herself always has been. Salacious, \u003cem>Jagged\u003c/em> most certainly is not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, \u003cem>Jagged\u003c/em> is a dizzying snapshot of the period in which Morissette was suddenly transformed from former Canadian pop singer to a global rock superstar via the overwhelming success of \u003cem>Jagged Little Pill\u003c/em>. We hear about her hyper-productive, organic writing sessions with Glen Ballard. We see her getting signed to Madonna’s label, Maverick, after a slew of major labels turned her down. We see her putting together her first band, which included Foo Fighters drummer Taylor Hawkins and a bass player she didn’t actually mean to call back. We see the adoration that audiences poured onto her at every live show of a grueling 18-month world tour. And we see her musing about the freedom that comes with being acknowledged as a good songwriter—something she was denied in her teens while signed to MCA in Canada.\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/CWtvC5a5TB0'\n title='//www.youtube.com/embed/CWtvC5a5TB0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film draws many lines between the treatment of Morissette as a teen pop star—starvation diets, long working hours and sexual abuse included—and the rage and catharsis she channeled on \u003cem>Jagged Little Pill\u003c/em>. One of the things that makes \u003cem>Jagged\u003c/em> most compelling as a film is an undercurrent that runs throughout about exploitative men in the music industry and where that leaves female artists. There’s a sense of dread that casts a shadow, if not on Morissette’s stage, then certainly in the wings of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Morissette’s first single, “Fate Stay With Me,” came out when she was 12. And from that point on she was trying to make it as a singer-songwriter. When she hit 15, she explains in \u003cem>Jagged\u003c/em>, the industry predators stopped tip-toeing around her and “all bets were off.”\u003c/p>\n\u003cp>“I just thought it was my fault because almost every single person that I would work with, there would be some turning point,” Morissette says, “and I would just wait for it. Like ‘Okay, this won’t happen in the first week with this one, but it’ll happen.’ And then sure enough it would. And then it would either end the relationship or just be some big secret that we’d keep forever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Morissette says she stayed quiet about sexual assaults that took place in her teens as a means to protect her family, her future relationships and her own personal safety. Towards the end of the film, she admits it took years of therapy to even admit that she’d been abused. “I would say ‘I was consenting,'” she explains, “and then I’d be reminded, ‘Hey, you were 15. You’re not consenting at 15.’ And now it’s like, ‘Oh, they were all pedophiles. They were all statutory rape.'”\u003c/p>\n\u003cp>The only time Morissette’s habitually calm demeanor breaks at all during \u003cem>Jagged\u003c/em> is when she talks about how survivors are silenced. “People are like ‘Why did that woman wait 30 years?’ And it’s like, ‘Fuck off. They didn’t wait 30 years. No one was listening, or their livelihood was threatened, or their family was threatened.’ So yeah. The whole ‘Why do women wait?’ thing? Women don’t wait. Our culture doesn’t listen.”\u003c/p>\n\u003cp>\u003cem>Jagged\u003c/em> isn’t shy about looking at that culture either. The film is careful to show how fixated the male-dominated music press was on Morissette’s perceived anger at the time, despite the abundant optimism that was also present on \u003cem>Jagged Little Pill\u003c/em>. “I wasn’t writing to punish,” Morissette points out, “I was writing to express and get it out of my body because I didn’t want to get sick.”\u003c/p>\n\u003cp>Her former band is also forced to admit that they engaged in exploitative practices during Morissette’s world tour in 1995 and ’96. They describe handing out stacks of passes to female fans and inviting them backstage to an area that Morissette herself didn’t know about for most of the tour. “The most debaucherous tour I’ve ever done in my life,” Taylor Hawkins sheepishly admits, “was with Alanis Morissette.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When asked about her band’s behavior in \u003cem>Jagged\u003c/em>, Morissette calls it “a betrayal.” But she admits she didn’t fire them because her experience in the industry told her that a new set of musicians would behave in exactly the same way, but “wouldn’t sound as great.” When asked if she could’ve hired an all-female band, she says at the time there was so little space for female artists in rock that she worried women in her band—”women who wanted to be in my seat”—might try to steal focus.\u003c/p>\n\u003cp>One of the things that most strikes you, watching old footage in \u003cem>Jagged \u003c/em>now, is how incredibly young Morissette was at the time of her superstardom. She had turned 21 less than two weeks after \u003cem>Jagged Little Pill\u003c/em> came out—a point that was under-acknowledged at the time, probably because the maturity of her songs and life experiences belied her youth.\u003c/p>\n\u003cp>In the end, it’s difficult to fathom what in \u003cem>Jagged\u003c/em> upset Morissette enough to boycott its premiere at the Toronto Film Festival. The documentary portrays her with awe and reverence: as a great vocalist, a gifted songwriter, a survivor and a voice for others. It also carefully positions her in the music industry during a period when it was an all-powerful machine that thought nothing of chewing young women up and spitting them out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On the Joys and Complexities of Aaliyah's Music, 20 Years After Her Death",
"headTitle": "On the Joys and Complexities of Aaliyah’s Music, 20 Years After Her Death | KQED",
"content": "\u003cp>It was such a pleasurable experience being able to finally listen to \u003ca href=\"https://www.npr.org/artists/15121547/aaliyah\" target=\"_blank\" rel=\"noopener noreferrer\">Aaliyah\u003c/a>‘s \u003cem>One In A Million \u003c/em>album from beginning to end this past weekend, her lilting vocals pouring smoothly through my Sonos speakers. This was a moment fans have been waiting on for years, as \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes business wrangling\u003c/a> has long kept the majority of her relatively small discography off most streaming platforms. And as of Aug. 20, just a few days ahead of the 20\u003csup>th\u003c/sup> anniversary of her death in a plane crash, it was finally here, her second studio album available to enjoy and rewind and skip ahead through and immerse one’s self in, in all its sonic glory.\u003c/p>\n\u003cp>Her third and final studio album is set to arrive in the fall, and an equilibrium of sorts will have ultimately been restored. Because for far too long, only her first and most fraught album, \u003cem>Age Ain’t Nothing But A Number\u003c/em>, had been widely available, a fact that felt like a slap in the face to her legacy.\u003c/p>\n\u003cp>In death, as in life, Aaliyah deserved better.\u003c/p>\n\u003cp>But what, exactly, does “better” entail? Especially within the last couple of years, some things have become undeniably obvious: She deserved to have been better protected by those around her, to have had someone who saw the writing on the wall when a grown man, \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>, was penning songs for a 14-year-old to sing as a come-on to an older “lover.” The music industry shouldn’t have swept the revelation of Kelly’s illegal marriage to Aaliyah when she was just 15 (or the \u003ca href=\"https://www.npr.org/2021/08/09/1022231076/r-kelly-abuse-charges-trial-aaliyah-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">many other allegations\u003c/a> that have arisen over the years) under the rug.\u003c/p>\n\u003cp>More difficult, at least for me as both a fan and critic, is to reconcile that early part of her career with the rest of her body of work. A part of me would love nothing more than to never have to mention Kelly—who would later go by the ghastly nickname “\u003ca href=\"http://abcnewsradioonline.com/music-news/2016/2/3/r-kelly-reveals-why-he-calls-himself-the-pied-piper-of-rb.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Pied Piper of R&B\u003c/a>“—when discussing Aaliyah. It remains infuriating that (alleged) victims of sexual abuse are forever linked in name to their abusers, often to the detriment and overshadowing of everything else they accomplished. But while \u003cem>Age Ain’t Nothing But A Number \u003c/em>is forever tainted in the minds of fans, it’s impossible to ignore how crucial it was in establishing Aaliyah’s continuous appeal even as she distanced herself from Kelly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KKSz4NE6PwY&t=1s\u003c/p>\n\u003cp>It’s been said many times before, but really it can’t be overstated: “\u003ca href=\"https://www.youtube.com/watch?v=d03dmVx86Nk\" target=\"_blank\" rel=\"noopener noreferrer\">One in a Million\u003c/a>” sounds as if it was predicting the future; indeed, it sounds like now. In Timbaland’s skittering production, Missy Elliott’s staccato phrasing of the lyrics, and Aaliyah’s mellifluous interpretation you can hear the descendants that have followed in their wake—\u003ca href=\"https://www.youtube.com/watch?v=mKtVHStkB5c\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oEm3lY3trRU\" target=\"_blank\" rel=\"noopener noreferrer\">Jhené Aiko\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oXgA3koewAo\" target=\"_blank\" rel=\"noopener noreferrer\">Syd\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=DFMEBquxeO8\" target=\"_blank\" rel=\"noopener noreferrer\">Normani\u003c/a>. Her various looks in the video were sleek, sexy, and mysterious, as she donned low-rise pants, crop tops and bras, and, in one scene, a silver eye-patch that seemed to come straight from a sci-fi dystopia playbook.\u003c/p>\n\u003cp>She seemed fully formed, utterly confident and secure in her body. This was true in her other songs from that era as well, from “\u003ca href=\"https://www.youtube.com/watch?v=v_Qy6vaMsFQ\" target=\"_blank\" rel=\"noopener noreferrer\">If Your Girl Only Knew\u003c/a>,” a self-assured midtempo joint in which she boasts how she won’t “be no fool” for a guy who’s trying to cheat with her, to “\u003ca href=\"https://www.youtube.com/watch?v=98ha5Ng913w\" target=\"_blank\" rel=\"noopener noreferrer\">Are You That Somebody?\u003c/a>” an earworm where she insists on keeping a hookup on the low until he can prove he’s serious. And if you were a young Black girl in the ’90s like I was, of course you were probably going to look at her and be struck by how cool she seemed, without thinking twice about it. You’d assume she was a grown woman, because if you’re below the age of 12, everyone older than you seems \u003cem>ancient\u003c/em>, and what young person is able to assert that much control? Yet she wasn’t even 18 when she recorded \u003cem>One in a Million\u003c/em>.\u003c/p>\n\u003cp>That’s what made her special—she stood out from the balladeers of the era (the Mariahs, Whitneys, En Vogues) and the teen pop stars (Brandy, Britney, Christina), in part because she seemed in command without needing to do too much. Her theatrics were subdued and contained, more slinky and less in-your-face. In hindsight, though, I’ve begun to wonder what it meant that she was introduced to the world as being fully formed, despite being a young teenager, an age where everyone is still trying to figure themselves out (and usually awkwardly so).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JUGjras2kvQ\u003c/p>\n\u003cp>Female teen pop stars usually emerge with a hint of innocence baked into their public persona, even as they playfully suggest their own sexuality and fuel many a boy’s or man’s sexual fantasy: Britney Spears is the prototypical example here (the schoolgirl outfit and pigtails in “\u003ca href=\"https://www.youtube.com/watch?v=C-u5WLJ9Yk4\" target=\"_blank\" rel=\"noopener noreferrer\">…Baby One More Time\u003c/a>“; that infamous \u003ca href=\"https://www.rollingstone.com/music/music-news/britney-spears-teen-queen-rolling-stones-1999-cover-story-254871/\">\u003cem>Rolling Stone\u003c/em> cover\u003c/a> with the lingerie and stuffed Teletubby), but this was also true of Spears’ contemporaries in the ’90s and early ’00s, from Christina Aguilera to Mandy Moore to Jessica Simpson. The playbook for the biggest of those stars seemed to be this: Breakout by towing the line between virginal and sexy (and piss off religious groups and middle-class suburban parents in the process), then, a couple of years later, when you’re in your late teens or early 20s, enter your “mature” period, i.e. going full-on SEX KITTEN. Suggest a \u003ca href=\"https://www.youtube.com/watch?v=Mzybwwf2HoQ#t=02m46s\" target=\"_blank\" rel=\"noopener noreferrer\">sweaty, dance-orgy\u003c/a> in your video; get \u003ca href=\"https://www.youtube.com/watch?v=4Rg3sAb8Id8\" target=\"_blank\" rel=\"noopener noreferrer\">dirrty\u003c/a>. Get \u003ca href=\"https://www.buzzfeed.com/mjs538/wtf-parents\" target=\"_blank\" rel=\"noopener noreferrer\">blamed for corrupting America’s tweens\u003c/a>.\u003c/p>\n\u003cp>Aaliyah was rarely granted the opportunity to display that kind of innocence—she was branded as “mature” out the gate. From the beginning of her career, the dichotomy between her actual and perceived age was integral to her image. It was right there in the title of that debut album; in the lyrics of that song, where she seductively coos that “age ain’t nothin’ but a number, throwing down ain’t nothin’ but a thang.” In early interviews her exact age was usually treated as a jokey open secret—”\u003ca href=\"https://www.youtube.com/watch?v=0jMwKZE6Ce4\" target=\"_blank\" rel=\"noopener noreferrer\">I won’t reveal it, but I’m in my teens\u003c/a>, I’m still in high school”; “\u003ca href=\"https://www.youtube.com/watch?v=gwasUMVq-_8\" target=\"_blank\" rel=\"noopener noreferrer\">You know I don’t tell my age, it’s a secret\u003c/a>,” she’d coyly respond, with a giggle and a smile, when asked about how old she was.\u003c/p>\n\u003cfigure id=\"attachment_13901854\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg\" alt=\"Aaliyah at 'The Tonight Show with Jay Leno' at the NBC Studios in Burbank, July 2001.\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Aaliyah at ‘The Tonight Show with Jay Leno’ at the NBC Studios in Burbank, July 2001. \u003ccite>(Kevin Winter/Getty Images.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clashing with the acknowledgment of her youth was how Kelly and her management team played down that crucial facet of her age, in the way she swaggered and sauntered in the baggy outfits, dark sunglasses, and swoop of hair draped over one eye, as if she were a neo-noir femme fatale from the ‘hood. (\u003ca href=\"https://www.tcm.com/tcmdb/person/107416%7C150623/Veronica-Lake/#overview\" target=\"_blank\" rel=\"noopener noreferrer\">Veronica Lake\u003c/a> was a frequent reference point for critics describing her look and mysterious aura.) The public pretty much accepted and played along with it. \u003cem>Billboard\u003c/em>‘s review of \u003cem>Age Ain’t Nothing But a Number \u003c/em>described her as an “\u003ca href=\"https://books.google.com/books?id=UAgEAAAAMBAJ&q=aaliyah+age+ain't+nothing+but+a+number&pg=PA64#v=snippet&q=aaliyah%20age%20ain't%20nothing%20but%20a%20number&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">urban teenaged siren\u003c/a>“; a \u003ca href=\"https://www.washingtonpost.com/blogs/click-track/post/archives-remembering-aaliyah/2011/08/25/gIQAEjUwdJ_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">review in the \u003cem>Washington Post\u003c/em>\u003c/a> held her up as a refreshing divergence from other teen stars of the moment, because unlike them, “she doesn’t try to assume emotions she’s never felt or take on material outside her range of experience”—implying that the image of Aaliyah as a fully sexualized woman (not a 15-year-old girl) with experience “go[ing] all the way” had been so strong at the time as to have been normalized and etched in stone. When that’s the public’s first impression of you in this business, there’s ostensibly no going back.\u003c/p>\n\u003cp>And so she didn’t—instead, she continued to build upon that persona while leaving Kelly behind. If \u003cem>One in a Million \u003c/em>largely eschews the ickiness that lies at the core of \u003cem>Age Ain’t Nothing But a Number\u003c/em>, it’s because that Svengali wasn’t involved, and Aaliyah was a little bit older. Still, there’s that tension and looming sadness over the thought that the singer was forced to grow up too soon. The evolution from \u003cem>Age\u003c/em>-era Aaliyah to \u003cem>One in a Million\u003c/em>-era Aaliyah wasn’t such a huge leap stylistically; she was still being put forth and received as more experienced than her counterparts, and comparisons to Janet Jackson (who by then had fully transitioned into her uber-sensual \u003ca href=\"https://www.youtube.com/watch?v=2b_KfAGiglc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>janet.\u003c/em>-era\u003c/a>) began to surface. “\u003ca href=\"https://books.google.com/books?id=4SsEAAAAMBAJ&pg=PA133#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">It’s still illegal to act on the thought\u003c/a>” of Aaliyah’s sexuality, dream hampton wrote in her contemporary review of \u003cem>One in a Million\u003c/em>, while noting that since her debut, the singer had “encourage[d] Lolita fantasies.” (hampton would later go on to executive produce the \u003ca href=\"https://www.npr.org/2021/08/23/1029623250/r-kelly-britney-spears-allen-farrow-russell-simmons\" target=\"_blank\" rel=\"noopener noreferrer\">damning and watershed docuseries \u003cem>Surviving R. Kelly\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>In the video for the title track, her love interest is Ginuwine, the R&B singer who was nearly a decade older than her; years later, Timbaland, who was 23 when he first met 16-year-old Aaliyah, would \u003ca href=\"https://www.complex.com/music/2019/01/timbaland-confesses-his-love-for-underage-aaliyah-in-resurfaced-video#cookie-settings\">admit in an interview\u003c/a> that he was “in love” with her, and had to “fight” to control his attraction to her. (By all accounts, their friendship remained platonic and professional.)\u003c/p>\n\u003cp>Aaliyah’s was a different trapping of fame as a teenaged female pop star—instead of dodging invasive questions about whether or not she was \u003ca href=\"http://www.mtv.com/news/1473676/britney-talks-sex-turns-out-she-really-wasnt-that-innocent/\" target=\"_blank\" rel=\"noopener noreferrer\">a virgin\u003c/a> or if she’d \u003ca href=\"https://www.youtube.com/watch?v=rgImasn50ZU\" target=\"_blank\" rel=\"noopener noreferrer\">gotten a boob job\u003c/a>, she dodged questions about an illegal marriage to a much older man while few seemed disturbed by the fact that this was even a question to be asked in the first place. (Most interviewers, in fact, seemed titillated by it.) Neither scenario is a healthy one for a young girl to have to deal with, but at least in the case of Aaliyah, the divide seems stark: to the public, white girlhood was something to be fiercely protected and saved from “corruption”; Black girlhood—Black innocence—cannot even be comprehended. And when Black girlhood isn’t fathomed, it’s not protected, as the many accounts from the young girls and women featured in \u003cem>Surviving R. Kelly \u003c/em>has made clear.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rTkba6mXMis\u003c/p>\n\u003cp>And yet, there’s a narrative of resilience that can be gleaned from \u003cem>One In A Million\u003c/em>, one that unearths power in the singer’s creative choices over her image and sound post-Kelly. She seemingly took the parts that felt the most like herself—the air of mystery, the laid-back vibes—and reworked them to help pioneer a new way forward in pop and R&B. Her boldness feels less put-upon and more natural, like the musings of the older teenager/budding young adult she was at the time, especially on an earnest track like “4 Page Letter.” I love to listen to it in this way, because I remember what it was like to be 16, 17-years-old, exploring my own personality and approach to relationships.\u003c/p>\n\u003cp>In the last years of her life, she had found more nuance to mine at 22-years-old—on “Try Again,” for instance, she expresses hesitancy in starting a new relationship, while coaxing her romantic interest to try a bit harder to earn her love and respect. That word that would follow her until the end—”mature”—still applied here, but this time it applied more to how she played with and expanded upon her vocal lyrical interpretations than it did her sexuality. She was growing up, even though she had been treated like an adult for much of her childhood.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The tragedy of Aaliyah is there are so many “What ifs?” that will forever remain unresolved. The upside is that, at least professionally, she managed to persevere in spite of the many people and institutions that failed her personally. Her final albums deserve to be heard in this way, and her legacy deserves to be remembered this way, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=What+Made+Aaliyah+So+Special+Is+More+Complicated+Than+It+Seems&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was such a pleasurable experience being able to finally listen to \u003ca href=\"https://www.npr.org/artists/15121547/aaliyah\" target=\"_blank\" rel=\"noopener noreferrer\">Aaliyah\u003c/a>‘s \u003cem>One In A Million \u003c/em>album from beginning to end this past weekend, her lilting vocals pouring smoothly through my Sonos speakers. This was a moment fans have been waiting on for years, as \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes business wrangling\u003c/a> has long kept the majority of her relatively small discography off most streaming platforms. And as of Aug. 20, just a few days ahead of the 20\u003csup>th\u003c/sup> anniversary of her death in a plane crash, it was finally here, her second studio album available to enjoy and rewind and skip ahead through and immerse one’s self in, in all its sonic glory.\u003c/p>\n\u003cp>Her third and final studio album is set to arrive in the fall, and an equilibrium of sorts will have ultimately been restored. Because for far too long, only her first and most fraught album, \u003cem>Age Ain’t Nothing But A Number\u003c/em>, had been widely available, a fact that felt like a slap in the face to her legacy.\u003c/p>\n\u003cp>In death, as in life, Aaliyah deserved better.\u003c/p>\n\u003cp>But what, exactly, does “better” entail? Especially within the last couple of years, some things have become undeniably obvious: She deserved to have been better protected by those around her, to have had someone who saw the writing on the wall when a grown man, \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>, was penning songs for a 14-year-old to sing as a come-on to an older “lover.” The music industry shouldn’t have swept the revelation of Kelly’s illegal marriage to Aaliyah when she was just 15 (or the \u003ca href=\"https://www.npr.org/2021/08/09/1022231076/r-kelly-abuse-charges-trial-aaliyah-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">many other allegations\u003c/a> that have arisen over the years) under the rug.\u003c/p>\n\u003cp>More difficult, at least for me as both a fan and critic, is to reconcile that early part of her career with the rest of her body of work. A part of me would love nothing more than to never have to mention Kelly—who would later go by the ghastly nickname “\u003ca href=\"http://abcnewsradioonline.com/music-news/2016/2/3/r-kelly-reveals-why-he-calls-himself-the-pied-piper-of-rb.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Pied Piper of R&B\u003c/a>“—when discussing Aaliyah. It remains infuriating that (alleged) victims of sexual abuse are forever linked in name to their abusers, often to the detriment and overshadowing of everything else they accomplished. But while \u003cem>Age Ain’t Nothing But A Number \u003c/em>is forever tainted in the minds of fans, it’s impossible to ignore how crucial it was in establishing Aaliyah’s continuous appeal even as she distanced herself from Kelly.\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/KKSz4NE6PwY'\n title='//www.youtube.com/embed/KKSz4NE6PwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s been said many times before, but really it can’t be overstated: “\u003ca href=\"https://www.youtube.com/watch?v=d03dmVx86Nk\" target=\"_blank\" rel=\"noopener noreferrer\">One in a Million\u003c/a>” sounds as if it was predicting the future; indeed, it sounds like now. In Timbaland’s skittering production, Missy Elliott’s staccato phrasing of the lyrics, and Aaliyah’s mellifluous interpretation you can hear the descendants that have followed in their wake—\u003ca href=\"https://www.youtube.com/watch?v=mKtVHStkB5c\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oEm3lY3trRU\" target=\"_blank\" rel=\"noopener noreferrer\">Jhené Aiko\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=oXgA3koewAo\" target=\"_blank\" rel=\"noopener noreferrer\">Syd\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=DFMEBquxeO8\" target=\"_blank\" rel=\"noopener noreferrer\">Normani\u003c/a>. Her various looks in the video were sleek, sexy, and mysterious, as she donned low-rise pants, crop tops and bras, and, in one scene, a silver eye-patch that seemed to come straight from a sci-fi dystopia playbook.\u003c/p>\n\u003cp>She seemed fully formed, utterly confident and secure in her body. This was true in her other songs from that era as well, from “\u003ca href=\"https://www.youtube.com/watch?v=v_Qy6vaMsFQ\" target=\"_blank\" rel=\"noopener noreferrer\">If Your Girl Only Knew\u003c/a>,” a self-assured midtempo joint in which she boasts how she won’t “be no fool” for a guy who’s trying to cheat with her, to “\u003ca href=\"https://www.youtube.com/watch?v=98ha5Ng913w\" target=\"_blank\" rel=\"noopener noreferrer\">Are You That Somebody?\u003c/a>” an earworm where she insists on keeping a hookup on the low until he can prove he’s serious. And if you were a young Black girl in the ’90s like I was, of course you were probably going to look at her and be struck by how cool she seemed, without thinking twice about it. You’d assume she was a grown woman, because if you’re below the age of 12, everyone older than you seems \u003cem>ancient\u003c/em>, and what young person is able to assert that much control? Yet she wasn’t even 18 when she recorded \u003cem>One in a Million\u003c/em>.\u003c/p>\n\u003cp>That’s what made her special—she stood out from the balladeers of the era (the Mariahs, Whitneys, En Vogues) and the teen pop stars (Brandy, Britney, Christina), in part because she seemed in command without needing to do too much. Her theatrics were subdued and contained, more slinky and less in-your-face. In hindsight, though, I’ve begun to wonder what it meant that she was introduced to the world as being fully formed, despite being a young teenager, an age where everyone is still trying to figure themselves out (and usually awkwardly so).\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/JUGjras2kvQ'\n title='//www.youtube.com/embed/JUGjras2kvQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Female teen pop stars usually emerge with a hint of innocence baked into their public persona, even as they playfully suggest their own sexuality and fuel many a boy’s or man’s sexual fantasy: Britney Spears is the prototypical example here (the schoolgirl outfit and pigtails in “\u003ca href=\"https://www.youtube.com/watch?v=C-u5WLJ9Yk4\" target=\"_blank\" rel=\"noopener noreferrer\">…Baby One More Time\u003c/a>“; that infamous \u003ca href=\"https://www.rollingstone.com/music/music-news/britney-spears-teen-queen-rolling-stones-1999-cover-story-254871/\">\u003cem>Rolling Stone\u003c/em> cover\u003c/a> with the lingerie and stuffed Teletubby), but this was also true of Spears’ contemporaries in the ’90s and early ’00s, from Christina Aguilera to Mandy Moore to Jessica Simpson. The playbook for the biggest of those stars seemed to be this: Breakout by towing the line between virginal and sexy (and piss off religious groups and middle-class suburban parents in the process), then, a couple of years later, when you’re in your late teens or early 20s, enter your “mature” period, i.e. going full-on SEX KITTEN. Suggest a \u003ca href=\"https://www.youtube.com/watch?v=Mzybwwf2HoQ#t=02m46s\" target=\"_blank\" rel=\"noopener noreferrer\">sweaty, dance-orgy\u003c/a> in your video; get \u003ca href=\"https://www.youtube.com/watch?v=4Rg3sAb8Id8\" target=\"_blank\" rel=\"noopener noreferrer\">dirrty\u003c/a>. Get \u003ca href=\"https://www.buzzfeed.com/mjs538/wtf-parents\" target=\"_blank\" rel=\"noopener noreferrer\">blamed for corrupting America’s tweens\u003c/a>.\u003c/p>\n\u003cp>Aaliyah was rarely granted the opportunity to display that kind of innocence—she was branded as “mature” out the gate. From the beginning of her career, the dichotomy between her actual and perceived age was integral to her image. It was right there in the title of that debut album; in the lyrics of that song, where she seductively coos that “age ain’t nothin’ but a number, throwing down ain’t nothin’ but a thang.” In early interviews her exact age was usually treated as a jokey open secret—”\u003ca href=\"https://www.youtube.com/watch?v=0jMwKZE6Ce4\" target=\"_blank\" rel=\"noopener noreferrer\">I won’t reveal it, but I’m in my teens\u003c/a>, I’m still in high school”; “\u003ca href=\"https://www.youtube.com/watch?v=gwasUMVq-_8\" target=\"_blank\" rel=\"noopener noreferrer\">You know I don’t tell my age, it’s a secret\u003c/a>,” she’d coyly respond, with a giggle and a smile, when asked about how old she was.\u003c/p>\n\u003cfigure id=\"attachment_13901854\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg\" alt=\"Aaliyah at 'The Tonight Show with Jay Leno' at the NBC Studios in Burbank, July 2001.\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gettyimages-2250935_custom-23251aaa6a7c48f3b90d7b76b1b37c7f8c397d8e-160x240.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Aaliyah at ‘The Tonight Show with Jay Leno’ at the NBC Studios in Burbank, July 2001. \u003ccite>(Kevin Winter/Getty Images.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clashing with the acknowledgment of her youth was how Kelly and her management team played down that crucial facet of her age, in the way she swaggered and sauntered in the baggy outfits, dark sunglasses, and swoop of hair draped over one eye, as if she were a neo-noir femme fatale from the ‘hood. (\u003ca href=\"https://www.tcm.com/tcmdb/person/107416%7C150623/Veronica-Lake/#overview\" target=\"_blank\" rel=\"noopener noreferrer\">Veronica Lake\u003c/a> was a frequent reference point for critics describing her look and mysterious aura.) The public pretty much accepted and played along with it. \u003cem>Billboard\u003c/em>‘s review of \u003cem>Age Ain’t Nothing But a Number \u003c/em>described her as an “\u003ca href=\"https://books.google.com/books?id=UAgEAAAAMBAJ&q=aaliyah+age+ain't+nothing+but+a+number&pg=PA64#v=snippet&q=aaliyah%20age%20ain't%20nothing%20but%20a%20number&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">urban teenaged siren\u003c/a>“; a \u003ca href=\"https://www.washingtonpost.com/blogs/click-track/post/archives-remembering-aaliyah/2011/08/25/gIQAEjUwdJ_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">review in the \u003cem>Washington Post\u003c/em>\u003c/a> held her up as a refreshing divergence from other teen stars of the moment, because unlike them, “she doesn’t try to assume emotions she’s never felt or take on material outside her range of experience”—implying that the image of Aaliyah as a fully sexualized woman (not a 15-year-old girl) with experience “go[ing] all the way” had been so strong at the time as to have been normalized and etched in stone. When that’s the public’s first impression of you in this business, there’s ostensibly no going back.\u003c/p>\n\u003cp>And so she didn’t—instead, she continued to build upon that persona while leaving Kelly behind. If \u003cem>One in a Million \u003c/em>largely eschews the ickiness that lies at the core of \u003cem>Age Ain’t Nothing But a Number\u003c/em>, it’s because that Svengali wasn’t involved, and Aaliyah was a little bit older. Still, there’s that tension and looming sadness over the thought that the singer was forced to grow up too soon. The evolution from \u003cem>Age\u003c/em>-era Aaliyah to \u003cem>One in a Million\u003c/em>-era Aaliyah wasn’t such a huge leap stylistically; she was still being put forth and received as more experienced than her counterparts, and comparisons to Janet Jackson (who by then had fully transitioned into her uber-sensual \u003ca href=\"https://www.youtube.com/watch?v=2b_KfAGiglc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>janet.\u003c/em>-era\u003c/a>) began to surface. “\u003ca href=\"https://books.google.com/books?id=4SsEAAAAMBAJ&pg=PA133#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">It’s still illegal to act on the thought\u003c/a>” of Aaliyah’s sexuality, dream hampton wrote in her contemporary review of \u003cem>One in a Million\u003c/em>, while noting that since her debut, the singer had “encourage[d] Lolita fantasies.” (hampton would later go on to executive produce the \u003ca href=\"https://www.npr.org/2021/08/23/1029623250/r-kelly-britney-spears-allen-farrow-russell-simmons\" target=\"_blank\" rel=\"noopener noreferrer\">damning and watershed docuseries \u003cem>Surviving R. Kelly\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>In the video for the title track, her love interest is Ginuwine, the R&B singer who was nearly a decade older than her; years later, Timbaland, who was 23 when he first met 16-year-old Aaliyah, would \u003ca href=\"https://www.complex.com/music/2019/01/timbaland-confesses-his-love-for-underage-aaliyah-in-resurfaced-video#cookie-settings\">admit in an interview\u003c/a> that he was “in love” with her, and had to “fight” to control his attraction to her. (By all accounts, their friendship remained platonic and professional.)\u003c/p>\n\u003cp>Aaliyah’s was a different trapping of fame as a teenaged female pop star—instead of dodging invasive questions about whether or not she was \u003ca href=\"http://www.mtv.com/news/1473676/britney-talks-sex-turns-out-she-really-wasnt-that-innocent/\" target=\"_blank\" rel=\"noopener noreferrer\">a virgin\u003c/a> or if she’d \u003ca href=\"https://www.youtube.com/watch?v=rgImasn50ZU\" target=\"_blank\" rel=\"noopener noreferrer\">gotten a boob job\u003c/a>, she dodged questions about an illegal marriage to a much older man while few seemed disturbed by the fact that this was even a question to be asked in the first place. (Most interviewers, in fact, seemed titillated by it.) Neither scenario is a healthy one for a young girl to have to deal with, but at least in the case of Aaliyah, the divide seems stark: to the public, white girlhood was something to be fiercely protected and saved from “corruption”; Black girlhood—Black innocence—cannot even be comprehended. And when Black girlhood isn’t fathomed, it’s not protected, as the many accounts from the young girls and women featured in \u003cem>Surviving R. Kelly \u003c/em>has made clear.\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/rTkba6mXMis'\n title='//www.youtube.com/embed/rTkba6mXMis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet, there’s a narrative of resilience that can be gleaned from \u003cem>One In A Million\u003c/em>, one that unearths power in the singer’s creative choices over her image and sound post-Kelly. She seemingly took the parts that felt the most like herself—the air of mystery, the laid-back vibes—and reworked them to help pioneer a new way forward in pop and R&B. Her boldness feels less put-upon and more natural, like the musings of the older teenager/budding young adult she was at the time, especially on an earnest track like “4 Page Letter.” I love to listen to it in this way, because I remember what it was like to be 16, 17-years-old, exploring my own personality and approach to relationships.\u003c/p>\n\u003cp>In the last years of her life, she had found more nuance to mine at 22-years-old—on “Try Again,” for instance, she expresses hesitancy in starting a new relationship, while coaxing her romantic interest to try a bit harder to earn her love and respect. That word that would follow her until the end—”mature”—still applied here, but this time it applied more to how she played with and expanded upon her vocal lyrical interpretations than it did her sexuality. She was growing up, even though she had been treated like an adult for much of her childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tragedy of Aaliyah is there are so many “What ifs?” that will forever remain unresolved. The upside is that, at least professionally, she managed to persevere in spite of the many people and institutions that failed her personally. Her final albums deserve to be heard in this way, and her legacy deserves to be remembered this way, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=What+Made+Aaliyah+So+Special+Is+More+Complicated+Than+It+Seems&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Meet Philadelphia’s House Dancers Preserving the Soul of the Scene",
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"content": "\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/ICCD404_Philadelphia_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Philadelphia has a rich history of producing world-class dance talent, from virtuoso tap dancers LaVaughn Robinson and the Nicholas Brothers to the contemporary house and street dancers from \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a>, the longest running street dance theater company in the world.\u003c/p>\n\u003cp>And, like the signature Philly sound, the city has moves with soul.\u003c/p>\n\u003cp>“Philly has always been a very soulful town, and the dancers here have always danced a little different, with their own flavor,” says David Austin, a pioneering dancer in Philadelphia’s 1980s house scene who was drawn to its rhythmic music and freestyle dance styles with African diasporic and Latin influences. “We’re family when we were out at these clubs,” Austin adds. “There’s a connection that we share with one another that is really unique, and I think that’s why the house scene is so lasting.”\u003c/p>\n\u003cp>More than three decades later, Austin is part of a tight-knit, intergenerational community of house dancers, DJs and event producers in Philadelphia who have worked, amidst commercialization and club closures, to keep the original underground spirit of the scene alive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The Roots of Philly House\u003c/strong>\u003c/p>\n\u003cp>House culture has roots dating back to the late 1970s, when DJ Frankie Knuckles remixed funk, R&B and disco records at the Warehouse in Chicago’s South Side for largely Black and brown gay partygoers. The distinctive world of sound he spun at the late-night dance parties was so influential that the Warehouse is widely credited as the place that gave house its name.\u003c/p>\n\u003cp>“House—there is a message in the music about yourself, about spirituality, your relationship with people … it eliminates all that is wrong at that moment in the world, and can take us to that very special place,” says \u003ca href=\"https://funkypeopleonline.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Terry “Tee” Alford\u003c/a>, who with a crew of deejay friends and producers started a Sunday night house party at the Impulse Club in North Philly in 1988. By that time, Philly’s queer clubs were already hosting all-night dance parties in speakeasys and spaces like Second Story and Catacombs. Clubs like the Impulse introduced the culture to a whole new audience.\u003c/p>\n\u003cfigure id=\"attachment_13900197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900197\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg\" alt=\"Interior shot of mostly African American crowd dancing in a crowded club in the late 1980's.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg 1058w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Club Impulse in Philadelphia, PA. \u003ccite>(Christopher S. Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philadelphia house was distinct from its harder-edged Chicago, Detroit and New York counterparts. The smooth, string-laden productions of Kenny Gamble and Leon Huff had set the tone for the city’s silky soul in the 1970s through their record label Philadelphia International, its house band MFSB, and the landmark hit “T.S.O.P. (The Sound of Philadelphia).” Even in other cities, early house DJs like Knuckles drew on Philly soul for their club sets, bringing Gamble & Huff’s aesthetic into house music throughout the 1980s.\u003c/p>\n\u003cp>By 1991, some of Philly’s best house dancers began starring on the TV show One House Street, hosted by street dancer Rennie Harris.\u003cbr>\nHarris had recently toured with the country’s first official hip-hop tour, the Fresh Festival, and when the television producers tapped him to host a dance show, he insisted on making it all house. “My whole thing was, this has to be what I’m into right now—nothing but the house underground,” says Harris, who recruited dancers in local clubs and beyond to appear on the weekly show. While the show was short-lived, it was watched widely. “We were killing Soul Train, we were killing MTV,” Harris adds.\u003c/p>\n\u003cp>“[House dance], the je ne sais quoi, it’s flowy, dynamic footwork patterns, the manipulation of time and space,” says Kyle “JustSole” Clark, who discovered and fell in love with the culture in the early 2000s. Today, he teaches the foundation, culture, and history of the scene as a dance educator at the University of the Arts in Philadelphia and as co-founder of \u003ca href=\"https://www.justsoledance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Just Sole! Street Dance Company\u003c/a>. “How [the pioneers] put the steps together—not just that they do the steps—that’s the inspiration I’m drawing from.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/7AsJrdf2r8ROdWuRmJNDTW\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Keeping the Culture Alive\u003c/strong>\u003c/p>\n\u003cp>In the decade before Clark came onto the scene, many of the original clubs in Philadelphia where house had thrived closed down. While some new clubs replaced them, many of these were lounge-style clubs, offering VIP sections and bottle service to reserved tables. Dance floors shrunk, and spaces for unapologetic self-expression and inclusivity began disappearing.\u003c/p>\n\u003cp>Then, DJs Lee Jones and Francisco Collazo founded the Sundae Party, one of the longest running house parties in Philadelphia. Over its 18-year history, the all-ages Sunday afternoon dance party has moved from club to club in Philadelphia and spilled into alleyways and outdoor venues, with both local and guest DJs including Rich Medina and Questlove keeping the soul of the scene.\u003c/p>\n\u003cfigure id=\"attachment_13900199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove-800x534.png\" alt=\"A close-up shot of two DJs; one of them has his headphones on.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove.png 1420w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">QuestLove djing at the Sundae Party, along with co-founder Lee Jones, on Sundae on June 2, 2013 in Philadelphia, PA. \u003ccite>(Kevin C. Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The number one rule of Sundae is if you’re not here to dance, go home,” says Jones. “And I think one thing that the dancers pride ourselves on is that we never break the cipher. What we broke was people standing around trying to videotape. I would call people out, like, ‘Get off the floor.’”\u003c/p>\n\u003cp>The first time Clark rolled up at a Sundae Party, it felt like home. “Young, old, Black, white, everything in between, everybody dancing and nobody is standing on the wall—it was community, it was love,” says Clark, who was a dance major at the University of the Arts at the time. But, he says, he received his real education in dance through what remained of the club scene, the Sundae Parties, and the battle culture.\u003c/p>\n\u003cp>Clark, along with his partner Dinita “Queen Dinita” Clark, soon became the first “house heads” to show up and the last to leave. They learned from and traded rounds with OGs like Moncell Durden, Fabian Ballantine, Shachon Conway Kasey, and others.\u003c/p>\n\u003cp>“In the beginning,” Clark says, “it was a little intimidating, but they would encourage me to share myself, like, ‘Hey, sis, I see you. What is it you have to say?’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Dance Tutorial, Philadelphia Style | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/aWkIGkPPfGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A Bridge to the New Generation\u003c/strong>\u003c/p>\n\u003cp>Today, the Clarks serve as a connector to the roots of Philly house for newer generations of dancers, who they push to get out of the studio and into the streets.\u003c/p>\n\u003cfigure id=\"attachment_13900195\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole-800x450.jpg\" alt=\"Ten members of Just Sole! Street Dance Theater face the camera and smile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just Sole! Street Dance Theater. \u003ccite>(Courtesy of Just Sole! Street Dance Theater.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being that bridge, we carry that with great honor and respect, because that’s the way the people, our OGs, carried it—culture and community first,” says Dinita.\u003c/p>\n\u003cp>“When the kids come and say, ‘Yo, I didn’t even know I was looking for [this],’ that’s exactly how Dinita and I felt when we walked into the Philly house clubs for the first time,” says Clark. “These spaces, being the through line from the beginning of our relationship to our marriage, just shows how much of an impact house dance music and culture, here in Philly, has had on us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watch members of Just Sole! and pioneers of Philadelphia’s house scene dance together at Sundae Party (the first one since the pandemic’s lockdown) at the Kensington artspace Sunflower Philly; at a cipher in front of the Rotunda; and getting down on Percy Street in South Philly.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/ICCD404_Philadelphia_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Philadelphia has a rich history of producing world-class dance talent, from virtuoso tap dancers LaVaughn Robinson and the Nicholas Brothers to the contemporary house and street dancers from \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a>, the longest running street dance theater company in the world.\u003c/p>\n\u003cp>And, like the signature Philly sound, the city has moves with soul.\u003c/p>\n\u003cp>“Philly has always been a very soulful town, and the dancers here have always danced a little different, with their own flavor,” says David Austin, a pioneering dancer in Philadelphia’s 1980s house scene who was drawn to its rhythmic music and freestyle dance styles with African diasporic and Latin influences. “We’re family when we were out at these clubs,” Austin adds. “There’s a connection that we share with one another that is really unique, and I think that’s why the house scene is so lasting.”\u003c/p>\n\u003cp>More than three decades later, Austin is part of a tight-knit, intergenerational community of house dancers, DJs and event producers in Philadelphia who have worked, amidst commercialization and club closures, to keep the original underground spirit of the scene alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The Roots of Philly House\u003c/strong>\u003c/p>\n\u003cp>House culture has roots dating back to the late 1970s, when DJ Frankie Knuckles remixed funk, R&B and disco records at the Warehouse in Chicago’s South Side for largely Black and brown gay partygoers. The distinctive world of sound he spun at the late-night dance parties was so influential that the Warehouse is widely credited as the place that gave house its name.\u003c/p>\n\u003cp>“House—there is a message in the music about yourself, about spirituality, your relationship with people … it eliminates all that is wrong at that moment in the world, and can take us to that very special place,” says \u003ca href=\"https://funkypeopleonline.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Terry “Tee” Alford\u003c/a>, who with a crew of deejay friends and producers started a Sunday night house party at the Impulse Club in North Philly in 1988. By that time, Philly’s queer clubs were already hosting all-night dance parties in speakeasys and spaces like Second Story and Catacombs. Clubs like the Impulse introduced the culture to a whole new audience.\u003c/p>\n\u003cfigure id=\"attachment_13900197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900197\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg\" alt=\"Interior shot of mostly African American crowd dancing in a crowded club in the late 1980's.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg 1058w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Club Impulse in Philadelphia, PA. \u003ccite>(Christopher S. Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philadelphia house was distinct from its harder-edged Chicago, Detroit and New York counterparts. The smooth, string-laden productions of Kenny Gamble and Leon Huff had set the tone for the city’s silky soul in the 1970s through their record label Philadelphia International, its house band MFSB, and the landmark hit “T.S.O.P. (The Sound of Philadelphia).” Even in other cities, early house DJs like Knuckles drew on Philly soul for their club sets, bringing Gamble & Huff’s aesthetic into house music throughout the 1980s.\u003c/p>\n\u003cp>By 1991, some of Philly’s best house dancers began starring on the TV show One House Street, hosted by street dancer Rennie Harris.\u003cbr>\nHarris had recently toured with the country’s first official hip-hop tour, the Fresh Festival, and when the television producers tapped him to host a dance show, he insisted on making it all house. “My whole thing was, this has to be what I’m into right now—nothing but the house underground,” says Harris, who recruited dancers in local clubs and beyond to appear on the weekly show. While the show was short-lived, it was watched widely. “We were killing Soul Train, we were killing MTV,” Harris adds.\u003c/p>\n\u003cp>“[House dance], the je ne sais quoi, it’s flowy, dynamic footwork patterns, the manipulation of time and space,” says Kyle “JustSole” Clark, who discovered and fell in love with the culture in the early 2000s. Today, he teaches the foundation, culture, and history of the scene as a dance educator at the University of the Arts in Philadelphia and as co-founder of \u003ca href=\"https://www.justsoledance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Just Sole! Street Dance Company\u003c/a>. “How [the pioneers] put the steps together—not just that they do the steps—that’s the inspiration I’m drawing from.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/7AsJrdf2r8ROdWuRmJNDTW\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Keeping the Culture Alive\u003c/strong>\u003c/p>\n\u003cp>In the decade before Clark came onto the scene, many of the original clubs in Philadelphia where house had thrived closed down. While some new clubs replaced them, many of these were lounge-style clubs, offering VIP sections and bottle service to reserved tables. Dance floors shrunk, and spaces for unapologetic self-expression and inclusivity began disappearing.\u003c/p>\n\u003cp>Then, DJs Lee Jones and Francisco Collazo founded the Sundae Party, one of the longest running house parties in Philadelphia. Over its 18-year history, the all-ages Sunday afternoon dance party has moved from club to club in Philadelphia and spilled into alleyways and outdoor venues, with both local and guest DJs including Rich Medina and Questlove keeping the soul of the scene.\u003c/p>\n\u003cfigure id=\"attachment_13900199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove-800x534.png\" alt=\"A close-up shot of two DJs; one of them has his headphones on.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove.png 1420w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">QuestLove djing at the Sundae Party, along with co-founder Lee Jones, on Sundae on June 2, 2013 in Philadelphia, PA. \u003ccite>(Kevin C. Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The number one rule of Sundae is if you’re not here to dance, go home,” says Jones. “And I think one thing that the dancers pride ourselves on is that we never break the cipher. What we broke was people standing around trying to videotape. I would call people out, like, ‘Get off the floor.’”\u003c/p>\n\u003cp>The first time Clark rolled up at a Sundae Party, it felt like home. “Young, old, Black, white, everything in between, everybody dancing and nobody is standing on the wall—it was community, it was love,” says Clark, who was a dance major at the University of the Arts at the time. But, he says, he received his real education in dance through what remained of the club scene, the Sundae Parties, and the battle culture.\u003c/p>\n\u003cp>Clark, along with his partner Dinita “Queen Dinita” Clark, soon became the first “house heads” to show up and the last to leave. They learned from and traded rounds with OGs like Moncell Durden, Fabian Ballantine, Shachon Conway Kasey, and others.\u003c/p>\n\u003cp>“In the beginning,” Clark says, “it was a little intimidating, but they would encourage me to share myself, like, ‘Hey, sis, I see you. What is it you have to say?’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Dance Tutorial, Philadelphia Style | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/aWkIGkPPfGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A Bridge to the New Generation\u003c/strong>\u003c/p>\n\u003cp>Today, the Clarks serve as a connector to the roots of Philly house for newer generations of dancers, who they push to get out of the studio and into the streets.\u003c/p>\n\u003cfigure id=\"attachment_13900195\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole-800x450.jpg\" alt=\"Ten members of Just Sole! Street Dance Theater face the camera and smile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just Sole! Street Dance Theater. \u003ccite>(Courtesy of Just Sole! Street Dance Theater.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being that bridge, we carry that with great honor and respect, because that’s the way the people, our OGs, carried it—culture and community first,” says Dinita.\u003c/p>\n\u003cp>“When the kids come and say, ‘Yo, I didn’t even know I was looking for [this],’ that’s exactly how Dinita and I felt when we walked into the Philly house clubs for the first time,” says Clark. “These spaces, being the through line from the beginning of our relationship to our marriage, just shows how much of an impact house dance music and culture, here in Philly, has had on us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch members of Just Sole! and pioneers of Philadelphia’s house scene dance together at Sundae Party (the first one since the pandemic’s lockdown) at the Kensington artspace Sunflower Philly; at a cipher in front of the Rotunda; and getting down on Percy Street in South Philly.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "examining-the-politics-of-madonnas-truth-or-dare-30-years-later",
"title": "Examining the Politics of Madonna's 'Truth or Dare,' 30 Years Later",
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"headTitle": "Examining the Politics of Madonna’s ‘Truth or Dare,’ 30 Years Later | KQED",
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"content": "\u003cp>Thirty years ago this month, \u003cem>Madonna: Truth or Dare\u003c/em> was released to much fanfare. The documentary—part concert movie, part backstage exposé—captured the singer’s 1990 Blond Ambition world tour. It would be the highest grossing documentary of all time for the next 12 years.\u003c/p>\n\u003cp>Today, \u003cem>Truth or Dare\u003c/em> stands as a feminist moment awkwardly sandwiched between its second and third waves. At the same time, the movie is probably most remembered for its strides toward gay visibility. The film presented Madonna’s touring crew as one big, (usually) happy family. And because all but one of her dancers were gay, same-sex relationships were presented in the film as just the same as everyone else’s. In 1991, in the midst of the AIDS crisis, the impact of that cannot be overstated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NSZeyJPQT2A\u003c/p>\n\u003cp>It wasn’t just Madonna’s relationships with her dancers, either. At one genuinely vulnerable point, she is seen dedicating a concert to \u003ca href=\"http://www.newnownext.com/keith-haring-birthday-60-madonna-brooke-shields/05/2018/\" target=\"_blank\" rel=\"noopener noreferrer\">her friend Keith Haring\u003c/a>, who had recently lost his life to AIDS-related complications. Later, we see her lunching with her friend Sandra Bernhard, as the two casually discuss the woman Bernhard is sleeping with.\u003c/p>\n\u003cp>As one of the biggest pop stars in the world at the time, Madonna’s example mattered. She knew it, and so did Alek Keshishian, her 26-year-old director. “I was in this bubble where that was just all accepted,” \u003ca href=\"https://www.nytimes.com/2016/08/26/arts/music/madonna-truth-or-dare-alek-keshishian.html\" target=\"_blank\" rel=\"noopener noreferrer\">Keshishian told the \u003cem>New York Times\u003c/em>\u003c/a> in 2016. “I felt instinctively that I wanted to get across how in Madonna’s world, homosexuality was just a fact of life. These dancers, who she felt so close to, they were going through that age of AIDS. There was still so much stigma against it. I felt personally the power of putting that out, but I had no idea that it might resonate with others quite the way it did.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2016, \u003cem>Huffington Post\u003c/em>‘s \u003ca href=\"https://www.huffpost.com/entry/madonnas-groundbreaking-t_b_9238490\" target=\"_blank\" rel=\"noopener noreferrer\">Daryl Deino wrote\u003c/a> about the impact \u003cem>Truth or Dare\u003c/em> had on him as a closeted young man in Skokie, Illinois.\u003c/p>\n\u003cblockquote>\u003cp>[There] was a scene of a gay pride parade—something I had never seen before … Madonna’s dancers stand in the sidelines while people march, screaming, ‘We’re here. We’re queer. Get used to it!‘ There are all types of people … ‘Even I could fit in there,’ I thought. That moment changed my life … Madonna’s dancers were now my heroes. They let me know that it was okay to be different. Even if you are a part of the LGBT community, you wouldn’t understand what I felt unless you lived through the ‘80s or early ‘90s as a teenager.\u003c/p>\u003c/blockquote>\n\u003cp>It’s important to acknowledge in 2021 just how crucial the documentary was at the time. Because for audiences watching now who didn’t live through the era, there is much in \u003cem>Truth or Dare\u003c/em> to be offended by.\u003c/p>\n\u003cp>For one, the movie is riddled with gay slurs. It’s impossible not to flinch now, watching Madonna drop so many ‘F’ bombs. At one point, she tells one of her dancers, “I wouldn’t hire fags that hate women. I kill fags that hate women. In fact, I kill anybody who hates women.” Cringeworthy though it is, the scene is a reflection of the ‘90s as a period of reclaiming historically hostile language, and a reminder that allies at the time were permitted to do the same. (By the end of the decade, even the ladies of \u003cem>Sex and the City\u003c/em> were using the other ‘F’ word.)\u003c/p>\n\u003cp>[aside postid='arts_13915838']That outburst is especially tough to sit through after scenes in which the one straight dancer Madonna has hired appears to hate gay men. “It’s my first time working with fags,” Oliver Crumes tells the camera. “Have you ever seen [dancer] Luis [Camacho] walk in his underwear in front of just a whole bunch of people? I don’t have no kind of respect for these people. We know he’s a fag, or gay, or whatever you wanna call it. But you don’t have to show it to everybody.”\u003c/p>\n\u003cp>Crumes \u003ca href=\"https://www.vulture.com/2021/05/madonna-truth-or-dare-oral-history.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently admitted to \u003cem>Vulture\u003c/em>\u003c/a>: “Before the tour started, I was homophobic. I wasn’t all with it. Learning from all the guys what their lives were like when they were young was just mind-blowing. If it wasn’t for Madonna and that tour, I would never have got that experience.”\u003c/p>\n\u003cp>In the same interview, backing vocalist Donna DeLory stands by the movie as one that empowers women. “My daughter is 18,” she says, “and in this day and age, she watches that movie and sees nothing but strength. She sees a role model. To be around a woman like Madonna was just like, ‘Yes!’ We felt taken care of.”\u003c/p>\n\u003cp>It’s true that, for the most part, the Madonna we see in \u003cem>Truth or Dare\u003c/em> is powerful, always in control, and astoundingly disciplined with her work ethic. She goes far above and beyond the 21st century idea of leaning in. But the way she handles a sexual assault, mid-tour, is jaw-dropping to witness in the post-#MeToo age. After one of her makeup artists, Sharon Gault, is attacked in New York City, the only member of the crew who seems appropriately concerned is dancer Carlton Wilborn.\u003c/p>\n\u003cp>“She was at the club dancing,” Wilborn tells Madonna, backstage. “The next thing she knew was that she woke up in her room nude, and her stuff was stolen, and she went to the bathroom and her butt was bleeding.” Madonna responds by covering her face, nervously laughing, then offering an explainer.\u003c/p>\n\u003cp>“I don’t know how you wouldn’t remember something like that,” she says. “They drugged her ass. All I can think of is that she started talking about how she was on tour with me, she’s staying at the Ritz Carlton and those guys, whoever they were, got it in their mind that they were going to fuck with her.”\u003c/p>\n\u003cp>Juxtaposed with the scene between Madonna and Wilborn is one in which Gault relays her experience. “I never thought that something like that would ever happen to me,” a visibly shellshocked Gault tells DeLory and fellow backing vocalist, Niki Haris. “It was a nice club. It was really nice. And there were nice people there, and I was dancing with these boys. I was totally sober … And then next thing I know, I wake up this morning. I’m never going to go out by myself again.”\u003c/p>\n\u003cp>[aside postid='pop_112976']At no point does anyone attempt to contact police, or the club at which Gault was drugged, or get medical or therapeutic assistance for her. The assault is treated as simply a hazard of being naive in New York City, and a particularly harsh life lesson. For anyone still wondering why so many of Harvey Weinstein’s and Bill Cosby’s accusers didn’t come forward sooner, this moment in \u003cem>Truth or Dare\u003c/em> stands as an efficient explainer.\u003c/p>\n\u003cp>The legacy of \u003cem>Truth or Dare\u003c/em> is further complicated by the fact that three dancers—Crumes, Gabriel Trupin and Kevin Stea—sued Madonna in 1992 over the film, in part, for invasion of privacy. The three had not wanted certain scenes included in the film, and felt they had not been adequately compensated for their contributions. The case was settled out of court in 1994. This year, Stea told \u003cem>Vulture\u003c/em>, “The choice I made to do the lawsuit was literally because I said, ‘What would she do? She would fight for herself’ … She kept telling me, ‘Don’t let people take advantage of you.’”\u003c/p>\n\u003cp>When all is said and done, \u003cem>Truth or Dare\u003c/em> may not be perfect, but it \u003cem>is\u003c/em> a perfect snapshot of early 1990s culture, messy though it was. Its status as a groundbreaking work of both female and LGBT empowerment is certainly warranted, despite how 2021 audiences might react to the language and attitudes caught on camera. That three of the dancers featured—Wilborn, Trupin and Salim Gauwloos— were, unbeknownst to audiences, living with HIV or AIDS at the time of filming only serves to give the film added poignancy. (San Francisco resident \u003ca href=\"https://www.sfgate.com/news/article/OBITUARY-Gabriel-Trupin-3017397.php\" target=\"_blank\" rel=\"noopener noreferrer\">Trupin\u003c/a> died just five years after appearing in \u003cem>Truth or Dare\u003c/em>.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Alek’s particular vision really paid tribute to gay culture,” dancer Kevin Stea noted this year. “Being gay himself and sharing the humanity of our community is what gave this movie long-lasting legs, and power, and iconic status.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty years ago this month, \u003cem>Madonna: Truth or Dare\u003c/em> was released to much fanfare. The documentary—part concert movie, part backstage exposé—captured the singer’s 1990 Blond Ambition world tour. It would be the highest grossing documentary of all time for the next 12 years.\u003c/p>\n\u003cp>Today, \u003cem>Truth or Dare\u003c/em> stands as a feminist moment awkwardly sandwiched between its second and third waves. At the same time, the movie is probably most remembered for its strides toward gay visibility. The film presented Madonna’s touring crew as one big, (usually) happy family. And because all but one of her dancers were gay, same-sex relationships were presented in the film as just the same as everyone else’s. In 1991, in the midst of the AIDS crisis, the impact of that cannot be overstated.\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/NSZeyJPQT2A'\n title='//www.youtube.com/embed/NSZeyJPQT2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wasn’t just Madonna’s relationships with her dancers, either. At one genuinely vulnerable point, she is seen dedicating a concert to \u003ca href=\"http://www.newnownext.com/keith-haring-birthday-60-madonna-brooke-shields/05/2018/\" target=\"_blank\" rel=\"noopener noreferrer\">her friend Keith Haring\u003c/a>, who had recently lost his life to AIDS-related complications. Later, we see her lunching with her friend Sandra Bernhard, as the two casually discuss the woman Bernhard is sleeping with.\u003c/p>\n\u003cp>As one of the biggest pop stars in the world at the time, Madonna’s example mattered. She knew it, and so did Alek Keshishian, her 26-year-old director. “I was in this bubble where that was just all accepted,” \u003ca href=\"https://www.nytimes.com/2016/08/26/arts/music/madonna-truth-or-dare-alek-keshishian.html\" target=\"_blank\" rel=\"noopener noreferrer\">Keshishian told the \u003cem>New York Times\u003c/em>\u003c/a> in 2016. “I felt instinctively that I wanted to get across how in Madonna’s world, homosexuality was just a fact of life. These dancers, who she felt so close to, they were going through that age of AIDS. There was still so much stigma against it. I felt personally the power of putting that out, but I had no idea that it might resonate with others quite the way it did.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2016, \u003cem>Huffington Post\u003c/em>‘s \u003ca href=\"https://www.huffpost.com/entry/madonnas-groundbreaking-t_b_9238490\" target=\"_blank\" rel=\"noopener noreferrer\">Daryl Deino wrote\u003c/a> about the impact \u003cem>Truth or Dare\u003c/em> had on him as a closeted young man in Skokie, Illinois.\u003c/p>\n\u003cblockquote>\u003cp>[There] was a scene of a gay pride parade—something I had never seen before … Madonna’s dancers stand in the sidelines while people march, screaming, ‘We’re here. We’re queer. Get used to it!‘ There are all types of people … ‘Even I could fit in there,’ I thought. That moment changed my life … Madonna’s dancers were now my heroes. They let me know that it was okay to be different. Even if you are a part of the LGBT community, you wouldn’t understand what I felt unless you lived through the ‘80s or early ‘90s as a teenager.\u003c/p>\u003c/blockquote>\n\u003cp>It’s important to acknowledge in 2021 just how crucial the documentary was at the time. Because for audiences watching now who didn’t live through the era, there is much in \u003cem>Truth or Dare\u003c/em> to be offended by.\u003c/p>\n\u003cp>For one, the movie is riddled with gay slurs. It’s impossible not to flinch now, watching Madonna drop so many ‘F’ bombs. At one point, she tells one of her dancers, “I wouldn’t hire fags that hate women. I kill fags that hate women. In fact, I kill anybody who hates women.” Cringeworthy though it is, the scene is a reflection of the ‘90s as a period of reclaiming historically hostile language, and a reminder that allies at the time were permitted to do the same. (By the end of the decade, even the ladies of \u003cem>Sex and the City\u003c/em> were using the other ‘F’ word.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That outburst is especially tough to sit through after scenes in which the one straight dancer Madonna has hired appears to hate gay men. “It’s my first time working with fags,” Oliver Crumes tells the camera. “Have you ever seen [dancer] Luis [Camacho] walk in his underwear in front of just a whole bunch of people? I don’t have no kind of respect for these people. We know he’s a fag, or gay, or whatever you wanna call it. But you don’t have to show it to everybody.”\u003c/p>\n\u003cp>Crumes \u003ca href=\"https://www.vulture.com/2021/05/madonna-truth-or-dare-oral-history.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently admitted to \u003cem>Vulture\u003c/em>\u003c/a>: “Before the tour started, I was homophobic. I wasn’t all with it. Learning from all the guys what their lives were like when they were young was just mind-blowing. If it wasn’t for Madonna and that tour, I would never have got that experience.”\u003c/p>\n\u003cp>In the same interview, backing vocalist Donna DeLory stands by the movie as one that empowers women. “My daughter is 18,” she says, “and in this day and age, she watches that movie and sees nothing but strength. She sees a role model. To be around a woman like Madonna was just like, ‘Yes!’ We felt taken care of.”\u003c/p>\n\u003cp>It’s true that, for the most part, the Madonna we see in \u003cem>Truth or Dare\u003c/em> is powerful, always in control, and astoundingly disciplined with her work ethic. She goes far above and beyond the 21st century idea of leaning in. But the way she handles a sexual assault, mid-tour, is jaw-dropping to witness in the post-#MeToo age. After one of her makeup artists, Sharon Gault, is attacked in New York City, the only member of the crew who seems appropriately concerned is dancer Carlton Wilborn.\u003c/p>\n\u003cp>“She was at the club dancing,” Wilborn tells Madonna, backstage. “The next thing she knew was that she woke up in her room nude, and her stuff was stolen, and she went to the bathroom and her butt was bleeding.” Madonna responds by covering her face, nervously laughing, then offering an explainer.\u003c/p>\n\u003cp>“I don’t know how you wouldn’t remember something like that,” she says. “They drugged her ass. All I can think of is that she started talking about how she was on tour with me, she’s staying at the Ritz Carlton and those guys, whoever they were, got it in their mind that they were going to fuck with her.”\u003c/p>\n\u003cp>Juxtaposed with the scene between Madonna and Wilborn is one in which Gault relays her experience. “I never thought that something like that would ever happen to me,” a visibly shellshocked Gault tells DeLory and fellow backing vocalist, Niki Haris. “It was a nice club. It was really nice. And there were nice people there, and I was dancing with these boys. I was totally sober … And then next thing I know, I wake up this morning. I’m never going to go out by myself again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At no point does anyone attempt to contact police, or the club at which Gault was drugged, or get medical or therapeutic assistance for her. The assault is treated as simply a hazard of being naive in New York City, and a particularly harsh life lesson. For anyone still wondering why so many of Harvey Weinstein’s and Bill Cosby’s accusers didn’t come forward sooner, this moment in \u003cem>Truth or Dare\u003c/em> stands as an efficient explainer.\u003c/p>\n\u003cp>The legacy of \u003cem>Truth or Dare\u003c/em> is further complicated by the fact that three dancers—Crumes, Gabriel Trupin and Kevin Stea—sued Madonna in 1992 over the film, in part, for invasion of privacy. The three had not wanted certain scenes included in the film, and felt they had not been adequately compensated for their contributions. The case was settled out of court in 1994. This year, Stea told \u003cem>Vulture\u003c/em>, “The choice I made to do the lawsuit was literally because I said, ‘What would she do? She would fight for herself’ … She kept telling me, ‘Don’t let people take advantage of you.’”\u003c/p>\n\u003cp>When all is said and done, \u003cem>Truth or Dare\u003c/em> may not be perfect, but it \u003cem>is\u003c/em> a perfect snapshot of early 1990s culture, messy though it was. Its status as a groundbreaking work of both female and LGBT empowerment is certainly warranted, despite how 2021 audiences might react to the language and attitudes caught on camera. That three of the dancers featured—Wilborn, Trupin and Salim Gauwloos— were, unbeknownst to audiences, living with HIV or AIDS at the time of filming only serves to give the film added poignancy. (San Francisco resident \u003ca href=\"https://www.sfgate.com/news/article/OBITUARY-Gabriel-Trupin-3017397.php\" target=\"_blank\" rel=\"noopener noreferrer\">Trupin\u003c/a> died just five years after appearing in \u003cem>Truth or Dare\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Alek’s particular vision really paid tribute to gay culture,” dancer Kevin Stea noted this year. “Being gay himself and sharing the humanity of our community is what gave this movie long-lasting legs, and power, and iconic status.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "punk-house-oakland-captures-a-bay-area-subculture-like-never-before",
"title": "‘Punk House Oakland’ Captures a Bay Area Subculture Like Never Before",
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"headTitle": "‘Punk House Oakland’ Captures a Bay Area Subculture Like Never Before | KQED",
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"content": "\u003cp>The network of punk houses that thrived in Oakland and Berkeley in the late ’90s and early 2000s was the result of a perfect storm. Large rentable homes in ungentrified neighborhoods. Gangs of scrappy, creative kids who didn’t mind sleeping three to a room. Plus, of course, a punk scene that was still dominating Bay Area music. The conditions were ripe to create a much-treasured moment in time for everyone who went through those houses. [aside postid='arts_13871151']\u003c/p>\n\u003cp>For many folks who lived in and frequented them, punk house memories now are nebulous—misty snapshots of sights, smells, fights and oh-so-many \u003cem>feelings\u003c/em>. The scraps likely piece together into a fairly short mental highlights reel. Because not only did everything happen pre-camera phone and before social media, punks on a budget just didn’t take many photos back then. (You had to pay to get them developed, after all.)\u003c/p>\n\u003cp>But on March 6, that changed. After digging out old photos for a friend’s birthday, Elizabeth Whitney—herself an occupant of three different East Bay punk houses in the ’90s and 2000s—decided, on a whim, to throw some pics up online. “I just thought, ‘God,’” Whitney tells KQED Arts, “‘I get to look at all these awesome pictures all the time and the people that are in them don’t get to share them with me.’ So I went on a three-hour late-night bender of loading them all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895166 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/punk-house-indoors-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Whitney started a brand new Instagram account she decided to call, simply, \u003ca href=\"https://www.instagram.com/punkhouseoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">@PunkHouseOakland\u003c/a>. Within a few hours and a handful of tags, the new account wasn’t just being warmly received, it was blowing up. Whitney was quickly bombarded with photos from other former punk house kids. Some were old friends, some were strangers. It didn’t matter. Despite the years since the punk house peak, and the dispersal (and many deaths) of people in the scene, the DIY collective mentality of old quickly sprang back to life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the weeks since, Whitney—who now owns and runs a pilates and yoga studio in Brooklyn—has received so many hundreds of photos to share, she’s currently struggling to clear the backlog of submissions.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13895167\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/punk-house-outdoors-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“It’s been truly joyous and incredible to witness,” she says. “To have other people fill in the gaps of my memory, to have us celebrate and tell stories about each other—it’s been really reparative and healing. And so many people have reached out saying the same thing—that they’ve found people they thought they lost, or they healed some old wounds, or reconnected in some way.”\u003c/p>\n\u003cp>“Also,” Whitney continues, “in this time where physicality or intimacy with a large group of people is a really scary thing, there is, like, a deep yearning ache inside me when I look at how close we were. I can’t imagine I’m the only one. [We were all] just kissing, and on top of each other, and laying around holding each other, and dancing.”\u003c/p>\n\u003cfigure id=\"attachment_13894328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894328\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/hugs-800x495.jpg\" alt=\"Three pairs of hugging friends. (L-R) Nipple and Hilary; Julie and Heiko; Marc and Forest.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1920x1188.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Nipple and Hilary; Julie and Heiko; Marc and Forest.\u003c/figcaption>\u003c/figure>\n\u003cp>“We were so deeply alive,” Whitney says. “In our suffering, in our love for each other, in the things we were creating, in the things we despised. Just so, so much passion. And basically just trying to live life like it was our last day on Earth, every single day.”\u003c/p>\n\u003cp>In true punk rock fashion, Whitney doesn’t edit any of the content she receives. She just throws up the photos and asks followers to tag the people they recognize. Together for the first time, these photos act as a time machine for those who were there. And for those who weren’t, the collection offers a look inside punk houses—a lifestyle almost impossible to completely convey with just words.\u003c/p>\n\u003cp>“For me, seeing a true punk house for the first time, it was just mayhem,” Whitney recalls. “People lived under stairs, in the laundry room, in shacks out back, in vans in the driveway, it was just jam-packed. So many people and constant rotation of out-of-town travelers. I cannot overstate how in love I was with the scariness, craziness and feral wildness that existed in everyday life. Just complete wide-eyed wonder and awe that you could live this way, with no rules.”\u003c/p>\n\u003cfigure id=\"attachment_13894317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894317\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Sleeping-quarters-800x800.jpg\" alt=\"Some examples of punk house sleeping quarters. Top row: (L) Nate and Hilary, couch nappers. Bottom row: "Nobunny's room" and Seth.\" width=\"800\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Some examples of punk house sleeping quarters. Top row: (L) Nate and Hilary, (R) couch nappers. Bottom row: (L) “Nobunny’s room” and (R) Seth. \u003ccite>(Instagram/@punkhouseoakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As expected with a scene rooted in punk, music looms large across the pictures pouring in. Photos include \u003ca href=\"https://www.instagram.com/p/CMkdaj5hKo7/\" target=\"_blank\" rel=\"noopener noreferrer\">backyard\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CMe37exhhkw/\" target=\"_blank\" rel=\"noopener noreferrer\">basement shows\u003c/a>, and a multitude of underground bands, local and otherwise. You can spot members of Green Day, AFI, Pinhead Gunpowder, Screw 32, Avail, Los Crudos, One Man Army, The PeeChees, Black Fork, Talk is Poison, The Criminals, El Dopa, Defiance, The Enemies, Behead the Prophet, The Shattered, Logical Nonsense and many more.\u003c/p>\n\u003cp>Sometimes, it’s the more obscure bands that are the most fun to look back on.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895162 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-800x352.png\" alt=\"\" width=\"800\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-800x352.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1020x449.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-160x70.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-768x338.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1536x676.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-2048x901.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1920x845.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>But the account is just as likely to include photos of scene kids carving pumpkins, doing each other’s hair, chilling with \u003ca href=\"https://www.instagram.com/p/CMdZrqMhk_z/\" target=\"_blank\" rel=\"noopener noreferrer\">pets\u003c/a> (including \u003ca href=\"https://www.instagram.com/p/CMdZmxYB83E/\" target=\"_blank\" rel=\"noopener noreferrer\">baby raccoons\u003c/a>!), hanging \u003ca href=\"https://www.instagram.com/p/CMgEFvehc10/\" target=\"_blank\" rel=\"noopener noreferrer\">on the front porch\u003c/a>, in the \u003ca href=\"https://www.instagram.com/p/CMfW1hUhIiO/\" target=\"_blank\" rel=\"noopener noreferrer\">backyard\u003c/a>, and also playing \u003ca href=\"https://www.instagram.com/p/CMf5HrRBu6M/\" target=\"_blank\" rel=\"noopener noreferrer\">dress up\u003c/a>. (There is \u003cem>a lot\u003c/em> of \u003ca href=\"https://www.instagram.com/p/CMf9x_eB_a7/\" target=\"_blank\" rel=\"noopener noreferrer\">dress up\u003c/a>.) One photo recently emerged of a bunch of \u003ca href=\"https://www.instagram.com/p/CMn4XRxBc-a/\" target=\"_blank\" rel=\"noopener noreferrer\">punks working in a call center\u003c/a>, all lined up in cubicles. (Whitney says “75% of all punks in the Bay” worked in telemarketing at the time.)\u003c/p>\n\u003cp>It’s impossible to tell the story of Oakland punk houses, however, without including the fact that this was a scene in which a lot of people died way too young. Whitney handles this simply but effectively, by including an ‘RIP’ next to anyone in the photos who’s no longer alive.\u003c/p>\n\u003cp>“Maybe this was punk everywhere,” Whitney explains, “but Oakland punk houses were, for the most part, made up of people that maybe had experienced some not great things in our early lives. We were coming together in some sort of sleep-away camp orphanage to create our own families, with our own rules and morals and infrastructures. And within those structures, there was a sense of being allowed to be what you were.”\u003c/p>\n\u003cp>“But in that scene,” she continues, “there just wasn’t an infrastructure for aging, or getting older in a tenable way that looked cool, where we could all stay together. No one knew how to do it. A lot of people partied too hard, and it was really intense. I think a lot of people didn’t know how to stay in the scene and not self-destruct.”\u003c/p>\n\u003cfigure id=\"attachment_13894333\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894333\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RIP-800x371.jpg\" alt=\"Elizabeth Whitney adds 'RIP' whenever captioning pictures of punk house regulars who are no longer alive. Like (L-R): Heiko Schrepel, Shelly Skelley, Freud Reia and 'Dead Boy'.\" width=\"800\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1920x891.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Whitney adds ‘RIP’ whenever captioning pictures of punk house regulars who are no longer alive. Like (L-R): Heiko Schrepel, Shelly Skelley, Freud Reia and ‘Dead Boy’. \u003ccite>(Instagram/@punkhouseoakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The heightened sense of mortality also influenced Whitney’s desire to start the account. “I wanted us not just to celebrate and tell stories at funerals,” she says. “I want the people I love and admire, and the people that touched my life in some way—I want them to know it. And I’m watching that spread now in just the raddest way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/punkhouseoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Punk House Oakland\u003c/a> can be found on Instagram and is accepting photo submissions on an ongoing basis. It has already inspired a spin-off account—\u003ca href=\"https://www.instagram.com/punkhousechicago/\" target=\"_blank\" rel=\"noopener noreferrer\">@punkhousechicago\u003c/a>—and Elizabeth Whitney hopes it will inspire more.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The account captures the legendary (and almost undocumented) network of East Bay punk houses during the late ’90s and early 2000s.",
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"title": "‘Punk House Oakland’ Captures a Bay Area Subculture Like Never Before | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The network of punk houses that thrived in Oakland and Berkeley in the late ’90s and early 2000s was the result of a perfect storm. Large rentable homes in ungentrified neighborhoods. Gangs of scrappy, creative kids who didn’t mind sleeping three to a room. Plus, of course, a punk scene that was still dominating Bay Area music. The conditions were ripe to create a much-treasured moment in time for everyone who went through those houses. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For many folks who lived in and frequented them, punk house memories now are nebulous—misty snapshots of sights, smells, fights and oh-so-many \u003cem>feelings\u003c/em>. The scraps likely piece together into a fairly short mental highlights reel. Because not only did everything happen pre-camera phone and before social media, punks on a budget just didn’t take many photos back then. (You had to pay to get them developed, after all.)\u003c/p>\n\u003cp>But on March 6, that changed. After digging out old photos for a friend’s birthday, Elizabeth Whitney—herself an occupant of three different East Bay punk houses in the ’90s and 2000s—decided, on a whim, to throw some pics up online. “I just thought, ‘God,’” Whitney tells KQED Arts, “‘I get to look at all these awesome pictures all the time and the people that are in them don’t get to share them with me.’ So I went on a three-hour late-night bender of loading them all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895166 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/punk-house-indoors-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-indoors-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Whitney started a brand new Instagram account she decided to call, simply, \u003ca href=\"https://www.instagram.com/punkhouseoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">@PunkHouseOakland\u003c/a>. Within a few hours and a handful of tags, the new account wasn’t just being warmly received, it was blowing up. Whitney was quickly bombarded with photos from other former punk house kids. Some were old friends, some were strangers. It didn’t matter. Despite the years since the punk house peak, and the dispersal (and many deaths) of people in the scene, the DIY collective mentality of old quickly sprang back to life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the weeks since, Whitney—who now owns and runs a pilates and yoga studio in Brooklyn—has received so many hundreds of photos to share, she’s currently struggling to clear the backlog of submissions.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13895167\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/punk-house-outdoors-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/punk-house-outdoors-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“It’s been truly joyous and incredible to witness,” she says. “To have other people fill in the gaps of my memory, to have us celebrate and tell stories about each other—it’s been really reparative and healing. And so many people have reached out saying the same thing—that they’ve found people they thought they lost, or they healed some old wounds, or reconnected in some way.”\u003c/p>\n\u003cp>“Also,” Whitney continues, “in this time where physicality or intimacy with a large group of people is a really scary thing, there is, like, a deep yearning ache inside me when I look at how close we were. I can’t imagine I’m the only one. [We were all] just kissing, and on top of each other, and laying around holding each other, and dancing.”\u003c/p>\n\u003cfigure id=\"attachment_13894328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894328\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/hugs-800x495.jpg\" alt=\"Three pairs of hugging friends. (L-R) Nipple and Hilary; Julie and Heiko; Marc and Forest.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/hugs-1920x1188.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Nipple and Hilary; Julie and Heiko; Marc and Forest.\u003c/figcaption>\u003c/figure>\n\u003cp>“We were so deeply alive,” Whitney says. “In our suffering, in our love for each other, in the things we were creating, in the things we despised. Just so, so much passion. And basically just trying to live life like it was our last day on Earth, every single day.”\u003c/p>\n\u003cp>In true punk rock fashion, Whitney doesn’t edit any of the content she receives. She just throws up the photos and asks followers to tag the people they recognize. Together for the first time, these photos act as a time machine for those who were there. And for those who weren’t, the collection offers a look inside punk houses—a lifestyle almost impossible to completely convey with just words.\u003c/p>\n\u003cp>“For me, seeing a true punk house for the first time, it was just mayhem,” Whitney recalls. “People lived under stairs, in the laundry room, in shacks out back, in vans in the driveway, it was just jam-packed. So many people and constant rotation of out-of-town travelers. I cannot overstate how in love I was with the scariness, craziness and feral wildness that existed in everyday life. Just complete wide-eyed wonder and awe that you could live this way, with no rules.”\u003c/p>\n\u003cfigure id=\"attachment_13894317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894317\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Sleeping-quarters-800x800.jpg\" alt=\"Some examples of punk house sleeping quarters. Top row: (L) Nate and Hilary, couch nappers. Bottom row: "Nobunny's room" and Seth.\" width=\"800\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Some examples of punk house sleeping quarters. Top row: (L) Nate and Hilary, (R) couch nappers. Bottom row: (L) “Nobunny’s room” and (R) Seth. \u003ccite>(Instagram/@punkhouseoakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As expected with a scene rooted in punk, music looms large across the pictures pouring in. Photos include \u003ca href=\"https://www.instagram.com/p/CMkdaj5hKo7/\" target=\"_blank\" rel=\"noopener noreferrer\">backyard\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CMe37exhhkw/\" target=\"_blank\" rel=\"noopener noreferrer\">basement shows\u003c/a>, and a multitude of underground bands, local and otherwise. You can spot members of Green Day, AFI, Pinhead Gunpowder, Screw 32, Avail, Los Crudos, One Man Army, The PeeChees, Black Fork, Talk is Poison, The Criminals, El Dopa, Defiance, The Enemies, Behead the Prophet, The Shattered, Logical Nonsense and many more.\u003c/p>\n\u003cp>Sometimes, it’s the more obscure bands that are the most fun to look back on.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895162 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-800x352.png\" alt=\"\" width=\"800\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-800x352.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1020x449.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-160x70.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-768x338.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1536x676.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-2048x901.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-04-02-at-5.01.11-PM-1920x845.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>But the account is just as likely to include photos of scene kids carving pumpkins, doing each other’s hair, chilling with \u003ca href=\"https://www.instagram.com/p/CMdZrqMhk_z/\" target=\"_blank\" rel=\"noopener noreferrer\">pets\u003c/a> (including \u003ca href=\"https://www.instagram.com/p/CMdZmxYB83E/\" target=\"_blank\" rel=\"noopener noreferrer\">baby raccoons\u003c/a>!), hanging \u003ca href=\"https://www.instagram.com/p/CMgEFvehc10/\" target=\"_blank\" rel=\"noopener noreferrer\">on the front porch\u003c/a>, in the \u003ca href=\"https://www.instagram.com/p/CMfW1hUhIiO/\" target=\"_blank\" rel=\"noopener noreferrer\">backyard\u003c/a>, and also playing \u003ca href=\"https://www.instagram.com/p/CMf5HrRBu6M/\" target=\"_blank\" rel=\"noopener noreferrer\">dress up\u003c/a>. (There is \u003cem>a lot\u003c/em> of \u003ca href=\"https://www.instagram.com/p/CMf9x_eB_a7/\" target=\"_blank\" rel=\"noopener noreferrer\">dress up\u003c/a>.) One photo recently emerged of a bunch of \u003ca href=\"https://www.instagram.com/p/CMn4XRxBc-a/\" target=\"_blank\" rel=\"noopener noreferrer\">punks working in a call center\u003c/a>, all lined up in cubicles. (Whitney says “75% of all punks in the Bay” worked in telemarketing at the time.)\u003c/p>\n\u003cp>It’s impossible to tell the story of Oakland punk houses, however, without including the fact that this was a scene in which a lot of people died way too young. Whitney handles this simply but effectively, by including an ‘RIP’ next to anyone in the photos who’s no longer alive.\u003c/p>\n\u003cp>“Maybe this was punk everywhere,” Whitney explains, “but Oakland punk houses were, for the most part, made up of people that maybe had experienced some not great things in our early lives. We were coming together in some sort of sleep-away camp orphanage to create our own families, with our own rules and morals and infrastructures. And within those structures, there was a sense of being allowed to be what you were.”\u003c/p>\n\u003cp>“But in that scene,” she continues, “there just wasn’t an infrastructure for aging, or getting older in a tenable way that looked cool, where we could all stay together. No one knew how to do it. A lot of people partied too hard, and it was really intense. I think a lot of people didn’t know how to stay in the scene and not self-destruct.”\u003c/p>\n\u003cfigure id=\"attachment_13894333\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894333\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RIP-800x371.jpg\" alt=\"Elizabeth Whitney adds 'RIP' whenever captioning pictures of punk house regulars who are no longer alive. Like (L-R): Heiko Schrepel, Shelly Skelley, Freud Reia and 'Dead Boy'.\" width=\"800\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RIP-1920x891.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Whitney adds ‘RIP’ whenever captioning pictures of punk house regulars who are no longer alive. Like (L-R): Heiko Schrepel, Shelly Skelley, Freud Reia and ‘Dead Boy’. \u003ccite>(Instagram/@punkhouseoakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The heightened sense of mortality also influenced Whitney’s desire to start the account. “I wanted us not just to celebrate and tell stories at funerals,” she says. “I want the people I love and admire, and the people that touched my life in some way—I want them to know it. And I’m watching that spread now in just the raddest way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/punkhouseoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Punk House Oakland\u003c/a> can be found on Instagram and is accepting photo submissions on an ongoing basis. It has already inspired a spin-off account—\u003ca href=\"https://www.instagram.com/punkhousechicago/\" target=\"_blank\" rel=\"noopener noreferrer\">@punkhousechicago\u003c/a>—and Elizabeth Whitney hopes it will inspire more.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the giant Coca-Cola sign towering over San Francisco was \u003ca href=\"https://www.kqed.org/arts/13888389/the-giant-coca-cola-sign-is-getting-torn-down\" rel=\"noopener noreferrer\" target=\"_blank\">torn down\u003c/a> last year, the majority of tributes to its 83-year presence in the city occurred (where else?) on social media. But the most fitting homage to the red-and-white twinkling billboard occurred long before its dismantling. It was a 14-minute short film titled \u003cem>\u003ca href=\"https://vimeo.com/7855639\" rel=\"noopener noreferrer\" target=\"_blank\">Enjoy\u003c/a>\u003c/em>, and it’s now available to watch online for free.\u003c/p>\n\u003cp>Made in the late ’90s, well before smartphones began vacuuming our attention away from the urban landscape, \u003cem>Enjoy\u003c/em> evokes a bygone era when it was easy to become infatuated with mostly pointless objects and utilize them as talismans of meaning. In satirical “commercials,” filmmakers Gordon Winiemko and Julie Wyman treat the Coca-Cola sign as a mathematical equation, or as a pop-art object worthy of Warhol, but mostly as a deity: at one point, the two climb a fire escape to commune with the rooftop sign, like seekers of knowledge visiting a mountaintop guru. In another (NSFW) segment, Wyman has finally become one with the sign, and walks blissfully along a crowded Market Street sidewalk, her body painted in the sign’s colors. Nirvana, indeed.\u003c/p>\n\u003cp>\u003cem>Enjoy\u003c/em> is dated, not only for its 1990s filmmaking style but in its interaction with the decade’s obsession with selling out. Yet Winiemko and Wyman’s worship of the sign remains oddly infectious. At one point, a friend registers a straight-outta-Douglas-Coupland complaint of the sign: “It’s advertising! It’s a multinational corporation trying to infiltrate our unconscious solely for their private profit!”\u003c/p>\n\u003cp>It’s hard to disagree with Winiemko’s reply. “I don’t know, Tom,” he says. “I just think it’s beautiful.”\u003c/p>\n\u003cp>\u003cstrong>Watch \u003cem>Enjoy\u003c/em> below\u003c/strong>:\u003c/p>\n\u003cp>https://vimeo.com/7855639\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the giant Coca-Cola sign towering over San Francisco was \u003ca href=\"https://www.kqed.org/arts/13888389/the-giant-coca-cola-sign-is-getting-torn-down\" rel=\"noopener noreferrer\" target=\"_blank\">torn down\u003c/a> last year, the majority of tributes to its 83-year presence in the city occurred (where else?) on social media. But the most fitting homage to the red-and-white twinkling billboard occurred long before its dismantling. It was a 14-minute short film titled \u003cem>\u003ca href=\"https://vimeo.com/7855639\" rel=\"noopener noreferrer\" target=\"_blank\">Enjoy\u003c/a>\u003c/em>, and it’s now available to watch online for free.\u003c/p>\n\u003cp>Made in the late ’90s, well before smartphones began vacuuming our attention away from the urban landscape, \u003cem>Enjoy\u003c/em> evokes a bygone era when it was easy to become infatuated with mostly pointless objects and utilize them as talismans of meaning. In satirical “commercials,” filmmakers Gordon Winiemko and Julie Wyman treat the Coca-Cola sign as a mathematical equation, or as a pop-art object worthy of Warhol, but mostly as a deity: at one point, the two climb a fire escape to commune with the rooftop sign, like seekers of knowledge visiting a mountaintop guru. In another (NSFW) segment, Wyman has finally become one with the sign, and walks blissfully along a crowded Market Street sidewalk, her body painted in the sign’s colors. Nirvana, indeed.\u003c/p>\n\u003cp>\u003cem>Enjoy\u003c/em> is dated, not only for its 1990s filmmaking style but in its interaction with the decade’s obsession with selling out. Yet Winiemko and Wyman’s worship of the sign remains oddly infectious. At one point, a friend registers a straight-outta-Douglas-Coupland complaint of the sign: “It’s advertising! It’s a multinational corporation trying to infiltrate our unconscious solely for their private profit!”\u003c/p>\n\u003cp>It’s hard to disagree with Winiemko’s reply. “I don’t know, Tom,” he says. “I just think it’s beautiful.”\u003c/p>\n\u003cp>\u003cstrong>Watch \u003cem>Enjoy\u003c/em> below\u003c/strong>:\u003c/p>\u003c/p>\u003c/div>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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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"order": 9
},
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"id": "freakonomics-radio",
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"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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},
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"id": "fresh-air",
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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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"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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"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": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"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
},
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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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},
"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/",
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},
"link": "/radio/program/latino-usa",
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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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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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"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": {
"site": "news",
"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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},
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
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