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"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>LGBT history is full of brilliance and beauty. But it’s also marked by tragedy, the darkest being the AIDS epidemic, which claimed 18,500 San Franciscans in the last quarter of the 20th century. What if AIDS had never happened? What if our queer heroes had lived? Who would we be?\u003c/p>\n\u003cp>\u003ca href=\"http://www.homochic.com/\">Leo Herrera\u003c/a>, a Mexican-American activist and filmmaker, in collaboration with other queer artists and the GLBT Historical Museum, imagines that parallel universe with \u003ca href=\"https://www.iftheylived.org/\">The Fathers Project\u003c/a>, a “sci-fi documentary” that he likens to a mix of \u003cem>Cruising\u003c/em>, \u003cem>Black Mirror\u003c/em>, and Beyoncé’s \u003cem>Lemonade\u003c/em>. (If that description doesn’t get your pulse racing, see a doctor.)\u003c/p>\n\u003cp>[contextly_sidebar id=”7zLlV9OcDknobTsLxvmGyRpeHozQqzJh”]\u003c/p>\n\u003cp>Herrera’s interest in LGBT history began at a young age. After his family left Ascensión, Mexico for Phoenix, Arizona, he quickly found that his new home wasn’t an easy place to be a gay immigrant. Herrera found solace in gay bookstores, where he tore through queer biographies and became enamored with the 1970s Gay Liberation movement. Eventually he and his gay brother moved to San Francisco’s Mission district, where they found their own tribe of brown people, queers, drag queens, and others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were just like, ‘I can’t believe we get to live this life!'” Herrera says. “We knew how much sacrifice our family made to come over here, so me and my brother were going to enjoy the shit out of it and work really hard.” It wasn’t long before Herrera and his brother began filming within their new community.\u003c/p>\n\u003cp>Herrera’s latest piece quilts together glimpses of a queer utopia populated by real people at Pride in San Francisco, as well as Provincetown and Fire Island. Drawing on the queer biographies he discovered shortly after coming to the U.S., Herrera also re-creates an alternate world where the work of notable artists and activists hadn’t been stopped short by AIDS.\u003c/p>\n\u003cp>Overall, Herrera hopes that the final product serves as an antidote to fear.\u003c/p>\n\u003cp>“The world we live in was shaped by [AIDS], but we’re still okay,” he says. “We’re going to be good.” \u003cem>—Emmanuel Hapsis\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow the Fathers Project \u003ca href=\"https://www.iftheylived.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>LGBT history is full of brilliance and beauty. But it’s also marked by tragedy, the darkest being the AIDS epidemic, which claimed 18,500 San Franciscans in the last quarter of the 20th century. What if AIDS had never happened? What if our queer heroes had lived? Who would we be?\u003c/p>\n\u003cp>\u003ca href=\"http://www.homochic.com/\">Leo Herrera\u003c/a>, a Mexican-American activist and filmmaker, in collaboration with other queer artists and the GLBT Historical Museum, imagines that parallel universe with \u003ca href=\"https://www.iftheylived.org/\">The Fathers Project\u003c/a>, a “sci-fi documentary” that he likens to a mix of \u003cem>Cruising\u003c/em>, \u003cem>Black Mirror\u003c/em>, and Beyoncé’s \u003cem>Lemonade\u003c/em>. (If that description doesn’t get your pulse racing, see a doctor.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Herrera’s interest in LGBT history began at a young age. After his family left Ascensión, Mexico for Phoenix, Arizona, he quickly found that his new home wasn’t an easy place to be a gay immigrant. Herrera found solace in gay bookstores, where he tore through queer biographies and became enamored with the 1970s Gay Liberation movement. Eventually he and his gay brother moved to San Francisco’s Mission district, where they found their own tribe of brown people, queers, drag queens, and others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We were just like, ‘I can’t believe we get to live this life!'” Herrera says. “We knew how much sacrifice our family made to come over here, so me and my brother were going to enjoy the shit out of it and work really hard.” It wasn’t long before Herrera and his brother began filming within their new community.\u003c/p>\n\u003cp>Herrera’s latest piece quilts together glimpses of a queer utopia populated by real people at Pride in San Francisco, as well as Provincetown and Fire Island. Drawing on the queer biographies he discovered shortly after coming to the U.S., Herrera also re-creates an alternate world where the work of notable artists and activists hadn’t been stopped short by AIDS.\u003c/p>\n\u003cp>Overall, Herrera hopes that the final product serves as an antidote to fear.\u003c/p>\n\u003cp>“The world we live in was shaped by [AIDS], but we’re still okay,” he says. “We’re going to be good.” \u003cem>—Emmanuel Hapsis\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow the Fathers Project \u003ca href=\"https://www.iftheylived.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Race, Sex and Repression on the Airwaves",
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"content": "\u003cp>In 2003, home for the summer after my first year at college, I worked at a day camp run by the City of Albany. I’m aware that today’s Bay Area kids attend astrophysics day camp and pole-vaulting day camp and second-wave feminist day camp, but in Albany in 2003 we had what was called the Friendship Club. We went bowling at Albany Bowl. We took field trips to Scandia to play Skee-Ball, and to the Jelly Belly factory, and sometimes just over to Codornices Park in Berkeley to go down the big cement slide on pieces of cardboard. We had Cheez-Its and Capri Suns. It was simple and pure and great.\u003c/p>\n\u003cp>One of my regular tasks on these field trips was to drive the City of Albany van. I’d make sure everybody’s seatbelt was fastened, put the key in the ignition, and turn up the volume on the only radio station we were allowed to listen to: Radio Disney, a family-friendly station aimed at the under-14 set. What this meant, in practical terms, is that I spent the summer of 2003 inadvertently learning the lyrics to “clean” versions of every pop and R&B single that had charted over the previous decade. Usually the girl campers wanted to ride with me, so often I had a van full of girls ages 6 through 12 belting out absolutely ludicrous, neutered mutilations of pop songs whose entire original point was to be overtly sexual.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LKEu8jIQ0Pw\u003c/p>\n\u003cp>I had these Disney Radio edits on the brain this week as I read Ann Powers’ excellent book, \u003ca href=\"http://www.npr.org/2017/08/17/542468737/in-good-booty-our-hot-and-heavy-love-affair-with-pop-music\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Good Booty: Love and Sex, Black and White, Body and Soul In American Music\u003c/em>\u003c/a>. It’s an impressively thorough look at how American popular music, sex, and race have intertwined over the past two centuries — or, rather, how our history of complicated and repressive attitudes toward sex and the painful history of racism in this country have been and continue to be audible in pretty much every pop song on the radio.\u003c/p>\n\u003cp>It’s an ambitious topic, one that would feel unwieldy in the hands of a less skilled writer, but it helps that Powers a) is one of our greatest living cultural critics, and b) doesn’t promise an exhaustive record. What she does offer is an impressively cohesive narrative, considering the book’s breadth: the reader is carried from New Orleans to New York to Memphis to Chicago to Detroit to San Francisco, from the early 1800s through the present, following the ways music and dance have always, in Powers’ estimation, served as the place in which Americans are most honest about the power of sexuality.\u003c/p>\n\u003cfigure id=\"attachment_13808472\" class=\"wp-caption alignright\" style=\"max-width: 513px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808472\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AnnPowers.1.jpg\" alt=\"Ann Powers.\" width=\"513\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1.jpg 513w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-375x560.jpg 375w\" sizes=\"(max-width: 513px) 100vw, 513px\">\u003cfigcaption class=\"wp-caption-text\">Ann Powers. \u003ccite>(Lucent Vignette Photography/HarperCollins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s the shimmy; there’s twerking; there’s unspoken eroticism in gospel. Musicians and performers themselves aren’t discussed as human beings so much as they are conduits, time capsules, tangible artifacts of The Way We Lived and how we thought about sex, gender, race, religion and politics at a given time. There’s Little Richard, Elvis, and Prince; the holy counterculture trinity of Jim, Jimi, and Janis. Beyoncé’s “Formation” gets its rightful due as a landmark work of complicated art about black Southern womanhood; it’s no coincidence that Powers kicks off the book with a chapter presenting New Orleans as the historical soul of popular music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Miley Cyrus’ twerking phase and her bodysuit-clad VMA sexual rebellion, it might be noted, appear just as academically, cast as the logical result of centuries of thoroughly American — which is to say thoroughly mixed — messages about sex and race.\u003c/p>\n\u003cp>“Historically, music has become this vessel for hidden realities and for expressions of pride and dignity for the most wrongly oppressed in our culture and society,” Powers recently \u003ca href=\"http://www.rollingstone.com/culture/lists/good-booty-10-things-we-learned-about-sex-and-music-w498892\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Rolling Stone\u003c/em>\u003c/a>. “That’s how, tragically, we treat eroticism as well. We marginalize it, we try to repress it, we pretend it doesn’t exist and we treat it like an evil force. Music has been the place where people who had been treated in that same way can speak.”\u003c/p>\n\u003cp>Despite the book’s chronological breadth, the section of \u003cem>Good Booty\u003c/em> I found myself returning to concerned recent history, an event I lived through but was too young to understand: the AIDS crisis. In painful stories, Powers describes how, following a period of sexual liberation, and of disco and community built inside gay clubs, the music birthed during and after the AIDS epidemic’s peak naturally reflected a substantial shift, casting sex as something to be feared. I’ve always known, of course, that AIDS irrevocably leveled scenes and families and subcultures, and that many — especially here in San Francisco — really never bounced back.\u003c/p>\n\u003cfigure id=\"attachment_13808475\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808475\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-800x533.jpg\" alt=\"Beyonce and Nicki Minaj perform onstage at the Barclays Center in Brooklyn, 2015. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce and Nicki Minaj perform onstage at the Barclays Center in Brooklyn, 2015. \u003ccite>(Jamie McCarthy/Getty Images for TIDAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I hadn’t understood was just how clearly the pop culture I grew up on in the ’90s and early 2000s was still shaped by these aftershocks. Between the AIDS crisis and Reagan-era conservatism, it’s no surprise that the generation who came up during the grunge era understood sex from a young age to be dangerous: \u003ca href=\"http://uproxx.com/music/ann-powers-good-booty-book-sex-american-music/\" target=\"_blank\" rel=\"noopener noreferrer\">something that could kill you\u003c/a>. There was Nine Inch Nails’ “Closer,” which ties sex to drug addiction, self-loathing and suicidal depression. TLC’s “Waterfalls,” in part a cautionary tale about promiscuity leading to HIV leading to death. Nirvana’s “Rape Me” (subsequently repackaged as “Waif Me” for sale at Walmart).\u003c/p>\n\u003cp>And what of the generation just after that? I finished Powers’ book thinking about teen pop idols, whose sexuality is their main marketing point, and who are arguably all about fear as well: the Madonna-whore complex set to music. The lyrics to “Genie in a Bottle” — young girl trapped inside container, desperate to be sexual but only as a gift to the right suitor — are practically an \u003cem>ode\u003c/em> to sexual repression, the terror our culture feels toward the prospect of young women in charge of their own sexuality.\u003c/p>\n\u003cp>After the summer of 2003, I never saw most of those Friendship Club campers again. The young girls I used to drive around are all in their early 20s now, no doubt shaped more strongly by Nicki Minaj (whose use of sexuality Powers rightfully notes might warrant its own book) than I ever will be. I’m left with sensory memories: smelly markers, a kid’s empty juice box in my purse, some sunburns.\u003c/p>\n\u003cp>And, of course, the lyrics to those oxymoronic clean versions of pop songs wedged stupidly into my brain — along with the sound of a chorus of young girls’ voices, all eagerly singing along, not giving a damn about the mangled lyrics. Gleefully oblivious to innuendo. And unaware they were in even remote proximity to something they were supposed to fear.\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>Emma Silvers lives in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2003, home for the summer after my first year at college, I worked at a day camp run by the City of Albany. I’m aware that today’s Bay Area kids attend astrophysics day camp and pole-vaulting day camp and second-wave feminist day camp, but in Albany in 2003 we had what was called the Friendship Club. We went bowling at Albany Bowl. We took field trips to Scandia to play Skee-Ball, and to the Jelly Belly factory, and sometimes just over to Codornices Park in Berkeley to go down the big cement slide on pieces of cardboard. We had Cheez-Its and Capri Suns. It was simple and pure and great.\u003c/p>\n\u003cp>One of my regular tasks on these field trips was to drive the City of Albany van. I’d make sure everybody’s seatbelt was fastened, put the key in the ignition, and turn up the volume on the only radio station we were allowed to listen to: Radio Disney, a family-friendly station aimed at the under-14 set. What this meant, in practical terms, is that I spent the summer of 2003 inadvertently learning the lyrics to “clean” versions of every pop and R&B single that had charted over the previous decade. Usually the girl campers wanted to ride with me, so often I had a van full of girls ages 6 through 12 belting out absolutely ludicrous, neutered mutilations of pop songs whose entire original point was to be overtly sexual.\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/LKEu8jIQ0Pw'\n title='//www.youtube.com/embed/LKEu8jIQ0Pw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I had these Disney Radio edits on the brain this week as I read Ann Powers’ excellent book, \u003ca href=\"http://www.npr.org/2017/08/17/542468737/in-good-booty-our-hot-and-heavy-love-affair-with-pop-music\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Good Booty: Love and Sex, Black and White, Body and Soul In American Music\u003c/em>\u003c/a>. It’s an impressively thorough look at how American popular music, sex, and race have intertwined over the past two centuries — or, rather, how our history of complicated and repressive attitudes toward sex and the painful history of racism in this country have been and continue to be audible in pretty much every pop song on the radio.\u003c/p>\n\u003cp>It’s an ambitious topic, one that would feel unwieldy in the hands of a less skilled writer, but it helps that Powers a) is one of our greatest living cultural critics, and b) doesn’t promise an exhaustive record. What she does offer is an impressively cohesive narrative, considering the book’s breadth: the reader is carried from New Orleans to New York to Memphis to Chicago to Detroit to San Francisco, from the early 1800s through the present, following the ways music and dance have always, in Powers’ estimation, served as the place in which Americans are most honest about the power of sexuality.\u003c/p>\n\u003cfigure id=\"attachment_13808472\" class=\"wp-caption alignright\" style=\"max-width: 513px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808472\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AnnPowers.1.jpg\" alt=\"Ann Powers.\" width=\"513\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1.jpg 513w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AnnPowers.1-375x560.jpg 375w\" sizes=\"(max-width: 513px) 100vw, 513px\">\u003cfigcaption class=\"wp-caption-text\">Ann Powers. \u003ccite>(Lucent Vignette Photography/HarperCollins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s the shimmy; there’s twerking; there’s unspoken eroticism in gospel. Musicians and performers themselves aren’t discussed as human beings so much as they are conduits, time capsules, tangible artifacts of The Way We Lived and how we thought about sex, gender, race, religion and politics at a given time. There’s Little Richard, Elvis, and Prince; the holy counterculture trinity of Jim, Jimi, and Janis. Beyoncé’s “Formation” gets its rightful due as a landmark work of complicated art about black Southern womanhood; it’s no coincidence that Powers kicks off the book with a chapter presenting New Orleans as the historical soul of popular music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Miley Cyrus’ twerking phase and her bodysuit-clad VMA sexual rebellion, it might be noted, appear just as academically, cast as the logical result of centuries of thoroughly American — which is to say thoroughly mixed — messages about sex and race.\u003c/p>\n\u003cp>“Historically, music has become this vessel for hidden realities and for expressions of pride and dignity for the most wrongly oppressed in our culture and society,” Powers recently \u003ca href=\"http://www.rollingstone.com/culture/lists/good-booty-10-things-we-learned-about-sex-and-music-w498892\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Rolling Stone\u003c/em>\u003c/a>. “That’s how, tragically, we treat eroticism as well. We marginalize it, we try to repress it, we pretend it doesn’t exist and we treat it like an evil force. Music has been the place where people who had been treated in that same way can speak.”\u003c/p>\n\u003cp>Despite the book’s chronological breadth, the section of \u003cem>Good Booty\u003c/em> I found myself returning to concerned recent history, an event I lived through but was too young to understand: the AIDS crisis. In painful stories, Powers describes how, following a period of sexual liberation, and of disco and community built inside gay clubs, the music birthed during and after the AIDS epidemic’s peak naturally reflected a substantial shift, casting sex as something to be feared. I’ve always known, of course, that AIDS irrevocably leveled scenes and families and subcultures, and that many — especially here in San Francisco — really never bounced back.\u003c/p>\n\u003cfigure id=\"attachment_13808475\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808475\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-800x533.jpg\" alt=\"Beyonce and Nicki Minaj perform onstage at the Barclays Center in Brooklyn, 2015. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GettyImages-493496724-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce and Nicki Minaj perform onstage at the Barclays Center in Brooklyn, 2015. \u003ccite>(Jamie McCarthy/Getty Images for TIDAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I hadn’t understood was just how clearly the pop culture I grew up on in the ’90s and early 2000s was still shaped by these aftershocks. Between the AIDS crisis and Reagan-era conservatism, it’s no surprise that the generation who came up during the grunge era understood sex from a young age to be dangerous: \u003ca href=\"http://uproxx.com/music/ann-powers-good-booty-book-sex-american-music/\" target=\"_blank\" rel=\"noopener noreferrer\">something that could kill you\u003c/a>. There was Nine Inch Nails’ “Closer,” which ties sex to drug addiction, self-loathing and suicidal depression. TLC’s “Waterfalls,” in part a cautionary tale about promiscuity leading to HIV leading to death. Nirvana’s “Rape Me” (subsequently repackaged as “Waif Me” for sale at Walmart).\u003c/p>\n\u003cp>And what of the generation just after that? I finished Powers’ book thinking about teen pop idols, whose sexuality is their main marketing point, and who are arguably all about fear as well: the Madonna-whore complex set to music. The lyrics to “Genie in a Bottle” — young girl trapped inside container, desperate to be sexual but only as a gift to the right suitor — are practically an \u003cem>ode\u003c/em> to sexual repression, the terror our culture feels toward the prospect of young women in charge of their own sexuality.\u003c/p>\n\u003cp>After the summer of 2003, I never saw most of those Friendship Club campers again. The young girls I used to drive around are all in their early 20s now, no doubt shaped more strongly by Nicki Minaj (whose use of sexuality Powers rightfully notes might warrant its own book) than I ever will be. I’m left with sensory memories: smelly markers, a kid’s empty juice box in my purse, some sunburns.\u003c/p>\n\u003cp>And, of course, the lyrics to those oxymoronic clean versions of pop songs wedged stupidly into my brain — along with the sound of a chorus of young girls’ voices, all eagerly singing along, not giving a damn about the mangled lyrics. Gleefully oblivious to innuendo. And unaware they were in even remote proximity to something they were supposed to fear.\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>Emma Silvers lives in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
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