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He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13955854":{"type":"posts","id":"arts_13955854","meta":{"index":"posts_1591205157","site":"arts","id":"13955854","score":null,"sort":[1712877559000]},"guestAuthors":[],"slug":"the-oj-simpson-saga-was-a-unique-american-moment-that-still-hasnt-left-us","title":"The OJ Simpson Saga Was a Unique American Moment That Still Hasn’t Left Us","publishDate":1712877559,"format":"standard","headTitle":"The OJ Simpson Saga Was a Unique American Moment That Still Hasn’t Left Us | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A dog’s plaintive wail. A courtroom couplet-turned-cultural catchphrase about gloves. A judge and attorneys who became media darlings and villains. A slightly bewildered houseguest elevated, briefly, into a slightly bewildered celebrity. Troubling questions about race that echo still. The beginning of the Kardashian dynasty. An epic slow-motion highway chase. And, lest we forget, \u003ca href=\"https://www.kqed.org/pop/112365/everything-weve-learned-so-far-from-kim-goldmans-oj-simpson-podcast\">two people whose lives ended brutally\u003c/a>.\u003c/p>\n\u003cp>And a nation watched — a nation far different than today’s, where the ravenousness for reality television has multiplied. The spectator mentality of those jumbled days in 1994 and 1995, then novel, has since become an intrinsic part of the American fabric. Smack at the center of the national conversation was O.J. Simpson, one of the most curious cultural figures of recent U.S. history.\u003c/p>\n\u003cp>[aside postid='news_11982639']Simpson’s death Wednesday, almost exactly three decades after the killings that changed his reputation from football hero to suspect, summoned remembrances of an odd moment in time — no, let’s call it what it was, which was deeply weird — in which a smartphone-less country craned its neck toward clunky TVs to watch a Ford Bronco inch its way along a California freeway.\u003c/p>\n\u003cp>“It was an incredible moment in American history,” said Wolf Blitzer, anchoring coverage of Simpson’s death Thursday on CNN. What made it so — beyond, of course, tabloid culture and the fundamental news value of such a famous person accused in such brutal killings?\u003c/p>\n\u003cfigure id=\"attachment_13955855\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1221630947-scaled-e1712876528807.jpg\" alt=\"A photo of a tv screen showing cars lined up on a freeway. The caption says "ABC News Live Coverage. OJ Simpson's car."\" width=\"1920\" height=\"1293\">\u003cfigcaption class=\"wp-caption-text\">The infamous white Ford Bronco crawling along the freeway in 1994. \u003ccite>(Rick Maiman/ Sygma via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The saga anticipated 21st century media\u003c/h2>\n\u003cp>In an era when the internet as we know it was still being born, when “platform” was still just a place to board a train, Simpson was a unique breed of celebrity. He was truly transmedia, a harbinger of the digital age — a walking, talking crossover story for multiple audiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was sports — the very pinnacle of football excellence. He was stardom, not only for his athletic prowess but for his Hertz-hawking run through airports on TV and his acting in movies like \u003cem>The Naked Gun\u003c/em>. He embodied societal questions about race, class and money long before Nicole Brown Simpson and Ronald Goldman were stabbed to death on June 12, 1994.\u003c/p>\n\u003cp>Then came the saga, beginning with the killings and ending — only technically — in a Los Angeles courtroom more than a year later. The most epic of American novels had nothing on this period of the mid-1990s. Americans watched. Americans talked about watching. Americans debated. Americans judged. And Americans watched some more.\u003c/p>\n\u003cp>The generations-old chasm between white Americans and Black Americans was not helped by \u003cem>Time\u003c/em> magazine’s decision to tactically darken Simpson’s mugshot on its cover for dramatic — and, many said, racist — effect. For those who lived through that period, it’s hard to remember much in the public sphere that wasn’t crowded out by the O.J. storyline and its many components, including the subsequent civil trial that found Simpson liable for the deaths. One newspaper even ran a series of possible endings to the storyline, written by mystery novelists.\u003c/p>\n\u003cp>Sure, people were saying different things. But it was, inarguably, a national conversation.\u003c/p>\n\u003cfigure id=\"attachment_13955856\" class=\"wp-caption aligncenter\" style=\"max-width: 1988px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg\" alt=\"A man in a shirt and tie talks on a 1990s-era phone while standing in front of a wall of televisions all showing the trial of OJ Simpson.\" width=\"1988\" height=\"1358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg 1988w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1920x1312.jpg 1920w\" sizes=\"(max-width: 1988px) 100vw, 1988px\">\u003cfigcaption class=\"wp-caption-text\">Salesman Neal McCarthy speaks to a customer on the phone, as the O.J. Simpson murder trial is tuned to most of his store’s TVs. \u003ccite>(Pat Greenhouse/ The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nation — and its media — are far more fragmented now. Rarely these days do Americans gather around the virtual campfire for a common experience; instead, small brush fires draw niche crowds in virtual corners for equally intense, but smaller, common experiences. This week’s eclipse was a rare exception.\u003c/p>\n\u003cp>In 1994, everyday real-time, wall-to-wall coverage was still emerging. Sure, we had Walter Cronkite during the Kennedy assassination and again during the chaotic 1968 Democratic National Convention. And the first Gulf War in 1991 firmly cemented live-TV expectations. But coverage of the Bronco chase and the trial fed the appetite in a way no other event did. Even now, such universal viewership is rare.\u003c/p>\n\u003cp>[aside postid='pop_112365']“The media we consume is much more diffuse now. It’s so rare that we’re all glued to the same spectacle,” said Danielle Lindemann, author of the 2022 book \u003cem>True Story: What Reality TV Says About Us\u003c/em>.\u003c/p>\n\u003cp>“In 1994 we were watching our television sets and following along with news coverage,” Lindemann, a professor of sociology at Lehigh University, said in an email. “But there wasn’t that parallel discourse happening via social media.”\u003c/p>\n\u003ch2>Connections between then and now\u003c/h2>\n\u003cp>The connections between the Simpson saga and today aren’t hard to find.\u003c/p>\n\u003cp>Judges and lawyers in high-profile cases are now regular fodder for the spotlight. One of Simpson’s attorneys, Robert Kardashian, paved the way for the next generation of his family to change the very face of how celebrity operates. A local Los Angeles TV reporter who covered the case, Harvey Levin, went on to establish TMZ, a luridly foundational pillar of modern multiplatform celebrity coverage — and the outlet that broke the news of Simpson’s death.\u003c/p>\n\u003cp>And of course, as with so many American stories, there is the question of race.\u003c/p>\n\u003cfigure id=\"attachment_13955857\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-600007422-scaled-e1712876970949.jpg\" alt='A Black man crouches next to a line of t shirts and hats for sale. All say \"Free OJ\" on them.' width=\"1920\" height=\"1289\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson shirt and support mechandising outside the courthouse, during his trial in Los Angeles. \u003ccite>(Evan Hurd/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Simpson’s acquittal on murder charges revealed a fundamental fault line: Some Black people welcomed the verdict, while many white people were in disbelief. Simpson probably confused matters more over the years by saying, famously, “I’m not Black. I’m O.J.” But for many Black Americans who felt their interactions with police and the courts had produced unjust results, the acquittal was a notable exception.\u003c/p>\n\u003cp>“There was a sense that it’s only justice for a rich Black man to get off when a rich white man would,” said John Baick, a professor of history at Western New England University.\u003c/p>\n\u003cp>Three decades on, that conversation isn’t over — he’s certainly still discussing it with students. On Thursday, Baick invoked Simpson to talk about race, fame and wealth in class; only after it ended did he find out his subject had died.\u003c/p>\n\u003cp>[aside postid='arts_11665308']A generation has passed since these events were fresh. And after thousands of hours of video, millions of written words and countless talking heads weighing in, the O.J. Simpson case stands as two things: an American moment like no other, and an interlude that contained so much of what American culture is and was becoming.\u003c/p>\n\u003cp>From the old, weird America, it got the obsession with violent true crime and its quirky cast of film noir villains and heroes, not to mention the tragedy and the whodunit. And it was a teaser trailer of the emerging, fragmenting internet culture that would, in a few years, give us smartphones, social media, reality-TV saturation and live coverage of just about everything.\u003c/p>\n\u003cp>Was it, as so many said so loudly, “the trial of the century”? That’s subjective. But any culture is made up of small bits, and the Simpson case left many of those in its wake. This much is incontrovertibly true: After the slow-speed chase, American media culture got a whole lot faster really quickly. So fast, in fact, that many of the central questions around the case — about race, justice and how we consume murder and misery as just another set of consumer products — linger unanswered.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Where does this fit in? What do Americans think about this now?” Baick wonders. ”What you think about O.J. Simpson might be a litmus test for a long time still.”\u003c/p>\n\n","blocks":[],"excerpt":"After that slow-speed chase, American media culture got a whole lot faster, really quickly.","status":"publish","parent":0,"modified":1712877893,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1344},"headData":{"title":"How the OJ Simpson Trial Impacted America in Permanent Ways | KQED","description":"After that slow-speed chase, American media culture got a whole lot faster, really quickly.","ogTitle":"The OJ Simpson Saga Was a Unique American Moment That Still Hasn’t Left Us","ogDescription":"","ogImgId":"","twTitle":"The OJ Simpson Saga Was a Unique American Moment That Still Hasn’t Left Us","twDescription":"","twImgId":"","socialTitle":"How the OJ Simpson Trial Impacted America in Permanent Ways %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The OJ Simpson Saga Was a Unique American Moment That Still Hasn’t Left Us","datePublished":"2024-04-11T23:19:19.000Z","dateModified":"2024-04-11T23:24:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Ted Anthony, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955854/the-oj-simpson-saga-was-a-unique-american-moment-that-still-hasnt-left-us","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A dog’s plaintive wail. A courtroom couplet-turned-cultural catchphrase about gloves. A judge and attorneys who became media darlings and villains. A slightly bewildered houseguest elevated, briefly, into a slightly bewildered celebrity. Troubling questions about race that echo still. The beginning of the Kardashian dynasty. An epic slow-motion highway chase. And, lest we forget, \u003ca href=\"https://www.kqed.org/pop/112365/everything-weve-learned-so-far-from-kim-goldmans-oj-simpson-podcast\">two people whose lives ended brutally\u003c/a>.\u003c/p>\n\u003cp>And a nation watched — a nation far different than today’s, where the ravenousness for reality television has multiplied. The spectator mentality of those jumbled days in 1994 and 1995, then novel, has since become an intrinsic part of the American fabric. Smack at the center of the national conversation was O.J. Simpson, one of the most curious cultural figures of recent U.S. history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11982639","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Simpson’s death Wednesday, almost exactly three decades after the killings that changed his reputation from football hero to suspect, summoned remembrances of an odd moment in time — no, let’s call it what it was, which was deeply weird — in which a smartphone-less country craned its neck toward clunky TVs to watch a Ford Bronco inch its way along a California freeway.\u003c/p>\n\u003cp>“It was an incredible moment in American history,” said Wolf Blitzer, anchoring coverage of Simpson’s death Thursday on CNN. What made it so — beyond, of course, tabloid culture and the fundamental news value of such a famous person accused in such brutal killings?\u003c/p>\n\u003cfigure id=\"attachment_13955855\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1221630947-scaled-e1712876528807.jpg\" alt=\"A photo of a tv screen showing cars lined up on a freeway. The caption says "ABC News Live Coverage. OJ Simpson's car."\" width=\"1920\" height=\"1293\">\u003cfigcaption class=\"wp-caption-text\">The infamous white Ford Bronco crawling along the freeway in 1994. \u003ccite>(Rick Maiman/ Sygma via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The saga anticipated 21st century media\u003c/h2>\n\u003cp>In an era when the internet as we know it was still being born, when “platform” was still just a place to board a train, Simpson was a unique breed of celebrity. He was truly transmedia, a harbinger of the digital age — a walking, talking crossover story for multiple audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was sports — the very pinnacle of football excellence. He was stardom, not only for his athletic prowess but for his Hertz-hawking run through airports on TV and his acting in movies like \u003cem>The Naked Gun\u003c/em>. He embodied societal questions about race, class and money long before Nicole Brown Simpson and Ronald Goldman were stabbed to death on June 12, 1994.\u003c/p>\n\u003cp>Then came the saga, beginning with the killings and ending — only technically — in a Los Angeles courtroom more than a year later. The most epic of American novels had nothing on this period of the mid-1990s. Americans watched. Americans talked about watching. Americans debated. Americans judged. And Americans watched some more.\u003c/p>\n\u003cp>The generations-old chasm between white Americans and Black Americans was not helped by \u003cem>Time\u003c/em> magazine’s decision to tactically darken Simpson’s mugshot on its cover for dramatic — and, many said, racist — effect. For those who lived through that period, it’s hard to remember much in the public sphere that wasn’t crowded out by the O.J. storyline and its many components, including the subsequent civil trial that found Simpson liable for the deaths. One newspaper even ran a series of possible endings to the storyline, written by mystery novelists.\u003c/p>\n\u003cp>Sure, people were saying different things. But it was, inarguably, a national conversation.\u003c/p>\n\u003cfigure id=\"attachment_13955856\" class=\"wp-caption aligncenter\" style=\"max-width: 1988px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg\" alt=\"A man in a shirt and tie talks on a 1990s-era phone while standing in front of a wall of televisions all showing the trial of OJ Simpson.\" width=\"1988\" height=\"1358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg 1988w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1920x1312.jpg 1920w\" sizes=\"(max-width: 1988px) 100vw, 1988px\">\u003cfigcaption class=\"wp-caption-text\">Salesman Neal McCarthy speaks to a customer on the phone, as the O.J. Simpson murder trial is tuned to most of his store’s TVs. \u003ccite>(Pat Greenhouse/ The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nation — and its media — are far more fragmented now. Rarely these days do Americans gather around the virtual campfire for a common experience; instead, small brush fires draw niche crowds in virtual corners for equally intense, but smaller, common experiences. This week’s eclipse was a rare exception.\u003c/p>\n\u003cp>In 1994, everyday real-time, wall-to-wall coverage was still emerging. Sure, we had Walter Cronkite during the Kennedy assassination and again during the chaotic 1968 Democratic National Convention. And the first Gulf War in 1991 firmly cemented live-TV expectations. But coverage of the Bronco chase and the trial fed the appetite in a way no other event did. Even now, such universal viewership is rare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_112365","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“The media we consume is much more diffuse now. It’s so rare that we’re all glued to the same spectacle,” said Danielle Lindemann, author of the 2022 book \u003cem>True Story: What Reality TV Says About Us\u003c/em>.\u003c/p>\n\u003cp>“In 1994 we were watching our television sets and following along with news coverage,” Lindemann, a professor of sociology at Lehigh University, said in an email. “But there wasn’t that parallel discourse happening via social media.”\u003c/p>\n\u003ch2>Connections between then and now\u003c/h2>\n\u003cp>The connections between the Simpson saga and today aren’t hard to find.\u003c/p>\n\u003cp>Judges and lawyers in high-profile cases are now regular fodder for the spotlight. One of Simpson’s attorneys, Robert Kardashian, paved the way for the next generation of his family to change the very face of how celebrity operates. A local Los Angeles TV reporter who covered the case, Harvey Levin, went on to establish TMZ, a luridly foundational pillar of modern multiplatform celebrity coverage — and the outlet that broke the news of Simpson’s death.\u003c/p>\n\u003cp>And of course, as with so many American stories, there is the question of race.\u003c/p>\n\u003cfigure id=\"attachment_13955857\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-600007422-scaled-e1712876970949.jpg\" alt='A Black man crouches next to a line of t shirts and hats for sale. All say \"Free OJ\" on them.' width=\"1920\" height=\"1289\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson shirt and support mechandising outside the courthouse, during his trial in Los Angeles. \u003ccite>(Evan Hurd/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Simpson’s acquittal on murder charges revealed a fundamental fault line: Some Black people welcomed the verdict, while many white people were in disbelief. Simpson probably confused matters more over the years by saying, famously, “I’m not Black. I’m O.J.” But for many Black Americans who felt their interactions with police and the courts had produced unjust results, the acquittal was a notable exception.\u003c/p>\n\u003cp>“There was a sense that it’s only justice for a rich Black man to get off when a rich white man would,” said John Baick, a professor of history at Western New England University.\u003c/p>\n\u003cp>Three decades on, that conversation isn’t over — he’s certainly still discussing it with students. On Thursday, Baick invoked Simpson to talk about race, fame and wealth in class; only after it ended did he find out his subject had died.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11665308","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>A generation has passed since these events were fresh. And after thousands of hours of video, millions of written words and countless talking heads weighing in, the O.J. Simpson case stands as two things: an American moment like no other, and an interlude that contained so much of what American culture is and was becoming.\u003c/p>\n\u003cp>From the old, weird America, it got the obsession with violent true crime and its quirky cast of film noir villains and heroes, not to mention the tragedy and the whodunit. And it was a teaser trailer of the emerging, fragmenting internet culture that would, in a few years, give us smartphones, social media, reality-TV saturation and live coverage of just about everything.\u003c/p>\n\u003cp>Was it, as so many said so loudly, “the trial of the century”? That’s subjective. But any culture is made up of small bits, and the Simpson case left many of those in its wake. This much is incontrovertibly true: After the slow-speed chase, American media culture got a whole lot faster really quickly. So fast, in fact, that many of the central questions around the case — about race, justice and how we consume murder and misery as just another set of consumer products — linger unanswered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Where does this fit in? What do Americans think about this now?” Baick wonders. ”What you think about O.J. Simpson might be a litmus test for a long time still.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955854/the-oj-simpson-saga-was-a-unique-american-moment-that-still-hasnt-left-us","authors":["byline_arts_13955854"],"categories":["arts_1","arts_2303","arts_835","arts_75","arts_990"],"tags":["arts_8054","arts_8366"],"featImg":"arts_13955858","label":"arts"},"arts_13953998":{"type":"posts","id":"arts_13953998","meta":{"index":"posts_1591205157","site":"arts","id":"13953998","score":null,"sort":[1710352467000]},"guestAuthors":[],"slug":"kate-middleton-conspiracy-theory-prince-william-royal-family-pr-disaster","title":"What the Royal Family Doesn’t Understand About PR in 2024","publishDate":1710352467,"format":"aside","headTitle":"What the Royal Family Doesn’t Understand About PR in 2024 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cfigure id=\"attachment_13953999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/kate-5012aa2a3f30db129f2dc7203e71cd0beb8f2eb4-scaled-e1710351521464.jpg\" alt=\"A thin white woman with long dark hair gestures to waiting crowds. She is wearing a long, belted, cornflower blue coat.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">The Duchess of Cambridge walks around Ballymena, Northern Ireland on February 28, 2019. She has recently disappeared from the public eye after having abdominal surgery. \u003ccite>(Charles McQuillan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let me get this out of the way right now: I have yet to see anything that has persuaded me that anything is “going on” with Kate Middleton other than what the palace originally said: She had abdominal surgery, the recovery is involved enough that she needs \u003cem>months \u003c/em>away from her work, and that’s the story.\u003c/p>\n\u003cp>But the absolute clown show that has been the palace’s handling of spiraling speculation about her has made the whole thing worse and underscored that whatever command they once had over “controlling the narrative” has deserted them. I’m not sure they have a Kate problem, but I think they have a massive, pressing comms problem. There are several foundational pieces of advice about the current media environment that the palace — “the firm,” as we’ve now heard it called so often — either does not understand or has not accounted for.\u003c/p>\n\u003ch3>\u003cstrong>You will not stop Reddit and TikTok from speculating, so do not try. \u003c/strong>\u003c/h3>\n\u003cp>The term “conspiracy theory” is overused at this point. A conspiracy theory involves seemingly disconnected parties working in undisclosed tandem to keep something secret. What’s more relevant to this story is something I would call recreational conjecture.\u003c/p>\n\u003cp>[aside postid='pop_103656']“She’s dead,” “She’s missing,” “She’s in a coma” and “She’s planning to get a divorce” are the kinds of things that don’t even qualify as rumors, exactly; they are flights of fancy done for entertainment and social interaction. While some ideas like this show up in more traditional media, their \u003cem>multipliers \u003c/em>and \u003cem>magnifiers \u003c/em>are social spaces like TikTok and Reddit.\u003c/p>\n\u003cp>People in those social spaces who most enthusiastically engage in this do not require supporting evidence for recreational conjecture, nor does factual refutation reliably stop them. Putting out pictures, statements, strategic leaks — there’s no point. There is always a way to take a piece of evidence, put it next to your pet theory, and pound it with a hammer until it seems like it fits together. Trying to keep people from speculating on TikTok is like trying to stop it from raining.\u003c/p>\n\u003ch3>\u003cstrong>Do not feed amphetamines to a dragon you are hoping will fall asleep.\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4U_IqTNaqU/?utm_source=ig_embed&ig_rid=8a729e2d-570c-4580-b32e-9a7f23bc8d4c\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png\" alt=\"\" width=\"540\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM-160x313.png 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is impossible to stop recreational conjecture in its tracks. It is possible, however, not to spur it on. The release of the Mother’s Day photo is the most obvious misstep in this entire debacle. In retrospect, it’s just a mom and her kids — they didn’t say it was a photo from right now. They didn’t say it was meant as some kind of proof of life. But it should have been clear to any clever PR person that it would be taken that way and closely scrutinized.\u003c/p>\n\u003cp>[aside postid='arts_13866072']It’s too late in the game to pretend that a nice photo is just a nice photo. That cycle of speculate-and-post, speculate-and-post-again, thrives on new “evidence.” That means the best thing to say is nothing. Keep repeating: we told you she was having surgery and wouldn’t be working in public until Easter. We told you she was having surgery and wouldn’t be working in public until Easter. We told you … you see what I mean? Yes, the speculation rages, and yes, it’s terrible, and yes, it probably really hurts. But if the reason people are so curious is that they haven’t seen her recently, and if you aren’t going to change that fact, the best you can do is deprive the cycle of oxygen — at least oxygen that comes from you.\u003c/p>\n\u003ch3>\u003cstrong>People are bored out there. \u003c/strong>\u003c/h3>\n\u003cp>Look, internet “sleuths” can be a real problem. They have misidentified people as having committed terrible crimes. They have screwed with people’s lives. But there’s another category of people relevant to this story: the bored basics who may not be into sleuthing, but they know what Photoshop disasters look like. They’ve been looking at YouTube videos, Tumblr accounts and the r/PhotoshopFails subreddit for ages. It’s been 35 years since \u003ca href=\"https://www.nytimes.com/1989/08/30/arts/going-too-far-with-the-winfrey-diet.html\">Oprah’s head was depicted on Ann-Margret’s body\u003c/a> on the cover of \u003cem>TV Guide\u003c/em>. People are onto this stuff, and the current roiling debates about AI have only fed these media-authenticity hobbyists.\u003c/p>\n\u003cp>It would be one thing if the Mother’s Day photo had taken highly advanced forensic examination for people to determine that it had been substantially manipulated. It did not. This was an easy one. People have time. They’re out there analyzing the \u003ca href=\"https://www.tiktok.com/@notannareportsnews/video/7304454682330582302\">reliability of eye shadow swatches\u003c/a>. They’re out there examining how people on Instagram \u003ca href=\"https://www.youtube.com/watch?v=quszke8ceuY&t=990s&ab_channel=JamesWelsh\">make themselves seem rich\u003c/a>. If you put a \u003ca href=\"https://www.npr.org/2024/03/11/1237413938/kate-middleton-photo-edited\">pretty obviously (and clumsily) edited photo out\u003c/a>, people will look at it extremely carefully, especially if there is already wild speculation swirling out there. This was very, very, very easy to see coming.\u003c/p>\n\u003cp>https://twitter.com/KensingtonRoyal/status/1767135566645092616\u003c/p>\n\u003ch3>\u003cstrong>As a story evolves, your strategy has to evolve, too. \u003c/strong>\u003c/h3>\n\u003cp>Think of it like this: The more you are already being questioned about hiding the truth, the more definitively anything you release must clarify what the truth is, or else it’s not worth putting it out at all. That’s why \u003ca href=\"https://twitter.com/royalrota/status/1767207738990301243?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1767207738990301243%7Ctwgr%5E9ff2299dc17f462a3e7dabd258f3a25f7babf61d%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.thedailybeast.com%2Fkate-middleton-photographed-in-car-amid-manipulated-image-fiasco\">the photo of her in the car with William\u003c/a> — again a photo of her as far as anyone knows! — will not help and will make everything worse. Does that look like the shape of her face? Sure! Does that look like someone who is recovering from surgery and isn’t ready to be photographed, which is exactly the story they’ve been telling \u003cem>from the beginning\u003c/em>? Sure!\u003c/p>\n\u003cp>https://twitter.com/royalrota/status/1767207738990301243\u003c/p>\n\u003cp>However, will a photo of the back of someone’s head slow all this down at this point? Absolutely not! No! I know a lot of people who, like me, initially were inclined to give the benefit of the doubt to the most mundane explanation of all this: Surgery can be very taxing, especially abdominal surgery, and the attention on her is so intense that she probably didn’t want to be seen until she felt 100% ready. But the more \u003cem>weird stuff\u003c/em> happens, the more some people start to wonder what on earth is going on. When you have shaken people’s faith in anything you say, just stop talking.\u003c/p>\n\u003ch3>\u003cstrong>Today’s hero is tomorrow’s target. \u003c/strong>\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It can feel like the palace effectively managed the public perception of Harry and Meghan (with some help from Harry and Meghan), and by doing so, like they burnished and boosted William and Kate as better and more worthy royals. But it doesn’t \u003cem>really\u003c/em> work that way. If you have two couples and they are placed in parallel (because the men are brothers — Diana’s sons — and because of the splashy weddings), there doesn’t have to be one winner and one loser. Everybody can have a turn in the figurative dunk tank, and it’s going to be just as awful every time. Gossip abhors a vacuum to a degree nature can only aspire to, so it’s a grave mistake to count on gentle treatment just because somebody else received the opposite.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 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=What+the+royal+family+doesn%27t+understand+about+PR+in+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The release of Kate Middleton’s Mother’s Day photo was a major PR blunder. By now, “the firm” should’ve seen it coming.","status":"publish","parent":0,"modified":1710368278,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1313},"headData":{"title":"What’s Going on With Kate Middleton? Mostly, a PR Disaster | KQED","description":"The release of Kate Middleton’s Mother’s Day photo was a major PR blunder. By now, “the firm” should’ve seen it coming.","ogTitle":"What the Royal Family Doesn't Understand About PR in 2024","ogDescription":"","ogImgId":"","twTitle":"What the Royal Family Doesn't Understand About PR in 2024","twDescription":"","twImgId":"","socialTitle":"What’s Going on With Kate Middleton? Mostly, a PR Disaster %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"What the Royal Family Doesn’t Understand About PR in 2024","datePublished":"2024-03-13T17:54:27.000Z","dateModified":"2024-03-13T22:17:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Charles McQuillan","nprByline":"Linda Holmes","nprImageAgency":"Getty Images","nprStoryId":"1238045755","nprApiLink":"http://api.npr.org/query?id=1238045755&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/12/1238045755/kate-middleton-photo?ft=nprml&f=1238045755","nprRetrievedStory":"1","nprPubDate":"Tue, 12 Mar 2024 13:42:00 -0400","nprStoryDate":"Tue, 12 Mar 2024 13:04:00 -0400","nprLastModifiedDate":"Tue, 12 Mar 2024 13:42:58 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953998/kate-middleton-conspiracy-theory-prince-william-royal-family-pr-disaster","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/kate-5012aa2a3f30db129f2dc7203e71cd0beb8f2eb4-scaled-e1710351521464.jpg\" alt=\"A thin white woman with long dark hair gestures to waiting crowds. She is wearing a long, belted, cornflower blue coat.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">The Duchess of Cambridge walks around Ballymena, Northern Ireland on February 28, 2019. She has recently disappeared from the public eye after having abdominal surgery. \u003ccite>(Charles McQuillan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let me get this out of the way right now: I have yet to see anything that has persuaded me that anything is “going on” with Kate Middleton other than what the palace originally said: She had abdominal surgery, the recovery is involved enough that she needs \u003cem>months \u003c/em>away from her work, and that’s the story.\u003c/p>\n\u003cp>But the absolute clown show that has been the palace’s handling of spiraling speculation about her has made the whole thing worse and underscored that whatever command they once had over “controlling the narrative” has deserted them. I’m not sure they have a Kate problem, but I think they have a massive, pressing comms problem. There are several foundational pieces of advice about the current media environment that the palace — “the firm,” as we’ve now heard it called so often — either does not understand or has not accounted for.\u003c/p>\n\u003ch3>\u003cstrong>You will not stop Reddit and TikTok from speculating, so do not try. \u003c/strong>\u003c/h3>\n\u003cp>The term “conspiracy theory” is overused at this point. A conspiracy theory involves seemingly disconnected parties working in undisclosed tandem to keep something secret. What’s more relevant to this story is something I would call recreational conjecture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_103656","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“She’s dead,” “She’s missing,” “She’s in a coma” and “She’s planning to get a divorce” are the kinds of things that don’t even qualify as rumors, exactly; they are flights of fancy done for entertainment and social interaction. While some ideas like this show up in more traditional media, their \u003cem>multipliers \u003c/em>and \u003cem>magnifiers \u003c/em>are social spaces like TikTok and Reddit.\u003c/p>\n\u003cp>People in those social spaces who most enthusiastically engage in this do not require supporting evidence for recreational conjecture, nor does factual refutation reliably stop them. Putting out pictures, statements, strategic leaks — there’s no point. There is always a way to take a piece of evidence, put it next to your pet theory, and pound it with a hammer until it seems like it fits together. Trying to keep people from speculating on TikTok is like trying to stop it from raining.\u003c/p>\n\u003ch3>\u003cstrong>Do not feed amphetamines to a dragon you are hoping will fall asleep.\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4U_IqTNaqU/?utm_source=ig_embed&ig_rid=8a729e2d-570c-4580-b32e-9a7f23bc8d4c\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png\" alt=\"\" width=\"540\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM-160x313.png 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is impossible to stop recreational conjecture in its tracks. It is possible, however, not to spur it on. The release of the Mother’s Day photo is the most obvious misstep in this entire debacle. In retrospect, it’s just a mom and her kids — they didn’t say it was a photo from right now. They didn’t say it was meant as some kind of proof of life. But it should have been clear to any clever PR person that it would be taken that way and closely scrutinized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13866072","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s too late in the game to pretend that a nice photo is just a nice photo. That cycle of speculate-and-post, speculate-and-post-again, thrives on new “evidence.” That means the best thing to say is nothing. Keep repeating: we told you she was having surgery and wouldn’t be working in public until Easter. We told you she was having surgery and wouldn’t be working in public until Easter. We told you … you see what I mean? Yes, the speculation rages, and yes, it’s terrible, and yes, it probably really hurts. But if the reason people are so curious is that they haven’t seen her recently, and if you aren’t going to change that fact, the best you can do is deprive the cycle of oxygen — at least oxygen that comes from you.\u003c/p>\n\u003ch3>\u003cstrong>People are bored out there. \u003c/strong>\u003c/h3>\n\u003cp>Look, internet “sleuths” can be a real problem. They have misidentified people as having committed terrible crimes. They have screwed with people’s lives. But there’s another category of people relevant to this story: the bored basics who may not be into sleuthing, but they know what Photoshop disasters look like. They’ve been looking at YouTube videos, Tumblr accounts and the r/PhotoshopFails subreddit for ages. It’s been 35 years since \u003ca href=\"https://www.nytimes.com/1989/08/30/arts/going-too-far-with-the-winfrey-diet.html\">Oprah’s head was depicted on Ann-Margret’s body\u003c/a> on the cover of \u003cem>TV Guide\u003c/em>. People are onto this stuff, and the current roiling debates about AI have only fed these media-authenticity hobbyists.\u003c/p>\n\u003cp>It would be one thing if the Mother’s Day photo had taken highly advanced forensic examination for people to determine that it had been substantially manipulated. It did not. This was an easy one. People have time. They’re out there analyzing the \u003ca href=\"https://www.tiktok.com/@notannareportsnews/video/7304454682330582302\">reliability of eye shadow swatches\u003c/a>. They’re out there examining how people on Instagram \u003ca href=\"https://www.youtube.com/watch?v=quszke8ceuY&t=990s&ab_channel=JamesWelsh\">make themselves seem rich\u003c/a>. If you put a \u003ca href=\"https://www.npr.org/2024/03/11/1237413938/kate-middleton-photo-edited\">pretty obviously (and clumsily) edited photo out\u003c/a>, people will look at it extremely carefully, especially if there is already wild speculation swirling out there. This was very, very, very easy to see coming.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1767135566645092616"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>\u003cstrong>As a story evolves, your strategy has to evolve, too. \u003c/strong>\u003c/h3>\n\u003cp>Think of it like this: The more you are already being questioned about hiding the truth, the more definitively anything you release must clarify what the truth is, or else it’s not worth putting it out at all. That’s why \u003ca href=\"https://twitter.com/royalrota/status/1767207738990301243?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1767207738990301243%7Ctwgr%5E9ff2299dc17f462a3e7dabd258f3a25f7babf61d%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.thedailybeast.com%2Fkate-middleton-photographed-in-car-amid-manipulated-image-fiasco\">the photo of her in the car with William\u003c/a> — again a photo of her as far as anyone knows! — will not help and will make everything worse. Does that look like the shape of her face? Sure! Does that look like someone who is recovering from surgery and isn’t ready to be photographed, which is exactly the story they’ve been telling \u003cem>from the beginning\u003c/em>? Sure!\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1767207738990301243"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>However, will a photo of the back of someone’s head slow all this down at this point? Absolutely not! No! I know a lot of people who, like me, initially were inclined to give the benefit of the doubt to the most mundane explanation of all this: Surgery can be very taxing, especially abdominal surgery, and the attention on her is so intense that she probably didn’t want to be seen until she felt 100% ready. But the more \u003cem>weird stuff\u003c/em> happens, the more some people start to wonder what on earth is going on. When you have shaken people’s faith in anything you say, just stop talking.\u003c/p>\n\u003ch3>\u003cstrong>Today’s hero is tomorrow’s target. \u003c/strong>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It can feel like the palace effectively managed the public perception of Harry and Meghan (with some help from Harry and Meghan), and by doing so, like they burnished and boosted William and Kate as better and more worthy royals. But it doesn’t \u003cem>really\u003c/em> work that way. If you have two couples and they are placed in parallel (because the men are brothers — Diana’s sons — and because of the splashy weddings), there doesn’t have to be one winner and one loser. Everybody can have a turn in the figurative dunk tank, and it’s going to be just as awful every time. Gossip abhors a vacuum to a degree nature can only aspire to, so it’s a grave mistake to count on gentle treatment just because somebody else received the opposite.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 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=What+the+royal+family+doesn%27t+understand+about+PR+in+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953998/kate-middleton-conspiracy-theory-prince-william-royal-family-pr-disaster","authors":["byline_arts_13953998"],"categories":["arts_1","arts_2303","arts_835","arts_75"],"tags":["arts_8302","arts_8126","arts_5292"],"affiliates":["arts_137"],"featImg":"arts_13954004","label":"arts_137"},"arts_13953424":{"type":"posts","id":"arts_13953424","meta":{"index":"posts_1591205157","site":"arts","id":"13953424","score":null,"sort":[1709685520000]},"guestAuthors":[],"slug":"film-critics-oscars-alternative-awards-best-movie-dog-stunt-cameo-song","title":"Best Dog? Best Hat? Ahead of the Oscars, Film Critics Hand Out Their Own Awards","publishDate":1709685520,"format":"standard","headTitle":"Best Dog? Best Hat? Ahead of the Oscars, Film Critics Hand Out Their Own Awards | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Academy Awards honor many things in movies but not some of the most important. Ahead of Sunday’s Oscars, Associated Press film writers Lindsey Bahr and Jake Coyle make selections for their own awards — some more offbeat than others.\u003c/p>\n\u003ch2>Best Actually Supporting Performance: Cory Michael Smith, ‘May December’\u003c/h2>\n\u003cp>Sometimes the best truly supporting performances are the ones that will never, ever get the “awards push,” like the brilliant Cory Michael Smith as Georgie Atherton in \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>. With his subtly manic energy, sad smile and that awful bleached hair, his is that kind of undeniable presence who steals both scenes he’s in and also completely upends everything we’ve come to understand so far. But this is how awards season works and something that only our awards strategist friends can justify. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953431\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953431\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png\" alt=\"A nervous looking woman sits on a bench, hands clasped in her lap, next to a younger man who is sitting casually with his legs crossed.\" width=\"1276\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-1020x713.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-768x537.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Cory Michael Smith in a scene from ‘May December.’ \u003ccite>(François Duhamel/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Hairstyle: Gwen’s upside-down ponytail, ‘Spider-Man: Across the Spider-Verse’\u003c/h2>\n\u003cp>There are, no doubt, more elegantly styled heads of hair among this year’s Oscar nominees. But no ‘do could match the gravity-assisted beauty of the ponytail that hangs suspended in the air when Gwen (Hailee Steinfeld) and Miles (Shameik Moore) sit together, clung to the underside of cornice, gazing out at an upturned New York in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. For a topsy-turvy, canon-breaking film series, Gwen’s upside-down ponytail points the way. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953432\" class=\"wp-caption aligncenter\" style=\"max-width: 1168px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953432\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png\" alt=\"An illustration of two small figures sitting on a bench. In the distance, a city skyline can be seen upside down.\" width=\"1168\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png 1168w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-768x463.png 768w\" sizes=\"(max-width: 1168px) 100vw, 1168px\">\u003cfigcaption class=\"wp-caption-text\">Miles Morales as Spider-Man and Spider-Gwen in a scene from Columbia Pictures and Sony Pictures Animation’s ‘Spider-Man: Across the Spider-Verse.’ \u003ccite>(Sony Pictures Animation via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Duo Act: Jeffrey Wright and John Ortiz, ‘American Fiction’\u003c/h2>\n\u003cp>As great as the whole ensemble is in Cord Jefferson’s incisive drama, the movie is never better than when Wright and Ortiz are matched together. When Wright’s frustrated novelist Monk Ellison meets with his agent Arthur (Ortiz), \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> sparkles with the comic interplay of two character-actor greats. Give these guys a sitcom and I’d watch six seasons. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953433\" class=\"wp-caption aligncenter\" style=\"max-width: 1206px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png\" alt=\"A Black man in a polo shirt and a Latino man in a shirt and tie both peer down at a desk looking concerned.\" width=\"1206\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png 1206w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-1020x665.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-768x501.png 768w\" sizes=\"(max-width: 1206px) 100vw, 1206px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright and John Ortiz in a scene from ‘American Fiction.’ \u003ccite>(MGM via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Cameo: Margot Robbie, ‘Asteroid City’\u003c/h2>\n\u003cp>Wes Anderson’s \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> got a raw deal this year with zero nominations (maybe he’ll win his first Oscar for his Henry Sugar short). One performance in a sea of great ones that really made an impact was a true cameo that’s saved for the very end: Margot Robbie as the actor whose scene as Jason Schwartzman’s dead wife was cut for time. She gets only a few minutes, to remind her would’ve-been co-star of their would’ve-been lines, dressed in Elizabethan garb a balcony away. It is an emotional gut punch of the best kind, brief and perfect. — L.B.\u003c/p>\n\u003ch2>Best Face: Willem Dafoe, ‘Poor Things’\u003c/h2>\n\u003cp>Willem Dafoe’s face is already a work of art, but\u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem> Poor Things\u003c/em>\u003c/a> turns it into a Munch-esque masterpiece. His scarred Dr. Godwin Baxter, whose deformities come from experiments performed on him, is like a fusion of mad scientist and wounded victim. He’s Frankenstein and Frankenstein’s monster, in one. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953434\" class=\"wp-caption aligncenter\" style=\"max-width: 1270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png\" alt=\"A disfigured man sits at a dining table next to a contraption made of glass bottles and tubes.\" width=\"1270\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png 1270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-1020x626.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-768x472.png 768w\" sizes=\"(max-width: 1270px) 100vw, 1270px\">\u003cfigcaption class=\"wp-caption-text\">Willem Dafoe in a scene from ‘Poor Things.’ \u003ccite>(Atsushi Nishijima/ Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Stunts: ‘Mission: Impossible: Dead Reckoning — Part One’\u003c/h2>\n\u003cp>It remains wild that the film academy still doesn’t recognize stunts, but we can here. \u003cem>Mission: Impossible – Dead Reckoning\u003c/em> isn’t the underdog in this category but that doesn’t make what they did any less impressive. The obvious “best” is the cliff jump, which most of us know by now that Tom Cruise did himself. But I’m also partial to the Rome car chase in which Cruise and Hayley Atwell try to escape capture in a creaky, vintage Fiat 500 while handcuffed together. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953435\" class=\"wp-caption aligncenter\" style=\"max-width: 1138px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953435\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png\" alt=\"A man flies through the air in a horizontal position, a motorbike if falling vertically underneath him.\" width=\"1138\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png 1138w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-768x510.png 768w\" sizes=\"(max-width: 1138px) 100vw, 1138px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cruise in a scene from ‘Mission: Impossible — Dead Reckoning, Part One.’ \u003ccite>(Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of Earth Wind and Fire’s ‘September’: ‘Robot Dreams’\u003c/h2>\n\u003cp>“September” has probably been heard in a hundred movies and at a billion weddings, but the best animated feature nominee \u003cem>Robot Dreams\u003c/em> uses the disco classic to perfection. In a movie that is strikingly grown-up about a relationship between a dog and robot, all of the joy and nostalgia of “September” has never been more moving. It sends you out of the theater humming “The bell was ringin’, oh, oh / Our souls were singin’.” — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953436\" class=\"wp-caption aligncenter\" style=\"max-width: 956px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953436\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png\" alt=\"A robot and a dog stand in front of a hotdog cart at a park, holding hot dogs.\" width=\"956\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-800x571.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-768x548.png 768w\" sizes=\"(max-width: 956px) 100vw, 956px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Robot Dreams.’ \u003ccite>(Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Stylish: ‘Priscilla’\u003c/h2>\n\u003cp>This is perhaps a silly superlative to give to a movie that was easily one of the strongest adaptations of the year, taking what was essentially a young woman’s diary entries and making something evocative and profound without the use of first-person narration. The thoughtful style of \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">Sofia Coppola’s film\u003c/a> helps make this point, transporting audiences into this intoxicating and dreamlike wonderland of the most beautiful clothes and glamorous settings with the biggest star of the time, and guiding us along with Pricilla to the realization that it is also a nightmare. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953437\" class=\"wp-caption aligncenter\" style=\"max-width: 1262px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png\" alt=\"A 1960s bride and groom stand before a tiered wedding cake in front of an arch made of white roses. \" width=\"1262\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png 1262w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-1020x684.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-768x515.png 768w\" sizes=\"(max-width: 1262px) 100vw, 1262px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny and Jacob Elordi in a scene from ‘Priscilla.’ \u003ccite>(Philippe Le Sourd/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Scene: The Trinity Test, ‘Oppenheimer’\u003c/h2>\n\u003cp>I don’t love everything about Christopher Nolan’s epic but I think the Trinity Test scene is a sequence that will be taught to film students for generations. It’s not just the explosion itself, which was accomplished with old-school moviemaking techniques like forced perspective (doing something small but making it seem big). It’s the rumbling tremors of the moments that follow, when Oppenheimer, after hearing that the bomb has been dropped on Hiroshima, is greeted by a flag-waving gymnasium audience. Oppenheimer’s face is horrified, reckoning with what he’s wrought. The crowd turns grotesque and ashen. A girl (played by Nolan’s daughter) shrieks. Here is the real thunder of \u003ca href=\"https://www.kqed.org/arts/13932204/oppenheimer-japanese-erasure\">\u003cem>Oppenheimer\u003c/em>\u003c/a>. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953438\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png\" alt=\"A white man sits, wearing goggles in front of a small window. His face is lit up in bright light.\" width=\"1278\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-768x535.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in a scene from ‘Oppenheimer.’ \u003ccite>(Universal Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Dream Ballet: ‘Barbie’\u003c/h2>\n\u003cp>Last year had so much great dancing, from the sweaty club scenes in \u003cem>Passages\u003c/em>, to the wedding line dance in \u003cem>The Iron Claw\u003c/em>, Jeff’s silly moves in \u003ca href=\"https://www.kqed.org/arts/13933589/behind-bottoms-a-wild-queer-and-bloody-high-school-sex-comedy\">\u003cem>Bottoms\u003c/em>\u003c/a>, Bella Baxter’s broken doll euphoria in \u003cem>Poor Things\u003c/em>, \u003cem>M3GAN\u003c/em>’s boogie and, of course, the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a>. But the trophy goes to Greta Gerwig’s euphoric “I’m Just Ken” dream ballet, a sequence she fought to keep in that is also the \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">best in the film\u003c/a>. — L.B.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VDCnJHyMuyU\u003c/p>\n\u003ch2>Best Fight: Julia Louis-Dreyfus and Tobias Menzies, ‘You Hurt My Feelings’\u003c/h2>\n\u003cp>Sure, you could pick more violent encounters. But is there possibly anything more ferociously rock ’em-sock ’em than an author overhearing her husband say he doesn’t like her latest book? In Nicole Holofcener’s \u003cem>You Hurt My Feelings\u003c/em>, it’s the opening salvo in a painfully, hysterically acute examination of honesty in relationships. Not, I repeat not, a date movie. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953440\" class=\"wp-caption aligncenter\" style=\"max-width: 1198px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png\" alt=\"A white man and a white woman stand in a living room, facing forward and looking stunned.\" width=\"1198\" height=\"748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png 1198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-800x499.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-1020x637.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-768x480.png 768w\" sizes=\"(max-width: 1198px) 100vw, 1198px\">\u003cfigcaption class=\"wp-caption-text\">Tobias Menzies and Julia Louis-Dreyfus in a scene from ‘You Hurt My Feelings.’ \u003ccite>(Jeong Park/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of a Preexisting Song: ‘Silver Joy’ by Damien Jurado, ‘The Holdovers’\u003c/h2>\n\u003cp>I think the original song category needs an overhaul. For years, movies have helped introduce me to songs that exist that I might have missed, that become immediate favorites because of the emotional association with a movie. Selecting the right existing song is such an art and one last year stood out over all the rest: Damien Jurado’s “Silver Joy” in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>. — L.B.\u003c/p>\n\u003ch2>Best Hat: Michael Fassbender’s bucket hat, ‘The Killer’\u003c/h2>\n\u003cp>Meticulous movie hitmen have long worn stylish hats. Think of the fedora of the protagonist of \u003cem>Le Samouraï.\u003c/em> The assassin of David Fincher’s \u003ca href=\"https://www.kqed.org/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender\">\u003cem>The Killer\u003c/em>\u003c/a>, though, wears a bucket hat. It’s just as much a silhouette, but he looks more like a dopey tourist than a stone-cold killer. That’s much the point for a movie about murder in increasingly anonymous times. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13937722\" class=\"wp-caption aligncenter\" style=\"max-width: 1584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png\" alt=\"A white man wearing leisure wear including white pants and a beige sun hat sits on a bench, looking relaxed.\" width=\"1584\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png 1584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-800x574.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1020x732.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-768x551.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1536x1102.png 1536w\" sizes=\"(max-width: 1584px) 100vw, 1584px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender stars in ‘The Killer.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best One-Scene Performance: Audra McDonald, ‘Origin’\u003c/h2>\n\u003cp>In Ava DuVernay’s too-overlooked \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, much of the film’s sense of humanity comes from the rich presences of the actors who float in and out of the movie. Not just the stellar lead, Aunjanue Ellis-Taylor, but a number of performers — including Jon Bernthal, Emily Yancy and Nick Offerman — add to the nuance of \u003cem>Origin\u003c/em>. That’s especially true of Audra McDonald, who turns up for just one scene that may be the most potent of the film. McDonald plays a woman named Miss Hale, and her story of how she got that name is a delicate powerhouse. — J.C.\u003c/p>\n\u003ch2>Most Romantic: ‘The Taste of Things’\u003c/h2>\n\u003cp>There are not many truly romantic films made for big audiences these days. Sure there’s the odd rom-com here and there, but sweeping, luscious, capital R romances are few and far between and rarely celebrated at awards season (yes, I’m still thinking about Joe Wright’s \u003cem>Cyrano\u003c/em>). This season, that title went to \u003ca href=\"https://www.kqed.org/arts/13951896/the-taste-of-things-juliette-binoche-food-movie-review\">\u003cem>The Taste of Things\u003c/em>\u003c/a>, which doesn’t have an ounce of cynicism, just pure love. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953441\" class=\"wp-caption aligncenter\" style=\"max-width: 1274px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953441\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png\" alt=\"A woman and man stand close together next to a stove pouring one pan into another.\" width=\"1274\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-768x510.png 768w\" sizes=\"(max-width: 1274px) 100vw, 1274px\">\u003cfigcaption class=\"wp-caption-text\">Juliette Binoche and Benoît Magimel in a scene from ‘The Taste of Things.’ \u003ccite>(Stéphanie Branchu/ IFC Films via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best NFL Player Performance: Marshawn Lynch, ‘Bottoms’\u003c/h2>\n\u003cp>With exactly zero apologies to \u003cem>80 for Brady\u003c/em> (Jets fan here), no former footballer made more of a big-screen impression than Marshawn Lynch, the former elite running back known as “Beast Mode.” In Emma Seligman’s raunchy lesbian teen comedy \u003cem>Bottoms\u003c/em>, Lynch turns up as a high school teacher and is quite funny acting opposite Rachel Sennott and Ayo Edebiri. The role also has poignance. Lynch has said he did it to help make up for how he handled his sister, Marreesha Sapp-Lynch, coming out in high school. — J.C.\u003c/p>\n\u003ch2>Best Dog Not Named Snoop: Chaplin, ‘Fallen Leaves’\u003c/h2>\n\u003cp>Snoop, the all-seeing dog in the best picture nominee \u003cem>Anatomy of a Fall\u003c/em>, has really hogged the pooch spotlight. Messi, the dog who plays Snoop, has been all over the place, including the film academy luncheon. But it’s time his reign of terror came to end. In Aki Kaurismäki’s \u003cem>Fallen Leaves\u003c/em>, my favorite film of 2023, a pair of loners find nourishing points of connection in a cruel and grim world: the movies, karaoke and a dog named Chaplin. The dog, named Alma in real life, is Kaurismäki’s own mutt, and deserves a few bones thrown her way, too. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953442\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953442\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png\" alt=\"A woman sits in a waiting room with one arm around a small dog.\" width=\"1266\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-768x523.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Alma Pöysti and Alma the dog in a scene from ‘Fallen Leaves.’ \u003ccite>(MUBI via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Associated Press writers Lindsey Bahr and Jake Coyle pick the best movie cameo, face, stunts and more.","status":"publish","parent":0,"modified":1709685520,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":2001},"headData":{"title":"Alternative Oscars: Picks for Best Dog, Cameo, Hat and More | KQED","description":"Associated Press writers Lindsey Bahr and Jake Coyle pick the best movie cameo, face, stunts and more.","ogTitle":"Best Dog? Best Hat? Ahead of the Oscars, Film Critics Hand Out Their Own Awards","ogDescription":"","ogImgId":"","twTitle":"Best Dog? Best Hat? Ahead of the Oscars, Film Critics Hand Out Their Own Awards","twDescription":"","twImgId":"","socialTitle":"Alternative Oscars: Picks for Best Dog, Cameo, Hat and More %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Best Dog? Best Hat? Ahead of the Oscars, Film Critics Hand Out Their Own Awards","datePublished":"2024-03-06T00:38:40.000Z","dateModified":"2024-03-06T00:38:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lindsey Bahr, Jake Coyle, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953424/film-critics-oscars-alternative-awards-best-movie-dog-stunt-cameo-song","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Academy Awards honor many things in movies but not some of the most important. Ahead of Sunday’s Oscars, Associated Press film writers Lindsey Bahr and Jake Coyle make selections for their own awards — some more offbeat than others.\u003c/p>\n\u003ch2>Best Actually Supporting Performance: Cory Michael Smith, ‘May December’\u003c/h2>\n\u003cp>Sometimes the best truly supporting performances are the ones that will never, ever get the “awards push,” like the brilliant Cory Michael Smith as Georgie Atherton in \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>. With his subtly manic energy, sad smile and that awful bleached hair, his is that kind of undeniable presence who steals both scenes he’s in and also completely upends everything we’ve come to understand so far. But this is how awards season works and something that only our awards strategist friends can justify. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953431\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953431\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png\" alt=\"A nervous looking woman sits on a bench, hands clasped in her lap, next to a younger man who is sitting casually with his legs crossed.\" width=\"1276\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-1020x713.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-768x537.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Cory Michael Smith in a scene from ‘May December.’ \u003ccite>(François Duhamel/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Hairstyle: Gwen’s upside-down ponytail, ‘Spider-Man: Across the Spider-Verse’\u003c/h2>\n\u003cp>There are, no doubt, more elegantly styled heads of hair among this year’s Oscar nominees. But no ‘do could match the gravity-assisted beauty of the ponytail that hangs suspended in the air when Gwen (Hailee Steinfeld) and Miles (Shameik Moore) sit together, clung to the underside of cornice, gazing out at an upturned New York in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. For a topsy-turvy, canon-breaking film series, Gwen’s upside-down ponytail points the way. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953432\" class=\"wp-caption aligncenter\" style=\"max-width: 1168px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953432\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png\" alt=\"An illustration of two small figures sitting on a bench. In the distance, a city skyline can be seen upside down.\" width=\"1168\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png 1168w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-768x463.png 768w\" sizes=\"(max-width: 1168px) 100vw, 1168px\">\u003cfigcaption class=\"wp-caption-text\">Miles Morales as Spider-Man and Spider-Gwen in a scene from Columbia Pictures and Sony Pictures Animation’s ‘Spider-Man: Across the Spider-Verse.’ \u003ccite>(Sony Pictures Animation via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Duo Act: Jeffrey Wright and John Ortiz, ‘American Fiction’\u003c/h2>\n\u003cp>As great as the whole ensemble is in Cord Jefferson’s incisive drama, the movie is never better than when Wright and Ortiz are matched together. When Wright’s frustrated novelist Monk Ellison meets with his agent Arthur (Ortiz), \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> sparkles with the comic interplay of two character-actor greats. Give these guys a sitcom and I’d watch six seasons. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953433\" class=\"wp-caption aligncenter\" style=\"max-width: 1206px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png\" alt=\"A Black man in a polo shirt and a Latino man in a shirt and tie both peer down at a desk looking concerned.\" width=\"1206\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png 1206w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-1020x665.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-768x501.png 768w\" sizes=\"(max-width: 1206px) 100vw, 1206px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright and John Ortiz in a scene from ‘American Fiction.’ \u003ccite>(MGM via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Cameo: Margot Robbie, ‘Asteroid City’\u003c/h2>\n\u003cp>Wes Anderson’s \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> got a raw deal this year with zero nominations (maybe he’ll win his first Oscar for his Henry Sugar short). One performance in a sea of great ones that really made an impact was a true cameo that’s saved for the very end: Margot Robbie as the actor whose scene as Jason Schwartzman’s dead wife was cut for time. She gets only a few minutes, to remind her would’ve-been co-star of their would’ve-been lines, dressed in Elizabethan garb a balcony away. It is an emotional gut punch of the best kind, brief and perfect. — L.B.\u003c/p>\n\u003ch2>Best Face: Willem Dafoe, ‘Poor Things’\u003c/h2>\n\u003cp>Willem Dafoe’s face is already a work of art, but\u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem> Poor Things\u003c/em>\u003c/a> turns it into a Munch-esque masterpiece. His scarred Dr. Godwin Baxter, whose deformities come from experiments performed on him, is like a fusion of mad scientist and wounded victim. He’s Frankenstein and Frankenstein’s monster, in one. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953434\" class=\"wp-caption aligncenter\" style=\"max-width: 1270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png\" alt=\"A disfigured man sits at a dining table next to a contraption made of glass bottles and tubes.\" width=\"1270\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png 1270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-1020x626.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-768x472.png 768w\" sizes=\"(max-width: 1270px) 100vw, 1270px\">\u003cfigcaption class=\"wp-caption-text\">Willem Dafoe in a scene from ‘Poor Things.’ \u003ccite>(Atsushi Nishijima/ Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Stunts: ‘Mission: Impossible: Dead Reckoning — Part One’\u003c/h2>\n\u003cp>It remains wild that the film academy still doesn’t recognize stunts, but we can here. \u003cem>Mission: Impossible – Dead Reckoning\u003c/em> isn’t the underdog in this category but that doesn’t make what they did any less impressive. The obvious “best” is the cliff jump, which most of us know by now that Tom Cruise did himself. But I’m also partial to the Rome car chase in which Cruise and Hayley Atwell try to escape capture in a creaky, vintage Fiat 500 while handcuffed together. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953435\" class=\"wp-caption aligncenter\" style=\"max-width: 1138px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953435\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png\" alt=\"A man flies through the air in a horizontal position, a motorbike if falling vertically underneath him.\" width=\"1138\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png 1138w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-768x510.png 768w\" sizes=\"(max-width: 1138px) 100vw, 1138px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cruise in a scene from ‘Mission: Impossible — Dead Reckoning, Part One.’ \u003ccite>(Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of Earth Wind and Fire’s ‘September’: ‘Robot Dreams’\u003c/h2>\n\u003cp>“September” has probably been heard in a hundred movies and at a billion weddings, but the best animated feature nominee \u003cem>Robot Dreams\u003c/em> uses the disco classic to perfection. In a movie that is strikingly grown-up about a relationship between a dog and robot, all of the joy and nostalgia of “September” has never been more moving. It sends you out of the theater humming “The bell was ringin’, oh, oh / Our souls were singin’.” — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953436\" class=\"wp-caption aligncenter\" style=\"max-width: 956px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953436\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png\" alt=\"A robot and a dog stand in front of a hotdog cart at a park, holding hot dogs.\" width=\"956\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-800x571.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-768x548.png 768w\" sizes=\"(max-width: 956px) 100vw, 956px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Robot Dreams.’ \u003ccite>(Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Stylish: ‘Priscilla’\u003c/h2>\n\u003cp>This is perhaps a silly superlative to give to a movie that was easily one of the strongest adaptations of the year, taking what was essentially a young woman’s diary entries and making something evocative and profound without the use of first-person narration. The thoughtful style of \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">Sofia Coppola’s film\u003c/a> helps make this point, transporting audiences into this intoxicating and dreamlike wonderland of the most beautiful clothes and glamorous settings with the biggest star of the time, and guiding us along with Pricilla to the realization that it is also a nightmare. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953437\" class=\"wp-caption aligncenter\" style=\"max-width: 1262px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png\" alt=\"A 1960s bride and groom stand before a tiered wedding cake in front of an arch made of white roses. \" width=\"1262\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png 1262w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-1020x684.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-768x515.png 768w\" sizes=\"(max-width: 1262px) 100vw, 1262px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny and Jacob Elordi in a scene from ‘Priscilla.’ \u003ccite>(Philippe Le Sourd/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Scene: The Trinity Test, ‘Oppenheimer’\u003c/h2>\n\u003cp>I don’t love everything about Christopher Nolan’s epic but I think the Trinity Test scene is a sequence that will be taught to film students for generations. It’s not just the explosion itself, which was accomplished with old-school moviemaking techniques like forced perspective (doing something small but making it seem big). It’s the rumbling tremors of the moments that follow, when Oppenheimer, after hearing that the bomb has been dropped on Hiroshima, is greeted by a flag-waving gymnasium audience. Oppenheimer’s face is horrified, reckoning with what he’s wrought. The crowd turns grotesque and ashen. A girl (played by Nolan’s daughter) shrieks. Here is the real thunder of \u003ca href=\"https://www.kqed.org/arts/13932204/oppenheimer-japanese-erasure\">\u003cem>Oppenheimer\u003c/em>\u003c/a>. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953438\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png\" alt=\"A white man sits, wearing goggles in front of a small window. His face is lit up in bright light.\" width=\"1278\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-768x535.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in a scene from ‘Oppenheimer.’ \u003ccite>(Universal Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Dream Ballet: ‘Barbie’\u003c/h2>\n\u003cp>Last year had so much great dancing, from the sweaty club scenes in \u003cem>Passages\u003c/em>, to the wedding line dance in \u003cem>The Iron Claw\u003c/em>, Jeff’s silly moves in \u003ca href=\"https://www.kqed.org/arts/13933589/behind-bottoms-a-wild-queer-and-bloody-high-school-sex-comedy\">\u003cem>Bottoms\u003c/em>\u003c/a>, Bella Baxter’s broken doll euphoria in \u003cem>Poor Things\u003c/em>, \u003cem>M3GAN\u003c/em>’s boogie and, of course, the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a>. But the trophy goes to Greta Gerwig’s euphoric “I’m Just Ken” dream ballet, a sequence she fought to keep in that is also the \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">best in the film\u003c/a>. — L.B.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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/VDCnJHyMuyU'\n title='//www.youtube.com/embed/VDCnJHyMuyU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Best Fight: Julia Louis-Dreyfus and Tobias Menzies, ‘You Hurt My Feelings’\u003c/h2>\n\u003cp>Sure, you could pick more violent encounters. But is there possibly anything more ferociously rock ’em-sock ’em than an author overhearing her husband say he doesn’t like her latest book? In Nicole Holofcener’s \u003cem>You Hurt My Feelings\u003c/em>, it’s the opening salvo in a painfully, hysterically acute examination of honesty in relationships. Not, I repeat not, a date movie. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953440\" class=\"wp-caption aligncenter\" style=\"max-width: 1198px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png\" alt=\"A white man and a white woman stand in a living room, facing forward and looking stunned.\" width=\"1198\" height=\"748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png 1198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-800x499.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-1020x637.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-768x480.png 768w\" sizes=\"(max-width: 1198px) 100vw, 1198px\">\u003cfigcaption class=\"wp-caption-text\">Tobias Menzies and Julia Louis-Dreyfus in a scene from ‘You Hurt My Feelings.’ \u003ccite>(Jeong Park/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of a Preexisting Song: ‘Silver Joy’ by Damien Jurado, ‘The Holdovers’\u003c/h2>\n\u003cp>I think the original song category needs an overhaul. For years, movies have helped introduce me to songs that exist that I might have missed, that become immediate favorites because of the emotional association with a movie. Selecting the right existing song is such an art and one last year stood out over all the rest: Damien Jurado’s “Silver Joy” in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>. — L.B.\u003c/p>\n\u003ch2>Best Hat: Michael Fassbender’s bucket hat, ‘The Killer’\u003c/h2>\n\u003cp>Meticulous movie hitmen have long worn stylish hats. Think of the fedora of the protagonist of \u003cem>Le Samouraï.\u003c/em> The assassin of David Fincher’s \u003ca href=\"https://www.kqed.org/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender\">\u003cem>The Killer\u003c/em>\u003c/a>, though, wears a bucket hat. It’s just as much a silhouette, but he looks more like a dopey tourist than a stone-cold killer. That’s much the point for a movie about murder in increasingly anonymous times. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13937722\" class=\"wp-caption aligncenter\" style=\"max-width: 1584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png\" alt=\"A white man wearing leisure wear including white pants and a beige sun hat sits on a bench, looking relaxed.\" width=\"1584\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png 1584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-800x574.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1020x732.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-768x551.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1536x1102.png 1536w\" sizes=\"(max-width: 1584px) 100vw, 1584px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender stars in ‘The Killer.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best One-Scene Performance: Audra McDonald, ‘Origin’\u003c/h2>\n\u003cp>In Ava DuVernay’s too-overlooked \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, much of the film’s sense of humanity comes from the rich presences of the actors who float in and out of the movie. Not just the stellar lead, Aunjanue Ellis-Taylor, but a number of performers — including Jon Bernthal, Emily Yancy and Nick Offerman — add to the nuance of \u003cem>Origin\u003c/em>. That’s especially true of Audra McDonald, who turns up for just one scene that may be the most potent of the film. McDonald plays a woman named Miss Hale, and her story of how she got that name is a delicate powerhouse. — J.C.\u003c/p>\n\u003ch2>Most Romantic: ‘The Taste of Things’\u003c/h2>\n\u003cp>There are not many truly romantic films made for big audiences these days. Sure there’s the odd rom-com here and there, but sweeping, luscious, capital R romances are few and far between and rarely celebrated at awards season (yes, I’m still thinking about Joe Wright’s \u003cem>Cyrano\u003c/em>). This season, that title went to \u003ca href=\"https://www.kqed.org/arts/13951896/the-taste-of-things-juliette-binoche-food-movie-review\">\u003cem>The Taste of Things\u003c/em>\u003c/a>, which doesn’t have an ounce of cynicism, just pure love. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953441\" class=\"wp-caption aligncenter\" style=\"max-width: 1274px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953441\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png\" alt=\"A woman and man stand close together next to a stove pouring one pan into another.\" width=\"1274\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-768x510.png 768w\" sizes=\"(max-width: 1274px) 100vw, 1274px\">\u003cfigcaption class=\"wp-caption-text\">Juliette Binoche and Benoît Magimel in a scene from ‘The Taste of Things.’ \u003ccite>(Stéphanie Branchu/ IFC Films via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best NFL Player Performance: Marshawn Lynch, ‘Bottoms’\u003c/h2>\n\u003cp>With exactly zero apologies to \u003cem>80 for Brady\u003c/em> (Jets fan here), no former footballer made more of a big-screen impression than Marshawn Lynch, the former elite running back known as “Beast Mode.” In Emma Seligman’s raunchy lesbian teen comedy \u003cem>Bottoms\u003c/em>, Lynch turns up as a high school teacher and is quite funny acting opposite Rachel Sennott and Ayo Edebiri. The role also has poignance. Lynch has said he did it to help make up for how he handled his sister, Marreesha Sapp-Lynch, coming out in high school. — J.C.\u003c/p>\n\u003ch2>Best Dog Not Named Snoop: Chaplin, ‘Fallen Leaves’\u003c/h2>\n\u003cp>Snoop, the all-seeing dog in the best picture nominee \u003cem>Anatomy of a Fall\u003c/em>, has really hogged the pooch spotlight. Messi, the dog who plays Snoop, has been all over the place, including the film academy luncheon. But it’s time his reign of terror came to end. In Aki Kaurismäki’s \u003cem>Fallen Leaves\u003c/em>, my favorite film of 2023, a pair of loners find nourishing points of connection in a cruel and grim world: the movies, karaoke and a dog named Chaplin. The dog, named Alma in real life, is Kaurismäki’s own mutt, and deserves a few bones thrown her way, too. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953442\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953442\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png\" alt=\"A woman sits in a waiting room with one arm around a small dog.\" width=\"1266\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-768x523.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Alma Pöysti and Alma the dog in a scene from ‘Fallen Leaves.’ \u003ccite>(MUBI via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953424/film-critics-oscars-alternative-awards-best-movie-dog-stunt-cameo-song","authors":["byline_arts_13953424"],"categories":["arts_1","arts_2303","arts_74","arts_75"],"tags":["arts_3701","arts_8417","arts_3698"],"featImg":"arts_13953439","label":"arts"},"arts_13952796":{"type":"posts","id":"arts_13952796","meta":{"index":"posts_1591205157","site":"arts","id":"13952796","score":null,"sort":[1709147035000]},"guestAuthors":[],"slug":"nimsins-vinay-ai-album-documentary-sensory-overload","title":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours","publishDate":1709147035,"format":"standard","headTitle":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Stop me if you’ve heard this one before: an East Oakland rapper and Berkeley software engineer fly to New York City to record an album at a DIY studio using beta open-sourced AI technology, then return to the Bay Area to finish it. Oh, and they do it all on a whim, within a total of 24 hours.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the universe (or metaverse?) we live in today — in which community and creativity are inescapably intertwined with technologies we don’t completely understand, but are learning to maneuver in fast-moving, self-directed ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a reality that \u003ca href=\"https://www.instagram.com/nimsins/?hl=en\">Nimsins\u003c/a> and \u003ca href=\"https://www.instagram.com/vinay___/?hl=en\">Vinay Pai\u003c/a> (the rapper and software engineer, respectively) hoped to leverage as friends and artists in their latest collaboration, \u003c/span>\u003ca href=\"https://open.spotify.com/album/7C8vShKWOIcbNXhqMHI7wa\">\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Using a test version of Meta’s\u003c/span>\u003ca href=\"https://musicgen.com/\">\u003cspan style=\"font-weight: 400\"> MusicGen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (which allows users to generate music from text prompts) and Hugging Face (an open source website where emerging AI research is shared for public use), the creative duo came together for what they’re claiming is the first album to use the latest generative music production technology.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/3DBv2ZxbOjU?feature=shared\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of my coworkers used to work on\u003c/span>\u003ca href=\"https://ai.meta.com/research/\">\u003cspan style=\"font-weight: 400\"> Fundamental AI Research [FAIR]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Meta. He worked on deep system stuff, not audio. He told me about [MusicGen] existing [before it went fully public],” says Pai, a UC Berkeley computer science graduate who came up with the idea and reached out to Nimsins, with whom he had previously worked on an album. (Pai also produces music under his first name, Vinay.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The complete project includes the album, an AI-generated music video and a \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lowvJWnXbe4\">\u003cspan style=\"font-weight: 400\">two-part (human-made) documentary\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">about the process. The goal wasn’t necessarily to make the best rap record of all time. It was more about experimenting with new advancements in AI that, at the time the project was recorded last summer, had just leaked to the public on research back channels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The eight-track, 15-minute effort may indicate a growing trend among Bay Area musicians and adjacent hobbyists, who will likely rely more heavily on AI-augmented tools to make art. And it certainly raises questions that the artists themselves are still attempting to answer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So you might be wondering: Is the album any good? And what is lost when human artists yield such a substantial part of their creativity to machine-learning algorithms?\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bridging tech and hip-hop in the shadows of Silicon Valley\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pai isn’t your ordinary software engineer. While studying at Cal in the mid-2010s, he began making hip-hop instrumentals in his spare moments, and met producer \u003c/span>\u003ca href=\"https://www.instagram.com/versaam__/\">\u003cspan style=\"font-weight: 400\">Versâam\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was a student athlete on campus at the time. Versâam recognized Pai’s talents and enlisted him as an intern at\u003c/span>\u003ca href=\"https://www.complex.com/pop-culture/a/eric-arnold/rap-atlas-oakland\">\u003cspan style=\"font-weight: 400\"> Emeryville’s famed The Grill Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where Bay Area rappers like SOB x RBE, Zaytoven, Richie Rich and so many others — including Nimsins — regularly appeared. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After two years at The Grill, Pai ascended in the local music industry, and went on to produce commercials for major companies like Coca-Cola to air during the 2021 FIFA World Cup. However, he often felt underpaid and undervalued for his work. Once the pandemic forced the studio where he worked to temporarily close, Pai pivoted to his background in engineering, opting for a career that could afford him to continue making music on the side. The right opportunity came for him at that moment: AI development.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m not going to sit here and negotiate with [music executives] about pennies when someone can give me life-changing money to work on AI,” Pai says. “That was a year before the big AI boom. I was really fortunate to be put in that position.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“AI is hitting a critical mass,” he continues. “The conversation I’m having with artists is about that. I feel lucky to be a bridge, being in the belly of the beast as far as knowing the technology. Let’s figure out a way [as artists] to use it and take advantage and elevate ourselves.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13863297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863297\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-800x500.jpg\" alt=\"Nimsins (with daughter) meets Steph Curry at Concordia Park in East Oakland after the Warriors star helped unveil a new basketball court at the park.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins (and his daughter) with Steph Curry at a community event in 2019. \u003ccite>(@nimfromthaeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the other hand, Nimsins — who is\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910282/nimsins-raps-about-east-oakland-with-love\"> \u003cspan style=\"font-weight: 400\">a father and mentor to younger artists in East Oakland\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and is currently studying anthropology and Spanish at San José State University — isn’t embedded in tech. Listening to his discography, you get the sense he’s more interested in philosophy and breaking bread with his people than in profit gains and building an NFT portfolio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Nimsins, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> stemmed from his relationship with Pai — who Nimsins praises for simultaneously juggling his roles as a sound engineer, talent manager and vocalist on the album — and his own belief in experimenting with the unknown. After all, isn’t that what artists do — regardless of their technological era?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We recorded some good parts on the album, but there’s some duds, too,” Nimsins admits. “We would sit there for hella long trying to find the right beat, finding the right prompt [to type into MusicGen]. There’s a point in the documentary when you can see how everyone’s spirit changes when we find a good beat. The spirit of collaboration hit the room in a different way.”\u003c/span>\u003c/p>\n\u003cp>And yet, music is also ultimately about the final output, and not just the process.\u003c/p>\n\u003cp>In the documentary’s first part, filmed in New York City, Pai riffs off the cuff: “The reason I play music is because it brings me joy to be in the wave. When you’re in the pocket playing [instruments] with other people, when you’re in sync with them, like when you’re freestyling or you’re in a cypher, when you’re in a band and everybody’s locked in, that’s the joy of music. At the end of the day though, the money doesn’t come from joy. The money comes from the product.” [aside postid='forum_2010101893314']\u003c/p>\n\u003cp>Pai’s outlook on the subject maintains a genuine \u003cem>h\u003c/em>\u003cem>ow can we learn to use this before it uses us?\u003c/em> tone throughout. But, of course, it may not be so simple in an industry where the “product” is also becoming devalued. Access to recording equipment has exploded, effectively decentralizing the music industry with an influx of content to stream on corporate platforms that, as Pai acknowledged, pay literal pennies.\u003c/p>\n\u003cp>To his credit, Pai seems to understand the layered, tangled mess of it all, and isn’t operating with AI blinders on, either.\u003c/p>\n\u003cp>“If you want to do what music is meant to do, which is uplift the spirit, to uplift the soul, to bring communities and people together, you have to keep those traditions alive somehow,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13953130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg\" alt=\"Two artists look at a computer together. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins and Vinay Pai (left to right) work in a studio in New York. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not completely automated… yet\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Japanese jazz.” “Black church music.” “Early 2000s Missy Elliott.” “Experimental psychedelic reggae.” “Nigerian drill.” “’90s DMX type upbeat beat.” “Lo-fi hip-hop with futuristic soul sample.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These are all phrases that a room full of creatives churned out together while using MusicGen. The documentary reveals a loose yet meticulous process of back-and-forth deliberation between the engineering producer (Pai), the MC (Nimsins) and a variety of guest artists (friends, rappers, photographers, videographers) who rotate within the 24-hour window to add their two cents, lay down a verse, then dip.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The differences between any beat the skeleton crew approved or canned could be as nearly imperceptible as typing “drill beat with Japanese jazz sample” instead of “drill beat with experimental flute sample” into the text box. Using screenshare recordings, the documentary captures the hivemind brainstorm as each word is collectively supplied, spraying AI-generated noise in random directions before calibrating the aim with each pull of the new-phrase trigger. It’s an admittedly mesmerizing experience to witness, and one which subtly highlights a different kind of creative problem solving that goes into making an AI-assisted soundtrack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At one point, the camera turns to Pai, who is asked about his thoughts on this emerging tech. His response is sobering, transparent and laden with complex truths: “It’s gonna make it a lot easier to express your ideas. People who don’t have the training, background or experience can get their ideas out way faster. So it’s going to empower a lot of people. But it’s definitely going to change the business.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If AI can make [an instrumental] in five seconds, way faster than me… it’s gonna fuck up the producer game for sure,” he adds. “But as artists you gotta adapt and find a way to create new forms of art.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nimsims doesn’t shy away from the contradictory elements that underpin the duo’s forward-thinking, if not opportunistic, AI-rap dabbling, either.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg\" alt=\"A rapper in the booth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Baby Gandhi records his feature on Nimsins’ ‘SENSORY OVERLOAD’ album. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I wouldn’t do it again myself,” says Nimsins. “I know hella dope producers. I like being hands on. It only worked because Vinay is someone I trust and enjoy. But I like to make my own beats, looking for samples, all that. It was something to do in the moment, like a challenge, something we should learn more about.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the opening track, “ALGORITHMS,” Nimsins spits with his usual word-bending subversion: “Face to the screen and screen to the face / …An algorithm with no rhythm to name / Had ideas, they beginning to fade / Was unique, now wе one and the same / With nobody to blamе, an entity without a thing we can name.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The project involves nine credited musical artists — among them are Indian American rappers and Puerto Rican lyricists, who references are as varied as Islamic teachings and a full verse in Spanish. Considering it was written and recorded using pirate studios on both coasts of the country, all in 24 hours, the album low-key slaps and shows no discernable signs of automated production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Call it new school, but you can’t knock the cyber hustle. Maybe the Too $horts and E-40s of tomorrow will just have to be out-the-high-tech-trunk with their digitized game in ways previous generations didn’t have to be. Maybe AI developers will supplant record labels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe we’ll have to embrace what the future holds for tech-savvy artists, and what tech-savvy artists hold for the future.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘SENSORY OVERLOAD’ is available on Bandcamp. All proceeds from the album go to \u003c/span>\u003c/i>\u003ca href=\"https://brl-inc.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Beats Rhymes and Life\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, an Oakland-based non-profit for hip-hop education.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nimsins and Vinay Pai generated beats using text prompts. They still feel conflicted about it.","status":"publish","parent":0,"modified":1709241164,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":1884},"headData":{"title":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours | KQED","description":"Nimsins and Vinay Pai generated beats using text prompts. They still feel conflicted about it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours","datePublished":"2024-02-28T19:03:55.000Z","dateModified":"2024-02-29T21:12:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952796/nimsins-vinay-ai-album-documentary-sensory-overload","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Stop me if you’ve heard this one before: an East Oakland rapper and Berkeley software engineer fly to New York City to record an album at a DIY studio using beta open-sourced AI technology, then return to the Bay Area to finish it. Oh, and they do it all on a whim, within a total of 24 hours.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the universe (or metaverse?) we live in today — in which community and creativity are inescapably intertwined with technologies we don’t completely understand, but are learning to maneuver in fast-moving, self-directed ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a reality that \u003ca href=\"https://www.instagram.com/nimsins/?hl=en\">Nimsins\u003c/a> and \u003ca href=\"https://www.instagram.com/vinay___/?hl=en\">Vinay Pai\u003c/a> (the rapper and software engineer, respectively) hoped to leverage as friends and artists in their latest collaboration, \u003c/span>\u003ca href=\"https://open.spotify.com/album/7C8vShKWOIcbNXhqMHI7wa\">\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Using a test version of Meta’s\u003c/span>\u003ca href=\"https://musicgen.com/\">\u003cspan style=\"font-weight: 400\"> MusicGen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (which allows users to generate music from text prompts) and Hugging Face (an open source website where emerging AI research is shared for public use), the creative duo came together for what they’re claiming is the first album to use the latest generative music production technology.\u003c/span>\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/3DBv2ZxbOjU'\n title='//www.youtube.com/embed/3DBv2ZxbOjU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of my coworkers used to work on\u003c/span>\u003ca href=\"https://ai.meta.com/research/\">\u003cspan style=\"font-weight: 400\"> Fundamental AI Research [FAIR]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Meta. He worked on deep system stuff, not audio. He told me about [MusicGen] existing [before it went fully public],” says Pai, a UC Berkeley computer science graduate who came up with the idea and reached out to Nimsins, with whom he had previously worked on an album. (Pai also produces music under his first name, Vinay.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The complete project includes the album, an AI-generated music video and a \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lowvJWnXbe4\">\u003cspan style=\"font-weight: 400\">two-part (human-made) documentary\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">about the process. The goal wasn’t necessarily to make the best rap record of all time. It was more about experimenting with new advancements in AI that, at the time the project was recorded last summer, had just leaked to the public on research back channels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The eight-track, 15-minute effort may indicate a growing trend among Bay Area musicians and adjacent hobbyists, who will likely rely more heavily on AI-augmented tools to make art. And it certainly raises questions that the artists themselves are still attempting to answer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So you might be wondering: Is the album any good? And what is lost when human artists yield such a substantial part of their creativity to machine-learning algorithms?\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bridging tech and hip-hop in the shadows of Silicon Valley\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pai isn’t your ordinary software engineer. While studying at Cal in the mid-2010s, he began making hip-hop instrumentals in his spare moments, and met producer \u003c/span>\u003ca href=\"https://www.instagram.com/versaam__/\">\u003cspan style=\"font-weight: 400\">Versâam\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was a student athlete on campus at the time. Versâam recognized Pai’s talents and enlisted him as an intern at\u003c/span>\u003ca href=\"https://www.complex.com/pop-culture/a/eric-arnold/rap-atlas-oakland\">\u003cspan style=\"font-weight: 400\"> Emeryville’s famed The Grill Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where Bay Area rappers like SOB x RBE, Zaytoven, Richie Rich and so many others — including Nimsins — regularly appeared. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After two years at The Grill, Pai ascended in the local music industry, and went on to produce commercials for major companies like Coca-Cola to air during the 2021 FIFA World Cup. However, he often felt underpaid and undervalued for his work. Once the pandemic forced the studio where he worked to temporarily close, Pai pivoted to his background in engineering, opting for a career that could afford him to continue making music on the side. The right opportunity came for him at that moment: AI development.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m not going to sit here and negotiate with [music executives] about pennies when someone can give me life-changing money to work on AI,” Pai says. “That was a year before the big AI boom. I was really fortunate to be put in that position.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“AI is hitting a critical mass,” he continues. “The conversation I’m having with artists is about that. I feel lucky to be a bridge, being in the belly of the beast as far as knowing the technology. Let’s figure out a way [as artists] to use it and take advantage and elevate ourselves.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13863297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863297\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-800x500.jpg\" alt=\"Nimsins (with daughter) meets Steph Curry at Concordia Park in East Oakland after the Warriors star helped unveil a new basketball court at the park.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins (and his daughter) with Steph Curry at a community event in 2019. \u003ccite>(@nimfromthaeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the other hand, Nimsins — who is\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910282/nimsins-raps-about-east-oakland-with-love\"> \u003cspan style=\"font-weight: 400\">a father and mentor to younger artists in East Oakland\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and is currently studying anthropology and Spanish at San José State University — isn’t embedded in tech. Listening to his discography, you get the sense he’s more interested in philosophy and breaking bread with his people than in profit gains and building an NFT portfolio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Nimsins, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> stemmed from his relationship with Pai — who Nimsins praises for simultaneously juggling his roles as a sound engineer, talent manager and vocalist on the album — and his own belief in experimenting with the unknown. After all, isn’t that what artists do — regardless of their technological era?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We recorded some good parts on the album, but there’s some duds, too,” Nimsins admits. “We would sit there for hella long trying to find the right beat, finding the right prompt [to type into MusicGen]. There’s a point in the documentary when you can see how everyone’s spirit changes when we find a good beat. The spirit of collaboration hit the room in a different way.”\u003c/span>\u003c/p>\n\u003cp>And yet, music is also ultimately about the final output, and not just the process.\u003c/p>\n\u003cp>In the documentary’s first part, filmed in New York City, Pai riffs off the cuff: “The reason I play music is because it brings me joy to be in the wave. When you’re in the pocket playing [instruments] with other people, when you’re in sync with them, like when you’re freestyling or you’re in a cypher, when you’re in a band and everybody’s locked in, that’s the joy of music. At the end of the day though, the money doesn’t come from joy. The money comes from the product.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101893314","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pai’s outlook on the subject maintains a genuine \u003cem>h\u003c/em>\u003cem>ow can we learn to use this before it uses us?\u003c/em> tone throughout. But, of course, it may not be so simple in an industry where the “product” is also becoming devalued. Access to recording equipment has exploded, effectively decentralizing the music industry with an influx of content to stream on corporate platforms that, as Pai acknowledged, pay literal pennies.\u003c/p>\n\u003cp>To his credit, Pai seems to understand the layered, tangled mess of it all, and isn’t operating with AI blinders on, either.\u003c/p>\n\u003cp>“If you want to do what music is meant to do, which is uplift the spirit, to uplift the soul, to bring communities and people together, you have to keep those traditions alive somehow,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13953130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg\" alt=\"Two artists look at a computer together. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins and Vinay Pai (left to right) work in a studio in New York. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not completely automated… yet\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Japanese jazz.” “Black church music.” “Early 2000s Missy Elliott.” “Experimental psychedelic reggae.” “Nigerian drill.” “’90s DMX type upbeat beat.” “Lo-fi hip-hop with futuristic soul sample.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These are all phrases that a room full of creatives churned out together while using MusicGen. The documentary reveals a loose yet meticulous process of back-and-forth deliberation between the engineering producer (Pai), the MC (Nimsins) and a variety of guest artists (friends, rappers, photographers, videographers) who rotate within the 24-hour window to add their two cents, lay down a verse, then dip.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The differences between any beat the skeleton crew approved or canned could be as nearly imperceptible as typing “drill beat with Japanese jazz sample” instead of “drill beat with experimental flute sample” into the text box. Using screenshare recordings, the documentary captures the hivemind brainstorm as each word is collectively supplied, spraying AI-generated noise in random directions before calibrating the aim with each pull of the new-phrase trigger. It’s an admittedly mesmerizing experience to witness, and one which subtly highlights a different kind of creative problem solving that goes into making an AI-assisted soundtrack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At one point, the camera turns to Pai, who is asked about his thoughts on this emerging tech. His response is sobering, transparent and laden with complex truths: “It’s gonna make it a lot easier to express your ideas. People who don’t have the training, background or experience can get their ideas out way faster. So it’s going to empower a lot of people. But it’s definitely going to change the business.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If AI can make [an instrumental] in five seconds, way faster than me… it’s gonna fuck up the producer game for sure,” he adds. “But as artists you gotta adapt and find a way to create new forms of art.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nimsims doesn’t shy away from the contradictory elements that underpin the duo’s forward-thinking, if not opportunistic, AI-rap dabbling, either.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg\" alt=\"A rapper in the booth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Baby Gandhi records his feature on Nimsins’ ‘SENSORY OVERLOAD’ album. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I wouldn’t do it again myself,” says Nimsins. “I know hella dope producers. I like being hands on. It only worked because Vinay is someone I trust and enjoy. But I like to make my own beats, looking for samples, all that. It was something to do in the moment, like a challenge, something we should learn more about.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the opening track, “ALGORITHMS,” Nimsins spits with his usual word-bending subversion: “Face to the screen and screen to the face / …An algorithm with no rhythm to name / Had ideas, they beginning to fade / Was unique, now wе one and the same / With nobody to blamе, an entity without a thing we can name.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The project involves nine credited musical artists — among them are Indian American rappers and Puerto Rican lyricists, who references are as varied as Islamic teachings and a full verse in Spanish. Considering it was written and recorded using pirate studios on both coasts of the country, all in 24 hours, the album low-key slaps and shows no discernable signs of automated production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Call it new school, but you can’t knock the cyber hustle. Maybe the Too $horts and E-40s of tomorrow will just have to be out-the-high-tech-trunk with their digitized game in ways previous generations didn’t have to be. Maybe AI developers will supplant record labels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe we’ll have to embrace what the future holds for tech-savvy artists, and what tech-savvy artists hold for the future.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘SENSORY OVERLOAD’ is available on Bandcamp. All proceeds from the album go to \u003c/span>\u003c/i>\u003ca href=\"https://brl-inc.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Beats Rhymes and Life\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, an Oakland-based non-profit for hip-hop education.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952796/nimsins-vinay-ai-album-documentary-sensory-overload","authors":["11748"],"categories":["arts_1","arts_2303","arts_835","arts_69"],"tags":["arts_21891","arts_8505","arts_10342","arts_10278","arts_1935"],"featImg":"arts_13953126","label":"arts"},"arts_13952162":{"type":"posts","id":"arts_13952162","meta":{"index":"posts_1591205157","site":"arts","id":"13952162","score":null,"sort":[1707869510000]},"guestAuthors":[],"slug":"oakland-public-safety-crime-commentary","title":"Who Pays When Oakland Is on Trial?","publishDate":1707869510,"format":"standard","headTitle":"Who Pays When Oakland Is on Trial? | KQED","labelTerm":{},"content":"\u003cp>[dropcap]O[/dropcap]n the sixth floor of the Wiley W. Manuel Courthouse, hard-bottom dress shoes and high heels echo down the hall. As I sit on a bench next to floor-to-ceiling windows, I can see downtown Oakland and the hills beyond. Dark clouds gather in the distance — another storm is rolling in. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>A tall, slender man in a suit identifies himself as a public defender. While shaking my hand, he tells me that the young man I’m here to support is facing a second-degree robbery charge for two or three incidents where he’s alleged to have used a BB gun to hold up pizza stores in Oakland. Aside from shaken emotions and money taken, no one was injured, and the public defender says he’s going to ask that he be released on his own recognizance.\u003c/p>\n\u003cp>Inside the courtroom, the public defender lays out the argument just as he did to me in the hallway. But it doesn’t go as planned.\u003c/p>\n\u003cp>As the prosecutor from the district attorney’s office responds, the judge nods repeatedly. Though the young man has no prior record, and could clearly use more guidance and less penalizing, the prosecutor pointedly reminds the courtroom of “everything going on in Oakland.”\u003c/p>\n\u003cp>The judge continues to nod throughout the prosecutor’s statement, which ends with his recommendation to keep the young man in jail and leave his bail at an astronomical $400,000. If the young person and his family were in a financial bind before, getting him released by paying 10% of the bail — $40,000 — is far from feasible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They schedule a follow-up court date, and the meeting is adjourned. I walk out the courtroom and back into the hallway near the big windows, trying to make sense of it all. \u003cem>Did I just watch Oakland itself go on trial, with this young man taking the blame?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13952170\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED.jpg\" alt=\"A person in red glasses sits at a table in an indoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alameda County District Attorney Pamela Price speaks at a public safety town hall at Genesis Worship Center in Oakland, Calif., on Saturday, Sept. 9, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he prosecution used “everything going on in Oakland” as a way to connect one individual to the larger issues this city faces, pointing to a prevalent mindset in the community: on edge and weary of crime.\u003c/p>\n\u003cp>The Town is in the midst of another perfect storm, where the decades-old image of Oakland as a violent city is augmented by an uptick in non-violent crime. When this problem becomes politicized, elected officials return to the old “tough on crime” ideology. Inevitably, this results in a flood of folks serving time in state prisons, breathing more life into the beast known as mass incarceration. [aside postid='news_11975692']\u003c/p>\n\u003cp>Making it worse is that the concern isn’t completely unfounded. We’re in the United States, where every major city, especially since the pandemic, has issues with crime.\u003c/p>\n\u003cp>In Oakland, motor vehicle theft has been on an increase since 2020, according to city records. Last year, robberies and burglaries, along with car theft, all reportedly increased by double-digit percentages from the year prior.\u003c/p>\n\u003cp>The numbers show that after a dip in homicides through the 2010s, the pandemic-plagued year of 2020 brought Oakland its first year with more than 100 homicides in nearly a decade. The homicide count has been over 100 every year since. Oakland’s overall crime index, a calculation used to assess the volume of violent crimes in a specific place, has increased in four of the past five years. [aside postid='arts_13918908']\u003c/p>\n\u003cp>Beyond the numbers, viral videos of crimes in progress have fueled fear and panic. This fear seeps into our social interactions — at the bar, the barbershop or in neighborhood cafes, people all over are conversing about broken car windows and stolen catalytic converters, home break-ins and homicides.\u003c/p>\n\u003cp>To somebody with all this on their mind, having a BB gun pointed at them essentially constitutes an attempt on their life. That’s essentially what I heard the prosecutor saying. But when the prosecutor brings this into court, he’s leaving out the city, state and federal government’s complicity in creating this environment.\u003c/p>\n\u003cp>That young man on trial is another person trying to make ends meet in a region where the living wage is $10 more than the minimum wage. He’s one of the many people bouncing from couch to couch — functionally unhoused — in a state that’s host to half of this country’s unhoused population. Last year, his home county, Alameda County, declared a state of emergency due to the amount of people living without homes. And over the past five years, Oakland has seen an astronomical rise in homelessness, one that’s left a disproportionate amount of African American people, like him, without a home.\u003c/p>\n\u003cp>He isn’t to blame for the state of society — he’s a victim of it as well.\u003c/p>\n\u003cfigure id=\"attachment_13952165\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022.jpg\" alt='RVs in an encampment with signs that read \"Where do we go?\" and \"Respect existence or expect resistance.\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Signs cover two RVs at the Wood Street encampment in Oakland on Sept. 8, 2022, while CalTrans moved in to clear the area. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]W[/dropcap]hen the state of the Town is mentioned, there’s no discussion about a public school system that had a 72% graduation rate during the 2020-2021 school year, the year this young man was supposed to graduate. And while that rate is an improvement from past years, only 40% of those graduates have A-G requirements, which are needed to qualify for the UC and CSU systems. In short, you can graduate without qualifying for the state’s higher education system, which in turn means you’ve got a longshot at entering fields like nursing, tech or any other industry that pays enough to stay afloat in one of the most expensive regions in this country.\u003c/p>\n\u003cp>Nonprofits and social programs such as Oakland’s Department of Violence Prevention and MACRO struggle for funding, while this city’s top investment — the Oakland Police Department — has been riddled with scandals and constant turnover in the position of chief. The organization has received billions of dollars while literally being under federal monitor since 2003, the same year that the young defendant in the courtroom was born.\u003c/p>\n\u003cp>According to a \u003ca href=\"https://data.oaklandca.gov/stories/s/Employment/f9u6-zi33/\">report from the the City of Oakland,\u003c/a> just over 10% of people aged 16–24 qualify as “disconnected youth,” which means they’re neither working nor in school. For African Americans, that number is just shy of 15%. The 20-year-old African American man at the center of this trial is one of those disconnected youth.\u003c/p>\n\u003cfigure id=\"attachment_13952167\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1.jpg\" alt='A woman stands outside a building with her fist up. A sign next to her says \"stop the war on public education.\"' width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A demonstrator protests Oakland school closures on May 26, 2022. \u003ccite>(Julia McEvoy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given all these mitigating factors, is it still wrong to commit a crime? Yes. Should one individual have to pay not only for their alleged crime but for decades of civic neglect that have gotten us to this point? No.\u003c/p>\n\u003cp>After all, the narrative of “everything that’s going on in Oakland” works to fit any agenda you so wish.\u003c/p>\n\u003cp>[dropcap]Y[/dropcap]ou’ve seen the reports of chain restaurants like Denny’s and In-N-Out citing “everything that’s going on in Oakland” as the reason why they’re shuttering their storefronts. The media only adds to the fire by parroting business owners’ reasons for closing, whether or not it’s accurate. Supported by major outlets, news reporters tell story after story about crime without providing context or suggestions for change. Social media accounts upload video after video of negative depictions of the Town — again, without context.\u003c/p>\n\u003cp>When this media-backed narrative gets mixed in with politics and leaks into courtrooms, we end up right back in the early 1990s.\u003c/p>\n\u003cp>[aside postID='arts_13950363']The notion of the “superpredator,” as defined by the person who coined the term, \u003ca href=\"https://www.pbs.org/wgbh/frontline/article/they-were-sentenced-as-superpredators-who-were-they-really/\">John DiIulio\u003c/a>, is “a young juvenile criminal who is so impulsive, so remorseless, that he can kill, rape, maim, without giving it a second thought.” The term was employed by media outlets across the nation, pinned on people fighting court cases and tossed around by elected officials.\u003c/p>\n\u003cp>Around this time, politicians on both sides of the aisle discussed how to be tougher on crime. It resulted in the passing of numerous local and state bills, as well as the \u003ca href=\"https://www.congress.gov/bill/103rd-congress/house-bill/3355/text\">Violent Crime Control and Law Enforcement Act\u003c/a> of 1994, a federal crime bill that at the time was touted as the largest crime bill in the nation’s history. Significant portions of the bill were written by the former Senate Judiciary chairman from Delaware — you know him as President Joe Biden.\u003c/p>\n\u003cfigure id=\"attachment_13952174\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044.jpg\" alt=\"Two politicians greet each other warmly.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">U.S. President Joe Biden is greeted by California Governor Gavin Newsom upon arrival at Moffett Federal airfield in Mountain View, California, on June 19, 2023. \u003ccite>(Andrew Caballero-Reynolds/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This crime bill wasn’t about the prevalence of drugs, police brutality or the over-policing of addiction in working-class Black and Brown communities. Nor was it about the closure of numerous factories and the lack of job opportunities. Nope, it was just as simple as being “tough on crime.”\u003c/p>\n\u003cp>Unfortunately, the ’90s was far from the first time this narrative was used. In the late ’80s, an extremely wealthy real estate mogul by the name of Donald Trump spent \u003ca href=\"https://www.nytimes.com/1989/05/01/nyregion/angered-by-attack-trump-urges-return-of-the-death-penalty.html\">$85,000 to take out a full page advertisement\u003c/a> in four New York newspapers wishing death on the now-exonerated “Central Park 5.” [aside postid='forum_2010101904609']\u003c/p>\n\u003cp>This country has a history of attributing the ills of society to Black and Brown working class individuals put in compromising positions due to lack of education and sufficient finances. Whether or not they’ve ever committed a crime, they’re often charged for the crimes plaguing the larger society.\u003c/p>\n\u003cp>It’s an election year, one that leaves us once again to choose between Biden and Trump for the highest office in the land. Two politicians who see no issue with further investment in the penal system.\u003c/p>\n\u003cp>And in Alameda county, where District Attorney Pamela Price faces a recall effort for being too soft on crime, the pendulum is already swinging back toward more investment in law enforcement. Last week, California Governor Gavin Newsom announced the “Surge Operation,” which will deploy \u003ca href=\"https://oaklandside.org/2024/02/06/governor-newsom-deploys-chp-officers-alarming-crime-increase-oakland/\">120 CHP officers to Oakland\u003c/a> and the surrounding area — “a nearly 900% increase in CHP personnel” to target different forms of theft and violent crime. That was followed by an announcement that the operation will be supported by attorneys from the California National Guard and Deputy attorneys general from the California Department of Justice. “An arrest isn’t enough,” said Governor Newsom. “Justice demands that suspects are appropriately prosecuted.”\u003c/p>\n\u003cp>More cops, tough on crime stances and the “everything going on in Oakland” narrative are a recipe for mass incarceration. Mind you, this state was sued by the federal government for its overcrowded prisons two decades ago, and it wasn’t until the pandemic that the prison population dipped down to non-overcrowded levels. As of last week, California’s prisons were at 117% capacity, and a continued increase is expected.\u003c/p>\n\u003cfigure id=\"attachment_13881491\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GettyImages-1218023784-1-e1591601310455.jpg\" alt=\"Protesters pose with Black Lives Matter signs on the Golden Gate Bridge during a demonstration against racism and police brutality in San Francisco, California, on June 6, 2020.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Protesters pose with Black Lives Matter signs on the Golden Gate Bridge during a demonstration against racism and police brutality in San Francisco, California, on June 6, 2020. \u003ccite>(VIVIAN LIN/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]W[/dropcap]hat can be done? Crime is up. People are on edge. Neighbors are wary of delivery drivers and any other unidentified car on the street; the narrative of “everything that’s going on in Oakland” is on a lot of people’s minds.\u003c/p>\n\u003cp>But it’s exactly because of everything going on in Oakland that it’s a good time to be cautious. Decisions made today will dictate not only where individuals being sentenced will end up in 20 years, but what the state of the Town — and this country — will be in two decades and beyond. The “tough on crime” era resulted in a lot of lives wasted away in overcrowded prisons.\u003c/p>\n\u003cp>Leaving the courthouse, I walk through the hallway, sneaking one last look through the translucent wall of windows while I wait on the elevator. The wind is blowing. One of the people who walked past me earlier in hard bottom shoes is out on the street running toward their car. Looks like the storm is getting closer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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\n","blocks":[],"excerpt":"Fixing ‘everything going on in Oakland’ will require more than being tough on crime, writes Pendarvis Harshaw.","status":"publish","parent":0,"modified":1707918757,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":2145},"headData":{"title":"Who Pays When Oakland Is on Trial? | KQED","description":"Fixing ‘everything going on in Oakland’ will require more than being tough on crime, writes Pendarvis Harshaw.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Who Pays When Oakland Is on Trial?","datePublished":"2024-02-14T00:11:50.000Z","dateModified":"2024-02-14T13:52:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary ","sourceUrl":"https://www.kqed.org/arts/category/commentary","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952162/oakland-public-safety-crime-commentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n the sixth floor of the Wiley W. Manuel Courthouse, hard-bottom dress shoes and high heels echo down the hall. As I sit on a bench next to floor-to-ceiling windows, I can see downtown Oakland and the hills beyond. Dark clouds gather in the distance — another storm is rolling in. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>A tall, slender man in a suit identifies himself as a public defender. While shaking my hand, he tells me that the young man I’m here to support is facing a second-degree robbery charge for two or three incidents where he’s alleged to have used a BB gun to hold up pizza stores in Oakland. Aside from shaken emotions and money taken, no one was injured, and the public defender says he’s going to ask that he be released on his own recognizance.\u003c/p>\n\u003cp>Inside the courtroom, the public defender lays out the argument just as he did to me in the hallway. But it doesn’t go as planned.\u003c/p>\n\u003cp>As the prosecutor from the district attorney’s office responds, the judge nods repeatedly. Though the young man has no prior record, and could clearly use more guidance and less penalizing, the prosecutor pointedly reminds the courtroom of “everything going on in Oakland.”\u003c/p>\n\u003cp>The judge continues to nod throughout the prosecutor’s statement, which ends with his recommendation to keep the young man in jail and leave his bail at an astronomical $400,000. If the young person and his family were in a financial bind before, getting him released by paying 10% of the bail — $40,000 — is far from feasible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They schedule a follow-up court date, and the meeting is adjourned. I walk out the courtroom and back into the hallway near the big windows, trying to make sense of it all. \u003cem>Did I just watch Oakland itself go on trial, with this young man taking the blame?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13952170\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED.jpg\" alt=\"A person in red glasses sits at a table in an indoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20230909-DAProtest-37-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alameda County District Attorney Pamela Price speaks at a public safety town hall at Genesis Worship Center in Oakland, Calif., on Saturday, Sept. 9, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he prosecution used “everything going on in Oakland” as a way to connect one individual to the larger issues this city faces, pointing to a prevalent mindset in the community: on edge and weary of crime.\u003c/p>\n\u003cp>The Town is in the midst of another perfect storm, where the decades-old image of Oakland as a violent city is augmented by an uptick in non-violent crime. When this problem becomes politicized, elected officials return to the old “tough on crime” ideology. Inevitably, this results in a flood of folks serving time in state prisons, breathing more life into the beast known as mass incarceration. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11975692","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Making it worse is that the concern isn’t completely unfounded. We’re in the United States, where every major city, especially since the pandemic, has issues with crime.\u003c/p>\n\u003cp>In Oakland, motor vehicle theft has been on an increase since 2020, according to city records. Last year, robberies and burglaries, along with car theft, all reportedly increased by double-digit percentages from the year prior.\u003c/p>\n\u003cp>The numbers show that after a dip in homicides through the 2010s, the pandemic-plagued year of 2020 brought Oakland its first year with more than 100 homicides in nearly a decade. The homicide count has been over 100 every year since. Oakland’s overall crime index, a calculation used to assess the volume of violent crimes in a specific place, has increased in four of the past five years. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918908","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyond the numbers, viral videos of crimes in progress have fueled fear and panic. This fear seeps into our social interactions — at the bar, the barbershop or in neighborhood cafes, people all over are conversing about broken car windows and stolen catalytic converters, home break-ins and homicides.\u003c/p>\n\u003cp>To somebody with all this on their mind, having a BB gun pointed at them essentially constitutes an attempt on their life. That’s essentially what I heard the prosecutor saying. But when the prosecutor brings this into court, he’s leaving out the city, state and federal government’s complicity in creating this environment.\u003c/p>\n\u003cp>That young man on trial is another person trying to make ends meet in a region where the living wage is $10 more than the minimum wage. He’s one of the many people bouncing from couch to couch — functionally unhoused — in a state that’s host to half of this country’s unhoused population. Last year, his home county, Alameda County, declared a state of emergency due to the amount of people living without homes. And over the past five years, Oakland has seen an astronomical rise in homelessness, one that’s left a disproportionate amount of African American people, like him, without a home.\u003c/p>\n\u003cp>He isn’t to blame for the state of society — he’s a victim of it as well.\u003c/p>\n\u003cfigure id=\"attachment_13952165\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022.jpg\" alt='RVs in an encampment with signs that read \"Where do we go?\" and \"Respect existence or expect resistance.\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/013_KQED_WoodStreet_JessicaFountaine_09082022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Signs cover two RVs at the Wood Street encampment in Oakland on Sept. 8, 2022, while CalTrans moved in to clear the area. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen the state of the Town is mentioned, there’s no discussion about a public school system that had a 72% graduation rate during the 2020-2021 school year, the year this young man was supposed to graduate. And while that rate is an improvement from past years, only 40% of those graduates have A-G requirements, which are needed to qualify for the UC and CSU systems. In short, you can graduate without qualifying for the state’s higher education system, which in turn means you’ve got a longshot at entering fields like nursing, tech or any other industry that pays enough to stay afloat in one of the most expensive regions in this country.\u003c/p>\n\u003cp>Nonprofits and social programs such as Oakland’s Department of Violence Prevention and MACRO struggle for funding, while this city’s top investment — the Oakland Police Department — has been riddled with scandals and constant turnover in the position of chief. The organization has received billions of dollars while literally being under federal monitor since 2003, the same year that the young defendant in the courtroom was born.\u003c/p>\n\u003cp>According to a \u003ca href=\"https://data.oaklandca.gov/stories/s/Employment/f9u6-zi33/\">report from the the City of Oakland,\u003c/a> just over 10% of people aged 16–24 qualify as “disconnected youth,” which means they’re neither working nor in school. For African Americans, that number is just shy of 15%. The 20-year-old African American man at the center of this trial is one of those disconnected youth.\u003c/p>\n\u003cfigure id=\"attachment_13952167\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1.jpg\" alt='A woman stands outside a building with her fist up. A sign next to her says \"stop the war on public education.\"' width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_7890-scaled-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A demonstrator protests Oakland school closures on May 26, 2022. \u003ccite>(Julia McEvoy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given all these mitigating factors, is it still wrong to commit a crime? Yes. Should one individual have to pay not only for their alleged crime but for decades of civic neglect that have gotten us to this point? No.\u003c/p>\n\u003cp>After all, the narrative of “everything that’s going on in Oakland” works to fit any agenda you so wish.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">Y\u003c/span>\u003c/p>\u003cp>ou’ve seen the reports of chain restaurants like Denny’s and In-N-Out citing “everything that’s going on in Oakland” as the reason why they’re shuttering their storefronts. The media only adds to the fire by parroting business owners’ reasons for closing, whether or not it’s accurate. Supported by major outlets, news reporters tell story after story about crime without providing context or suggestions for change. Social media accounts upload video after video of negative depictions of the Town — again, without context.\u003c/p>\n\u003cp>When this media-backed narrative gets mixed in with politics and leaks into courtrooms, we end up right back in the early 1990s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950363","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The notion of the “superpredator,” as defined by the person who coined the term, \u003ca href=\"https://www.pbs.org/wgbh/frontline/article/they-were-sentenced-as-superpredators-who-were-they-really/\">John DiIulio\u003c/a>, is “a young juvenile criminal who is so impulsive, so remorseless, that he can kill, rape, maim, without giving it a second thought.” The term was employed by media outlets across the nation, pinned on people fighting court cases and tossed around by elected officials.\u003c/p>\n\u003cp>Around this time, politicians on both sides of the aisle discussed how to be tougher on crime. It resulted in the passing of numerous local and state bills, as well as the \u003ca href=\"https://www.congress.gov/bill/103rd-congress/house-bill/3355/text\">Violent Crime Control and Law Enforcement Act\u003c/a> of 1994, a federal crime bill that at the time was touted as the largest crime bill in the nation’s history. Significant portions of the bill were written by the former Senate Judiciary chairman from Delaware — you know him as President Joe Biden.\u003c/p>\n\u003cfigure id=\"attachment_13952174\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044.jpg\" alt=\"Two politicians greet each other warmly.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1258830044-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">U.S. President Joe Biden is greeted by California Governor Gavin Newsom upon arrival at Moffett Federal airfield in Mountain View, California, on June 19, 2023. \u003ccite>(Andrew Caballero-Reynolds/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This crime bill wasn’t about the prevalence of drugs, police brutality or the over-policing of addiction in working-class Black and Brown communities. Nor was it about the closure of numerous factories and the lack of job opportunities. Nope, it was just as simple as being “tough on crime.”\u003c/p>\n\u003cp>Unfortunately, the ’90s was far from the first time this narrative was used. In the late ’80s, an extremely wealthy real estate mogul by the name of Donald Trump spent \u003ca href=\"https://www.nytimes.com/1989/05/01/nyregion/angered-by-attack-trump-urges-return-of-the-death-penalty.html\">$85,000 to take out a full page advertisement\u003c/a> in four New York newspapers wishing death on the now-exonerated “Central Park 5.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101904609","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This country has a history of attributing the ills of society to Black and Brown working class individuals put in compromising positions due to lack of education and sufficient finances. Whether or not they’ve ever committed a crime, they’re often charged for the crimes plaguing the larger society.\u003c/p>\n\u003cp>It’s an election year, one that leaves us once again to choose between Biden and Trump for the highest office in the land. Two politicians who see no issue with further investment in the penal system.\u003c/p>\n\u003cp>And in Alameda county, where District Attorney Pamela Price faces a recall effort for being too soft on crime, the pendulum is already swinging back toward more investment in law enforcement. Last week, California Governor Gavin Newsom announced the “Surge Operation,” which will deploy \u003ca href=\"https://oaklandside.org/2024/02/06/governor-newsom-deploys-chp-officers-alarming-crime-increase-oakland/\">120 CHP officers to Oakland\u003c/a> and the surrounding area — “a nearly 900% increase in CHP personnel” to target different forms of theft and violent crime. That was followed by an announcement that the operation will be supported by attorneys from the California National Guard and Deputy attorneys general from the California Department of Justice. “An arrest isn’t enough,” said Governor Newsom. “Justice demands that suspects are appropriately prosecuted.”\u003c/p>\n\u003cp>More cops, tough on crime stances and the “everything going on in Oakland” narrative are a recipe for mass incarceration. Mind you, this state was sued by the federal government for its overcrowded prisons two decades ago, and it wasn’t until the pandemic that the prison population dipped down to non-overcrowded levels. As of last week, California’s prisons were at 117% capacity, and a continued increase is expected.\u003c/p>\n\u003cfigure id=\"attachment_13881491\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/GettyImages-1218023784-1-e1591601310455.jpg\" alt=\"Protesters pose with Black Lives Matter signs on the Golden Gate Bridge during a demonstration against racism and police brutality in San Francisco, California, on June 6, 2020.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Protesters pose with Black Lives Matter signs on the Golden Gate Bridge during a demonstration against racism and police brutality in San Francisco, California, on June 6, 2020. \u003ccite>(VIVIAN LIN/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hat can be done? Crime is up. People are on edge. Neighbors are wary of delivery drivers and any other unidentified car on the street; the narrative of “everything that’s going on in Oakland” is on a lot of people’s minds.\u003c/p>\n\u003cp>But it’s exactly because of everything going on in Oakland that it’s a good time to be cautious. Decisions made today will dictate not only where individuals being sentenced will end up in 20 years, but what the state of the Town — and this country — will be in two decades and beyond. The “tough on crime” era resulted in a lot of lives wasted away in overcrowded prisons.\u003c/p>\n\u003cp>Leaving the courthouse, I walk through the hallway, sneaking one last look through the translucent wall of windows while I wait on the elevator. The wind is blowing. One of the people who walked past me earlier in hard bottom shoes is out on the street running toward their car. Looks like the storm is getting closer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952162/oakland-public-safety-crime-commentary","authors":["11491"],"categories":["arts_1","arts_2303"],"tags":["arts_2767","arts_21822","arts_10342","arts_10278","arts_1143"],"featImg":"arts_13952187","label":"source_arts_13952162"},"arts_13950821":{"type":"posts","id":"arts_13950821","meta":{"index":"posts_1591205157","site":"arts","id":"13950821","score":null,"sort":[1706052554000]},"guestAuthors":[],"slug":"greta-gerwig-oscars-snub","title":"Greta Gerwig’s Oscars Snub Should Come as No Surprise","publishDate":1706052554,"format":"standard","headTitle":"Greta Gerwig’s Oscars Snub Should Come as No Surprise | KQED","labelTerm":{},"content":"\u003cp>This years’ \u003ca href=\"https://www.kqed.org/arts/13950768/2024-oscar-nominations\">Oscar nominations have arrived\u003c/a>, and the most controversial snub by far is the exclusion of Greta Gerwig from the Best Director category for \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Last year, Gerwig pulled off the rare feat of making a movie both critically lauded and enormously commercially successful. (\u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> broke the opening-weekend record for North American movie theaters\u003c/a> in 2023 with $162 million in ticket sales.) It was a visual and creative triumph which took a doll critiqued by feminists for decades and turned her into a patriarchy-smashing icon. Additionally, \u003cem>Barbie\u003c/em> contributed significantly to \u003ca href=\"https://www.npr.org/2023/08/11/1193283472/barbie-taylor-swift-beyonce\">the return of the monoculture\u003c/a> in 2023; it \u003ca href=\"https://www.kqed.org/arts/13939092/bay-area-trends-of-2023\">impacted pop culture\u003c/a> in so many indelible ways, it bordered on the obnoxious.\u003c/p>\n\u003cp>Still, it wasn’t enough for the Academy.\u003c/p>\n\u003cp>[aside postid='arts_13950768']Not only was Gerwig passed over for Best Director, but Barbie herself, Margot Robbie, was left out of the Best Actress category. This despite Ryan Gosling and America Ferrera getting nods in the Best Supporting Actor and Actress categories. Movie lovers, including MSNBC’s Jennifer Palmieri, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/greta-gerwig-barbie-2024-oscar-snub-backlash-1235804650/\">quickly took to social media to bemoan the snubs\u003c/a>.\u003c/p>\n\u003cp>“Both Gerwig and Robbie ignored,” \u003ca href=\"https://twitter.com/jmpalmieri/status/1749814660956828007\">Palmieri posted on X\u003c/a>. “It’s still so easy for Hollywood to overlook and discount artistic contributions of women — EVEN WHEN ITS THE POINT OF THE YEAR’S BIGGEST MOVIE! My God. It was nominated for best picture. Didn’t direct itself, friends!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/jmpalmieri/status/1749814660956828007\u003c/p>\n\u003cp>Is this an irritating turn of events? Yes. Did the Academy miss all of the (not-even-subtly-conveyed) lessons of the film, about the quiet injustices doled out to women due to sexism? Probably. Should any of us really be surprised? Despite Gerwig previously receiving a Best Director nomination for \u003cem>Lady Bird\u003c/em>? Absolutely not.\u003c/p>\n\u003cp>The Academy has always been a law unto itself; it has historically favored white men doing white man things. When it comes to female directors getting their due, the most we can hope for is a little tokenism. Justine Triet is this year’s, for \u003cem>Anatomy of a Fall\u003c/em> — and, in the Academy Awards’ entire 95-year history, she’s only the eighth woman to be nominated in the directing category. Just three of those have ever actually taken home the trophy: Kathryn Bigelow for \u003cem>The Hurt Locker\u003c/em> in 2009, Chloé Zhao for \u003cem>Nomadland\u003c/em> in 2020 and Jane Campion for \u003cem>The Year of the Dog\u003c/em> in 2021.\u003c/p>\n\u003cp>[aside postid='pop_105648']Consider also the Academy’s maddening habit of doling out awards to established giants at the expense of younger talent. Do we really think Leonardo DiCaprio did better work in \u003cem>The Revenant\u003c/em> (the movie he finally won for) than in \u003cem>What’s Eating Gilbert Grape?\u003c/em> (the first movie he was nominated for)? Would you rather Martin Scorsese have an Oscar for \u003cem>Raging Bull\u003c/em> or \u003cem>The Departed\u003c/em>? Most would say the former, but the Academy made him wait 26 years. What we end up with are Oscars doled out because it’s time for a major figure to have one, rather than the actual work at hand or its cultural impact.\u003c/p>\n\u003cp>(Perhaps Greta Gerwig will finally get her statue 30 years from now for a movie that does moderate box office and gets film nerds talking. But there are no guarantees that even the highest echelons of female talent will get there in the end — \u003ca href=\"https://www.kqed.org/pop/105648/why-does-the-academy-keep-denying-glenn-close-an-oscar\">Glenn Close has never won an Oscar\u003c/a>, despite being nominated as an actress eight times in the past 40 years.)\u003c/p>\n\u003cp>The truth is, the Oscars have rarely — if ever — reflected the will of the people. (No, not even since they expanded the Best Picture category to 10 nominees in 2009.) For a while, it seemed, people were nearly done with the Academy Awards altogether. In 2016, the hashtag \u003ca href=\"https://www.kqed.org/arts/13895845/neither-oscarssowhite-nor-oscarssomale-what-a-difference-a-pandemic-makes\">#OscarsSoWhite\u003c/a> dominated social media after two years of every single nominee in lead and supporting acting categories being white. The fact that \u003cem>Beasts of No Nation\u003c/em>, \u003cem>Straight Outta Compton\u003c/em> and \u003cem>Creed\u003c/em> were shut out of almost every category that year caused further ire.\u003c/p>\n\u003cp>[aside postID='arts_13938908']During the many discussions around #OscarsSoWhite, Spike Lee, Will Smith and Michael Moore boycotted the Oscars. A recurring conversation emerged: Black women, in particular, were being ignored by the Academy. Only 11 Black women have ever won an Oscar, none for directing. Last year, \u003ca href=\"https://www.buzzfeednews.com/article/leylamohammed/angela-bassett-jamie-lee-curtis-oscars-snubbed\">after Angela Bassett’s loss to Jamie Lee Curtis\u003c/a>, the Academy scrambled to correct its snafu by giving Bassett an honorary award a few months later.\u003c/p>\n\u003cp>The problem is, and always has been, who makes up the Academy. Consider this: Between 1929 and 2015, on average, only 16 percent of nominees in all Oscar categories were women. Why? As late as 2022, \u003ca href=\"https://www.statista.com/statistics/321286/voters-academy-awards-gender/\">women only accounted for one third of Academy voters\u003c/a> — and the number that year was 10 percent higher than the prior year. So I ask again: Is it really all that surprising that Greta Gerwig didn’t get a Best Director nod for \u003cem>Barbie\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Academy is a mess that often finds itself woefully out of touch. Despite a variety of token efforts in the past decade, the Academy will continue to slip until women and people of color are appropriately represented in its ranks. For now, \u003cem>Barbie\u003c/em> is at least nominated for Best Adapted Screenplay — a chance for Gerwig to get her Oscar. Just don’t be surprised if you find yourself throwing your cocktail at the TV on March 12. If history is to repeat itself, that award will probably go to a movie much less pink and much less female.\u003c/p>\n\n","blocks":[],"excerpt":"The Academy Awards has failed to acknowledge women, over and over. Why should this year be any different?","status":"publish","parent":0,"modified":1706054160,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":946},"headData":{"title":"Greta Gerwig and the Many Ways the Oscars Fails Female Talent | KQED","description":"The Academy Awards has failed to acknowledge women, over and over. Why should this year be any different?","ogTitle":"Greta Gerwig’s Oscars Snub Should Come as a Surprise to No One","ogDescription":"","ogImgId":"","twTitle":"Greta Gerwig’s Oscars Snub Should Come as a Surprise to No One","twDescription":"","twImgId":"","socialTitle":"Greta Gerwig and the Many Ways the Oscars Fails Female Talent %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Greta Gerwig’s Oscars Snub Should Come as No Surprise","datePublished":"2024-01-23T23:29:14.000Z","dateModified":"2024-01-23T23:56:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"commentary","sourceUrl":"https://www.kqed.org/artscommentary","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950821/greta-gerwig-oscars-snub","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This years’ \u003ca href=\"https://www.kqed.org/arts/13950768/2024-oscar-nominations\">Oscar nominations have arrived\u003c/a>, and the most controversial snub by far is the exclusion of Greta Gerwig from the Best Director category for \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Last year, Gerwig pulled off the rare feat of making a movie both critically lauded and enormously commercially successful. (\u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> broke the opening-weekend record for North American movie theaters\u003c/a> in 2023 with $162 million in ticket sales.) It was a visual and creative triumph which took a doll critiqued by feminists for decades and turned her into a patriarchy-smashing icon. Additionally, \u003cem>Barbie\u003c/em> contributed significantly to \u003ca href=\"https://www.npr.org/2023/08/11/1193283472/barbie-taylor-swift-beyonce\">the return of the monoculture\u003c/a> in 2023; it \u003ca href=\"https://www.kqed.org/arts/13939092/bay-area-trends-of-2023\">impacted pop culture\u003c/a> in so many indelible ways, it bordered on the obnoxious.\u003c/p>\n\u003cp>Still, it wasn’t enough for the Academy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950768","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Not only was Gerwig passed over for Best Director, but Barbie herself, Margot Robbie, was left out of the Best Actress category. This despite Ryan Gosling and America Ferrera getting nods in the Best Supporting Actor and Actress categories. Movie lovers, including MSNBC’s Jennifer Palmieri, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/greta-gerwig-barbie-2024-oscar-snub-backlash-1235804650/\">quickly took to social media to bemoan the snubs\u003c/a>.\u003c/p>\n\u003cp>“Both Gerwig and Robbie ignored,” \u003ca href=\"https://twitter.com/jmpalmieri/status/1749814660956828007\">Palmieri posted on X\u003c/a>. “It’s still so easy for Hollywood to overlook and discount artistic contributions of women — EVEN WHEN ITS THE POINT OF THE YEAR’S BIGGEST MOVIE! My God. It was nominated for best picture. Didn’t direct itself, friends!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1749814660956828007"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Is this an irritating turn of events? Yes. Did the Academy miss all of the (not-even-subtly-conveyed) lessons of the film, about the quiet injustices doled out to women due to sexism? Probably. Should any of us really be surprised? Despite Gerwig previously receiving a Best Director nomination for \u003cem>Lady Bird\u003c/em>? Absolutely not.\u003c/p>\n\u003cp>The Academy has always been a law unto itself; it has historically favored white men doing white man things. When it comes to female directors getting their due, the most we can hope for is a little tokenism. Justine Triet is this year’s, for \u003cem>Anatomy of a Fall\u003c/em> — and, in the Academy Awards’ entire 95-year history, she’s only the eighth woman to be nominated in the directing category. Just three of those have ever actually taken home the trophy: Kathryn Bigelow for \u003cem>The Hurt Locker\u003c/em> in 2009, Chloé Zhao for \u003cem>Nomadland\u003c/em> in 2020 and Jane Campion for \u003cem>The Year of the Dog\u003c/em> in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_105648","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Consider also the Academy’s maddening habit of doling out awards to established giants at the expense of younger talent. Do we really think Leonardo DiCaprio did better work in \u003cem>The Revenant\u003c/em> (the movie he finally won for) than in \u003cem>What’s Eating Gilbert Grape?\u003c/em> (the first movie he was nominated for)? Would you rather Martin Scorsese have an Oscar for \u003cem>Raging Bull\u003c/em> or \u003cem>The Departed\u003c/em>? Most would say the former, but the Academy made him wait 26 years. What we end up with are Oscars doled out because it’s time for a major figure to have one, rather than the actual work at hand or its cultural impact.\u003c/p>\n\u003cp>(Perhaps Greta Gerwig will finally get her statue 30 years from now for a movie that does moderate box office and gets film nerds talking. But there are no guarantees that even the highest echelons of female talent will get there in the end — \u003ca href=\"https://www.kqed.org/pop/105648/why-does-the-academy-keep-denying-glenn-close-an-oscar\">Glenn Close has never won an Oscar\u003c/a>, despite being nominated as an actress eight times in the past 40 years.)\u003c/p>\n\u003cp>The truth is, the Oscars have rarely — if ever — reflected the will of the people. (No, not even since they expanded the Best Picture category to 10 nominees in 2009.) For a while, it seemed, people were nearly done with the Academy Awards altogether. In 2016, the hashtag \u003ca href=\"https://www.kqed.org/arts/13895845/neither-oscarssowhite-nor-oscarssomale-what-a-difference-a-pandemic-makes\">#OscarsSoWhite\u003c/a> dominated social media after two years of every single nominee in lead and supporting acting categories being white. The fact that \u003cem>Beasts of No Nation\u003c/em>, \u003cem>Straight Outta Compton\u003c/em> and \u003cem>Creed\u003c/em> were shut out of almost every category that year caused further ire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938908","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>During the many discussions around #OscarsSoWhite, Spike Lee, Will Smith and Michael Moore boycotted the Oscars. A recurring conversation emerged: Black women, in particular, were being ignored by the Academy. Only 11 Black women have ever won an Oscar, none for directing. Last year, \u003ca href=\"https://www.buzzfeednews.com/article/leylamohammed/angela-bassett-jamie-lee-curtis-oscars-snubbed\">after Angela Bassett’s loss to Jamie Lee Curtis\u003c/a>, the Academy scrambled to correct its snafu by giving Bassett an honorary award a few months later.\u003c/p>\n\u003cp>The problem is, and always has been, who makes up the Academy. Consider this: Between 1929 and 2015, on average, only 16 percent of nominees in all Oscar categories were women. Why? As late as 2022, \u003ca href=\"https://www.statista.com/statistics/321286/voters-academy-awards-gender/\">women only accounted for one third of Academy voters\u003c/a> — and the number that year was 10 percent higher than the prior year. So I ask again: Is it really all that surprising that Greta Gerwig didn’t get a Best Director nod for \u003cem>Barbie\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Academy is a mess that often finds itself woefully out of touch. Despite a variety of token efforts in the past decade, the Academy will continue to slip until women and people of color are appropriately represented in its ranks. For now, \u003cem>Barbie\u003c/em> is at least nominated for Best Adapted Screenplay — a chance for Gerwig to get her Oscar. Just don’t be surprised if you find yourself throwing your cocktail at the TV on March 12. If history is to repeat itself, that award will probably go to a movie much less pink and much less female.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950821/greta-gerwig-oscars-snub","authors":["11242"],"categories":["arts_1","arts_2303","arts_74","arts_75"],"tags":["arts_3701","arts_9943","arts_21887","arts_2767","arts_10278","arts_21780","arts_2084","arts_3698","arts_7580"],"featImg":"arts_13938915","label":"source_arts_13950821"},"arts_13950809":{"type":"posts","id":"arts_13950809","meta":{"index":"posts_1591205157","site":"arts","id":"13950809","score":null,"sort":[1706039381000]},"guestAuthors":[],"slug":"the-showman-simon-shuster-zelensky-biography-ukraine","title":"New Biography ‘The Showman’ Follows Zelensky Inside the War Room","publishDate":1706039381,"format":"aside","headTitle":"New Biography ‘The Showman’ Follows Zelensky Inside the War Room | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13950825\" class=\"wp-caption aligncenter\" style=\"max-width: 993px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins.jpg\" alt=\"The black-and-white cover of 'The Showman' features a portrait of Ukrainian President Volodymyr Zelensky looking at the camera. \" width=\"993\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins.jpg 993w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-768x1160.jpg 768w\" sizes=\"(max-width: 993px) 100vw, 993px\">\u003cfigcaption class=\"wp-caption-text\">‘The Showman’ by Simon Shuster. \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Moscow-born journalist Simon Shuster was growing up in San Francisco in the 1990s, he couldn’t have imagined that there would be a war between Russia and Ukraine, or that he would be the one accompanying the Ukrainian president on top-secret trips to the front.\u003c/p>\n\u003cp>Shuster, now a \u003ca href=\"https://time.com/author/simon-shuster/\">senior correspondent for \u003cem>Time\u003c/em>\u003c/a>, is the only foreign reporter to receive unprecedented access to Ukraine’s President Zelensky, his wife and his cabinet during the first year of Russia’s invasion, which he chronicles in his new book \u003ca href=\"https://www.harpercollins.com/products/the-showman-simon-shuster?variant=41083800682530\">\u003cem>The Showman: Inside the Invasion That Shook the World and Made a Leader of Volodymyr Zelensky\u003c/em>\u003c/a>. Shuster shows us the invasion from inside the war room to demonstrate both the effect the comedian-turned-politician has had on the war — and the effect the war has had on him. At the heart of this book is a question: What path best prepares us for the unimaginable?\u003c/p>\n\u003cfigure id=\"attachment_13950822\" class=\"wp-caption alignright\" style=\"max-width: 1925px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-scaled.jpg\" alt=\"\" width=\"1925\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-scaled.jpg 1925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-800x1064.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1020x1356.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-768x1021.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1155x1536.jpg 1155w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1540x2048.jpg 1540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1920x2553.jpg 1920w\" sizes=\"(max-width: 1925px) 100vw, 1925px\">\u003cfigcaption class=\"wp-caption-text\">‘Time’ senior correspondent and author Simon Shuster. \u003ccite>(Debora Mittelstaedt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The author’s own path toward that war room wasn’t straightforward. Few immigrants from the former Soviet Union return to visit their homeland. Fewer still move there to build a career. Shuster said it was while he was dabbling in journalism at Stanford that he realized his ability to speak Russian and write in English was “a pretty cool competitive advantage that I should not squander.” He moved to Moscow to work as a reporter in 2006 and has remained a key figure in the coverage of the region ever since.\u003c/p>\n\u003cp>Still, when asked what it was about him that made Zelensky grant him unique access, he said he doesn’t fully know. “I think he saw my long-term commitment to covering the story. But also, the way he makes decisions is usually shooting from the hip. It’s quite intuitive.”\u003c/p>\n\u003cp>Zelensky’s decision-making style is evident from the start of the book. \u003cem>The Showman\u003c/em> opens with a striking scene at the president’s villa at 4:30 a.m. on the morning of Russia’s invasion, when Zelensky, already dressed in a suit, tells his wife, “It’s started.” We follow him as his driver takes him toward Kyiv’s center, while “in the other direction the traffic had started to thicken.” People are fleeing. Soon, Zelensky will get offers from foreign heads of state to help him flee as well. He will find them offensive. The opening scene sets the tone for the rest of the narrative, where the president’s confidence in his decisions (some brave, some irrational) forges a path for Ukraine that no one could have predicted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We follow him down into the Soviet-era nuclear bunker where he will spend the first dramatic weeks of the invasion and deliver some of his most stirring speeches. His life there is far from glamorous: He and his team subsist on tinned meat and packaged sweets while sleeping on twin-size cots with no sunlight, fresh air or a way to see their families. The description is a riveting reminder of just how precarious and mind boggling those initial weeks of Europe’s first 21st-century war really were.\u003c/p>\n\u003cp>\u003cem>The Showman\u003c/em> isn’t a play by play of the first year of the full-scale war. Once the scene of the invasion is set, Shuster takes us back to Zelensky’s upbringing in a rough industrial town, through his growing popularity as a comedian and TV producer, and to his pivotal warzone tours at the start of the conflict in 2014 that sent him on his path toward politics. We also see a portrait of the president’s marriage as he and Olena Zelenska try to get comfortable with politics.\u003c/p>\n\u003cp>Zelensky emerges as a candid guy who isn’t politically savvy, but who is able to harness his skills as a showman to convince, inspire, fundraise and ultimately stage an unlikely resistance to annihilation.\u003c/p>\n\u003cp>But Shuster isn’t blind to his protagonist’s more problematic sides. [aside postid='arts_13950449']\u003c/p>\n\u003cp>One of the most revealing threads of \u003cem>The Showman\u003c/em> is Zelensky’s mistaken belief in his power of persuasion when it came to negotiating peace with Russia. While visiting the massacre site in Bucha in April 2022, Zelensky said of Putin, “I’m not sure he knows what is happening.” Shuster, just as the reader, finds this naivete astonishing. He writes, “He seemed to believe that if he could only take Putin on a tour of Bucha […], the war might stop.”\u003c/p>\n\u003cp>Shuster also worries whether Zelensky, who has stamped out competition and \u003ca href=\"https://thehill.com/homenews/3795160-zelensky-signs-controversial-law-expanding-government-power-to-regulate-media/\">instituted control of the media\u003c/a>, “will have the wisdom and restraint to part with the extraordinary powers granted to him under martial law, or whether he will, like so many leaders through history, find that power too addictive.”\u003c/p>\n\u003cp>While it is tricky to write a work of longform journalism against the backdrop of a relentless news cycle, \u003cem>The Showman\u003c/em> stands as a clear-eyed insider look into this conflict. As the war enters its third year, \u003cem>The Showman\u003c/em> serves as a reminder of what could happen if we turn away.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003cem>Simon Shuster discusses ‘The Showman’ at the \u003ca href=\"https://commonwealthclub.my.salesforce-sites.com/ticket#/events/a0S8Z00000HNsxLUAT\">Commonwealth Club in San Francisco on Jan. 29\u003c/a> and at \u003ca href=\"https://www.keplers.org/upcoming-events-internal/simon-shuster\">Kepler’s Books in Menlo Park on Jan. 30\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"SF-raised journalist Simon Shuster traveled to the front and emerged with a complex portrait of the leader.","status":"publish","parent":0,"modified":1706039381,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":931},"headData":{"title":"New Biography ‘The Showman’ Follows Zelensky Inside the War Room | KQED","description":"SF-raised journalist Simon Shuster traveled to the front and emerged with a complex portrait of the leader.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"New Biography ‘The Showman’ Follows Zelensky Inside the War Room","datePublished":"2024-01-23T19:49:41.000Z","dateModified":"2024-01-23T19:49:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary ","sourceUrl":"https://www.kqed.org/arts/tag/commentary","sticky":false,"nprByline":"Sasha Vasilyuk","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13950809/the-showman-simon-shuster-zelensky-biography-ukraine","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13950825\" class=\"wp-caption aligncenter\" style=\"max-width: 993px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins.jpg\" alt=\"The black-and-white cover of 'The Showman' features a portrait of Ukrainian President Volodymyr Zelensky looking at the camera. \" width=\"993\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins.jpg 993w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-showman-cover-harper-collins-768x1160.jpg 768w\" sizes=\"(max-width: 993px) 100vw, 993px\">\u003cfigcaption class=\"wp-caption-text\">‘The Showman’ by Simon Shuster. \u003ccite>(Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Moscow-born journalist Simon Shuster was growing up in San Francisco in the 1990s, he couldn’t have imagined that there would be a war between Russia and Ukraine, or that he would be the one accompanying the Ukrainian president on top-secret trips to the front.\u003c/p>\n\u003cp>Shuster, now a \u003ca href=\"https://time.com/author/simon-shuster/\">senior correspondent for \u003cem>Time\u003c/em>\u003c/a>, is the only foreign reporter to receive unprecedented access to Ukraine’s President Zelensky, his wife and his cabinet during the first year of Russia’s invasion, which he chronicles in his new book \u003ca href=\"https://www.harpercollins.com/products/the-showman-simon-shuster?variant=41083800682530\">\u003cem>The Showman: Inside the Invasion That Shook the World and Made a Leader of Volodymyr Zelensky\u003c/em>\u003c/a>. Shuster shows us the invasion from inside the war room to demonstrate both the effect the comedian-turned-politician has had on the war — and the effect the war has had on him. At the heart of this book is a question: What path best prepares us for the unimaginable?\u003c/p>\n\u003cfigure id=\"attachment_13950822\" class=\"wp-caption alignright\" style=\"max-width: 1925px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-scaled.jpg\" alt=\"\" width=\"1925\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-scaled.jpg 1925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-800x1064.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1020x1356.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-768x1021.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1155x1536.jpg 1155w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1540x2048.jpg 1540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/simon-shuster-1920x2553.jpg 1920w\" sizes=\"(max-width: 1925px) 100vw, 1925px\">\u003cfigcaption class=\"wp-caption-text\">‘Time’ senior correspondent and author Simon Shuster. \u003ccite>(Debora Mittelstaedt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The author’s own path toward that war room wasn’t straightforward. Few immigrants from the former Soviet Union return to visit their homeland. Fewer still move there to build a career. Shuster said it was while he was dabbling in journalism at Stanford that he realized his ability to speak Russian and write in English was “a pretty cool competitive advantage that I should not squander.” He moved to Moscow to work as a reporter in 2006 and has remained a key figure in the coverage of the region ever since.\u003c/p>\n\u003cp>Still, when asked what it was about him that made Zelensky grant him unique access, he said he doesn’t fully know. “I think he saw my long-term commitment to covering the story. But also, the way he makes decisions is usually shooting from the hip. It’s quite intuitive.”\u003c/p>\n\u003cp>Zelensky’s decision-making style is evident from the start of the book. \u003cem>The Showman\u003c/em> opens with a striking scene at the president’s villa at 4:30 a.m. on the morning of Russia’s invasion, when Zelensky, already dressed in a suit, tells his wife, “It’s started.” We follow him as his driver takes him toward Kyiv’s center, while “in the other direction the traffic had started to thicken.” People are fleeing. Soon, Zelensky will get offers from foreign heads of state to help him flee as well. He will find them offensive. The opening scene sets the tone for the rest of the narrative, where the president’s confidence in his decisions (some brave, some irrational) forges a path for Ukraine that no one could have predicted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We follow him down into the Soviet-era nuclear bunker where he will spend the first dramatic weeks of the invasion and deliver some of his most stirring speeches. His life there is far from glamorous: He and his team subsist on tinned meat and packaged sweets while sleeping on twin-size cots with no sunlight, fresh air or a way to see their families. The description is a riveting reminder of just how precarious and mind boggling those initial weeks of Europe’s first 21st-century war really were.\u003c/p>\n\u003cp>\u003cem>The Showman\u003c/em> isn’t a play by play of the first year of the full-scale war. Once the scene of the invasion is set, Shuster takes us back to Zelensky’s upbringing in a rough industrial town, through his growing popularity as a comedian and TV producer, and to his pivotal warzone tours at the start of the conflict in 2014 that sent him on his path toward politics. We also see a portrait of the president’s marriage as he and Olena Zelenska try to get comfortable with politics.\u003c/p>\n\u003cp>Zelensky emerges as a candid guy who isn’t politically savvy, but who is able to harness his skills as a showman to convince, inspire, fundraise and ultimately stage an unlikely resistance to annihilation.\u003c/p>\n\u003cp>But Shuster isn’t blind to his protagonist’s more problematic sides. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950449","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the most revealing threads of \u003cem>The Showman\u003c/em> is Zelensky’s mistaken belief in his power of persuasion when it came to negotiating peace with Russia. While visiting the massacre site in Bucha in April 2022, Zelensky said of Putin, “I’m not sure he knows what is happening.” Shuster, just as the reader, finds this naivete astonishing. He writes, “He seemed to believe that if he could only take Putin on a tour of Bucha […], the war might stop.”\u003c/p>\n\u003cp>Shuster also worries whether Zelensky, who has stamped out competition and \u003ca href=\"https://thehill.com/homenews/3795160-zelensky-signs-controversial-law-expanding-government-power-to-regulate-media/\">instituted control of the media\u003c/a>, “will have the wisdom and restraint to part with the extraordinary powers granted to him under martial law, or whether he will, like so many leaders through history, find that power too addictive.”\u003c/p>\n\u003cp>While it is tricky to write a work of longform journalism against the backdrop of a relentless news cycle, \u003cem>The Showman\u003c/em> stands as a clear-eyed insider look into this conflict. As the war enters its third year, \u003cem>The Showman\u003c/em> serves as a reminder of what could happen if we turn away.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003cem>Simon Shuster discusses ‘The Showman’ at the \u003ca href=\"https://commonwealthclub.my.salesforce-sites.com/ticket#/events/a0S8Z00000HNsxLUAT\">Commonwealth Club in San Francisco on Jan. 29\u003c/a> and at \u003ca href=\"https://www.keplers.org/upcoming-events-internal/simon-shuster\">Kepler’s Books in Menlo Park on Jan. 30\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950809/the-showman-simon-shuster-zelensky-biography-ukraine","authors":["byline_arts_13950809"],"categories":["arts_1","arts_73","arts_2303"],"tags":["arts_928","arts_2767","arts_10278","arts_16761"],"featImg":"arts_13950826","label":"source_arts_13950809"},"arts_13940429":{"type":"posts","id":"arts_13940429","meta":{"index":"posts_1591205157","site":"arts","id":"13940429","score":null,"sort":[1705010823000]},"guestAuthors":[],"slug":"back-to-black-amy-winehouse-biopic-commentary","title":"10 Reasons to Skip ‘Back to Black,’ the New Amy Winehouse Biopic","publishDate":1705010823,"format":"standard","headTitle":"10 Reasons to Skip ‘Back to Black,’ the New Amy Winehouse Biopic | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Guess what, everybody? Just when you thought we might be done exploiting Amy Winehouse’s tragic end for profit, it turns out … there’s still some cash to be made! This morning, a new trailer emerged for \u003cem>Back to Black\u003c/em>, a biopic that aims to capture Winehouse’s rise to stardom and ultimate spiral into self-destruction, all for our sick enjoyment. Hurray!\u003c/p>\n\u003cp>Before I say anything else, please now look at the trailer. And be sure to pay particular attention to the supremely ironic part where the actress playing Winehouse (Marisa Abela) mutters the line, “I wanna be remembered for just being me.” \u003cem>Ugh.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dsJAKPrxRa0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Please now allow me to now tell you all of the reasons I already hate this movie.\u003c/p>\n\u003col>\n\u003cli>Amy Winehouse was goofy and hilarious and had a bawdy sense of humor and there is no sign of any of that in this trailer and that is a giant bummer.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>The Winehouse estate approved \u003cem>Back to Black\u003c/em>, but the Winehouse estate has demonstrated over and over again that \u003ca href=\"https://www.kqed.org/pop/112753/the-impossible-task-of-keeping-amy-winehouse-alive-8-years-after-her-death\">it will take any and every opportunity to make money\u003c/a> from Amy Winehouse’s name, regardless of whether or not she’d have approved. These people \u003ca href=\"https://www.theguardian.com/music/2019/feb/22/amy-winehouse-hologram-tour-postponed\">OK’d an Amy Winehouse hologram\u003c/a>, for crying out loud. Can we be done giving them money now?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Marisa Abela is doing an extremely good Amy Winehouse impersonation here. It’s genuinely impressive. Unfortunately, all of the things that made Winehouse such a compelling performer and human were perfectly intangible and cannot be replicated. By anyone. Even someone who’s nailing the accent this well. No amount of hairspray and eyeliner is going to compensate for that.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>That “You’ve gotta remember: I ain’t no Spice Girl” line was deemed enough of a movie high-point to be put in this trailer. Let’s consider how bad the other dialogue must be if this made the cut.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>This is kind of a side note but \u003ca href=\"https://www.youtube.com/watch?v=s5Dqa_K6blg\">Amy Winehouse hated Dido\u003c/a> infinitely more than she hated the Spice Girls and I would trust this movie a lot more if there was a sneaky Dido reference in evidence. (Please enjoy \u003ca href=\"https://www.youtube.com/watch?v=-ZydibkgWwY\">this footage of Amy Winehouse throwing a rock at a Dido poster\u003c/a> at a time of your choosing.)\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this basically just a costumed reenactment of things we already saw in 2015’s perfect, Oscar- and Grammy-winning documentary, \u003ca href=\"https://www.kqed.org/arts/10815283/beyond-a-voice-and-a-sad-story-amy-listens-to-a-life\">\u003cem>Amy\u003c/em>\u003c/a>? What is the point of this?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this also just a costumed reenactment of what we, as Amy Winehouse fans, all watched happen in slow motion at the time? It wasn’t that long ago! Who is clamoring to see this supremely talented young woman self-destruct again already?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Do any of us really want to have to think about Mitch Winehouse or \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/amy-winehouse-death-blake-fielder-civil-b2411321.html\">Blake Fielder-Civil\u003c/a> ever again? Especially via the medium of look-alikes? No, thank you.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Amy was self-deprecating and had a very finely tuned BS detector. I genuinely don’t believe she would be enjoying any of this.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cem>Back to Black\u003c/em> stands as evidence that, as a culture, we’re still not done exploiting the pain of our biggest female stars for public entertainment. She dealt with too much of that in life. Amy Winehouse shouldn’t be contending with it 12 years after her death.\u003c/li>\n\u003c/ol>\n\u003cp>For those of you who still want to see this biopic for some reason, \u003ca href=\"https://www.imdb.com/title/tt21261712/?ref_=tt_mv_close\">\u003cem>Back to Black\u003c/em>\u003c/a> is set for release nationwide on May 10, 2024. Good luck with all that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Just when you thought we might be done exploiting Amy Winehouse’s death, it turns out there’s still some cash to be made!","status":"publish","parent":0,"modified":1705010823,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":613},"headData":{"title":"10 Reasons to Skip the New Amy Winehouse Biopic | KQED","description":"Just when you thought we might be done exploiting Amy Winehouse’s death, it turns out there’s still some cash to be made!","ogTitle":"10 Reasons to Skip ‘Back to Black,’ the New Amy Winehouse Biopic","ogDescription":"","ogImgId":"","twTitle":"10 Reasons to Skip ‘Back to Black,’ the New Amy Winehouse Biopic","twDescription":"","twImgId":"","socialTitle":"10 Reasons to Skip the New Amy Winehouse Biopic %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Reasons to Skip ‘Back to Black,’ the New Amy Winehouse Biopic","datePublished":"2024-01-11T22:07:03.000Z","dateModified":"2024-01-11T22:07:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940429/back-to-black-amy-winehouse-biopic-commentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Guess what, everybody? Just when you thought we might be done exploiting Amy Winehouse’s tragic end for profit, it turns out … there’s still some cash to be made! This morning, a new trailer emerged for \u003cem>Back to Black\u003c/em>, a biopic that aims to capture Winehouse’s rise to stardom and ultimate spiral into self-destruction, all for our sick enjoyment. Hurray!\u003c/p>\n\u003cp>Before I say anything else, please now look at the trailer. And be sure to pay particular attention to the supremely ironic part where the actress playing Winehouse (Marisa Abela) mutters the line, “I wanna be remembered for just being me.” \u003cem>Ugh.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dsJAKPrxRa0'\n title='//www.youtube.com/embed/dsJAKPrxRa0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Please now allow me to now tell you all of the reasons I already hate this movie.\u003c/p>\n\u003col>\n\u003cli>Amy Winehouse was goofy and hilarious and had a bawdy sense of humor and there is no sign of any of that in this trailer and that is a giant bummer.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>The Winehouse estate approved \u003cem>Back to Black\u003c/em>, but the Winehouse estate has demonstrated over and over again that \u003ca href=\"https://www.kqed.org/pop/112753/the-impossible-task-of-keeping-amy-winehouse-alive-8-years-after-her-death\">it will take any and every opportunity to make money\u003c/a> from Amy Winehouse’s name, regardless of whether or not she’d have approved. These people \u003ca href=\"https://www.theguardian.com/music/2019/feb/22/amy-winehouse-hologram-tour-postponed\">OK’d an Amy Winehouse hologram\u003c/a>, for crying out loud. Can we be done giving them money now?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Marisa Abela is doing an extremely good Amy Winehouse impersonation here. It’s genuinely impressive. Unfortunately, all of the things that made Winehouse such a compelling performer and human were perfectly intangible and cannot be replicated. By anyone. Even someone who’s nailing the accent this well. No amount of hairspray and eyeliner is going to compensate for that.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>That “You’ve gotta remember: I ain’t no Spice Girl” line was deemed enough of a movie high-point to be put in this trailer. Let’s consider how bad the other dialogue must be if this made the cut.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>This is kind of a side note but \u003ca href=\"https://www.youtube.com/watch?v=s5Dqa_K6blg\">Amy Winehouse hated Dido\u003c/a> infinitely more than she hated the Spice Girls and I would trust this movie a lot more if there was a sneaky Dido reference in evidence. (Please enjoy \u003ca href=\"https://www.youtube.com/watch?v=-ZydibkgWwY\">this footage of Amy Winehouse throwing a rock at a Dido poster\u003c/a> at a time of your choosing.)\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this basically just a costumed reenactment of things we already saw in 2015’s perfect, Oscar- and Grammy-winning documentary, \u003ca href=\"https://www.kqed.org/arts/10815283/beyond-a-voice-and-a-sad-story-amy-listens-to-a-life\">\u003cem>Amy\u003c/em>\u003c/a>? What is the point of this?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this also just a costumed reenactment of what we, as Amy Winehouse fans, all watched happen in slow motion at the time? It wasn’t that long ago! Who is clamoring to see this supremely talented young woman self-destruct again already?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Do any of us really want to have to think about Mitch Winehouse or \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/amy-winehouse-death-blake-fielder-civil-b2411321.html\">Blake Fielder-Civil\u003c/a> ever again? Especially via the medium of look-alikes? No, thank you.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Amy was self-deprecating and had a very finely tuned BS detector. I genuinely don’t believe she would be enjoying any of this.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cem>Back to Black\u003c/em> stands as evidence that, as a culture, we’re still not done exploiting the pain of our biggest female stars for public entertainment. She dealt with too much of that in life. Amy Winehouse shouldn’t be contending with it 12 years after her death.\u003c/li>\n\u003c/ol>\n\u003cp>For those of you who still want to see this biopic for some reason, \u003ca href=\"https://www.imdb.com/title/tt21261712/?ref_=tt_mv_close\">\u003cem>Back to Black\u003c/em>\u003c/a> is set for release nationwide on May 10, 2024. Good luck with all that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940429/back-to-black-amy-winehouse-biopic-commentary","authors":["11242"],"categories":["arts_1","arts_2303","arts_74","arts_69","arts_75"],"tags":["arts_21839","arts_21748"],"featImg":"arts_13940480","label":"arts"},"arts_13939314":{"type":"posts","id":"arts_13939314","meta":{"index":"posts_1591205157","site":"arts","id":"13939314","score":null,"sort":[1702494859000]},"guestAuthors":[],"slug":"cowboys-in-2023-beyonce-reneigh-barbie-bass-reeves-nathan-young-flower-moon","title":"How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023","publishDate":1702494859,"format":"standard","headTitle":"How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>When it came to some of the most urgent and enduring pop culture of 2023, \u003ca href=\"https://www.kqed.org/arts/13939278/charles-lee-sweat-dirt-sf-camerawork-photography\">the cowboy\u003c/a> was center stage. As far as I could see, listen and experience, that most iconic of American characters was being remixed and reframed, often by a new and defiantly inclusive generation.\u003c/p>\n\u003cp>[aside postid='arts_13935703']There were the mirrorball cowboy hats of the \u003cem>Renaissance\u003c/em> tour, the pastel prairie looks of the\u003cem> Eras\u003c/em> concertgoers, and that unforgettable magenta getup Margot Robbie donned in \u003cem>Barbie\u003c/em>. \u003cem>Yellowstone\u003c/em>, a modern Western starring Kevin Costner, was one of the most-watched shows on television, and its new spin-offs \u003cem>1923\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13937598/bass-reeves-deserves-better-lawmen-doesnt-do-justice-to-the-black-u-s-marshal\">\u003cem>Lawmen: Bass Reeves\u003c/em>\u003c/a> lassoed along even more audiences. In New York City, where I live, it seemed like half of all twentysomethings spent the summer in cowboy boots, despite the record-breaking heat. Recently I took some time on \u003cem>It’s Been a Minute\u003c/em>\u003ca href=\"https://www.npr.org/2023/12/08/1197954380/its-been-a-minute-draft-12-08-2023\"> to make sense of the pastoral themes\u003c/a> that drove the year in culture.\u003c/p>\n\u003cp>One could argue that even before this zeigeist-forging year, however, the appeal of the cowboy as a wistful, malleable symbol of Americanhood has never left us. But something about this year’s cowboy kick felt deeper than aesthetics; deeper than a call back to nature beyond our digital lives. 2023 represented a collective and proud reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype of the white, patriarchal, ruggedly individualistic gunslinger.\u003c/p>\n\u003cfigure id=\"attachment_13939319\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png\" alt=\"A Black cowboy wearing a sheriff's badge stands in front of a white tent.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves. \u003ccite>(Lauren Smith/ Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://mcadenver.org/exhibitions/cowboy\">the new exhibition, \u003cem>Cowboy\u003c/em>, \u003c/a>at the Museum of Contemporary Art in Denver, a collection of works curated by Nora Burnett Abrams explores and deconstructs the mythology of that archetype. With Denver as its backdrop, a multiracial and gender-spanning mix of artists reframe the cowboy as a uniquely American mingling of traditions that have nothing to do with the Marlboro Man.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxJkSW2MTpo\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png\" alt=\"A painting of a Black cowboy wearing blue jeans, an American flag shirt and a black hat.\" width=\"806\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-800x1310.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-768x1258.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We saw this idea in its most mainstream and live incarnation at the \u003cem>Renaissance\u003c/em> tour. Near the show’s end, a glittering Beyoncé climbed atop the twinkling disco steed that has come to symbolize this era, dubbed “Reneigh” by fans. Suspended by a complex pulley system and showered in sheets of raining confetti, they floated out above a shrieking audience decked out in their space cowboy best.\u003c/p>\n\u003cp>For all the futuristic and android references in the Renaissance stage design, I found it fitting that Beyoncé chose to close her show with an equine moment. Reneigh isn’t just a reference to that famous photo of \u003ca href=\"https://www.vanityfair.com/hollywood/2015/04/bianca-jagger-studio-54\">Bianca Jagger at Studio 54\u003c/a>, she’s also a nod to Beyoncé’s Texan roots. “I grew up going to the Houston Rodeo every year,” Beyoncé told \u003cem>Harper’s Bazaar\u003c/em> in 2021. “It was this amazing diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CoHxOQhrTHX\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png\" alt=\"A Black woman sits atop a horse wearing diamante encrusted underwear and a shiny dark silver cowboy hat.\" width=\"808\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png 808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-800x1309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-768x1257.png 768w\" sizes=\"(max-width: 808px) 100vw, 808px\">\u003c/a>\u003c/p>\n\u003cp>As curator Abrams told me during our conversation for \u003cem>It’s Been a Minute\u003c/em>, the word “cowboy” has its origins with the enslaved and indentured Black men who cared for American cattle, with “boy” a belittling term aimed at Black men of all ages. Although the culturally imagined cowboy is often white, in reality, Abrams says, in the mid-1800s, between a third and a quarter of all cowboys were either Black or Mexican.\u003c/p>\n\u003cp>[aside postid='arts_13939278']By centering herself as an intergalactic disco cowboy, Beyoncé, a Black Texan woman, is both imagining a radical Black future and recalling the truth of the past. The image of the silvery-spangled pop empress evokes the idea of the cowboy as adventurer, but instead of championing westward expansion, she begs us to extend our capacity for pleasure under the pulsating thump of her musical command.\u003c/p>\n\u003cp>The music scenes that inspired Beyoncé’s \u003cem>Renaissance\u003c/em> are home to queer communities that have been responsible for some of the most inventive and memorable interpretations of the cowboy this year. Director Pedro Almodóvar premiered his short film \u003cem>Strange Way of Life \u003c/em>at the Cannes Film Festival in May, a Western romance starring Ethan Hawke and Pedro Pascal as newly rekindled paramours on the open range.\u003c/p>\n\u003cfigure id=\"attachment_13939322\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png\" alt=\"A man is embraced from behind by another, shorter man.\" width=\"1300\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-768x509.png 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal and Ethan Hawke in Pedro Almodóvar’s film ‘Strange Way of Life.’ \u003ccite>(El Deseo/ Nico Bustos/ Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almodóvar once declined the offer to direct \u003cem>Brokeback Mountain\u003c/em> but found this an ideal moment to queer the gay cowboy canon in his distinct and lush style. Critics embraced this reinvigoration through the film’s overt references to Douglas Sirk and Sergio Leone, but its brief runtime and limited release somewhat dampened its reception. Fortunately the internet’s thirst for Pascal, and a desire to re-examine the cowboy from a new vantage point in queer cinema, secured the film a prominent spot in the discourse.\u003c/p>\n\u003cp>Another festival favorite this year was \u003cem>National Anthem\u003c/em>, photographer Luke Gilford’s portrait of the queer rodeo scene. Gilford has long meditated on cowboy figures in his portraiture, but the premiere of his film punctuates our current moment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxPLwK-sjee\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png\" alt=\"\" width=\"968\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-800x1109.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-768x1065.png 768w\" sizes=\"(max-width: 968px) 100vw, 968px\">\u003c/a>\u003c/p>\n\u003cp>Queer notions of the cowboy breathe new life into what is often a staid beacon of traditional masculinity. As\u003cem> New York Times Magazine \u003c/em>writer and culture critic J Wortham explained to me, in this context, the “boy” in “cowboy” is a gender-neutral suggestion. They also pointed out that the cowboy’s accouterments are rife with sexual possibility. A lasso doesn’t have to be \u003cem>just\u003c/em> a lasso, and chaps are sometimes best worn alone. Perhaps the cowboy is not a terrifying interloper, but your sturdy protector, like \u003ca href=\"https://www.gq.com/story/storme-delarverie-suiting\">Stormé DeLarverie,\u003c/a> the pistol-packing guardian of West Village gay and lesbian bars for nearly four decades — a black cowboy hat was often part of her signature look.\u003c/p>\n\u003cp>In Denver’s current \u003cem>Cowboy\u003c/em> exhibition, one artist wrestling with the legacy and future of this image is multidisciplinary artist and composer Nathan Young, a member of the Delaware Tribe of Indians, and descendant of the Pawnee Nation and Kiowa Tribe. Young’s installation is \u003ca href=\"https://wheelwright.org/exhibitions/activation-transformation/\">\u003cem>Activation/Transformation\u003c/em>\u003c/a>, a collection of photographs, boots, hats, and other personal items collected from different generations of his family, some of whom were involved in Native American rodeo culture.\u003c/p>\n\u003cp>[aside postid='arts_13936628']Abrams pointed out how Young’s work exposes the hypocrisy and inaccuracy of the racist “cowboys vs. Indians” trope. “[\u003cem>Activation/Transformation\u003c/em>] upends that silly binary by showing through actual materials how ‘cowboy’ [Young’s] family and his community has always been,” said Abrams. How can the stereotypical cowboy be a calling card of whiteness if so much of its material culture is based in and entwined with the Native American traditions it wishes to annihilate?” It’s this worthy question that surrounds Young’s installation, and also certainly haunts another of one the year’s biggest pop culture moments, Martin Scorsese’s 1920s saga set on the Osage nation, \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This year proved that despite the enduring power of pop culture icons like John Wayne and Buffalo Bill, the symbol of the cowboy — and the stallions, chaps, and lassos that go with it — isn’t owned by colonial expansion or mainstream Hollywood narratives. Over the centuries the cowboy has become an immovable entry in our public domain, free for the most alienated to deconstruct, confront and reclaim as America forges a new path for its future. In trying to put words to the project of “claim[ing] Americanness” while also reckoning with the violence traditionally symbolized by the cowboy’s presence, as critic J Wortham says, “maybe there are other alternate ways of being, and we have to try to embrace them in order to bring them into today.”\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=How+the+remixed+American+%27cowboy%27+became+the+breakout+star+of+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"2023 represented a reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype.","status":"publish","parent":0,"modified":1705002985,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1344},"headData":{"title":"How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023 | KQED","description":"2023 represented a reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023","datePublished":"2023-12-13T19:14:19.000Z","dateModified":"2024-01-11T19:56:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Brittany Luse","nprImageAgency":"Warner Bros.","nprStoryId":"1218803510","nprApiLink":"http://api.npr.org/query?id=1218803510&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/12/13/1218803510/cowboy-beyonce-barbie-bass-reeves?ft=nprml&f=1218803510","nprRetrievedStory":"1","nprPubDate":"Wed, 13 Dec 2023 05:01:00 -0500","nprStoryDate":"Wed, 13 Dec 2023 05:01:27 -0500","nprLastModifiedDate":"Wed, 13 Dec 2023 05:01:27 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939314/cowboys-in-2023-beyonce-reneigh-barbie-bass-reeves-nathan-young-flower-moon","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came to some of the most urgent and enduring pop culture of 2023, \u003ca href=\"https://www.kqed.org/arts/13939278/charles-lee-sweat-dirt-sf-camerawork-photography\">the cowboy\u003c/a> was center stage. As far as I could see, listen and experience, that most iconic of American characters was being remixed and reframed, often by a new and defiantly inclusive generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935703","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There were the mirrorball cowboy hats of the \u003cem>Renaissance\u003c/em> tour, the pastel prairie looks of the\u003cem> Eras\u003c/em> concertgoers, and that unforgettable magenta getup Margot Robbie donned in \u003cem>Barbie\u003c/em>. \u003cem>Yellowstone\u003c/em>, a modern Western starring Kevin Costner, was one of the most-watched shows on television, and its new spin-offs \u003cem>1923\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13937598/bass-reeves-deserves-better-lawmen-doesnt-do-justice-to-the-black-u-s-marshal\">\u003cem>Lawmen: Bass Reeves\u003c/em>\u003c/a> lassoed along even more audiences. In New York City, where I live, it seemed like half of all twentysomethings spent the summer in cowboy boots, despite the record-breaking heat. Recently I took some time on \u003cem>It’s Been a Minute\u003c/em>\u003ca href=\"https://www.npr.org/2023/12/08/1197954380/its-been-a-minute-draft-12-08-2023\"> to make sense of the pastoral themes\u003c/a> that drove the year in culture.\u003c/p>\n\u003cp>One could argue that even before this zeigeist-forging year, however, the appeal of the cowboy as a wistful, malleable symbol of Americanhood has never left us. But something about this year’s cowboy kick felt deeper than aesthetics; deeper than a call back to nature beyond our digital lives. 2023 represented a collective and proud reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype of the white, patriarchal, ruggedly individualistic gunslinger.\u003c/p>\n\u003cfigure id=\"attachment_13939319\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png\" alt=\"A Black cowboy wearing a sheriff's badge stands in front of a white tent.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves. \u003ccite>(Lauren Smith/ Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://mcadenver.org/exhibitions/cowboy\">the new exhibition, \u003cem>Cowboy\u003c/em>, \u003c/a>at the Museum of Contemporary Art in Denver, a collection of works curated by Nora Burnett Abrams explores and deconstructs the mythology of that archetype. With Denver as its backdrop, a multiracial and gender-spanning mix of artists reframe the cowboy as a uniquely American mingling of traditions that have nothing to do with the Marlboro Man.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxJkSW2MTpo\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png\" alt=\"A painting of a Black cowboy wearing blue jeans, an American flag shirt and a black hat.\" width=\"806\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-800x1310.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-768x1258.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We saw this idea in its most mainstream and live incarnation at the \u003cem>Renaissance\u003c/em> tour. Near the show’s end, a glittering Beyoncé climbed atop the twinkling disco steed that has come to symbolize this era, dubbed “Reneigh” by fans. Suspended by a complex pulley system and showered in sheets of raining confetti, they floated out above a shrieking audience decked out in their space cowboy best.\u003c/p>\n\u003cp>For all the futuristic and android references in the Renaissance stage design, I found it fitting that Beyoncé chose to close her show with an equine moment. Reneigh isn’t just a reference to that famous photo of \u003ca href=\"https://www.vanityfair.com/hollywood/2015/04/bianca-jagger-studio-54\">Bianca Jagger at Studio 54\u003c/a>, she’s also a nod to Beyoncé’s Texan roots. “I grew up going to the Houston Rodeo every year,” Beyoncé told \u003cem>Harper’s Bazaar\u003c/em> in 2021. “It was this amazing diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CoHxOQhrTHX\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png\" alt=\"A Black woman sits atop a horse wearing diamante encrusted underwear and a shiny dark silver cowboy hat.\" width=\"808\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png 808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-800x1309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-768x1257.png 768w\" sizes=\"(max-width: 808px) 100vw, 808px\">\u003c/a>\u003c/p>\n\u003cp>As curator Abrams told me during our conversation for \u003cem>It’s Been a Minute\u003c/em>, the word “cowboy” has its origins with the enslaved and indentured Black men who cared for American cattle, with “boy” a belittling term aimed at Black men of all ages. Although the culturally imagined cowboy is often white, in reality, Abrams says, in the mid-1800s, between a third and a quarter of all cowboys were either Black or Mexican.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939278","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By centering herself as an intergalactic disco cowboy, Beyoncé, a Black Texan woman, is both imagining a radical Black future and recalling the truth of the past. The image of the silvery-spangled pop empress evokes the idea of the cowboy as adventurer, but instead of championing westward expansion, she begs us to extend our capacity for pleasure under the pulsating thump of her musical command.\u003c/p>\n\u003cp>The music scenes that inspired Beyoncé’s \u003cem>Renaissance\u003c/em> are home to queer communities that have been responsible for some of the most inventive and memorable interpretations of the cowboy this year. Director Pedro Almodóvar premiered his short film \u003cem>Strange Way of Life \u003c/em>at the Cannes Film Festival in May, a Western romance starring Ethan Hawke and Pedro Pascal as newly rekindled paramours on the open range.\u003c/p>\n\u003cfigure id=\"attachment_13939322\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png\" alt=\"A man is embraced from behind by another, shorter man.\" width=\"1300\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-768x509.png 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal and Ethan Hawke in Pedro Almodóvar’s film ‘Strange Way of Life.’ \u003ccite>(El Deseo/ Nico Bustos/ Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almodóvar once declined the offer to direct \u003cem>Brokeback Mountain\u003c/em> but found this an ideal moment to queer the gay cowboy canon in his distinct and lush style. Critics embraced this reinvigoration through the film’s overt references to Douglas Sirk and Sergio Leone, but its brief runtime and limited release somewhat dampened its reception. Fortunately the internet’s thirst for Pascal, and a desire to re-examine the cowboy from a new vantage point in queer cinema, secured the film a prominent spot in the discourse.\u003c/p>\n\u003cp>Another festival favorite this year was \u003cem>National Anthem\u003c/em>, photographer Luke Gilford’s portrait of the queer rodeo scene. Gilford has long meditated on cowboy figures in his portraiture, but the premiere of his film punctuates our current moment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxPLwK-sjee\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png\" alt=\"\" width=\"968\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-800x1109.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-768x1065.png 768w\" sizes=\"(max-width: 968px) 100vw, 968px\">\u003c/a>\u003c/p>\n\u003cp>Queer notions of the cowboy breathe new life into what is often a staid beacon of traditional masculinity. As\u003cem> New York Times Magazine \u003c/em>writer and culture critic J Wortham explained to me, in this context, the “boy” in “cowboy” is a gender-neutral suggestion. They also pointed out that the cowboy’s accouterments are rife with sexual possibility. A lasso doesn’t have to be \u003cem>just\u003c/em> a lasso, and chaps are sometimes best worn alone. Perhaps the cowboy is not a terrifying interloper, but your sturdy protector, like \u003ca href=\"https://www.gq.com/story/storme-delarverie-suiting\">Stormé DeLarverie,\u003c/a> the pistol-packing guardian of West Village gay and lesbian bars for nearly four decades — a black cowboy hat was often part of her signature look.\u003c/p>\n\u003cp>In Denver’s current \u003cem>Cowboy\u003c/em> exhibition, one artist wrestling with the legacy and future of this image is multidisciplinary artist and composer Nathan Young, a member of the Delaware Tribe of Indians, and descendant of the Pawnee Nation and Kiowa Tribe. Young’s installation is \u003ca href=\"https://wheelwright.org/exhibitions/activation-transformation/\">\u003cem>Activation/Transformation\u003c/em>\u003c/a>, a collection of photographs, boots, hats, and other personal items collected from different generations of his family, some of whom were involved in Native American rodeo culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936628","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Abrams pointed out how Young’s work exposes the hypocrisy and inaccuracy of the racist “cowboys vs. Indians” trope. “[\u003cem>Activation/Transformation\u003c/em>] upends that silly binary by showing through actual materials how ‘cowboy’ [Young’s] family and his community has always been,” said Abrams. How can the stereotypical cowboy be a calling card of whiteness if so much of its material culture is based in and entwined with the Native American traditions it wishes to annihilate?” It’s this worthy question that surrounds Young’s installation, and also certainly haunts another of one the year’s biggest pop culture moments, Martin Scorsese’s 1920s saga set on the Osage nation, \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year proved that despite the enduring power of pop culture icons like John Wayne and Buffalo Bill, the symbol of the cowboy — and the stallions, chaps, and lassos that go with it — isn’t owned by colonial expansion or mainstream Hollywood narratives. Over the centuries the cowboy has become an immovable entry in our public domain, free for the most alienated to deconstruct, confront and reclaim as America forges a new path for its future. In trying to put words to the project of “claim[ing] Americanness” while also reckoning with the violence traditionally symbolized by the cowboy’s presence, as critic J Wortham says, “maybe there are other alternate ways of being, and we have to try to embrace them in order to bring them into today.”\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=How+the+remixed+American+%27cowboy%27+became+the+breakout+star+of+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939314/cowboys-in-2023-beyonce-reneigh-barbie-bass-reeves-nathan-young-flower-moon","authors":["byline_arts_13939314"],"categories":["arts_1","arts_2303","arts_835","arts_75"],"tags":["arts_19375","arts_1686"],"affiliates":["arts_137"],"featImg":"arts_13939324","label":"arts_137"}},"programsReducer":{"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/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","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 />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"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. 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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. 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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":{"site":"news","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"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"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/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"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 of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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