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He studied creative writing at University of Maryland and went on to receive his MFA in the field from California College of the Arts. In his free time, he sings his heart out at karaoke.","avatar":"https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g","twitter":"xcusemybeauty","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","subscriber"]},{"site":"pop","roles":["contributor"]}],"headData":{"title":"Emmanuel Hapsis | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ehapsis"},"ralexandra":{"type":"authors","id":"11242","meta":{"index":"authors_1591205172","id":"11242","found":true},"name":"Rae Alexandra","firstName":"Rae","lastName":"Alexandra","slug":"ralexandra","email":"ralexandra@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Staff Writer","bio":"Rae Alexandra is Staff Writer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/ArticleArchives?author=2127078&excludeCategoryType=Blog\">\u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/tag/bayareahistory/\">a history nerd\u003c/a>. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"}},"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":"/"}},"pop_112998":{"type":"posts","id":"pop_112998","meta":{"index":"posts_1591205157","site":"pop","id":"112998","score":null,"sort":[1564079878000]},"guestAuthors":[],"slug":"what-happens-when-a-new-yorker-cartoonist-draws-a-childrens-book","title":"What Happens When a 'New Yorker' Cartoonist Draws a Children's Book?","publishDate":1564079878,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>If your kids are like my kids, then repetition is a big part of your life. And jokes. Repetition and jokes. Repetition OF bad jokes.\u003c/p>\n\u003cp>Someone help me.\u003c/p>\n\u003cp>During summer, I am home with my kids, and I have to find something to keep them occupied so I can work. Last year I instituted \"Summer of the '70s\" and had them watch \u003cem>The Brady Bunch \u003c/em>in the morning, then go drink from the hose in the afternoon. This year, it's \"Summer of the '80s,\" so it's my personal favorite, \u003cem>The Golden Girls\u003c/em>, in the morning, and the hose in the afternoon.\u003c/p>\n\u003cp>I didn't know what I had unleashed. I should have known, I really should have.\u003c/p>\n\u003cp>This morning at the breakfast table, I noticed my 5-year-old was biting her fist instead of her waffle. \"What's the matter?\" I naively asked. \"Nothing,\" she said. \"I'm just that lady on the show.\" (\u003ca href=\"https://www.youtube.com/watch?v=HV7AXRABSng\">Insert Golden Girls opening credits here to see Dorothy biting her fist\u003c/a>.) And as much as I love the show, offering up Sophia Petrillo to an already sassy 9-year-old may not have been the smartest decision. How many times a day can I hear \"blow it out your ditty bag\" before I go crazy?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there's \u003cem>Catwad\u003c/em>.\u003c/p>\n\u003cp>What does my 5-year-old sleep with? A stuffed unicorn and \u003cem>Catwad\u003c/em>. My 7-year-old? A stuffed panda and \u003cem>Catwad\u003c/em>. My 9-year-old? His old teddy and \u003cem>Catwad\u003c/em>.\u003c/p>\n\u003cp>Catwad is a new character from cartoonist Jim Benton, whom adults may know from \u003cem>The New Yorker\u003c/em>, and kids may know from the \u003cem>Dear Dumb Diary\u003c/em> series. Catwad is grouchy. Catwad is mean (think Grumpy Cat and you've got it). Catwad's grouchy meanness is consistently foiled by his naive, sunny and dim-witted friend Blurmp. These collections of short comic stories are a bit rude, a lot ridiculous and a little profane.\u003c/p>\n\u003cp>I didn't understand my kids' fascination.\u003c/p>\n\u003cp>I'll get this out of the way right now: I am not a funny person. I know two jokes, and they are both grammar-related, so that tells you all you need to know about my sense of humor. Being silly with my kids or even allowing them to be silly themselves goes against my nature and is a real challenge for me. That's true for everyday life, and it's true for reading as well. Should my kids be barraging me with Nerf arrows, or should they be changing the oil in the pickup? Should they be yukking it up with \u003cem>Dog Man\u003c/em> or should they be getting frustrated with the sourpuss Mary Lennox in \u003cem>The Secret Garden\u003c/em>? I know my instinctual answer.\u003c/p>\n\u003cp>So I take a deep breath and try to let go a little. After all, I must have SOME sense of humor if I love \u003cem>The Golden Girls\u003c/em> so much; can't I love \u003cem>Catwad,\u003c/em> too?\u003c/p>\n\u003cfigure id=\"attachment_113000\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-113000\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-800x603.jpg\" alt=\"Catwad and Blurmp, channeling 'The Golden Girls.'\" width=\"800\" height=\"603\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-800x603.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-160x121.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-768x579.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-1020x769.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-1200x905.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-1920x1448.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catwad and Blurmp, channeling 'The Golden Girls.' \u003ccite>(Courtesy of Scholastic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two friends are ordering a pizza over the phone:\u003c/p>\n\u003cblockquote>\u003cp>\"We'd like one pepperoni pizza please.\"\u003c/p>\n\u003cp>\"He wants to know if he should cut it into six pieces or eight.\"\u003c/p>\n\u003cp>\"Hmm ... six or eight? Better cut it into SIX pieces. There's NO WAY we could eat eight pieces.\"\u003c/p>\u003c/blockquote>\n\u003cp>OK, Blurmp, I see the Rose Nylund here. I can appreciate that.\u003c/p>\n\u003cp>Serious person that I am, after witnessing my kids' immediate obsession with \u003cem>Catwad\u003c/em>, I researched why kids love corny jokes and potty humor (I told you I'm not silly), and after wading through a million \"how to—please not in front of the neighbors—not overreact when your kid comes home from school with a joke that makes your hair curl\" stories, I found loads of psychology articles about how humor is key to childhood development, which I can appreciate, but also a bunch of articles about how I'm setting my kids up for serious disorders by not being a funny parent, which scared me to death.\u003c/p>\n\u003cp>But corny jokes and potty humor are just a small part of \u003cem>Catwad\u003c/em>, so I had to dig deeper to figure out why my kids are so obsessed with it.\u003c/p>\n\u003cp>Jim Benton has won about every award known to man, but if someone were to tell me he grew up watching \u003cem>The Three Stooges\u003c/em> and listening to old vaudeville albums on a Fisher Price record player, I wouldn't be surprised. Like the Stooges and vaudeville, at first glance \u003cem>Catwad \u003c/em>seems a little crude—the illustrations are simplistic and a little creepy (I'm having a hard time getting the image of \u003cem>Catwad\u003c/em> as a writhing, gelatinous heap of an inside-out mouth out of my head)—and well, the jokes seem weird and unfunny, because also like the Stooges and vaudeville, Benton's humor often relies on the ANTI-JOKE.\u003c/p>\n\u003cp>In \u003cem>It's Me\u003c/em>, the first Catwad book, there's one particular comic that illustrates Benton's mastery of the anti-joke.\u003c/p>\n\u003cfigure id=\"attachment_113001\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-113001\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-800x602.jpg\" alt=\"Catwad, master of the anti-joke.\" width=\"800\" height=\"602\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-800x602.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-768x578.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-1020x768.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-1200x903.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-1920x1445.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catwad, master of the anti-joke. \u003ccite>(Courtesy of Scholastic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blumrp is getting ready for Halloween.\u003c/p>\n\u003cblockquote>\u003cp>\"Catwad! Come here and look at my jolly jack-o-lantern. Look, I drew a big happy face to cut out.\"\u003c/p>\n\u003cp>\"Let's see how long he feels happy ... after you stick a knife in his face.\"\u003c/p>\u003c/blockquote>\n\u003cp>Eureka! NOW I know why my kids are so obsessed with \u003cem>Catwad\u003c/em>.\u003c/p>\n\u003cp>My kids love to make up jokes, but not a single one of them actually understands what a joke is. The concept of a punch line is far beyond their pay grade at this point, but they crack themselves up anyway. A recent article in \u003ca href=\"https://www.theatlantic.com/family/archive/2019/01/why-kids-tell-weird-jokes/579472/\">\u003cem>The Atlantic\u003c/em> magazine\u003c/a> cuts right to the core of the phenomenon. \"Kids tend to tell bizarre jokes because they haven't yet mastered what exactly makes a joke, a joke.\" It may look like a joke, and sound like a joke, but it sure doesn't taste like a joke.\u003c/p>\n\u003cp>And that's Jim Benton's genius. No one loves an anti-joke more than a little kid, and Jim Benton knows it. \u003cem>Catwad\u003c/em> is not funny, so it's HYSTERICAL. \u003cem>Catwad\u003c/em> is every bit the joke book kids would write themselves if grown-ups stopped telling them that their jokes are not jokes.\u003c/p>\n\u003cp>So clearly I owe Jim Benton a huge debt. Not only is he saving my kids from the psychological damage I am inflicting on them as an unfunny parent, but he's validating their own weird idea of humor, which is much more encouraging than the forced guffaw I produce when my kids tell me their own jokes. And it doesn't hurt that he's giving them a bit of Sophia and Rose in cartoon cat form, which is definitely humor I can appreciate.\u003c/p>\n\u003cp>\u003cem>Catwad: It's Me, Two\u003c/em> comes out in September, so the repetition of jokes in my house continues.\u003c/p>\n\u003cp>Send help.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children's Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Grouchy%2C+Rude+%27Catwad%27+Is+Catnip+To+Kids&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"'Catwad' by Jim Benton conjures something approaching 'The Golden Girls' meets 'Three Stooges'—for kids.","status":"publish","parent":0,"modified":1564091848,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1195},"headData":{"title":"What Happens When a 'New Yorker' Cartoonist Draws a Children's Book? | KQED","description":"'Catwad' by Jim Benton conjures something approaching 'The Golden Girls' meets 'Three Stooges'—for kids.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"112998 https://ww2.kqed.org/pop/?p=112998","disqusUrl":"https://ww2.kqed.org/pop/2019/07/25/what-happens-when-a-new-yorker-cartoonist-draws-a-childrens-book/","disqusTitle":"What Happens When a 'New Yorker' Cartoonist Draws a Children's Book?","nprByline":"Juanita Giles","nprImageAgency":"Scholastic","nprStoryId":"745010267","nprApiLink":"http://api.npr.org/query?id=745010267&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/07/25/745010267/why-grouchy-rude-catwad-is-catnip-to-kids?ft=nprml&f=745010267","nprRetrievedStory":"1","nprPubDate":"Thu, 25 Jul 2019 12:50:00 -0400","nprStoryDate":"Thu, 25 Jul 2019 10:00:00 -0400","nprLastModifiedDate":"Thu, 25 Jul 2019 12:50:52 -0400","path":"/pop/112998/what-happens-when-a-new-yorker-cartoonist-draws-a-childrens-book","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your kids are like my kids, then repetition is a big part of your life. And jokes. Repetition and jokes. Repetition OF bad jokes.\u003c/p>\n\u003cp>Someone help me.\u003c/p>\n\u003cp>During summer, I am home with my kids, and I have to find something to keep them occupied so I can work. Last year I instituted \"Summer of the '70s\" and had them watch \u003cem>The Brady Bunch \u003c/em>in the morning, then go drink from the hose in the afternoon. This year, it's \"Summer of the '80s,\" so it's my personal favorite, \u003cem>The Golden Girls\u003c/em>, in the morning, and the hose in the afternoon.\u003c/p>\n\u003cp>I didn't know what I had unleashed. I should have known, I really should have.\u003c/p>\n\u003cp>This morning at the breakfast table, I noticed my 5-year-old was biting her fist instead of her waffle. \"What's the matter?\" I naively asked. \"Nothing,\" she said. \"I'm just that lady on the show.\" (\u003ca href=\"https://www.youtube.com/watch?v=HV7AXRABSng\">Insert Golden Girls opening credits here to see Dorothy biting her fist\u003c/a>.) And as much as I love the show, offering up Sophia Petrillo to an already sassy 9-year-old may not have been the smartest decision. How many times a day can I hear \"blow it out your ditty bag\" before I go crazy?\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>And then there's \u003cem>Catwad\u003c/em>.\u003c/p>\n\u003cp>What does my 5-year-old sleep with? A stuffed unicorn and \u003cem>Catwad\u003c/em>. My 7-year-old? A stuffed panda and \u003cem>Catwad\u003c/em>. My 9-year-old? His old teddy and \u003cem>Catwad\u003c/em>.\u003c/p>\n\u003cp>Catwad is a new character from cartoonist Jim Benton, whom adults may know from \u003cem>The New Yorker\u003c/em>, and kids may know from the \u003cem>Dear Dumb Diary\u003c/em> series. Catwad is grouchy. Catwad is mean (think Grumpy Cat and you've got it). Catwad's grouchy meanness is consistently foiled by his naive, sunny and dim-witted friend Blurmp. These collections of short comic stories are a bit rude, a lot ridiculous and a little profane.\u003c/p>\n\u003cp>I didn't understand my kids' fascination.\u003c/p>\n\u003cp>I'll get this out of the way right now: I am not a funny person. I know two jokes, and they are both grammar-related, so that tells you all you need to know about my sense of humor. Being silly with my kids or even allowing them to be silly themselves goes against my nature and is a real challenge for me. That's true for everyday life, and it's true for reading as well. Should my kids be barraging me with Nerf arrows, or should they be changing the oil in the pickup? Should they be yukking it up with \u003cem>Dog Man\u003c/em> or should they be getting frustrated with the sourpuss Mary Lennox in \u003cem>The Secret Garden\u003c/em>? I know my instinctual answer.\u003c/p>\n\u003cp>So I take a deep breath and try to let go a little. After all, I must have SOME sense of humor if I love \u003cem>The Golden Girls\u003c/em> so much; can't I love \u003cem>Catwad,\u003c/em> too?\u003c/p>\n\u003cfigure id=\"attachment_113000\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-113000\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-800x603.jpg\" alt=\"Catwad and Blurmp, channeling 'The Golden Girls.'\" width=\"800\" height=\"603\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-800x603.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-160x121.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-768x579.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-1020x769.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-1200x905.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2-1920x1448.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-pizza-3_enl-df1cd056dc5b1a3afea8bacf6ee7d4232e451fe2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catwad and Blurmp, channeling 'The Golden Girls.' \u003ccite>(Courtesy of Scholastic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two friends are ordering a pizza over the phone:\u003c/p>\n\u003cblockquote>\u003cp>\"We'd like one pepperoni pizza please.\"\u003c/p>\n\u003cp>\"He wants to know if he should cut it into six pieces or eight.\"\u003c/p>\n\u003cp>\"Hmm ... six or eight? Better cut it into SIX pieces. There's NO WAY we could eat eight pieces.\"\u003c/p>\u003c/blockquote>\n\u003cp>OK, Blurmp, I see the Rose Nylund here. I can appreciate that.\u003c/p>\n\u003cp>Serious person that I am, after witnessing my kids' immediate obsession with \u003cem>Catwad\u003c/em>, I researched why kids love corny jokes and potty humor (I told you I'm not silly), and after wading through a million \"how to—please not in front of the neighbors—not overreact when your kid comes home from school with a joke that makes your hair curl\" stories, I found loads of psychology articles about how humor is key to childhood development, which I can appreciate, but also a bunch of articles about how I'm setting my kids up for serious disorders by not being a funny parent, which scared me to death.\u003c/p>\n\u003cp>But corny jokes and potty humor are just a small part of \u003cem>Catwad\u003c/em>, so I had to dig deeper to figure out why my kids are so obsessed with it.\u003c/p>\n\u003cp>Jim Benton has won about every award known to man, but if someone were to tell me he grew up watching \u003cem>The Three Stooges\u003c/em> and listening to old vaudeville albums on a Fisher Price record player, I wouldn't be surprised. Like the Stooges and vaudeville, at first glance \u003cem>Catwad \u003c/em>seems a little crude—the illustrations are simplistic and a little creepy (I'm having a hard time getting the image of \u003cem>Catwad\u003c/em> as a writhing, gelatinous heap of an inside-out mouth out of my head)—and well, the jokes seem weird and unfunny, because also like the Stooges and vaudeville, Benton's humor often relies on the ANTI-JOKE.\u003c/p>\n\u003cp>In \u003cem>It's Me\u003c/em>, the first Catwad book, there's one particular comic that illustrates Benton's mastery of the anti-joke.\u003c/p>\n\u003cfigure id=\"attachment_113001\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-113001\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-800x602.jpg\" alt=\"Catwad, master of the anti-joke.\" width=\"800\" height=\"602\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-800x602.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-768x578.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-1020x768.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-1200x903.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b-1920x1445.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/catwad-jackolantern-1_enl-c83119898a3dd13dbcf15a0acd04547e8ef6d87b.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catwad, master of the anti-joke. \u003ccite>(Courtesy of Scholastic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blumrp is getting ready for Halloween.\u003c/p>\n\u003cblockquote>\u003cp>\"Catwad! Come here and look at my jolly jack-o-lantern. Look, I drew a big happy face to cut out.\"\u003c/p>\n\u003cp>\"Let's see how long he feels happy ... after you stick a knife in his face.\"\u003c/p>\u003c/blockquote>\n\u003cp>Eureka! NOW I know why my kids are so obsessed with \u003cem>Catwad\u003c/em>.\u003c/p>\n\u003cp>My kids love to make up jokes, but not a single one of them actually understands what a joke is. The concept of a punch line is far beyond their pay grade at this point, but they crack themselves up anyway. A recent article in \u003ca href=\"https://www.theatlantic.com/family/archive/2019/01/why-kids-tell-weird-jokes/579472/\">\u003cem>The Atlantic\u003c/em> magazine\u003c/a> cuts right to the core of the phenomenon. \"Kids tend to tell bizarre jokes because they haven't yet mastered what exactly makes a joke, a joke.\" It may look like a joke, and sound like a joke, but it sure doesn't taste like a joke.\u003c/p>\n\u003cp>And that's Jim Benton's genius. No one loves an anti-joke more than a little kid, and Jim Benton knows it. \u003cem>Catwad\u003c/em> is not funny, so it's HYSTERICAL. \u003cem>Catwad\u003c/em> is every bit the joke book kids would write themselves if grown-ups stopped telling them that their jokes are not jokes.\u003c/p>\n\u003cp>So clearly I owe Jim Benton a huge debt. Not only is he saving my kids from the psychological damage I am inflicting on them as an unfunny parent, but he's validating their own weird idea of humor, which is much more encouraging than the forced guffaw I produce when my kids tell me their own jokes. And it doesn't hurt that he's giving them a bit of Sophia and Rose in cartoon cat form, which is definitely humor I can appreciate.\u003c/p>\n\u003cp>\u003cem>Catwad: It's Me, Two\u003c/em> comes out in September, so the repetition of jokes in my house continues.\u003c/p>\n\u003cp>Send help.\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>Juanita Giles is the founder and executive director of the Virginia Children's Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Grouchy%2C+Rude+%27Catwad%27+Is+Catnip+To+Kids&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/112998/what-happens-when-a-new-yorker-cartoonist-draws-a-childrens-book","authors":["byline_pop_112998"],"categories":["pop_1537","pop_1548"],"tags":["pop_296","pop_3792","pop_3341","pop_3793","pop_233","pop_3794"],"featImg":"pop_113003","label":"pop"},"pop_111091":{"type":"posts","id":"pop_111091","meta":{"index":"posts_1591205157","site":"pop","id":"111091","score":null,"sort":[1559738870000]},"guestAuthors":[],"slug":"everything-you-need-to-know-about-tales-of-the-city-before-the-netflix-update","title":"Everything You Need To Know About 'Tales Of The City' Before The Netflix Update","publishDate":1559738870,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>In 2014, after Armistead Maupin released the final book in his \u003cem>Tales of the City\u003c/em> series, KQED Pop's \u003ca href=\"https://www.kqed.org/pop/10814/armistead-maupin-on-saying-goodbye-to-san-francisco-and-tales-of-the-city\">Tony Bravo wrote\u003c/a>, \"There's something melancholy yet appropriate about Maupin choosing to end his series at this particular point in the city's history; the San Francisco of the nearly 40 years of the series is changing rapidly and radically.\"\u003c/p>\n\u003cp>Tech domination and socio-economic inequality might dominate San Francisco's 2019 reality, but in the latest TV adaptation of Maupin's \u003cem>Tales\u003c/em>, the focus remains primarily on community, acceptance and the families we choose for ourselves. The trailer alone is a reminder of what a special haven the city has historically been—and still is in many ways. As Maupin himself once wrote: \"The worst of times in San Francisco was still better than the best of times somewhere else.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9IUSCVH61xw\u003c/p>\n\u003cp>Here then, is everything you need to know about \u003cem>Tales of the City\u003c/em> before the latest installment hits Netflix.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Birth Of The Books Was A Happy Accident\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The roots of Maupin's \u003cem>Tales\u003c/em> column started in the \u003cem>San Francisco Chronicle \u003c/em>after he attempted to write a 1976 article about the Marina Safeway. It was, at the time, a well-known pick-up joint every Wednesday night, but when Maupin failed to find any singles willing to talk honestly about what they were doing at the supermarket, he decided to transform the story into fiction. Maupin quickly made a deal with his editors that allowed him to write about gay characters too; they said as long as the gay characters only made up a third of the cast, it was okay. The community was impossible to keep out. As Maupin himself wrote: “In this town, the love that dare not speak its name never shuts up.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Maupin Loved San Francisco Before He Even Lived In It\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-112022\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png\" alt=\"\" width=\"250\" height=\"315\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png 302w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM-160x201.png 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">Originally hailing from Raleigh, North Carolina, the author's father was a Confederate flag-owning segregation supporter. Maupin did two tours of duty in the Navy, the bulk of which was spent working as a communications officer in Vietnam. (He returned there to build houses for disabled veterans after the war. ) The process of leaving the Navy in 1970 required Maupin to go to Treasure Island. “I stood there and looked at the city,\" he recalled. \"That extraordinary white vision rising above the blue water... [I] used to fantasize about living there… It wasn’t until several years later that I realized the dream could come true.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Tales\u003c/em> Helped People Come Out\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fbg6Ge0FqCI\u003c/p>\n\u003cp>The beautiful coming out letter that Michael wrote to his Anita Bryant-supporting parents in the original \u003cem>Tales of the City\u003c/em> book is based on Maupin’s own to his conservative parents. Others, including a caller to \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">KQED's \u003cem>Forum\u003c/em>\u003c/a> last April, have since used it as a blueprint to come out to their own families. It reads in part:\u003c/p>\n\u003cblockquote>\u003cp>\"If you and Papa are responsible for the way I am, then I thank you with all my heart, for it's the light and the joy of my life... Being gay has taught me tolerance, compassion and humility. It has shown me the limitless possibilities of living. It has given me people whose passion and kindness and sensitivity have provided a constant source of strength. It has brought me into the family of man, Mama, and I like it here. I like it.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>It Was A Major Step Forward For Trans Visibility\u003c/strong>\u003c/p>\n\u003cp>Though Maupin was permitted to introduce gay characters six weeks into writing his column, he was firmly prohibited from revealing Anna Madrigal's trans status for an entire year, \"or else we'd scare off the readers.\" That delay mattered little in the grand scheme of things. In a 1992\u003ca href=\"https://www.youtube.com/watch?v=v0kGn5xK6OY\"> BBC \u003cem>Arena\u003c/em> documentary\u003c/a>, Kate Bornstein, a transgender woman living in San Francisco, expressed how much \u003cem>Tales\u003c/em> meant to her growing up, saying, “I thought, if a city can accept a transexual character drawn with so much love, there is some hope.”\u003c/p>\n\u003cp>Maupin, executive producer of the new show, has said that a real trans woman would have been cast in the role of Anna Madrigal if it were being cast for the first time now. “When Olympia did [it] in 1992, no one else would touch it,\" Laura Linney confirmed on \u003cem>Forum\u003c/em>. \"And what she was able to do for the trans community then is something that had not been done before.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>28 Barbary Lane is Still in Russian Hill\u003c/strong>\u003c/p>\n\u003cp>Though 28 Barbary Lane is a fictitious address, it's based on the real-life Macondray Lane in Russian Hill, described in 1978's \u003cem>Tales Of The City\u003c/em> thusly:\u003c/p>\n\u003cblockquote>\u003cp>\"The house was on Barbary Lane, a narrow, wooded walk-way off Leavenworth between Union and Filbert. It was a well-weathered, three-story structure made of brown shingles. It made Mary Ann think of an old bear with bits of foliage caught in its fur. She liked it instantly.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>The First \u003cem>Tales\u003c/em> TV Adaptation Is Now 26 Years Old\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">Just as SF residents are prone to revisiting Maupin's \u003cem>Tales\u003c/em> books, Laura Linney and Olivia Dukakis have been doing the same thing with their roles as Mary Ann Singleton and Anna Madrigal respectively, since 1993. At the time of that first adaptation—which also starred a gloriously freewheeling Parker Posey—the series had PBS's highest ever ratings for a drama. It also had the distinction of being one of the first positive portrayals of the LGBTQ community in TV history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FOzpSSsJbV8\u003c/p>\n\u003cp>Linney and Dukakis reprised their roles on Showtime in 1998 and 2001. Back in April, Laura Linney told \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">\u003cem>Forum\u003c/em>\u003c/a>: “There was something about walking back on that set again. Being able to step back into that world, into that house… It goes deep for me now… It means something to me, not just my character now.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The New Series Seems To Be Based On 2010's \u003cem>Mary Ann in Autumn\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The darkest of the \u003cem>Tales\u003c/em> books, 1989's \u003ca href=\"https://en.wikipedia.org/wiki/Sure_of_You\">\u003cem>Sure of You\u003c/em>\u003c/a> saw Mary Ann leaving San Francisco, her husband and her adopted daughter, Shawna, to pursue a prestigious TV job in New York. In 2010's \u003cem>Mary Ann In Autumn\u003c/em>, she returns to the city in ill-health, reconnecting with the loved ones of her past, including her estranged daughter, who is now a popular sex blogger. Though the Netflix adaptation isn't sticking with the plot exactly—in the book, Shawna was dating a professional clown named Otto; in the series, played by Ellen Page, she is involved with a woman named Claire (Zosia Mamet)—the bare bones probably remain similar. “We’ve hired queer writers to write the story,\" Maupin told \u003cem>Forum\u003c/em>, \"and they’ve shared their experiences.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tales of the City \u003cem>premieres on Netflix, June 7.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Before the fourth TV adaptation of Armistead Maupin's beloved book series, a look back at what 'Tales' has meant for San Francisco and beyond. ","status":"publish","parent":0,"modified":1559761618,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1188},"headData":{"title":"Everything You Need To Know About 'Tales Of The City' Before The Netflix Update | KQED","description":"Before the fourth TV adaptation of Armistead Maupin's beloved book series, a look back at what 'Tales' has meant for San Francisco and beyond. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"111091 https://ww2.kqed.org/pop/?p=111091","disqusUrl":"https://ww2.kqed.org/pop/2019/06/05/everything-you-need-to-know-about-tales-of-the-city-before-the-netflix-update/","disqusTitle":"Everything You Need To Know About 'Tales Of The City' Before The Netflix Update","path":"/pop/111091/everything-you-need-to-know-about-tales-of-the-city-before-the-netflix-update","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, after Armistead Maupin released the final book in his \u003cem>Tales of the City\u003c/em> series, KQED Pop's \u003ca href=\"https://www.kqed.org/pop/10814/armistead-maupin-on-saying-goodbye-to-san-francisco-and-tales-of-the-city\">Tony Bravo wrote\u003c/a>, \"There's something melancholy yet appropriate about Maupin choosing to end his series at this particular point in the city's history; the San Francisco of the nearly 40 years of the series is changing rapidly and radically.\"\u003c/p>\n\u003cp>Tech domination and socio-economic inequality might dominate San Francisco's 2019 reality, but in the latest TV adaptation of Maupin's \u003cem>Tales\u003c/em>, the focus remains primarily on community, acceptance and the families we choose for ourselves. The trailer alone is a reminder of what a special haven the city has historically been—and still is in many ways. As Maupin himself once wrote: \"The worst of times in San Francisco was still better than the best of times somewhere else.”\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/9IUSCVH61xw'\n title='//www.youtube.com/embed/9IUSCVH61xw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here then, is everything you need to know about \u003cem>Tales of the City\u003c/em> before the latest installment hits Netflix.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Birth Of The Books Was A Happy Accident\u003c/strong>\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>The roots of Maupin's \u003cem>Tales\u003c/em> column started in the \u003cem>San Francisco Chronicle \u003c/em>after he attempted to write a 1976 article about the Marina Safeway. It was, at the time, a well-known pick-up joint every Wednesday night, but when Maupin failed to find any singles willing to talk honestly about what they were doing at the supermarket, he decided to transform the story into fiction. Maupin quickly made a deal with his editors that allowed him to write about gay characters too; they said as long as the gay characters only made up a third of the cast, it was okay. The community was impossible to keep out. As Maupin himself wrote: “In this town, the love that dare not speak its name never shuts up.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Maupin Loved San Francisco Before He Even Lived In It\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-112022\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png\" alt=\"\" width=\"250\" height=\"315\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png 302w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM-160x201.png 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">Originally hailing from Raleigh, North Carolina, the author's father was a Confederate flag-owning segregation supporter. Maupin did two tours of duty in the Navy, the bulk of which was spent working as a communications officer in Vietnam. (He returned there to build houses for disabled veterans after the war. ) The process of leaving the Navy in 1970 required Maupin to go to Treasure Island. “I stood there and looked at the city,\" he recalled. \"That extraordinary white vision rising above the blue water... [I] used to fantasize about living there… It wasn’t until several years later that I realized the dream could come true.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Tales\u003c/em> Helped People Come Out\u003c/strong>\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/fbg6Ge0FqCI'\n title='//www.youtube.com/embed/fbg6Ge0FqCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The beautiful coming out letter that Michael wrote to his Anita Bryant-supporting parents in the original \u003cem>Tales of the City\u003c/em> book is based on Maupin’s own to his conservative parents. Others, including a caller to \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">KQED's \u003cem>Forum\u003c/em>\u003c/a> last April, have since used it as a blueprint to come out to their own families. It reads in part:\u003c/p>\n\u003cblockquote>\u003cp>\"If you and Papa are responsible for the way I am, then I thank you with all my heart, for it's the light and the joy of my life... Being gay has taught me tolerance, compassion and humility. It has shown me the limitless possibilities of living. It has given me people whose passion and kindness and sensitivity have provided a constant source of strength. It has brought me into the family of man, Mama, and I like it here. I like it.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>It Was A Major Step Forward For Trans Visibility\u003c/strong>\u003c/p>\n\u003cp>Though Maupin was permitted to introduce gay characters six weeks into writing his column, he was firmly prohibited from revealing Anna Madrigal's trans status for an entire year, \"or else we'd scare off the readers.\" That delay mattered little in the grand scheme of things. In a 1992\u003ca href=\"https://www.youtube.com/watch?v=v0kGn5xK6OY\"> BBC \u003cem>Arena\u003c/em> documentary\u003c/a>, Kate Bornstein, a transgender woman living in San Francisco, expressed how much \u003cem>Tales\u003c/em> meant to her growing up, saying, “I thought, if a city can accept a transexual character drawn with so much love, there is some hope.”\u003c/p>\n\u003cp>Maupin, executive producer of the new show, has said that a real trans woman would have been cast in the role of Anna Madrigal if it were being cast for the first time now. “When Olympia did [it] in 1992, no one else would touch it,\" Laura Linney confirmed on \u003cem>Forum\u003c/em>. \"And what she was able to do for the trans community then is something that had not been done before.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>28 Barbary Lane is Still in Russian Hill\u003c/strong>\u003c/p>\n\u003cp>Though 28 Barbary Lane is a fictitious address, it's based on the real-life Macondray Lane in Russian Hill, described in 1978's \u003cem>Tales Of The City\u003c/em> thusly:\u003c/p>\n\u003cblockquote>\u003cp>\"The house was on Barbary Lane, a narrow, wooded walk-way off Leavenworth between Union and Filbert. It was a well-weathered, three-story structure made of brown shingles. It made Mary Ann think of an old bear with bits of foliage caught in its fur. She liked it instantly.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>The First \u003cem>Tales\u003c/em> TV Adaptation Is Now 26 Years Old\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">Just as SF residents are prone to revisiting Maupin's \u003cem>Tales\u003c/em> books, Laura Linney and Olivia Dukakis have been doing the same thing with their roles as Mary Ann Singleton and Anna Madrigal respectively, since 1993. At the time of that first adaptation—which also starred a gloriously freewheeling Parker Posey—the series had PBS's highest ever ratings for a drama. It also had the distinction of being one of the first positive portrayals of the LGBTQ community in TV history.\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/FOzpSSsJbV8'\n title='//www.youtube.com/embed/FOzpSSsJbV8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Linney and Dukakis reprised their roles on Showtime in 1998 and 2001. Back in April, Laura Linney told \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">\u003cem>Forum\u003c/em>\u003c/a>: “There was something about walking back on that set again. Being able to step back into that world, into that house… It goes deep for me now… It means something to me, not just my character now.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The New Series Seems To Be Based On 2010's \u003cem>Mary Ann in Autumn\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The darkest of the \u003cem>Tales\u003c/em> books, 1989's \u003ca href=\"https://en.wikipedia.org/wiki/Sure_of_You\">\u003cem>Sure of You\u003c/em>\u003c/a> saw Mary Ann leaving San Francisco, her husband and her adopted daughter, Shawna, to pursue a prestigious TV job in New York. In 2010's \u003cem>Mary Ann In Autumn\u003c/em>, she returns to the city in ill-health, reconnecting with the loved ones of her past, including her estranged daughter, who is now a popular sex blogger. Though the Netflix adaptation isn't sticking with the plot exactly—in the book, Shawna was dating a professional clown named Otto; in the series, played by Ellen Page, she is involved with a woman named Claire (Zosia Mamet)—the bare bones probably remain similar. “We’ve hired queer writers to write the story,\" Maupin told \u003cem>Forum\u003c/em>, \"and they’ve shared their experiences.”\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>Tales of the City \u003cem>premieres on Netflix, June 7.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111091/everything-you-need-to-know-about-tales-of-the-city-before-the-netflix-update","authors":["11242"],"categories":["pop_131","pop_1548","pop_3"],"tags":["pop_3569","pop_3341","pop_3566","pop_438","pop_3659","pop_1065"],"featImg":"pop_111847","label":"pop"},"pop_111982":{"type":"posts","id":"pop_111982","meta":{"index":"posts_1591205157","site":"pop","id":"111982","score":null,"sort":[1558382628000]},"guestAuthors":[],"slug":"catch-22-may-not-be-by-the-book-but-it-understands-brutality","title":"'Catch-22' May Not Be By The Book, But It Understands Brutality","publishDate":1558382628,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>If Hulu had announced an original dramatic miniseries that follows a World War II soldier awakening to the horrors of war, executive produced and partly directed (two episodes out of six) by George Clooney, and if the result had been \u003cem>Catch-22\u003c/em>, it would have seemed largely successful. But the series, available in full now, is, of course, an adaptation of Joseph Heller's much-chewed-over 1961 novel, a book very unusual in both its tone and its structure. And as an adaptation, it struggles to meet the inevitable expectations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=46wZVmKM-es\u003c/p>\n\u003cp>Some of the basics are retained from the book: Christopher Abbott plays the bombardier Yossarian, who would like to stop flying missions and go home. But every time he approaches the number of missions the military demands, the merciless Colonel Cathcart (Kyle Chandler, playing the mean side of the bureaucratic/governmental operator he has been playing for some years now) raises the number. Also retained is the Catch-22 of the title: the military rule explained by Doc Daneeka (Grant Heslov, also an executive producer). Catch-22 says that a soldier can ask for release on the grounds that he's insane, but also holds that trying to get out of a war is clear evidence of sanity. So all you have to do is ask, but if you ask, you'll be denied.\u003c/p>\n\u003cp>What doesn't survive from the book is the tone, which is arguably the reason to read \u003cem>Catch-22\u003c/em>. The book is often the very example people use to explain what satire is; even if you can't give a clear definition, you can at least point to this book and say, \"It is this.\" Not only because of the absurdity of things like Catch-22 itself, but also because of Heller's style. Consider this bit from early in the book:\u003c/p>\n\u003cblockquote>\u003cp>There were many officers' clubs that Yossarian had not helped build, but he was proudest of the one on Pianosa. It was a sturdy and complex monument to his powers of determination. Yossarian never went there to help until it was finished; then he went there often, so pleased was he with the large, fine, rambling shingled building. It was truly a splendid structure, and Yossarian throbbed with a mighty sense of accomplishment each time he gazed at it and reflected that none of the work that had gone into it was his.\u003c/p>\u003c/blockquote>\n\u003cp>This upside-down-ness, pride in all the work you did not put in, shows up over and over, and that tone is almost impossible to film. You can certainly show someone saying, \"My, I feel proud of the club I didn't build!\" But it's an extraordinary challenge to convey this feeling absent a voluminous voice-over to which we are, fortunately, not subjected.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or consider this (believe it or not) single sentence:\u003c/p>\n\u003cblockquote>\u003cp>Colonel Cathcart went away from General Dreedle with a gulp and kicked the chaplain out of the officers' club, and it was exactly the way it almost was two months later after the chaplain had tried to persuade Colonel Cathcart to rescind his order increasing the number of missions to sixty and had failed abysmally in that endeavor too, and the chaplain was ready now to capitulate to despair entirely but was restrained by the memory of his wife, whom he loved and missed so pathetically with such sensual and exalted ardor, and by the lifelong trust he had placed in the wisdom and justice of an immortal, omnipotent, omniscient, humane, universal, anthropomorphic, English-speaking, Anglo-Saxon, pro-American God, which had begun to waver.\u003c/p>\u003c/blockquote>\n\u003cp>That feeling, that the chaplain is clinging to his trust in a very particular kind of God, could be captured in a scene. But the chaos of the prose, and the way it's structurally funny simply because it's stacked on top of itself and looped into knots, really cannot, quite.\u003c/p>\n\u003cp>Moreover, there is a two-month time jump in that sentence, and the book specializes in this kind of nonlinear storytelling. There are shows that have experimented with jumping around in time, sometimes with great success. The flashback is standard bordering on cliche. But the stubbornly unmoored nature of \u003cem>Catch-22 \u003c/em>is, probably wisely, abandoned in the miniseries, which is, with a couple of exceptions, told as a single progressing narrative.\u003c/p>\n\u003cp>With that said, the writers here have done a lot to draw the dramatic elements from the novel, and those elements are often compelling. Abbott gets at Yossarian's increasingly frantic need to escape, particularly as his friends die in various unglamorous ways. As the chaplain says late in the series, the men who die in \u003cem>Catch-22 \u003c/em>don't really die so much as vanish; they go up into the sky to fly missions and they don't come back. Not every character is treated the same way in the series as in the book, but the theme of a slow and despairing march toward isolation — presented within black comedy in the book and more within drama here — remains.\u003c/p>\n\u003cp>Here, too, the focus is on the way war is, for some of the men who wage it, simply a thing undertaken and continued. You fly a certain number of missions and you go home — you owe them a certain amount of war. Yossarian concocts various schemes to get out of it, but Cathcart insists he will not be fooled; Yossarian owes the war-making that he owes, and the only way out may be endless violence. Or, of course, corruption. Because there is always corruption.\u003c/p>\n\u003cp>That the successful parts of the series are the more dramatic ones makes it hard to integrate the stories of Milo Minderbinder the war profiteer (Daniel David Stewart) and Major Major Major Major (Lewis Pullman), both of which rely heavily on their absurdity — not that this absurdity doesn't ultimately relate intimately to the horrors-of-war stuff that Yossarian is experiencing while in the air. Minderbinder's collaboration with Cathcart never quite reaches the peak it probably should, and only in the scene in which Sergeant Major Major Major is promoted to Major Major Major Major does that tale of inappropriate promotion and meaningless rank assignment have impact.\u003c/p>\n\u003cp>A note: Much of the promotion around \u003cem>Catch-22 \u003c/em>has emphasized that Clooney also appears in it, playing General Scheisskopf. But both he and Hugh Laurie (playing Major de Coverley) seem to have signed on for more of a dark comedy than this, in fact, is. Clooney shifts into a more dramatic tone in the late part of the series when he reappears, but his opening scene promises a level of absurdity that very little of the series actually contains. There are good reasons to visit this project, but the big-name actors are, interestingly, not really among them. The lesser-known actors are, in many cases, stronger.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Abbott in particular is very good here, and his face is the pivot point of the whole show. His handsome ease, as it gives way to anger and then panic, does underline what is asked of people when they are sent to fight, particularly if those who send them become hardened or craven. He sits on these missions in a cramped position, dropping bombs from a plane, largely just hoping not to die and never catching sight of anyone on the ground. If you go in expecting a sad and enraging anti-war story, you may well be satisfied. But it is not really \u003cem>Catch-22\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Catch-22%27+May+Not+Be+By+The+Book%2C+But+It+Understands+Brutality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Hulu's adaptation of 'Catch-22' may not be 'Catch-22' as you know it, but it stands as an often-effective anti-war drama. ","status":"publish","parent":0,"modified":1558382628,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1276},"headData":{"title":"'Catch-22' May Not Be By The Book, But It Understands Brutality | KQED","description":"Hulu's adaptation of 'Catch-22' may not be 'Catch-22' as you know it, but it stands as an often-effective anti-war drama. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"111982 https://ww2.kqed.org/pop/?p=111982","disqusUrl":"https://ww2.kqed.org/pop/2019/05/20/catch-22-may-not-be-by-the-book-but-it-understands-brutality/","disqusTitle":"'Catch-22' May Not Be By The Book, But It Understands Brutality","nprImageCredit":"Philipe Antonello","nprByline":"Linda Holmes","nprImageAgency":"Hulu","nprStoryId":"724281115","nprApiLink":"http://api.npr.org/query?id=724281115&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/05/18/724281115/catch-22-may-not-be-by-the-book-but-it-understands-brutality?ft=nprml&f=724281115","nprRetrievedStory":"1","nprPubDate":"Sat, 18 May 2019 17:00:00 -0400","nprStoryDate":"Sat, 18 May 2019 07:15:21 -0400","nprLastModifiedDate":"Sat, 18 May 2019 17:00:54 -0400","path":"/pop/111982/catch-22-may-not-be-by-the-book-but-it-understands-brutality","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Hulu had announced an original dramatic miniseries that follows a World War II soldier awakening to the horrors of war, executive produced and partly directed (two episodes out of six) by George Clooney, and if the result had been \u003cem>Catch-22\u003c/em>, it would have seemed largely successful. But the series, available in full now, is, of course, an adaptation of Joseph Heller's much-chewed-over 1961 novel, a book very unusual in both its tone and its structure. And as an adaptation, it struggles to meet the inevitable expectations.\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/46wZVmKM-es'\n title='//www.youtube.com/embed/46wZVmKM-es'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some of the basics are retained from the book: Christopher Abbott plays the bombardier Yossarian, who would like to stop flying missions and go home. But every time he approaches the number of missions the military demands, the merciless Colonel Cathcart (Kyle Chandler, playing the mean side of the bureaucratic/governmental operator he has been playing for some years now) raises the number. Also retained is the Catch-22 of the title: the military rule explained by Doc Daneeka (Grant Heslov, also an executive producer). Catch-22 says that a soldier can ask for release on the grounds that he's insane, but also holds that trying to get out of a war is clear evidence of sanity. So all you have to do is ask, but if you ask, you'll be denied.\u003c/p>\n\u003cp>What doesn't survive from the book is the tone, which is arguably the reason to read \u003cem>Catch-22\u003c/em>. The book is often the very example people use to explain what satire is; even if you can't give a clear definition, you can at least point to this book and say, \"It is this.\" Not only because of the absurdity of things like Catch-22 itself, but also because of Heller's style. Consider this bit from early in the book:\u003c/p>\n\u003cblockquote>\u003cp>There were many officers' clubs that Yossarian had not helped build, but he was proudest of the one on Pianosa. It was a sturdy and complex monument to his powers of determination. Yossarian never went there to help until it was finished; then he went there often, so pleased was he with the large, fine, rambling shingled building. It was truly a splendid structure, and Yossarian throbbed with a mighty sense of accomplishment each time he gazed at it and reflected that none of the work that had gone into it was his.\u003c/p>\u003c/blockquote>\n\u003cp>This upside-down-ness, pride in all the work you did not put in, shows up over and over, and that tone is almost impossible to film. You can certainly show someone saying, \"My, I feel proud of the club I didn't build!\" But it's an extraordinary challenge to convey this feeling absent a voluminous voice-over to which we are, fortunately, not subjected.\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>Or consider this (believe it or not) single sentence:\u003c/p>\n\u003cblockquote>\u003cp>Colonel Cathcart went away from General Dreedle with a gulp and kicked the chaplain out of the officers' club, and it was exactly the way it almost was two months later after the chaplain had tried to persuade Colonel Cathcart to rescind his order increasing the number of missions to sixty and had failed abysmally in that endeavor too, and the chaplain was ready now to capitulate to despair entirely but was restrained by the memory of his wife, whom he loved and missed so pathetically with such sensual and exalted ardor, and by the lifelong trust he had placed in the wisdom and justice of an immortal, omnipotent, omniscient, humane, universal, anthropomorphic, English-speaking, Anglo-Saxon, pro-American God, which had begun to waver.\u003c/p>\u003c/blockquote>\n\u003cp>That feeling, that the chaplain is clinging to his trust in a very particular kind of God, could be captured in a scene. But the chaos of the prose, and the way it's structurally funny simply because it's stacked on top of itself and looped into knots, really cannot, quite.\u003c/p>\n\u003cp>Moreover, there is a two-month time jump in that sentence, and the book specializes in this kind of nonlinear storytelling. There are shows that have experimented with jumping around in time, sometimes with great success. The flashback is standard bordering on cliche. But the stubbornly unmoored nature of \u003cem>Catch-22 \u003c/em>is, probably wisely, abandoned in the miniseries, which is, with a couple of exceptions, told as a single progressing narrative.\u003c/p>\n\u003cp>With that said, the writers here have done a lot to draw the dramatic elements from the novel, and those elements are often compelling. Abbott gets at Yossarian's increasingly frantic need to escape, particularly as his friends die in various unglamorous ways. As the chaplain says late in the series, the men who die in \u003cem>Catch-22 \u003c/em>don't really die so much as vanish; they go up into the sky to fly missions and they don't come back. Not every character is treated the same way in the series as in the book, but the theme of a slow and despairing march toward isolation — presented within black comedy in the book and more within drama here — remains.\u003c/p>\n\u003cp>Here, too, the focus is on the way war is, for some of the men who wage it, simply a thing undertaken and continued. You fly a certain number of missions and you go home — you owe them a certain amount of war. Yossarian concocts various schemes to get out of it, but Cathcart insists he will not be fooled; Yossarian owes the war-making that he owes, and the only way out may be endless violence. Or, of course, corruption. Because there is always corruption.\u003c/p>\n\u003cp>That the successful parts of the series are the more dramatic ones makes it hard to integrate the stories of Milo Minderbinder the war profiteer (Daniel David Stewart) and Major Major Major Major (Lewis Pullman), both of which rely heavily on their absurdity — not that this absurdity doesn't ultimately relate intimately to the horrors-of-war stuff that Yossarian is experiencing while in the air. Minderbinder's collaboration with Cathcart never quite reaches the peak it probably should, and only in the scene in which Sergeant Major Major Major is promoted to Major Major Major Major does that tale of inappropriate promotion and meaningless rank assignment have impact.\u003c/p>\n\u003cp>A note: Much of the promotion around \u003cem>Catch-22 \u003c/em>has emphasized that Clooney also appears in it, playing General Scheisskopf. But both he and Hugh Laurie (playing Major de Coverley) seem to have signed on for more of a dark comedy than this, in fact, is. Clooney shifts into a more dramatic tone in the late part of the series when he reappears, but his opening scene promises a level of absurdity that very little of the series actually contains. There are good reasons to visit this project, but the big-name actors are, interestingly, not really among them. The lesser-known actors are, in many cases, stronger.\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>Abbott in particular is very good here, and his face is the pivot point of the whole show. His handsome ease, as it gives way to anger and then panic, does underline what is asked of people when they are sent to fight, particularly if those who send them become hardened or craven. He sits on these missions in a cramped position, dropping bombs from a plane, largely just hoping not to die and never catching sight of anyone on the ground. If you go in expecting a sad and enraging anti-war story, you may well be satisfied. But it is not really \u003cem>Catch-22\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Catch-22%27+May+Not+Be+By+The+Book%2C+But+It+Understands+Brutality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111982/catch-22-may-not-be-by-the-book-but-it-understands-brutality","authors":["byline_pop_111982"],"categories":["pop_1548","pop_3"],"tags":["pop_3652","pop_182","pop_3653","pop_533","pop_3654"],"featImg":"pop_111983","label":"pop"},"pop_111715":{"type":"posts","id":"pop_111715","meta":{"index":"posts_1591205157","site":"pop","id":"111715","score":null,"sort":[1557339957000]},"guestAuthors":[],"slug":"true-crime-history-and-the-writings-of-harper-lee-blend-for-furious-hours","title":"True Crime, History And The Writings Of Harper Lee Blend For ‘Furious Hours’","publishDate":1557339957,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>When the kerfuffle over the impending release of Harper Lee's \u003cem>Go Set A Watchman\u003c/em> was cluttering up my news feeds in 2015, I confess that I didn't pay much attention.\u003c/p>\n\u003cp>Having not grown up in the United States, where Lee's \u003cem>To Kill A Mockingbird \u003c/em>is often required reading in children's education, I first read the classic when I was 20. It was part of a yearlong attempt of trying to catch up with what most of my college friends and professors considered canonical. It was with some trepidation, then, that I approached Casey Cep's new book, \u003cem>Furious Hours: Murder, Fraud, and the Last Trial of Harper Lee\u003c/em>.\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-111719 alignright\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-08-at-11.21.26-AM.png\" alt=\"\" width=\"260\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-08-at-11.21.26-AM.png 260w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-08-at-11.21.26-AM-160x238.png 160w\" sizes=\"(max-width: 260px) 100vw, 260px\">I expected to be charmed by the writing; Cep writes regularly for \u003cem>The New Yorker\u003c/em>, and her style is detailed and evocative, sometimes dramatic in a fun way, as when she \u003ca href=\"https://www.newyorker.com/magazine/2018/12/17/the-contested-legacy-of-atticus-finch\">wrote\u003c/a> of Harper Lee that \"only Jesus made his father more famous.\" As a relatively recent convert to the true-crime genre, I was hopeful that the book would deal responsibly with its subjects, and I wasn't let down there either. But what I didn't see coming was the emotional response I would have as I blazed through the last 20 pages of the book—yet there I was, weeping.\u003c/p>\n\u003cp>\u003cem>Furious Hours \u003c/em>begins with a brief prologue that introduces its premise. In 1978, a largely unrecognized Nelle (pronounced \u003cem>Nell\u003c/em>, not \u003cem>Nellie—\u003c/em>apparently the reason she left the name off her famous book was frustration at the common mistake) Harper Lee sat in a courtroom in Alexander City, Ala., taking notes on the trial of Robert Burns, who was charged with killing the Rev. Willie Maxwell. Oddly, Tom Radney, the lawyer defending Burns—who everyone agreed did shoot Maxwell, as he did so at close range, inside a packed funeral home—had spent years defending Maxwell previously. Lee—who either never finished the book she wrote about the case or stashed a draft away somewhere that even the lawyer now handling her estate can't find it—took copious notes, interviewed as many people as would speak to her and began considering how she could tell the complicated story of these three men.\u003c/p>\n\u003cp>Briefly, the story is this: Maxwell, an African-American man living in Alabama, was accused of killing his first wife, Mary Lou, but was exonerated. He cashed in on her life insurance and, apparently, was hooked—several other people in his circle died over the next few years, including his next-door neighbor Abram Anderson, who was married at the time to the woman who soon became Maxwell's second wife, Dorcus; his brother, John Columbus Maxwell, known as J.C.; Dorcus herself; his nephew James Hicks; and his third (!) wife's adopted daughter, teenager Shirley Ann Ellington. There was never enough evidence to charge him with any of the deaths after his wife's; the copious numbers of life insurance policies he had taken out on each of them were considered circumstantial. But his community believed he was a killer, and rumors abounded that he was using voodoo to get away with it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was at Shirley Ann's funeral that Robert Burns had, apparently, had enough, and shot Maxwell. Lawyer Tom Radney, who had also been a prominent, socially progressive politician in Alabama, defended Maxwell in the one and only murder charge brought against him, but went on to help him get insurance money for each of the first five deaths from companies that were trying to maintain that they didn't meet the criteria for payouts. While Radney said he wouldn't have defended Maxwell after Shirley Ann's death, there's no knowing for sure—but the point is that he chose to defend Maxwell's killer.\u003c/p>\n\u003cp>Where Lee failed or gave up on this story, Cep took up the challenge, using Lee's own notes as well as her own research. \u003cem>Furious Hours \u003c/em>is divided into three part, telling the tales of the reverend, his lawyer, and the famous writer each in turn. Along the way, Cep dives into a dozen obscure topics that she manages to relate with fascinating detail and social commentary—from the racist structures of the 20th century insurance business to the stigmatization of voodoo, one of various spellings and names encompassing ancient religious and spiritual practices brought to the Americas from Africa by their enslaved practitioners who were, often and early, forbidden to practice their faith, causing it to become a secret, fiercely protected underground endeavor.\u003c/p>\n\u003cp>In the last portion of the book, Cep turns to Lee's eventual fascination with the Maxwell case, attempting, along the way, to correct many biographical mistakes that her family has had to see printed in unauthorized accounts of Lee's life. Cep explores Lee's complexities without flinching, recognizing them as human: On the one hand, she was eager to criticize the Southern tendency to erase or rewrite inconvenient history and the less-than-obvious racist ideologies that she saw around her, wherein people both disavowed the KKK and still favored segregation; on the other hand, she never came out in support of the civil rights movement. Another example: She helped Truman Capote with the majority of his research and note taking for \u003cem>In Cold Blood\u003c/em> and was deeply troubled by the inaccuracies and whole-cloth inventions that ended up in the book, yet still wrote a glowing profile of him prior to its release. And, of course, Cep shows Lee's complicated relationship to writing, the success that seemed to block her forever after, and the human flaws and foibles that could never match the lionized reputation she held.\u003c/p>\n\u003cp>Each section of the book could stand on its own, making it feel, in a way, like three books in one. But, ultimately, \u003cem>Furious Hours \u003c/em>delivers a gripping, incredibly well-written portrait of not only Harper Lee, but also of mid-20th century Alabama—and a still-unanswered set of crimes to rival the serial killers made infamous in the same time period.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, book critic, essayist and editor for hire.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Furious+Hours%27+Tells+The+Tale+Of+Harper+Lee+And+Her+Unfinished+Work&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Writer Casey Cep's book delivers a gripping portrait not only of Harper Lee, but also of mid-20th century Alabama—and a still-unanswered set of crimes.","status":"publish","parent":0,"modified":1557374753,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1042},"headData":{"title":"True Crime, History And The Writings Of Harper Lee Blend For ‘Furious Hours’ | KQED","description":"Writer Casey Cep's book delivers a gripping portrait not only of Harper Lee, but also of mid-20th century Alabama—and a still-unanswered set of crimes.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"111715 https://ww2.kqed.org/pop/?p=111715","disqusUrl":"https://ww2.kqed.org/pop/2019/05/08/true-crime-history-and-the-writings-of-harper-lee-blend-for-furious-hours/","disqusTitle":"True Crime, History And The Writings Of Harper Lee Blend For ‘Furious Hours’","nprByline":"Ilana Masad","nprImageAgency":"Knopf","nprStoryId":"721435957","nprApiLink":"http://api.npr.org/query?id=721435957&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/05/08/721435957/furious-hours-tells-the-tale-of-harper-lee-and-her-unfinished-work?ft=nprml&f=721435957","nprRetrievedStory":"1","nprPubDate":"Wed, 08 May 2019 13:51:00 -0400","nprStoryDate":"Wed, 08 May 2019 12:31:00 -0400","nprLastModifiedDate":"Wed, 08 May 2019 13:51:05 -0400","path":"/pop/111715/true-crime-history-and-the-writings-of-harper-lee-blend-for-furious-hours","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the kerfuffle over the impending release of Harper Lee's \u003cem>Go Set A Watchman\u003c/em> was cluttering up my news feeds in 2015, I confess that I didn't pay much attention.\u003c/p>\n\u003cp>Having not grown up in the United States, where Lee's \u003cem>To Kill A Mockingbird \u003c/em>is often required reading in children's education, I first read the classic when I was 20. It was part of a yearlong attempt of trying to catch up with what most of my college friends and professors considered canonical. It was with some trepidation, then, that I approached Casey Cep's new book, \u003cem>Furious Hours: Murder, Fraud, and the Last Trial of Harper Lee\u003c/em>.\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-111719 alignright\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-08-at-11.21.26-AM.png\" alt=\"\" width=\"260\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-08-at-11.21.26-AM.png 260w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-08-at-11.21.26-AM-160x238.png 160w\" sizes=\"(max-width: 260px) 100vw, 260px\">I expected to be charmed by the writing; Cep writes regularly for \u003cem>The New Yorker\u003c/em>, and her style is detailed and evocative, sometimes dramatic in a fun way, as when she \u003ca href=\"https://www.newyorker.com/magazine/2018/12/17/the-contested-legacy-of-atticus-finch\">wrote\u003c/a> of Harper Lee that \"only Jesus made his father more famous.\" As a relatively recent convert to the true-crime genre, I was hopeful that the book would deal responsibly with its subjects, and I wasn't let down there either. But what I didn't see coming was the emotional response I would have as I blazed through the last 20 pages of the book—yet there I was, weeping.\u003c/p>\n\u003cp>\u003cem>Furious Hours \u003c/em>begins with a brief prologue that introduces its premise. In 1978, a largely unrecognized Nelle (pronounced \u003cem>Nell\u003c/em>, not \u003cem>Nellie—\u003c/em>apparently the reason she left the name off her famous book was frustration at the common mistake) Harper Lee sat in a courtroom in Alexander City, Ala., taking notes on the trial of Robert Burns, who was charged with killing the Rev. Willie Maxwell. Oddly, Tom Radney, the lawyer defending Burns—who everyone agreed did shoot Maxwell, as he did so at close range, inside a packed funeral home—had spent years defending Maxwell previously. Lee—who either never finished the book she wrote about the case or stashed a draft away somewhere that even the lawyer now handling her estate can't find it—took copious notes, interviewed as many people as would speak to her and began considering how she could tell the complicated story of these three men.\u003c/p>\n\u003cp>Briefly, the story is this: Maxwell, an African-American man living in Alabama, was accused of killing his first wife, Mary Lou, but was exonerated. He cashed in on her life insurance and, apparently, was hooked—several other people in his circle died over the next few years, including his next-door neighbor Abram Anderson, who was married at the time to the woman who soon became Maxwell's second wife, Dorcus; his brother, John Columbus Maxwell, known as J.C.; Dorcus herself; his nephew James Hicks; and his third (!) wife's adopted daughter, teenager Shirley Ann Ellington. There was never enough evidence to charge him with any of the deaths after his wife's; the copious numbers of life insurance policies he had taken out on each of them were considered circumstantial. But his community believed he was a killer, and rumors abounded that he was using voodoo to get away with it.\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 was at Shirley Ann's funeral that Robert Burns had, apparently, had enough, and shot Maxwell. Lawyer Tom Radney, who had also been a prominent, socially progressive politician in Alabama, defended Maxwell in the one and only murder charge brought against him, but went on to help him get insurance money for each of the first five deaths from companies that were trying to maintain that they didn't meet the criteria for payouts. While Radney said he wouldn't have defended Maxwell after Shirley Ann's death, there's no knowing for sure—but the point is that he chose to defend Maxwell's killer.\u003c/p>\n\u003cp>Where Lee failed or gave up on this story, Cep took up the challenge, using Lee's own notes as well as her own research. \u003cem>Furious Hours \u003c/em>is divided into three part, telling the tales of the reverend, his lawyer, and the famous writer each in turn. Along the way, Cep dives into a dozen obscure topics that she manages to relate with fascinating detail and social commentary—from the racist structures of the 20th century insurance business to the stigmatization of voodoo, one of various spellings and names encompassing ancient religious and spiritual practices brought to the Americas from Africa by their enslaved practitioners who were, often and early, forbidden to practice their faith, causing it to become a secret, fiercely protected underground endeavor.\u003c/p>\n\u003cp>In the last portion of the book, Cep turns to Lee's eventual fascination with the Maxwell case, attempting, along the way, to correct many biographical mistakes that her family has had to see printed in unauthorized accounts of Lee's life. Cep explores Lee's complexities without flinching, recognizing them as human: On the one hand, she was eager to criticize the Southern tendency to erase or rewrite inconvenient history and the less-than-obvious racist ideologies that she saw around her, wherein people both disavowed the KKK and still favored segregation; on the other hand, she never came out in support of the civil rights movement. Another example: She helped Truman Capote with the majority of his research and note taking for \u003cem>In Cold Blood\u003c/em> and was deeply troubled by the inaccuracies and whole-cloth inventions that ended up in the book, yet still wrote a glowing profile of him prior to its release. And, of course, Cep shows Lee's complicated relationship to writing, the success that seemed to block her forever after, and the human flaws and foibles that could never match the lionized reputation she held.\u003c/p>\n\u003cp>Each section of the book could stand on its own, making it feel, in a way, like three books in one. But, ultimately, \u003cem>Furious Hours \u003c/em>delivers a gripping, incredibly well-written portrait of not only Harper Lee, but also of mid-20th century Alabama—and a still-unanswered set of crimes to rival the serial killers made infamous in the same time period.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, book critic, essayist and editor for hire.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Furious+Hours%27+Tells+The+Tale+Of+Harper+Lee+And+Her+Unfinished+Work&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111715/true-crime-history-and-the-writings-of-harper-lee-blend-for-furious-hours","authors":["byline_pop_111715"],"categories":["pop_1548","pop_2937"],"tags":["pop_3614","pop_233","pop_3097"],"featImg":"pop_111718","label":"pop"},"pop_110816":{"type":"posts","id":"pop_110816","meta":{"index":"posts_1591205157","site":"pop","id":"110816","score":null,"sort":[1555022134000]},"guestAuthors":[],"slug":"the-most-explosive-best-secrets-about-the-view-from-ladies-who-punch-tell-all-rosie-elisabeth-barbara","title":"The Most Explosive Secrets About 'The View' from 'Ladies Who Punch' Tell-All","publishDate":1555022134,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cem>The View\u003c/em> has been a staple of my morning routine since Rosie O'Donnell joined the panel back in 2006 (although I did skip the Jenny McCarthy and Raven Symone years because yikes). So when I heard that there was an exposé-style book featuring interviews with almost every host in the show's history, I was practically dribbling drool down the front of my shirt.\u003c/p>\n\u003cp>That book, Ramin Setoodeh's \u003cem>Ladies Who Punch: The Explosive Inside Story of The View\u003c/em>, came out a few days ago. I promptly devoured it, cover to cover. Need a visual of what that looked like? Here you go:\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/1115339004176621580\u003c/p>\n\u003cp>\u003cem>Ladies Who Punch\u003c/em> turned out to be juicier than a summertime peach. If you have any interest in how \u003cem>The View\u003c/em> shaped daytime television as we know it, it's well worth the read. But, let's be real, you're here for the mess. Here are the book's wildest revelations:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Barbara Walters Isn't Afraid To Crack A Monica Lewinsky Joke (In Front Of Monica Lewinsky)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Barbara Walters is known for being a very serious journalist, but that doesn't mean she doesn't also have a sense of humor. In 1998, Walters managed to snag the first sit-down interview with the most talked-about person in the country at that time: Monica Lewinsky. While at the Lewinsky family home, this happened, in Monica's words: \"My dad said I'd always been this good kid and never got into any trouble growing up—that I didn't do drugs or shoplift. Without missing a beat, Barbara quipped, 'Next time, shoplift.'\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Faye Dunaway \u003cem>Really\u003c/em> Likes Exercising and Napping\u003c/strong>\u003c/p>\n\u003cp>When Faye Dunaway agreed to appear on \u003cem>The View\u003c/em>, she had a few demands: a gym and a bed. The problem was that the studio didn't have either, but the producers weren't going to let a little technicality get in the way of a high-profile booking. \"We moved an office and we made a bedroom and an exercise room for one appearance,\" senior producer Mark Lipinski said. \"She was only there for a couple of hours.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Don't Even Think About Looking At Star Jones \u003c/strong>\u003c/p>\n\u003cp>After the show became a hit, some of the co-hosts let the fame get to their heads. Producers say they weren't allowed to make eye contact or speak to Star Jones. While filming at Disney World, Jones called up a publicist to complain about her hotel suite not overlooking the ocean. That's when she learned that Orlando is surrounded by land in all directions.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Every Day Was 'Bring Your Kid To Work Day' At \u003cem>The Rosie O'Donnell Show\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Before her turn on \u003cem>The View\u003c/em>, Rosie O'Donnell ran a tight ship on her own daytime talk show, firing anyone who slipped up. But she also proved to be a compassionate boss, building a full day-care center in the studio so parents could bring their children to work every day, free of charge.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Film Barbra Streisand On Her Good Side, Or Else\u003c/strong>\u003c/p>\n\u003cp>To prepare for a visit from her childhood idol, Barbra Streisand, Rosie flipped the entire set of \u003cem>The Rosie O'Donnell Show\u003c/em> weeks in advance to showcase Streisand's preferred side without letting the audience find out the switch was due to the legend's vanity. When Ellen Degeneres didn't offer the same courtesy in 2017, Rosie was offended. \"I will never talk to Ellen again,\" she said. Rosie also sent the \u003cem>Ellen\u003c/em> executive producer a piece of her mind in the form of a terse email that simply read: \"Go to hell.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>In An Alternate Universe, Rosie and Oprah Are Co-Hosts\u003c/strong>\u003c/p>\n\u003cp>In the final years of \u003cem>The Rosie O'Donnell Show\u003c/em>, Rosie was feeling burnt out. And so was Oprah. They dreamed up a proposal that would merge their two talk shows, allowing each woman to take a half year off. The plan fell apart because different production companies owned each show.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>In Another Alternate Universe, We're Tuning Into \u003cem>The Joy Behar Show\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Another deal that fell through: When Rosie left her show in 2002, the studio wanted none other than \u003cem>The View\u003c/em>'s Joy Behar to take over. Joy decided to stick with her steady job but lived to regret it. \"I wish I had jumped in,\" Joy said. \"I think I would have done a pretty good job.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Be Careful What You Don't Wish For\u003c/strong>\u003c/p>\n\u003cp>In 2002, when a documentary filmmaker asked where she thought she would be in ten years, Rosie joked, \"Probably a host on the f*cking \u003cem>View\u003c/em>! Can you imagine that?!\" She joined the show four years later.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>A Blacklisted Whoopi Wanted A Seat At \u003cem>The View\u003c/em>'s Table\u003c/strong>\u003c/p>\n\u003cp>In 2006, after Meredith Viera left \u003cem>The View\u003c/em>, Whoopi Goldberg, who had just been blacklisted due to a pretty toothless joke about George W. Bush—\"I love bush. But someone is giving bush a bad name\"—lobbied for the moderator seat. But Barbara Walters already had her sights on Rosie O'Donnell.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Rosie and Barbara Go To War (Because Of Some Dude Named Donald Trump)\u003c/strong>\u003c/p>\n\u003cp>In January 2007, after Barbara refused to defend Rosie in a battle of words with Donald Trump, Rosie let Barbara have it backstage in front of senior and junior staff. Rosie allegedly yelled that Barbara was a bad mother, saying, \"No wonder Jackie [Barbara's daughter] can't stand you!\" That meant war.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Don't Mess With Disney\u003c/strong>\u003c/p>\n\u003cp>Due to the huge ratings Rosie brought in for \u003cem>The View\u003c/em> and Barbara's looming retirement\u003cem>,\u003c/em> there were behind-the-scenes talks to hand over the reins of the show completely to Rosie or greenlight her own show. But this all fell apart when, on air during a discussion of the \"war on terror,\" Rosie said, \"In America, we are fed propaganda. And if you want to know what's happening in the world, go outside of the US media, because it's owned by four corporations. One of them is this one.\" Execs at Disney, which owns ABC, were outraged and decided they were done with Rosie.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Rosie's Last Day Involved Fireworks And A Split-Screen\u003c/strong>\u003c/p>\n\u003cp>Rosie's tenure at \u003cem>The View\u003c/em> came to a fiery conclusion with a blowout argument over the Iraq War with Elisabeth Hasselbeck. Everything you need to know about that moment and its implications can be found in this piece:\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/82832/how-rosie-odonnell-vs-elisabeth-hasselbeck-predicted-our-current-political-discourse\">https://www.kqed.org/pop/82832/how-rosie-odonnell-vs-elisabeth-hasselbeck-predicted-our-current-political-discourse\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Elisabeth Quits The Show During An Expletive-Filled Commercial Break\u003c/strong>\u003c/p>\n\u003cp>This wasn't Elisabeth Hasselbeck's first on-air fight. After a heated discussion with Barbara Walters about the morning-after pill in 2006, an F-bomb-dropping Elisabeth walked off the set and quit the show. \"What the f--k?!,\" Hasselbeck yelled. \"I'm not going back out there! I don’t even swear. She has me swearing. This woman is driving me nuts! I’m not going back. I can’t do the show like this. She just reprimanded me, and she knew exactly what she was doing. Goodbye! I quit. I'm quitting. I’m off. Write about that in the New York F*cking Post!” She was eventually convinced to return to the couch for the rest of the episode and stayed on as co-host for another seven years. While reading this section of the book, I questioned whether this was an accurate description of what happened. The next day, the very real audio leaked. Enjoy!\u003c/p>\n\u003cp>https://youtu.be/Tp7OPB8VbJQ\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>With Friends Like These...\u003c/strong>\u003c/p>\n\u003cp>After leaving the show, Rosie wrote a memoir called \u003cem>Celebrity Detox\u003c/em>, which included her thoughts about her time on \u003cem>The View\u003c/em>. Barbara Walters leaked her copy to the \u003cem>New York Post\u003c/em> under the condition that they would write an article depicting Rosie as an unhinged villain struggling with serious mental health issues. Meanwhile, Walters pretended to take the high road, saying, \"Rosie has written a sad book, but I prefer to focus on the happier times we had and the happier times we hope to have in the future.\" Rosie never found out that Barbara was behind the \u003cem>NYP\u003c/em> article...until now.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Rachel Maddow Almost Didn't Happen\u003c/strong>\u003c/p>\n\u003cp>Another instance of behind-the-scenes sabotage allegedly occurred when Barbara Walters talked MSNBC execs out of moving forward with a political show starring Rosie. That time slot eventually went to Rachel Maddow. But Rosie isn't too hurt over that. \"I'm glad I didn't do it,\" she said. \"Watching Rachel Maddow to me is like taking a class at Harvard. She's so freaking smart that, half the time, I have to watch it twice to understand the totality of what she's saying.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\"Show Me The Money!\" Should Be Rosie's Catchphrase\u003c/strong>\u003c/p>\n\u003cp>During negotiations to join \u003cem>The View\u003c/em>, comedian Sherri Shepherd was in debt and worried about how small the studio's offer was. Enter Rosie O'Donnell, who coached Sherri through the negotiation process and ultimately helped her score a much better deal (a preliminary offer of one business-class plane ticket turned into eight first-class tickets, and the studio agreed to pay Sherri's rent—a whopping $85,000—for her first year). \"I was very thankful to Rosie for what she did for me,\" Sherri said.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Barbara Is Not A Fan Of Katy Perry Or Jenny McCarthy\u003c/strong>\u003c/p>\n\u003cp>When Jenny McCarthy joined the panel, her role was meant to center around pop culture. But this quickly shifted when Barbara didn't know any current celebrities, at one point saying the following about Katy Perry: \"Who is it that you're talking about and why are you bringing her up?\" To which Jenny answered, \"That's Katy Perry. You interviewed her last week!\" Another time, Barbara asked on air, \"Who is Jenny McCarthy?\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Tampon-Gate\u003c/strong>\u003c/p>\n\u003cp>Jenny McCarthy shared that Barbara was unfairly focused on her, going so far as to inspect her clothing each day and order her to change outfits. Things took a turn for the absurd when a very upset Barbara approached Jenny, yelling at her in front of guests over... well, just read this:\u003c/p>\n\u003cp>\u003cstrong>Barbara:\u003c/strong> \"Jenny, there's a tampon floating in the toilet and it's disgusting.\"\u003c/p>\n\u003cp>\u003cstrong>Jenny:\u003c/strong> \"I don't have my period. It's not mine.\"\u003c/p>\n\u003cp>\u003cstrong>Barbara:\u003c/strong> \"Do something about it!\"\u003c/p>\n\u003cp>Jenny decided not to yell back at her employer and instead sucked it up and went to flush the tampon.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Selfie, The (Imaginary?) Vibrator\u003c/strong>\u003c/p>\n\u003cp>Barbara's unusual behavior continued. During a conversation about Valentine's Day, she blurted out that she owned a vibrator nicknamed Selfie. On a later episode, she issued a correction: \"I don't have a vibrator! I don't even put my cell phone on vibrate.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mean Girls 2\u003c/strong>\u003c/p>\n\u003cp>After Barbara retired, Jenny McCarthy and Sherri Shepherd were unceremoniously fired and the show got a major makeover, with only Whoopi returning. Enter Rosie for round two, which went about as well as the last go-round. \"Whoopi Goldberg was as mean as anyone has ever been on television to me,\" Rosie said. \"Worse than Fox News. The worst experience I've ever had on live television was interacting with her.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Old Feuds Die Hard\u003c/strong>\u003c/p>\n\u003cp>Whoopi, who was recently eying an exit from \u003cem>The View\u003c/em>, agreed to be interviewed for \u003cem>Ladies Who Punch\u003c/em>, only to change her mind and stick with the show. She has since allegedly let it be known that she hates the book cover because it features a rendering of her sitting next to Rosie.\u003c/p>\n\u003cp>There is so much more where all of this came from. Author Ramin Setoodeh wasn't lying in titling this book \"explosive.\" Me after reading:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-110938\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/winona-ryder-heathers-explosion.gif\" alt=\"\" width=\"400\" height=\"215\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Wanna feel the full \u003cem>Ladies Who Punch\u003c/em> blast? Head to your nearest library or bookstore!\u003c/p>\n\n","blocks":[],"excerpt":"Expletive-filled meltdowns. An imaginary vibrator. A freakout over a tampon. The secrets revealed by 'Ladies Who Punch' are juicier than a summertime peach.","status":"publish","parent":0,"modified":1555445435,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1992},"headData":{"title":"The Most Explosive Secrets About 'The View' from 'Ladies Who Punch' Tell-All | KQED","description":"Expletive-filled meltdowns. An imaginary vibrator. A freakout over a tampon. The secrets revealed by 'Ladies Who Punch' are juicier than a summertime peach.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"110816 https://ww2.kqed.org/pop/?p=110816","disqusUrl":"https://ww2.kqed.org/pop/2019/04/11/the-most-explosive-best-secrets-about-the-view-from-ladies-who-punch-tell-all-rosie-elisabeth-barbara/","disqusTitle":"The Most Explosive Secrets About 'The View' from 'Ladies Who Punch' Tell-All","path":"/pop/110816/the-most-explosive-best-secrets-about-the-view-from-ladies-who-punch-tell-all-rosie-elisabeth-barbara","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The View\u003c/em> has been a staple of my morning routine since Rosie O'Donnell joined the panel back in 2006 (although I did skip the Jenny McCarthy and Raven Symone years because yikes). So when I heard that there was an exposé-style book featuring interviews with almost every host in the show's history, I was practically dribbling drool down the front of my shirt.\u003c/p>\n\u003cp>That book, Ramin Setoodeh's \u003cem>Ladies Who Punch: The Explosive Inside Story of The View\u003c/em>, came out a few days ago. I promptly devoured it, cover to cover. Need a visual of what that looked like? Here you go:\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1115339004176621580"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Ladies Who Punch\u003c/em> turned out to be juicier than a summertime peach. If you have any interest in how \u003cem>The View\u003c/em> shaped daytime television as we know it, it's well worth the read. But, let's be real, you're here for the mess. Here are the book's wildest revelations:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Barbara Walters Isn't Afraid To Crack A Monica Lewinsky Joke (In Front Of Monica Lewinsky)\u003c/strong>\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>Barbara Walters is known for being a very serious journalist, but that doesn't mean she doesn't also have a sense of humor. In 1998, Walters managed to snag the first sit-down interview with the most talked-about person in the country at that time: Monica Lewinsky. While at the Lewinsky family home, this happened, in Monica's words: \"My dad said I'd always been this good kid and never got into any trouble growing up—that I didn't do drugs or shoplift. Without missing a beat, Barbara quipped, 'Next time, shoplift.'\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Faye Dunaway \u003cem>Really\u003c/em> Likes Exercising and Napping\u003c/strong>\u003c/p>\n\u003cp>When Faye Dunaway agreed to appear on \u003cem>The View\u003c/em>, she had a few demands: a gym and a bed. The problem was that the studio didn't have either, but the producers weren't going to let a little technicality get in the way of a high-profile booking. \"We moved an office and we made a bedroom and an exercise room for one appearance,\" senior producer Mark Lipinski said. \"She was only there for a couple of hours.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Don't Even Think About Looking At Star Jones \u003c/strong>\u003c/p>\n\u003cp>After the show became a hit, some of the co-hosts let the fame get to their heads. Producers say they weren't allowed to make eye contact or speak to Star Jones. While filming at Disney World, Jones called up a publicist to complain about her hotel suite not overlooking the ocean. That's when she learned that Orlando is surrounded by land in all directions.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Every Day Was 'Bring Your Kid To Work Day' At \u003cem>The Rosie O'Donnell Show\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Before her turn on \u003cem>The View\u003c/em>, Rosie O'Donnell ran a tight ship on her own daytime talk show, firing anyone who slipped up. But she also proved to be a compassionate boss, building a full day-care center in the studio so parents could bring their children to work every day, free of charge.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Film Barbra Streisand On Her Good Side, Or Else\u003c/strong>\u003c/p>\n\u003cp>To prepare for a visit from her childhood idol, Barbra Streisand, Rosie flipped the entire set of \u003cem>The Rosie O'Donnell Show\u003c/em> weeks in advance to showcase Streisand's preferred side without letting the audience find out the switch was due to the legend's vanity. When Ellen Degeneres didn't offer the same courtesy in 2017, Rosie was offended. \"I will never talk to Ellen again,\" she said. Rosie also sent the \u003cem>Ellen\u003c/em> executive producer a piece of her mind in the form of a terse email that simply read: \"Go to hell.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>In An Alternate Universe, Rosie and Oprah Are Co-Hosts\u003c/strong>\u003c/p>\n\u003cp>In the final years of \u003cem>The Rosie O'Donnell Show\u003c/em>, Rosie was feeling burnt out. And so was Oprah. They dreamed up a proposal that would merge their two talk shows, allowing each woman to take a half year off. The plan fell apart because different production companies owned each show.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>In Another Alternate Universe, We're Tuning Into \u003cem>The Joy Behar Show\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Another deal that fell through: When Rosie left her show in 2002, the studio wanted none other than \u003cem>The View\u003c/em>'s Joy Behar to take over. Joy decided to stick with her steady job but lived to regret it. \"I wish I had jumped in,\" Joy said. \"I think I would have done a pretty good job.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Be Careful What You Don't Wish For\u003c/strong>\u003c/p>\n\u003cp>In 2002, when a documentary filmmaker asked where she thought she would be in ten years, Rosie joked, \"Probably a host on the f*cking \u003cem>View\u003c/em>! Can you imagine that?!\" She joined the show four years later.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>A Blacklisted Whoopi Wanted A Seat At \u003cem>The View\u003c/em>'s Table\u003c/strong>\u003c/p>\n\u003cp>In 2006, after Meredith Viera left \u003cem>The View\u003c/em>, Whoopi Goldberg, who had just been blacklisted due to a pretty toothless joke about George W. Bush—\"I love bush. But someone is giving bush a bad name\"—lobbied for the moderator seat. But Barbara Walters already had her sights on Rosie O'Donnell.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Rosie and Barbara Go To War (Because Of Some Dude Named Donald Trump)\u003c/strong>\u003c/p>\n\u003cp>In January 2007, after Barbara refused to defend Rosie in a battle of words with Donald Trump, Rosie let Barbara have it backstage in front of senior and junior staff. Rosie allegedly yelled that Barbara was a bad mother, saying, \"No wonder Jackie [Barbara's daughter] can't stand you!\" That meant war.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Don't Mess With Disney\u003c/strong>\u003c/p>\n\u003cp>Due to the huge ratings Rosie brought in for \u003cem>The View\u003c/em> and Barbara's looming retirement\u003cem>,\u003c/em> there were behind-the-scenes talks to hand over the reins of the show completely to Rosie or greenlight her own show. But this all fell apart when, on air during a discussion of the \"war on terror,\" Rosie said, \"In America, we are fed propaganda. And if you want to know what's happening in the world, go outside of the US media, because it's owned by four corporations. One of them is this one.\" Execs at Disney, which owns ABC, were outraged and decided they were done with Rosie.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Rosie's Last Day Involved Fireworks And A Split-Screen\u003c/strong>\u003c/p>\n\u003cp>Rosie's tenure at \u003cem>The View\u003c/em> came to a fiery conclusion with a blowout argument over the Iraq War with Elisabeth Hasselbeck. Everything you need to know about that moment and its implications can be found in this piece:\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/82832/how-rosie-odonnell-vs-elisabeth-hasselbeck-predicted-our-current-political-discourse\">https://www.kqed.org/pop/82832/how-rosie-odonnell-vs-elisabeth-hasselbeck-predicted-our-current-political-discourse\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Elisabeth Quits The Show During An Expletive-Filled Commercial Break\u003c/strong>\u003c/p>\n\u003cp>This wasn't Elisabeth Hasselbeck's first on-air fight. After a heated discussion with Barbara Walters about the morning-after pill in 2006, an F-bomb-dropping Elisabeth walked off the set and quit the show. \"What the f--k?!,\" Hasselbeck yelled. \"I'm not going back out there! I don’t even swear. She has me swearing. This woman is driving me nuts! I’m not going back. I can’t do the show like this. She just reprimanded me, and she knew exactly what she was doing. Goodbye! I quit. I'm quitting. I’m off. Write about that in the New York F*cking Post!” She was eventually convinced to return to the couch for the rest of the episode and stayed on as co-host for another seven years. While reading this section of the book, I questioned whether this was an accurate description of what happened. The next day, the very real audio leaked. Enjoy!\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/Tp7OPB8VbJQ'\n title='//www.youtube.com/embed/Tp7OPB8VbJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>With Friends Like These...\u003c/strong>\u003c/p>\n\u003cp>After leaving the show, Rosie wrote a memoir called \u003cem>Celebrity Detox\u003c/em>, which included her thoughts about her time on \u003cem>The View\u003c/em>. Barbara Walters leaked her copy to the \u003cem>New York Post\u003c/em> under the condition that they would write an article depicting Rosie as an unhinged villain struggling with serious mental health issues. Meanwhile, Walters pretended to take the high road, saying, \"Rosie has written a sad book, but I prefer to focus on the happier times we had and the happier times we hope to have in the future.\" Rosie never found out that Barbara was behind the \u003cem>NYP\u003c/em> article...until now.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Rachel Maddow Almost Didn't Happen\u003c/strong>\u003c/p>\n\u003cp>Another instance of behind-the-scenes sabotage allegedly occurred when Barbara Walters talked MSNBC execs out of moving forward with a political show starring Rosie. That time slot eventually went to Rachel Maddow. But Rosie isn't too hurt over that. \"I'm glad I didn't do it,\" she said. \"Watching Rachel Maddow to me is like taking a class at Harvard. She's so freaking smart that, half the time, I have to watch it twice to understand the totality of what she's saying.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\"Show Me The Money!\" Should Be Rosie's Catchphrase\u003c/strong>\u003c/p>\n\u003cp>During negotiations to join \u003cem>The View\u003c/em>, comedian Sherri Shepherd was in debt and worried about how small the studio's offer was. Enter Rosie O'Donnell, who coached Sherri through the negotiation process and ultimately helped her score a much better deal (a preliminary offer of one business-class plane ticket turned into eight first-class tickets, and the studio agreed to pay Sherri's rent—a whopping $85,000—for her first year). \"I was very thankful to Rosie for what she did for me,\" Sherri said.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Barbara Is Not A Fan Of Katy Perry Or Jenny McCarthy\u003c/strong>\u003c/p>\n\u003cp>When Jenny McCarthy joined the panel, her role was meant to center around pop culture. But this quickly shifted when Barbara didn't know any current celebrities, at one point saying the following about Katy Perry: \"Who is it that you're talking about and why are you bringing her up?\" To which Jenny answered, \"That's Katy Perry. You interviewed her last week!\" Another time, Barbara asked on air, \"Who is Jenny McCarthy?\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Tampon-Gate\u003c/strong>\u003c/p>\n\u003cp>Jenny McCarthy shared that Barbara was unfairly focused on her, going so far as to inspect her clothing each day and order her to change outfits. Things took a turn for the absurd when a very upset Barbara approached Jenny, yelling at her in front of guests over... well, just read this:\u003c/p>\n\u003cp>\u003cstrong>Barbara:\u003c/strong> \"Jenny, there's a tampon floating in the toilet and it's disgusting.\"\u003c/p>\n\u003cp>\u003cstrong>Jenny:\u003c/strong> \"I don't have my period. It's not mine.\"\u003c/p>\n\u003cp>\u003cstrong>Barbara:\u003c/strong> \"Do something about it!\"\u003c/p>\n\u003cp>Jenny decided not to yell back at her employer and instead sucked it up and went to flush the tampon.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Selfie, The (Imaginary?) Vibrator\u003c/strong>\u003c/p>\n\u003cp>Barbara's unusual behavior continued. During a conversation about Valentine's Day, she blurted out that she owned a vibrator nicknamed Selfie. On a later episode, she issued a correction: \"I don't have a vibrator! I don't even put my cell phone on vibrate.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mean Girls 2\u003c/strong>\u003c/p>\n\u003cp>After Barbara retired, Jenny McCarthy and Sherri Shepherd were unceremoniously fired and the show got a major makeover, with only Whoopi returning. Enter Rosie for round two, which went about as well as the last go-round. \"Whoopi Goldberg was as mean as anyone has ever been on television to me,\" Rosie said. \"Worse than Fox News. The worst experience I've ever had on live television was interacting with her.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Old Feuds Die Hard\u003c/strong>\u003c/p>\n\u003cp>Whoopi, who was recently eying an exit from \u003cem>The View\u003c/em>, agreed to be interviewed for \u003cem>Ladies Who Punch\u003c/em>, only to change her mind and stick with the show. She has since allegedly let it be known that she hates the book cover because it features a rendering of her sitting next to Rosie.\u003c/p>\n\u003cp>There is so much more where all of this came from. Author Ramin Setoodeh wasn't lying in titling this book \"explosive.\" Me after reading:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-110938\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/winona-ryder-heathers-explosion.gif\" alt=\"\" width=\"400\" height=\"215\">\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>Wanna feel the full \u003cem>Ladies Who Punch\u003c/em> blast? Head to your nearest library or bookstore!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110816/the-most-explosive-best-secrets-about-the-view-from-ladies-who-punch-tell-all-rosie-elisabeth-barbara","authors":["27"],"categories":["pop_1548","pop_3"],"tags":["pop_763","pop_3541","pop_3341","pop_2948","pop_2947","pop_3542"],"featImg":"pop_110826","label":"pop"},"pop_110691":{"type":"posts","id":"pop_110691","meta":{"index":"posts_1591205157","site":"pop","id":"110691","score":null,"sort":[1554316871000]},"guestAuthors":[],"slug":"pet-sematary-is-the-best-horror-story-that-almost-never-happened","title":"'Pet Sematary' is the Best Horror Story That Almost Never Happened","publishDate":1554316871,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cem>\u003cstrong>Warning: The following contains minor spoilers for Stephen King's \u003c/strong>\u003cstrong>'\u003c/strong>\u003cstrong>Pet Sematary'\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>and its 1989 film adaptation.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>It's a tale that was never supposed to see the light of day; one so unrelentingly horrible, even author Stephen King considered it too dark to put out into the world. The only reason \u003cem>Pet Sematary\u003c/em> ever got released was to settle a contract dispute between King and publishing company, Doubleday. \"Otherwise,\" \u003ca href=\"https://ew.com/movies/2019/03/29/pet-sematary-stephen-king-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">King recently told \u003cem>Entertainment Weekly\u003c/em>\u003c/a>, \"it would still be in a drawer somewhere ... I was thinking, 'Well, Doubleday can go fuck themselves.'\"\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-110694 alignright\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/Screen-Shot-2019-04-02-at-8.28.15-PM.png\" alt=\"\" width=\"239\" height=\"349\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/Screen-Shot-2019-04-02-at-8.28.15-PM.png 239w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/Screen-Shot-2019-04-02-at-8.28.15-PM-160x234.png 160w\" sizes=\"(max-width: 239px) 100vw, 239px\">The story concerns Louis Creed, a doctor who moves his wife, young daughter and two-year-old son out of Chicago to a small town in Maine. When their pet cat, Church, is killed on the busy road by their house, rather than burying him in the nearby \"Pet Sematary\" built (and misspelled) by local children, a misguided neighbor takes the doctor to an ancient site beyond the cemetery and instructs him to bury the animal there instead. The next day, Church returns home, alive but changed for the worse. Some time later, when the Creeds' toddler, Gage, runs afoul of the same busy road, a grief-stricken Louis Creed moves his son's body to that same mysterious burial ground—with disastrous results.\u003c/p>\n\u003cp>Remarkably, the story was \u003ca href=\"https://www.stephenking.com/library/novel/pet_sematary_inspiration.html\" target=\"_blank\" rel=\"noopener noreferrer\">inspired very closely by events\u003c/a> in King's own life. In 1979, he had moved his young family to a house in rural Maine that faced a busy road frequented by speeding trucks and backed by woods containing a pet cemetery built by local children. (The \"Sematary\" spelling was lifted directly from that location.) While living there, King's daughter lost her beloved cat Smucky to the traffic outside, and, utterly bereft, buried him in the pet cemetery. Horrifyingly, King's son Owen had a near-miss with a truck there, saved only when his father caught his arm and pulled him back from the road. Even \u003cem>Pet Sematary\u003c/em>'s well-meaning neighbor was based on the person that found Smucky's lifeless body.\u003c/p>\n\u003cp>Entire sections of dialogue in the novel—including things King's daughter said while mourning the loss of her cat—are lifted from family conversations. \"And I read it over,\" King told \u003cem>EW\u003c/em>, \"and I said to myself, 'This is awful. This is really fucking terrible.' Not that it was badly written ... But all that stuff about the death of kids. It was close to me because my kids lived on that road.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shortly after the novel came out and became a \u003cem>New York Times\u003c/em> bestseller, Lindsay Doran, a studio executive and producer, was presented with the movie script for \u003cem>Pet Sematary, \u003c/em>also penned by King. Doran loved it. \"I thought it was one of the best scripts I had ever read,\" she says in documentary, \u003ca href=\"https://www.imdb.com/title/tt3109830/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unearthed & Untold: The Path to Pet Sematary\u003c/em>\u003c/a>. When she presented it to both Embassy and Paramount Pictures though, the production companies passed.\u003c/p>\n\u003cp>\"I kept trying,\" she continues, \"but nothing happened until the [Writers Guild of America] strike in 1988 when suddenly we couldn't hire any writers. Paramount ... began to worry that there would be big holes in their release schedules the following year because there wouldn't be any movies in the pipeline, [so they] had to agree [to make it].\" That WGA strike, then, is the only reason the original \u003cem>Pet Sematary\u003c/em> movie got made at all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JMao8sg4DPA\u003c/p>\n\u003cp>When the director of photography Peter Stein was approached to work on \u003cem>Pet Sematary\u003c/em>, he too said no, not wishing to get pigeonholed after having just made \u003cem>Friday the 13th Part 2\u003c/em>. Fred \"Herman Munster\" Gwynne (the actor who would play the neighbor) approached Stein, explaining that he signed on to the project because he had lost a child himself and that the movie was not strictly horror, but simply about life and death. Amazingly, the chat worked; Stein agreed to come aboard.\u003c/p>\n\u003cp>\u003cem>Pet Sematary\u003c/em> ended up being a surprise hit, taking in $57.5 million in theaters and $26.4 million in video rentals—not bad for an $11.5 million budget. Now, exactly 30 years to the month after the first one came out, we're getting a new adaptation of the now-classic horror film. This too feels like a minor miracle; Paramount announced this remake all the way back in 2010, but it took until 2017 to get greenlit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hRCplJFlQMM\u003c/p>\n\u003cp>So far, reviews are positive and fan hopes are high. \"\u003cem>Pet Sematary\u003c/em> is really a timeless story,\" Mary Lambert, the director of the 1989 version, says. \"All the reasons people thought it wouldn't work as a film are what has made it into such a timeless piece. It's about ... the dynamic within a family, and the love that parents have for their small children, and the fear that people have of death. The desire through the ages that people have to confound death; to get around it.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just like its subjects, \u003cem>Pet Sematary\u003c/em> lives again.\u003c/p>\n\n","blocks":[],"excerpt":"Stephen King never wanted his 1983 novel released and its original movie adaptation only happened because of a fluke incident. But, like its subjects, 'Pet Sematary' was hard to kill.","status":"publish","parent":0,"modified":1659739205,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":860},"headData":{"title":"'Pet Sematary' is the Best Horror Story That Almost Never Happened - KQED Pop","description":"Stephen King never wanted his 1983 novel released and its original movie adaptation only happened because of a fluke incident. But, like its subjects, 'Pet Sematary' was hard to kill.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"110691 https://ww2.kqed.org/pop/?p=110691","disqusUrl":"https://ww2.kqed.org/pop/2019/04/03/pet-sematary-is-the-best-horror-story-that-almost-never-happened/","disqusTitle":"'Pet Sematary' is the Best Horror Story That Almost Never Happened","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/pop/110691/pet-sematary-is-the-best-horror-story-that-almost-never-happened","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Warning: The following contains minor spoilers for Stephen King's \u003c/strong>\u003cstrong>'\u003c/strong>\u003cstrong>Pet Sematary'\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>and its 1989 film adaptation.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>It's a tale that was never supposed to see the light of day; one so unrelentingly horrible, even author Stephen King considered it too dark to put out into the world. The only reason \u003cem>Pet Sematary\u003c/em> ever got released was to settle a contract dispute between King and publishing company, Doubleday. \"Otherwise,\" \u003ca href=\"https://ew.com/movies/2019/03/29/pet-sematary-stephen-king-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">King recently told \u003cem>Entertainment Weekly\u003c/em>\u003c/a>, \"it would still be in a drawer somewhere ... I was thinking, 'Well, Doubleday can go fuck themselves.'\"\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-110694 alignright\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/Screen-Shot-2019-04-02-at-8.28.15-PM.png\" alt=\"\" width=\"239\" height=\"349\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/Screen-Shot-2019-04-02-at-8.28.15-PM.png 239w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/Screen-Shot-2019-04-02-at-8.28.15-PM-160x234.png 160w\" sizes=\"(max-width: 239px) 100vw, 239px\">The story concerns Louis Creed, a doctor who moves his wife, young daughter and two-year-old son out of Chicago to a small town in Maine. When their pet cat, Church, is killed on the busy road by their house, rather than burying him in the nearby \"Pet Sematary\" built (and misspelled) by local children, a misguided neighbor takes the doctor to an ancient site beyond the cemetery and instructs him to bury the animal there instead. The next day, Church returns home, alive but changed for the worse. Some time later, when the Creeds' toddler, Gage, runs afoul of the same busy road, a grief-stricken Louis Creed moves his son's body to that same mysterious burial ground—with disastrous results.\u003c/p>\n\u003cp>Remarkably, the story was \u003ca href=\"https://www.stephenking.com/library/novel/pet_sematary_inspiration.html\" target=\"_blank\" rel=\"noopener noreferrer\">inspired very closely by events\u003c/a> in King's own life. In 1979, he had moved his young family to a house in rural Maine that faced a busy road frequented by speeding trucks and backed by woods containing a pet cemetery built by local children. (The \"Sematary\" spelling was lifted directly from that location.) While living there, King's daughter lost her beloved cat Smucky to the traffic outside, and, utterly bereft, buried him in the pet cemetery. Horrifyingly, King's son Owen had a near-miss with a truck there, saved only when his father caught his arm and pulled him back from the road. Even \u003cem>Pet Sematary\u003c/em>'s well-meaning neighbor was based on the person that found Smucky's lifeless body.\u003c/p>\n\u003cp>Entire sections of dialogue in the novel—including things King's daughter said while mourning the loss of her cat—are lifted from family conversations. \"And I read it over,\" King told \u003cem>EW\u003c/em>, \"and I said to myself, 'This is awful. This is really fucking terrible.' Not that it was badly written ... But all that stuff about the death of kids. It was close to me because my kids lived on that road.\"\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>Shortly after the novel came out and became a \u003cem>New York Times\u003c/em> bestseller, Lindsay Doran, a studio executive and producer, was presented with the movie script for \u003cem>Pet Sematary, \u003c/em>also penned by King. Doran loved it. \"I thought it was one of the best scripts I had ever read,\" she says in documentary, \u003ca href=\"https://www.imdb.com/title/tt3109830/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unearthed & Untold: The Path to Pet Sematary\u003c/em>\u003c/a>. When she presented it to both Embassy and Paramount Pictures though, the production companies passed.\u003c/p>\n\u003cp>\"I kept trying,\" she continues, \"but nothing happened until the [Writers Guild of America] strike in 1988 when suddenly we couldn't hire any writers. Paramount ... began to worry that there would be big holes in their release schedules the following year because there wouldn't be any movies in the pipeline, [so they] had to agree [to make it].\" That WGA strike, then, is the only reason the original \u003cem>Pet Sematary\u003c/em> movie got made at all.\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/JMao8sg4DPA'\n title='//www.youtube.com/embed/JMao8sg4DPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When the director of photography Peter Stein was approached to work on \u003cem>Pet Sematary\u003c/em>, he too said no, not wishing to get pigeonholed after having just made \u003cem>Friday the 13th Part 2\u003c/em>. Fred \"Herman Munster\" Gwynne (the actor who would play the neighbor) approached Stein, explaining that he signed on to the project because he had lost a child himself and that the movie was not strictly horror, but simply about life and death. Amazingly, the chat worked; Stein agreed to come aboard.\u003c/p>\n\u003cp>\u003cem>Pet Sematary\u003c/em> ended up being a surprise hit, taking in $57.5 million in theaters and $26.4 million in video rentals—not bad for an $11.5 million budget. Now, exactly 30 years to the month after the first one came out, we're getting a new adaptation of the now-classic horror film. This too feels like a minor miracle; Paramount announced this remake all the way back in 2010, but it took until 2017 to get greenlit.\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/hRCplJFlQMM'\n title='//www.youtube.com/embed/hRCplJFlQMM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So far, reviews are positive and fan hopes are high. \"\u003cem>Pet Sematary\u003c/em> is really a timeless story,\" Mary Lambert, the director of the 1989 version, says. \"All the reasons people thought it wouldn't work as a film are what has made it into such a timeless piece. It's about ... the dynamic within a family, and the love that parents have for their small children, and the fear that people have of death. The desire through the ages that people have to confound death; to get around it.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just like its subjects, \u003cem>Pet Sematary\u003c/em> lives again.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110691/pet-sematary-is-the-best-horror-story-that-almost-never-happened","authors":["11242"],"categories":["pop_1548","pop_51"],"tags":["pop_3341","pop_947","pop_865","pop_3534","pop_3289"],"featImg":"pop_110715","label":"pop"},"pop_110573":{"type":"posts","id":"pop_110573","meta":{"index":"posts_1591205157","site":"pop","id":"110573","score":null,"sort":[1553638684000]},"guestAuthors":[],"slug":"what-doesnt-kill-you-makes-you-blacker-is-a-powerful-look-at-one-black-mans-life","title":"'What Doesn't Kill You Makes You Blacker' Is A Powerful Look At One Black Man's Life","publishDate":1553638684,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cimg class=\"size-full wp-image-110577 alignright\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-26-at-3.15.18-PM.png\" alt=\"\" width=\"202\" height=\"308\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-26-at-3.15.18-PM.png 202w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-26-at-3.15.18-PM-160x244.png 160w\" sizes=\"(max-width: 202px) 100vw, 202px\">For Damon Young—writer, critic, humorist, and the co-founder and editor-in -chief of VerySmartBrothas—being black in America is to \"exist in a ceaseless state of absurdity; a perpetual surreality that twists and contorts and transmutates equilibrium and homeostasis the way an extended stay in space alters human DNA.\"\u003c/p>\n\u003cp>Reading his work, one quickly understands black people perennially struggle to find a space to breathe without the pressure of institutionalized racism. In \u003cem>\u003ca href=\"https://www.harpercollins.com/9780062684301/what-doesnt-kill-you-makes-you-blacker/\">What Doesn't Kill You Makes You Blacker\u003c/a>, \u003c/em>Young chronicles his efforts to endure the plethora of battles that come with being black, including expectations about his fighting skills, the need to perform hypermasculinity, and the death of his mother at the hands of a healthcare system that treats African Americans as if they feel no pain.\u003c/p>\n\u003cp>\u003cem>What Doesn't Kill You Makes You Blacker \u003c/em>is a deconstruction of Young's various neuroses. Young has spent his entire life doubting himself, and the roots of that self-doubt can be found in the way black people are treated and the expectations placed on them by their status as others, as outsiders. In the 16 essays that make up the book, Young pulls readers into his world, showing them his vulnerability, hitting them with unflinching honesty about the state of race relations in this country, and keeping them glued to the pages with his wit and humor. While this is presented as a memoir in essays, \u003cem>What Doesn't Kill You Makes You Blacker \u003c/em>is more of a personal collection of independent essays that offer a look at the life of one man. It is also a collection that serves as an authentic, keen, and touching example of the black male experience.\u003c/p>\n\u003cp>Reading Young's essays is often an uncomfortable experience because he doesn't shy away from ugly truths. There is a lot of funny writing here, but also pain, insecurity, loss, and injustice. For example, Young believes his mother would be alive today if she were white because doctors never took her pain seriously, and he proves his point with historical facts. And just like his mother's cancer becomes a vehicle to discuss larger cultural issues, Young tackles one of the greatest cancers at the core of our country: racism.\u003c/p>\n\u003cblockquote>\u003cp>\"White supremacy is so gargantuan and mundane that sometimes its existence and its proficiency can't be measured, addressed, or even seen without a stark change in perspective. It isn't like gravity. It is gravity. It is a ceaseless pressure intended to keep blackness ground-bound and sick.\"\u003c/p>\u003c/blockquote>\n\u003cp>The notion that black people are tougher and feel no pain is just one of many ideas Young analyzes. From sports to politics, blackness in America is synonymous with otherness. This otherness is framed by unfairness and preconceived notions that place black people at a disadvantage from the time they are born, especially if they're poor because poverty is seen as something that makes them innately stronger:\u003c/p>\n\u003cblockquote>\u003cp>\"If you're poor and black, America acts like you emerge from the womb twenty-seven years old, with four kids, five predicate felonies, and a lit Newport already between your lips. White people get to be babies. And they get to still be babies when they're adults. Poor black people are born Avon Barksdale.\"\u003c/p>\u003c/blockquote>\n\u003cp>The beauty of \u003cem>What Doesn't Kill You Makes You Blacker \u003c/em>is that Young never tries to make it easy for readers. He shows his righteous anger. He presents inequality. And he uses the N-word. For him, the N-word, which can be a noun, verb, or adjective, must be earned, and earning it is part of black culture. More importantly, the word has two variants; one used for friends and one that symbolizes 400 years of oppression. Young thinks understanding the difference between using the N-word when it ends in -ga and when it ends in -ger is crucial, and he dedicates various passages to explaining the difference:\u003c/p>\n\u003cblockquote>\u003cp>\"While the experience of American blackness is too varied and motley to feign some sort of universality, none of us are immune to the random and haphazard violence of n****r; of being called one, of being treated like one, of being thought of as one. It, like n***a, also transcends status and station, as even n***as who believe they've somehow escaped and eclipsed n****r are susceptible to the n****r wake-up call, of having their blankets of perceived privilege yanked from underneath them, hurling them into space while n****r's savage gravity vaporizes them. It's through this collective fire that n***a is earned. We've earned the right to be it, to call each other it, to allow it to permeate our thoughts and our taunts, our minds and our music, our sentences and our souls.\"\u003c/p>\u003c/blockquote>\n\u003cp>Vocabulary and racial slurs are only two of many spaces in which blackness and whiteness collide, with the latter usually embodying hegemony. There is a bit of that in every essay and that makes the book cohesive. There are two somewhat meandering essays at the end of the book that could have used a stronger edit, but that aside, \u003cem>What Doesn't Kill You Makes You Blacker \u003c/em>is an outstanding collection of nonfiction that encapsulates the black male experience—and demands change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Young is a talented writer and sharp cultural critic. He created something special with this timely and powerful book. It, like the work of bell hooks and Roxane Gay, should be required reading.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+Doesn%27t+Kill+You+Makes+You+Blacker%27+Is+A+Powerful+Look+At+One+Black+Man%27s+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Writer, critic and humorist Damon Young chronicles his efforts to endure the battles that come with being black; the beauty of his book is that he never tries to make it comfortable for his audience.","status":"publish","parent":0,"modified":1553638684,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":952},"headData":{"title":"'What Doesn't Kill You Makes You Blacker' Is A Powerful Look At One Black Man's Life | KQED","description":"Writer, critic and humorist Damon Young chronicles his efforts to endure the battles that come with being black; the beauty of his book is that he never tries to make it comfortable for his audience.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"110573 https://ww2.kqed.org/pop/?p=110573","disqusUrl":"https://ww2.kqed.org/pop/2019/03/26/what-doesnt-kill-you-makes-you-blacker-is-a-powerful-look-at-one-black-mans-life/","disqusTitle":"'What Doesn't Kill You Makes You Blacker' Is A Powerful Look At One Black Man's Life","nprByline":"Gabino Iglesias","nprImageAgency":"Ecco","nprStoryId":"706741007","nprApiLink":"http://api.npr.org/query?id=706741007&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/03/26/706741007/what-doesnt-kill-you-makes-you-blacker-is-a-powerful-look-at-one-black-mans-life?ft=nprml&f=706741007","nprRetrievedStory":"1","nprPubDate":"Tue, 26 Mar 2019 17:19:00 -0400","nprStoryDate":"Tue, 26 Mar 2019 17:19:11 -0400","nprLastModifiedDate":"Tue, 26 Mar 2019 17:19:11 -0400","path":"/pop/110573/what-doesnt-kill-you-makes-you-blacker-is-a-powerful-look-at-one-black-mans-life","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"size-full wp-image-110577 alignright\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-26-at-3.15.18-PM.png\" alt=\"\" width=\"202\" height=\"308\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-26-at-3.15.18-PM.png 202w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-26-at-3.15.18-PM-160x244.png 160w\" sizes=\"(max-width: 202px) 100vw, 202px\">For Damon Young—writer, critic, humorist, and the co-founder and editor-in -chief of VerySmartBrothas—being black in America is to \"exist in a ceaseless state of absurdity; a perpetual surreality that twists and contorts and transmutates equilibrium and homeostasis the way an extended stay in space alters human DNA.\"\u003c/p>\n\u003cp>Reading his work, one quickly understands black people perennially struggle to find a space to breathe without the pressure of institutionalized racism. In \u003cem>\u003ca href=\"https://www.harpercollins.com/9780062684301/what-doesnt-kill-you-makes-you-blacker/\">What Doesn't Kill You Makes You Blacker\u003c/a>, \u003c/em>Young chronicles his efforts to endure the plethora of battles that come with being black, including expectations about his fighting skills, the need to perform hypermasculinity, and the death of his mother at the hands of a healthcare system that treats African Americans as if they feel no pain.\u003c/p>\n\u003cp>\u003cem>What Doesn't Kill You Makes You Blacker \u003c/em>is a deconstruction of Young's various neuroses. Young has spent his entire life doubting himself, and the roots of that self-doubt can be found in the way black people are treated and the expectations placed on them by their status as others, as outsiders. In the 16 essays that make up the book, Young pulls readers into his world, showing them his vulnerability, hitting them with unflinching honesty about the state of race relations in this country, and keeping them glued to the pages with his wit and humor. While this is presented as a memoir in essays, \u003cem>What Doesn't Kill You Makes You Blacker \u003c/em>is more of a personal collection of independent essays that offer a look at the life of one man. It is also a collection that serves as an authentic, keen, and touching example of the black male experience.\u003c/p>\n\u003cp>Reading Young's essays is often an uncomfortable experience because he doesn't shy away from ugly truths. There is a lot of funny writing here, but also pain, insecurity, loss, and injustice. For example, Young believes his mother would be alive today if she were white because doctors never took her pain seriously, and he proves his point with historical facts. And just like his mother's cancer becomes a vehicle to discuss larger cultural issues, Young tackles one of the greatest cancers at the core of our country: racism.\u003c/p>\n\u003cblockquote>\u003cp>\"White supremacy is so gargantuan and mundane that sometimes its existence and its proficiency can't be measured, addressed, or even seen without a stark change in perspective. It isn't like gravity. It is gravity. It is a ceaseless pressure intended to keep blackness ground-bound and sick.\"\u003c/p>\u003c/blockquote>\n\u003cp>The notion that black people are tougher and feel no pain is just one of many ideas Young analyzes. From sports to politics, blackness in America is synonymous with otherness. This otherness is framed by unfairness and preconceived notions that place black people at a disadvantage from the time they are born, especially if they're poor because poverty is seen as something that makes them innately stronger:\u003c/p>\n\u003cblockquote>\u003cp>\"If you're poor and black, America acts like you emerge from the womb twenty-seven years old, with four kids, five predicate felonies, and a lit Newport already between your lips. White people get to be babies. And they get to still be babies when they're adults. Poor black people are born Avon Barksdale.\"\u003c/p>\u003c/blockquote>\n\u003cp>The beauty of \u003cem>What Doesn't Kill You Makes You Blacker \u003c/em>is that Young never tries to make it easy for readers. He shows his righteous anger. He presents inequality. And he uses the N-word. For him, the N-word, which can be a noun, verb, or adjective, must be earned, and earning it is part of black culture. More importantly, the word has two variants; one used for friends and one that symbolizes 400 years of oppression. Young thinks understanding the difference between using the N-word when it ends in -ga and when it ends in -ger is crucial, and he dedicates various passages to explaining the difference:\u003c/p>\n\u003cblockquote>\u003cp>\"While the experience of American blackness is too varied and motley to feign some sort of universality, none of us are immune to the random and haphazard violence of n****r; of being called one, of being treated like one, of being thought of as one. It, like n***a, also transcends status and station, as even n***as who believe they've somehow escaped and eclipsed n****r are susceptible to the n****r wake-up call, of having their blankets of perceived privilege yanked from underneath them, hurling them into space while n****r's savage gravity vaporizes them. It's through this collective fire that n***a is earned. We've earned the right to be it, to call each other it, to allow it to permeate our thoughts and our taunts, our minds and our music, our sentences and our souls.\"\u003c/p>\u003c/blockquote>\n\u003cp>Vocabulary and racial slurs are only two of many spaces in which blackness and whiteness collide, with the latter usually embodying hegemony. There is a bit of that in every essay and that makes the book cohesive. There are two somewhat meandering essays at the end of the book that could have used a stronger edit, but that aside, \u003cem>What Doesn't Kill You Makes You Blacker \u003c/em>is an outstanding collection of nonfiction that encapsulates the black male experience—and demands change.\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>Young is a talented writer and sharp cultural critic. He created something special with this timely and powerful book. It, like the work of bell hooks and Roxane Gay, should be required reading.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+Doesn%27t+Kill+You+Makes+You+Blacker%27+Is+A+Powerful+Look+At+One+Black+Man%27s+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110573/what-doesnt-kill-you-makes-you-blacker-is-a-powerful-look-at-one-black-mans-life","authors":["byline_pop_110573"],"categories":["pop_1548","pop_1041"],"tags":["pop_3426","pop_3523","pop_1033","pop_406"],"featImg":"pop_110574","label":"pop"},"pop_110543":{"type":"posts","id":"pop_110543","meta":{"index":"posts_1591205157","site":"pop","id":"110543","score":null,"sort":[1553541048000]},"guestAuthors":[],"slug":"worried-about-climate-change-two-new-books-confirm-the-worst","title":"Worried About Climate Change? Two New Books Confirm The Worst","publishDate":1553541048,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cfigure id=\"attachment_110546\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg class=\"size-full wp-image-110546\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.53.53-AM.png\" alt=\"‘The Uninhabitable Earth: Life After Warming’ by David Wallace-Wells.\" width=\"301\" height=\"491\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.53.53-AM.png 301w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.53.53-AM-160x261.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">‘The Uninhabitable Earth: Life After Warming’ by David Wallace-Wells.\u003c/figcaption>\u003c/figure>\n\u003cp>It was a telling moment: David Wallace-Wells, author of the new book \u003cem>The Uninhabitable Earth\u003c/em>, was making \u003ca href=\"https://www.msnbc.com/morning-joe/watch/-we-are-entering-into-an-unprecedented-climate-1445411907673\">an appearance\u003c/a> on MSNBC's talk show \u003cem>Morning Joe\u003c/em>. He took viewers through scientific projections for drowned cities, death by heat stroke and a massive, endless refugee crisis—due to climate change. As the interview closed, one of the show's hosts, Willie Geist, looked to Wallace-Wells and said, \"Let's end on some hope.\"\u003c/p>\n\u003cp>The disconnect speaks volumes about where we are now relative to climate change. With his new book, which has quickly become a bestseller, Wallace-Wells wants to be the firefighter telling you your house is going up in flames right now. \u003cem>The Uninhabitable Earth: Life After Warming's \u003c/em>perspective can be neatly summed up through its opening line: \"It's worse, much worse, than you think.\" Geist, standing in for all of us, seems stunned by the scale and urgency of the problem and wants to hear something that will make him feel better.\u003c/p>\n\u003cp>Feeling better is definitely not what's going happen if you read \u003cem>The Uninhabitable Earth\u003c/em> or a second new book on climate change, \u003cem>Losing Earth: A Recent History\u003c/em> by Nathaniel Rich. But that doesn't mean you shouldn't read both of them. We humans, and our project of civilization, are entering new territory with the climate change we've driven—and both books offer valuable perspectives if we're committed to being adult enough to face the future.\u003c/p>\n\u003cp>When climate scientists use their models to project forward, they see a spread of possible changes in the average temperature of the planet. Over the next century or so, the predicted temperature increase ranges from about two degrees to an upper limit of about eight degrees. Which path Earth takes depends on its innate sensitivity to the carbon dioxide we're dumping into the atmosphere combined with—and most important—our own decisions about how much more carbon dioxide to add.\u003c/p>\n\u003cp>In \u003cem>Losing Earth,\u003c/em> Rich wants us to understand how policymakers learned of, and then ignored, the grave risks these paths represent for our future. In \u003cem>The Uninhabitable Earth, \u003c/em>Wallace-Wells wants us to understand just how bad that future may get.\u003c/p>\n\u003cfigure id=\"attachment_110547\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg class=\"size-full wp-image-110547\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.55.40-AM.png\" alt=\"‘Losing Earth: A Recent History’ by Nathaniel Rich.\" width=\"300\" height=\"461\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.55.40-AM.png 300w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.55.40-AM-160x246.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Losing Earth: A Recent History’ by Nathaniel Rich.\u003c/figcaption>\u003c/figure>\n\u003cp>The point for humanity is that with every degree of warming, we get further from the kind of world we grew up in. For Wallace-Wells this is not just a matter of where you can go skiing in 2040. \u003cem>The Uninhabitable Earth\u003c/em> focuses on the potent cascades that flow through the entirety of the complex human-environmental interaction we call \"civilization.\" So, when Wallace-Wells talks of economic impacts, he cites a study linking 3.7 degrees of warming to over $550 trillion of climate-related damage. Since $550 trillion is twice today's global wealth, the conclusion is that eventually rebuilding from the \"n-th\" superstorm will stop. We'll just abandon our cities or live within the ruin. \u003cem>The Uninhabitable Earth\u003c/em> also gives us similar visions of rising hunger and conflict. If today's refugee problems are straining political systems (the Syrian crisis created 1 million homeless people), Wallace-Wells asks us to imagine a global politics when more than 200 million climate refugees are on the move (a U.N. projection for 2050).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The picture \u003cem>The Uninhabitable Earth \u003c/em>paints is unsparingly bleak. But is it correct?\u003c/p>\n\u003cp>Prediction is difficult, as Yogi Berra noted, especially about the future. One criticism of the book is that it favors worst-case scenarios. Indeed, when it comes to extrapolating the human impacts of climate change, researchers must rely on separate models of the planet, its ecosystems and, say, human economic behavior. Each has its uncertainties and each yields not one river-like line for the future but, instead, a spreading delta of possibilities. When the models are combined, the uncertainties compound, making risk-assessment a difficult task. For a scientist like myself, that means we have more possible futures than the one described in \u003cem>The Uninhabitable Earth.\u003c/em>\u003c/p>\n\u003cp>But if you take comfort from that statement, you are missing the point. There is a broader point in \u003cem>The Uninhabitable Earth \u003c/em>that Wallace-Wells makes eloquently—one that must become part of how we think about climate change. As he writes:\u003c/p>\n\u003cblockquote>\u003cp>\"Perhaps because of the exhausting false debate about whether climate change is 'real,' too many of us have developed a misleading impression that its effects are binary. But global warming is not 'yes' or 'no,' nor is it 'today's weather forever' or \"doomsday tomorrow.\"\u003c/p>\u003c/blockquote>\n\u003cp>To me, this is one of the great strengths of \u003cem>The Uninhabitable Earth. \u003c/em>It's the recognition that we are already quite far down the road toward a different kind of Earth. Most importantly, keeping civilization up and running on this new version of the planet will depend on our collective actions \u003cem>right now\u003c/em>. Wallace-Wells' instinct for telling this story is, more than anything, what makes the book worthwhile.\u003c/p>\n\u003cp>It is noteworthy that at some point \u003cem>The Uninhabitable Earth\u003c/em> asks about what might be called climate retribution. If things get bad enough, will the names of those responsible eventually be held in infamy? Understanding the \u003cem>who\u003c/em> of how humanity got so far down the climate change road is the focus of \u003cem>Losing Earth,\u003c/em> which is a gripping piece of history whose essence, like\u003cem> The Uninhabitable Earth, \u003c/em>is embodied in its first line: \"Nearly everything we understand about global warming was understood in 1979.\"\u003c/p>\n\u003cp>By 1979, the scientific community already knew deep trouble awaited us if we didn't limit carbon dioxide emissions. Taking that year as its launch point, author Nathaniel Rich follows the decade-long work of policymakers and scientists who tried mightily to steer us clear of climate change. Rich's writing is compelling and clear, even as he lays out details of 1980s international environmental policy. Reading like a Greek tragedy, \u003cem>Losing Earth\u003c/em> shows how close we came to making the right choices—if it weren't for our darker angels. It's a story of \"heroes, villains and victims,\" and when it comes to the villains, Rich, like Wallace-Wells, does not pull punches. After surveying how different nations responded to the political challenges of climate change, Rich finally reaches our own:\u003c/p>\n\u003cblockquote>\u003cp>\"When it comes to the United States, which has not deigned to make any binding commitments whatsoever, the dominant narrative for the last quarter century has concerned the unrestrained efforts of the fossil fuel industry to suppress scientific fact, confuse the public and bribe politicians.\"\u003c/p>\u003c/blockquote>\n\u003cp>No matter how you respond to the stories of climate past and climate future that these books tell, their very appearance may portent the beginning of a cultural transition. As the wild fires and flooding of the last few years demonstrate, climate change isn't just an idea anymore. Now it's something we all see playing out on the news every day. We are, indeed, in uncharted territory—and we've just started down this road. Given that certainty, whatever hope we can find for the future will be the hope we create.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adam Frank is an astrophysics professor at the University of Rochester and author of \u003c/em>\u003ca href=\"https://www.amazon.com/Light-Stars-Alien-Worlds-Earth/dp/0393609014/ref=sr_1_1?s=books&ie=UTF8&qid=1516978619&sr=1-1&keywords=Light+of+the+Stars%3A+Alien+Worlds+and+the+Fate+of+the+Earth\">Light of the Stars: Alien Worlds and the Fate of the Earth\u003c/a>\u003cem>. You can find more from Adam here: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\">@adamfrank4\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Climate+Books+Stress+We+Are+Already+Far+Down+The+Road+To+A+Different+Earth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Drowned cities, death by heat stroke and a massive, endless refugee crisis are just some of the predictions being made by David Wallace-Wells in 'The Uninhabitable Earth: Life After Warming.'","status":"publish","parent":0,"modified":1553541048,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1255},"headData":{"title":"Worried About Climate Change? Two New Books Confirm The Worst | KQED","description":"Drowned cities, death by heat stroke and a massive, endless refugee crisis are just some of the predictions being made by David Wallace-Wells in 'The Uninhabitable Earth: Life After Warming.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"110543 https://ww2.kqed.org/pop/?p=110543","disqusUrl":"https://ww2.kqed.org/pop/2019/03/25/worried-about-climate-change-two-new-books-confirm-the-worst/","disqusTitle":"Worried About Climate Change? Two New Books Confirm The Worst","nprImageCredit":"Alexander Gerst/ESA","nprByline":"Adam Frank","nprImageAgency":"Getty Images","nprStoryId":"706499110","nprApiLink":"http://api.npr.org/query?id=706499110&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/03/25/706499110/new-climate-books-stress-we-are-already-far-down-the-road-to-a-different-earth?ft=nprml&f=706499110","nprRetrievedStory":"1","nprPubDate":"Mon, 25 Mar 2019 14:05:00 -0400","nprStoryDate":"Mon, 25 Mar 2019 11:38:00 -0400","nprLastModifiedDate":"Mon, 25 Mar 2019 14:05:17 -0400","path":"/pop/110543/worried-about-climate-change-two-new-books-confirm-the-worst","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_110546\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg class=\"size-full wp-image-110546\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.53.53-AM.png\" alt=\"‘The Uninhabitable Earth: Life After Warming’ by David Wallace-Wells.\" width=\"301\" height=\"491\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.53.53-AM.png 301w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.53.53-AM-160x261.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">‘The Uninhabitable Earth: Life After Warming’ by David Wallace-Wells.\u003c/figcaption>\u003c/figure>\n\u003cp>It was a telling moment: David Wallace-Wells, author of the new book \u003cem>The Uninhabitable Earth\u003c/em>, was making \u003ca href=\"https://www.msnbc.com/morning-joe/watch/-we-are-entering-into-an-unprecedented-climate-1445411907673\">an appearance\u003c/a> on MSNBC's talk show \u003cem>Morning Joe\u003c/em>. He took viewers through scientific projections for drowned cities, death by heat stroke and a massive, endless refugee crisis—due to climate change. As the interview closed, one of the show's hosts, Willie Geist, looked to Wallace-Wells and said, \"Let's end on some hope.\"\u003c/p>\n\u003cp>The disconnect speaks volumes about where we are now relative to climate change. With his new book, which has quickly become a bestseller, Wallace-Wells wants to be the firefighter telling you your house is going up in flames right now. \u003cem>The Uninhabitable Earth: Life After Warming's \u003c/em>perspective can be neatly summed up through its opening line: \"It's worse, much worse, than you think.\" Geist, standing in for all of us, seems stunned by the scale and urgency of the problem and wants to hear something that will make him feel better.\u003c/p>\n\u003cp>Feeling better is definitely not what's going happen if you read \u003cem>The Uninhabitable Earth\u003c/em> or a second new book on climate change, \u003cem>Losing Earth: A Recent History\u003c/em> by Nathaniel Rich. But that doesn't mean you shouldn't read both of them. We humans, and our project of civilization, are entering new territory with the climate change we've driven—and both books offer valuable perspectives if we're committed to being adult enough to face the future.\u003c/p>\n\u003cp>When climate scientists use their models to project forward, they see a spread of possible changes in the average temperature of the planet. Over the next century or so, the predicted temperature increase ranges from about two degrees to an upper limit of about eight degrees. Which path Earth takes depends on its innate sensitivity to the carbon dioxide we're dumping into the atmosphere combined with—and most important—our own decisions about how much more carbon dioxide to add.\u003c/p>\n\u003cp>In \u003cem>Losing Earth,\u003c/em> Rich wants us to understand how policymakers learned of, and then ignored, the grave risks these paths represent for our future. In \u003cem>The Uninhabitable Earth, \u003c/em>Wallace-Wells wants us to understand just how bad that future may get.\u003c/p>\n\u003cfigure id=\"attachment_110547\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg class=\"size-full wp-image-110547\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.55.40-AM.png\" alt=\"‘Losing Earth: A Recent History’ by Nathaniel Rich.\" width=\"300\" height=\"461\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.55.40-AM.png 300w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-25-at-11.55.40-AM-160x246.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Losing Earth: A Recent History’ by Nathaniel Rich.\u003c/figcaption>\u003c/figure>\n\u003cp>The point for humanity is that with every degree of warming, we get further from the kind of world we grew up in. For Wallace-Wells this is not just a matter of where you can go skiing in 2040. \u003cem>The Uninhabitable Earth\u003c/em> focuses on the potent cascades that flow through the entirety of the complex human-environmental interaction we call \"civilization.\" So, when Wallace-Wells talks of economic impacts, he cites a study linking 3.7 degrees of warming to over $550 trillion of climate-related damage. Since $550 trillion is twice today's global wealth, the conclusion is that eventually rebuilding from the \"n-th\" superstorm will stop. We'll just abandon our cities or live within the ruin. \u003cem>The Uninhabitable Earth\u003c/em> also gives us similar visions of rising hunger and conflict. If today's refugee problems are straining political systems (the Syrian crisis created 1 million homeless people), Wallace-Wells asks us to imagine a global politics when more than 200 million climate refugees are on the move (a U.N. projection for 2050).\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>The picture \u003cem>The Uninhabitable Earth \u003c/em>paints is unsparingly bleak. But is it correct?\u003c/p>\n\u003cp>Prediction is difficult, as Yogi Berra noted, especially about the future. One criticism of the book is that it favors worst-case scenarios. Indeed, when it comes to extrapolating the human impacts of climate change, researchers must rely on separate models of the planet, its ecosystems and, say, human economic behavior. Each has its uncertainties and each yields not one river-like line for the future but, instead, a spreading delta of possibilities. When the models are combined, the uncertainties compound, making risk-assessment a difficult task. For a scientist like myself, that means we have more possible futures than the one described in \u003cem>The Uninhabitable Earth.\u003c/em>\u003c/p>\n\u003cp>But if you take comfort from that statement, you are missing the point. There is a broader point in \u003cem>The Uninhabitable Earth \u003c/em>that Wallace-Wells makes eloquently—one that must become part of how we think about climate change. As he writes:\u003c/p>\n\u003cblockquote>\u003cp>\"Perhaps because of the exhausting false debate about whether climate change is 'real,' too many of us have developed a misleading impression that its effects are binary. But global warming is not 'yes' or 'no,' nor is it 'today's weather forever' or \"doomsday tomorrow.\"\u003c/p>\u003c/blockquote>\n\u003cp>To me, this is one of the great strengths of \u003cem>The Uninhabitable Earth. \u003c/em>It's the recognition that we are already quite far down the road toward a different kind of Earth. Most importantly, keeping civilization up and running on this new version of the planet will depend on our collective actions \u003cem>right now\u003c/em>. Wallace-Wells' instinct for telling this story is, more than anything, what makes the book worthwhile.\u003c/p>\n\u003cp>It is noteworthy that at some point \u003cem>The Uninhabitable Earth\u003c/em> asks about what might be called climate retribution. If things get bad enough, will the names of those responsible eventually be held in infamy? Understanding the \u003cem>who\u003c/em> of how humanity got so far down the climate change road is the focus of \u003cem>Losing Earth,\u003c/em> which is a gripping piece of history whose essence, like\u003cem> The Uninhabitable Earth, \u003c/em>is embodied in its first line: \"Nearly everything we understand about global warming was understood in 1979.\"\u003c/p>\n\u003cp>By 1979, the scientific community already knew deep trouble awaited us if we didn't limit carbon dioxide emissions. Taking that year as its launch point, author Nathaniel Rich follows the decade-long work of policymakers and scientists who tried mightily to steer us clear of climate change. Rich's writing is compelling and clear, even as he lays out details of 1980s international environmental policy. Reading like a Greek tragedy, \u003cem>Losing Earth\u003c/em> shows how close we came to making the right choices—if it weren't for our darker angels. It's a story of \"heroes, villains and victims,\" and when it comes to the villains, Rich, like Wallace-Wells, does not pull punches. After surveying how different nations responded to the political challenges of climate change, Rich finally reaches our own:\u003c/p>\n\u003cblockquote>\u003cp>\"When it comes to the United States, which has not deigned to make any binding commitments whatsoever, the dominant narrative for the last quarter century has concerned the unrestrained efforts of the fossil fuel industry to suppress scientific fact, confuse the public and bribe politicians.\"\u003c/p>\u003c/blockquote>\n\u003cp>No matter how you respond to the stories of climate past and climate future that these books tell, their very appearance may portent the beginning of a cultural transition. As the wild fires and flooding of the last few years demonstrate, climate change isn't just an idea anymore. Now it's something we all see playing out on the news every day. We are, indeed, in uncharted territory—and we've just started down this road. Given that certainty, whatever hope we can find for the future will be the hope we create.\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>Adam Frank is an astrophysics professor at the University of Rochester and author of \u003c/em>\u003ca href=\"https://www.amazon.com/Light-Stars-Alien-Worlds-Earth/dp/0393609014/ref=sr_1_1?s=books&ie=UTF8&qid=1516978619&sr=1-1&keywords=Light+of+the+Stars%3A+Alien+Worlds+and+the+Fate+of+the+Earth\">Light of the Stars: Alien Worlds and the Fate of the Earth\u003c/a>\u003cem>. You can find more from Adam here: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\">@adamfrank4\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Climate+Books+Stress+We+Are+Already+Far+Down+The+Road+To+A+Different+Earth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110543/worried-about-climate-change-two-new-books-confirm-the-worst","authors":["byline_pop_110543"],"categories":["pop_1548","pop_1041"],"tags":["pop_3426","pop_3515"],"featImg":"pop_110548","label":"pop"},"pop_109009":{"type":"posts","id":"pop_109009","meta":{"index":"posts_1591205157","site":"pop","id":"109009","score":null,"sort":[1553020428000]},"guestAuthors":[],"slug":"how-true-crime-helped-me-deal-with-a-real-life-monster","title":"How True Crime Helped Me Deal With a Real-Life Monster","publishDate":1553020428,"format":"standard","headTitle":"How True Crime Helped Me Deal With a Real-Life Monster | KQED","labelTerm":{"site":"pop"},"content":"\u003cp>A few years ago, after 17 years of friendship, a man I adored and thought I knew very well was sentenced to three decades in prison for charges related to pedophilia. His case included acts on children so young, I hadn’t realized prior to his arrest that such crimes even existed.\u003c/p>\n\u003cp>Due to there being a mountain of video evidence (he had recorded himself), he admitted his guilt on the first day of his trial, and it was over almost before it had begun. Selfishly, I felt relieved that none of us would have to hear the minutiae of everything he’d done, but, reeling and in a state of shock, I decided to read the judge’s sentencing remarks online. I thought they might provide some catharsis. Instead, even the cursory details wound up making me physically sick. The vomiting went on for days until my parents finally summoned me home. I don’t recall any other point in my adult life where I needed to be next to my mother so badly.\u003c/p>\n\u003cp>[aside postid=arts_13893843]In the days and weeks that followed, there were long phone conversations with friends, as everyone tried to process the hows and the whens and the whys. At one point, my sister, in another country and not privy to the same news coverage, called me, convinced that he had been set up and somehow tricked into pleading guilty. “What must they have done to him?” she asked, audibly distressed. It was a testament to how good he had been at pretending to be someone else.\u003c/p>\n\u003cp>After a while, you have to stop talking about it. The need to move on becomes palpable. You don’t want to keep loudly dissecting the details in case it prevents other people from healing. So about a month in, still unable to reconcile the person I knew with the person in prison, and tired of going around in mental circles, I made the decision to tell myself he was dead. Doing so allowed me to mourn the friend I had lost—the person I thought he was, the inside jokes we shared, the teenage history—and put the whole thing behind me.\u003c/p>\n\u003cp>Except it’s not really that easy. I was never actually convinced that the root cause of his criminality was a sexual attraction to children. He did not fit the \u003ca href=\"https://www.thoughtco.com/profile-of-pedophile-and-common-characteristics-973203\">classic profile\u003c/a> of a pedophile at all. He was outgoing with other adults, had a lot of friends and a steady stream of age-appropriate girlfriends, and was fiercely protective of his nieces and nephews. Compounding matters was the fact that it was a high-profile case; now and again, new stories about him would emerge. One summer, at a wedding, a stranger made a joke about him, unaware that I had known him. To this day, when people find out where I’m from, some of them ask if I ever met him in a manner that suggests he’s halfway to becoming an urban myth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The longer I tried to ignore it, the more my need to figure out why he did what he did increased. So I started researching in earnest. Books about psychopathy and psychology and mental illness. Checklists of various personality disorders to see which one made the most sense. I read papers written by criminal psychologists and, at one point, even consulted with one directly because she’d had a lot of experience treating pedophiles. There were breadcrumbs and clues, but a clear answer evaded me.\u003c/p>\n\u003cp>Then a colleague gave me a gift: \u003ca href=\"https://en.wikipedia.org/wiki/The_Stranger_Beside_Me\">\u003cem>The Stranger Beside Me\u003c/em>\u003c/a> by Ann Rule. Not only had Rule been good friends with Ted Bundy, she’d also been working in the police department during the manhunt to find him, so she wrote about it all in agonizing detail. Rule’s predicament was comfortingly familiar, and the way she described Bundy sounded a lot like my friend—charming, handsome, intelligent, vain, never lacking in female attention. The book was far and away the most helpful thing I had read so far. So I kept going.\u003c/p>\n\u003cp>Next, I chose \u003ca href=\"https://www.amazon.com/Somebodys-Husband-Son-Yorkshire-Ripper/dp/0571222838\">\u003cem>Somebody’s Husband, Somebody’s Son: The Story of the Yorkshire Ripper\u003c/em>\u003c/a> by Gordon Burn, because it focused not only on Peter Sutcliffe’s crimes but the relationships he had maintained with his family and friends too. Those closest to Sutcliffe suspected nothing at all, even as he murdered 13 women, right under their noses.\u003c/p>\n\u003cp>After that came \u003ca href=\"https://www.penguin.co.uk/books/103/1031837/killing-for-company/9781784759421.html\">\u003cem>Killing For Company\u003c/em>\u003c/a> about Dennis Nilsen, a mild-mannered civil servant who murdered, dissected and disposed of at least 12 men while living in the heart of London. I had a hard time putting Brian Masters’ book down and plowed through it in a matter of days. One of the final chapters offered me a real turning point. In it, Masters breaks down, in great detail, the personality traits of serial killers—and my friend had almost all of them, down to bizarrely specific details. I stayed up all night with a highlighter. Later on, someone quietly confessed that he believed our friend would have “definitely” killed someone if he hadn’t been caught when he was. When I agreed and told him about the details in \u003cem>Killing For Company\u003c/em>, he looked relieved that someone else shared this theory.\u003c/p>\n\u003cp>In recent months, I have had three separate people ask me why the media I consume is so dark in subject matter. It didn’t use to be. Now, every other book I read is about serial killers (my current choice is \u003ca href=\"https://www.amazon.com/Fatal-Vision-True-Crime-Classic/dp/0451417941\">\u003cem>Fatal Vision\u003c/em>\u003c/a>, about Dr. Jeffrey McDonald who was imprisoned in 1979 for slaughtering his wife and children). When I watch TV and movies, I am mostly focused on true crime documentaries or dramatizations. (Lifetime’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Monster_in_My_Family\">Monster in My Family\u003c/a>\u003c/i> is a current favorite, thanks to the series’ process of putting the families of criminals in the same room as those of victims, allowing connections to take place). When I run out of episodes to stream, I find myself listening to the \u003ca href=\"https://casefilepodcast.com/\">Casefile\u003c/a> podcast.\u003c/p>\n\u003cp>[aside postid=arts_13939170]The only time I have any objection to consuming true crime \u003cem>anything\u003c/em> these days is when \u003ca href=\"https://www.kqed.org/pop/97139/is-americas-obsession-with-true-crime-re-writing-history\">lines of decency get crossed\u003c/a>. Allowing extended interviews with killers to air, for example—as \u003ca href=\"https://www.netflix.com/title/80226612\">\u003cem>The Ted Bundy Tapes\u003c/em>\u003c/a> and \u003ca href=\"https://www.aetv.com/shows/the-menendez-murders\">\u003cem>The Menendez Murders: Erik Tells All\u003c/em>\u003c/a> recently did—is, to me, both an affront to victims and a reward to killers. I don’t want to hear anything those men have to say, any more than I want to read OJ Simpson’s universally despised book \u003cem>If I Did It\u003c/em>. Those narcissists don’t deserve the privilege to speak anymore, nor have they earned it. I know my old friend would jump at the chance to have something similar made about him, and I would aggressively object should the occasion arise.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, true crime has provided me with answers I simply couldn’t find elsewhere. (I now believe \u003ca href=\"https://en.wikipedia.org/wiki/Narcissistic_personality_disorder\">narcissistic personality disorder\u003c/a> played a major role in this case.) It has allowed me to make sense of how none of his friends had even the slightest inkling he was harming children. (Turns out, almost no one ever does in these situations.) And it has taken my chaotic, swirling thoughts and replaced them with a degree of calm and clarity I once presumed unachievable. My monster is no longer lurking in the corner. I’ve locked him in a vault, right there with everyone else’s. Now, finally, I can let him go once and for all.\u003c/p>\n\n","blocks":[],"excerpt":"What do you do when your loved one has committed the most heinous of deeds? True crime can probably tell you. ","status":"publish","parent":0,"modified":1702326512,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1305},"headData":{"title":"How True Crime Helped Me Deal With a Real-Life Monster | KQED","description":"What do you do when your loved one has committed the most heinous of deeds? True crime can probably tell you. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/pop/109009/how-true-crime-helped-me-deal-with-a-real-life-monster","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, after 17 years of friendship, a man I adored and thought I knew very well was sentenced to three decades in prison for charges related to pedophilia. His case included acts on children so young, I hadn’t realized prior to his arrest that such crimes even existed.\u003c/p>\n\u003cp>Due to there being a mountain of video evidence (he had recorded himself), he admitted his guilt on the first day of his trial, and it was over almost before it had begun. Selfishly, I felt relieved that none of us would have to hear the minutiae of everything he’d done, but, reeling and in a state of shock, I decided to read the judge’s sentencing remarks online. I thought they might provide some catharsis. Instead, even the cursory details wound up making me physically sick. The vomiting went on for days until my parents finally summoned me home. I don’t recall any other point in my adult life where I needed to be next to my mother so badly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13893843","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In the days and weeks that followed, there were long phone conversations with friends, as everyone tried to process the hows and the whens and the whys. At one point, my sister, in another country and not privy to the same news coverage, called me, convinced that he had been set up and somehow tricked into pleading guilty. “What must they have done to him?” she asked, audibly distressed. It was a testament to how good he had been at pretending to be someone else.\u003c/p>\n\u003cp>After a while, you have to stop talking about it. The need to move on becomes palpable. You don’t want to keep loudly dissecting the details in case it prevents other people from healing. So about a month in, still unable to reconcile the person I knew with the person in prison, and tired of going around in mental circles, I made the decision to tell myself he was dead. Doing so allowed me to mourn the friend I had lost—the person I thought he was, the inside jokes we shared, the teenage history—and put the whole thing behind me.\u003c/p>\n\u003cp>Except it’s not really that easy. I was never actually convinced that the root cause of his criminality was a sexual attraction to children. He did not fit the \u003ca href=\"https://www.thoughtco.com/profile-of-pedophile-and-common-characteristics-973203\">classic profile\u003c/a> of a pedophile at all. He was outgoing with other adults, had a lot of friends and a steady stream of age-appropriate girlfriends, and was fiercely protective of his nieces and nephews. Compounding matters was the fact that it was a high-profile case; now and again, new stories about him would emerge. One summer, at a wedding, a stranger made a joke about him, unaware that I had known him. To this day, when people find out where I’m from, some of them ask if I ever met him in a manner that suggests he’s halfway to becoming an urban myth.\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>The longer I tried to ignore it, the more my need to figure out why he did what he did increased. So I started researching in earnest. Books about psychopathy and psychology and mental illness. Checklists of various personality disorders to see which one made the most sense. I read papers written by criminal psychologists and, at one point, even consulted with one directly because she’d had a lot of experience treating pedophiles. There were breadcrumbs and clues, but a clear answer evaded me.\u003c/p>\n\u003cp>Then a colleague gave me a gift: \u003ca href=\"https://en.wikipedia.org/wiki/The_Stranger_Beside_Me\">\u003cem>The Stranger Beside Me\u003c/em>\u003c/a> by Ann Rule. Not only had Rule been good friends with Ted Bundy, she’d also been working in the police department during the manhunt to find him, so she wrote about it all in agonizing detail. Rule’s predicament was comfortingly familiar, and the way she described Bundy sounded a lot like my friend—charming, handsome, intelligent, vain, never lacking in female attention. The book was far and away the most helpful thing I had read so far. So I kept going.\u003c/p>\n\u003cp>Next, I chose \u003ca href=\"https://www.amazon.com/Somebodys-Husband-Son-Yorkshire-Ripper/dp/0571222838\">\u003cem>Somebody’s Husband, Somebody’s Son: The Story of the Yorkshire Ripper\u003c/em>\u003c/a> by Gordon Burn, because it focused not only on Peter Sutcliffe’s crimes but the relationships he had maintained with his family and friends too. Those closest to Sutcliffe suspected nothing at all, even as he murdered 13 women, right under their noses.\u003c/p>\n\u003cp>After that came \u003ca href=\"https://www.penguin.co.uk/books/103/1031837/killing-for-company/9781784759421.html\">\u003cem>Killing For Company\u003c/em>\u003c/a> about Dennis Nilsen, a mild-mannered civil servant who murdered, dissected and disposed of at least 12 men while living in the heart of London. I had a hard time putting Brian Masters’ book down and plowed through it in a matter of days. One of the final chapters offered me a real turning point. In it, Masters breaks down, in great detail, the personality traits of serial killers—and my friend had almost all of them, down to bizarrely specific details. I stayed up all night with a highlighter. Later on, someone quietly confessed that he believed our friend would have “definitely” killed someone if he hadn’t been caught when he was. When I agreed and told him about the details in \u003cem>Killing For Company\u003c/em>, he looked relieved that someone else shared this theory.\u003c/p>\n\u003cp>In recent months, I have had three separate people ask me why the media I consume is so dark in subject matter. It didn’t use to be. Now, every other book I read is about serial killers (my current choice is \u003ca href=\"https://www.amazon.com/Fatal-Vision-True-Crime-Classic/dp/0451417941\">\u003cem>Fatal Vision\u003c/em>\u003c/a>, about Dr. Jeffrey McDonald who was imprisoned in 1979 for slaughtering his wife and children). When I watch TV and movies, I am mostly focused on true crime documentaries or dramatizations. (Lifetime’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Monster_in_My_Family\">Monster in My Family\u003c/a>\u003c/i> is a current favorite, thanks to the series’ process of putting the families of criminals in the same room as those of victims, allowing connections to take place). When I run out of episodes to stream, I find myself listening to the \u003ca href=\"https://casefilepodcast.com/\">Casefile\u003c/a> podcast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939170","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The only time I have any objection to consuming true crime \u003cem>anything\u003c/em> these days is when \u003ca href=\"https://www.kqed.org/pop/97139/is-americas-obsession-with-true-crime-re-writing-history\">lines of decency get crossed\u003c/a>. Allowing extended interviews with killers to air, for example—as \u003ca href=\"https://www.netflix.com/title/80226612\">\u003cem>The Ted Bundy Tapes\u003c/em>\u003c/a> and \u003ca href=\"https://www.aetv.com/shows/the-menendez-murders\">\u003cem>The Menendez Murders: Erik Tells All\u003c/em>\u003c/a> recently did—is, to me, both an affront to victims and a reward to killers. I don’t want to hear anything those men have to say, any more than I want to read OJ Simpson’s universally despised book \u003cem>If I Did It\u003c/em>. Those narcissists don’t deserve the privilege to speak anymore, nor have they earned it. I know my old friend would jump at the chance to have something similar made about him, and I would aggressively object should the occasion arise.\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>In the end, true crime has provided me with answers I simply couldn’t find elsewhere. (I now believe \u003ca href=\"https://en.wikipedia.org/wiki/Narcissistic_personality_disorder\">narcissistic personality disorder\u003c/a> played a major role in this case.) It has allowed me to make sense of how none of his friends had even the slightest inkling he was harming children. (Turns out, almost no one ever does in these situations.) And it has taken my chaotic, swirling thoughts and replaced them with a degree of calm and clarity I once presumed unachievable. My monster is no longer lurking in the corner. I’ve locked him in a vault, right there with everyone else’s. Now, finally, I can let him go once and for all.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/109009/how-true-crime-helped-me-deal-with-a-real-life-monster","authors":["11242"],"categories":["pop_1548","pop_51","pop_3"],"tags":["pop_3426","pop_3325","pop_3341","pop_1136","pop_3435","pop_3097"],"featImg":"pop_110443","label":"pop"}},"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. 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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. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.","airtime":"MON-THU 11am-12pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"http://www.wbur.org/hereandnow","meta":{"site":"news","source":"npr"},"link":"/radio/program/here-and-now","subsdcribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661","tuneIn":"https://tunein.com/radio/Here--Now-p211/","rss":"https://feeds.npr.org/510051/podcast.xml"}},"how-i-built-this":{"id":"how-i-built-this","title":"How I Built This with Guy Raz","info":"Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png","officialWebsiteLink":"https://www.npr.org/podcasts/510313/how-i-built-this","airtime":"SUN 7:30pm-8pm","meta":{"site":"news","source":"npr"},"link":"/radio/program/how-i-built-this","subscribe":{"npr":"https://rpb3r.app.goo.gl/3zxy","apple":"https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2","tuneIn":"https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/","rss":"https://feeds.npr.org/510313/podcast.xml"}},"inside-europe":{"id":"inside-europe","title":"Inside Europe","info":"Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.","airtime":"SAT 3am-4am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg","meta":{"site":"news","source":"Deutsche Welle"},"link":"/radio/program/inside-europe","subscribe":{"apple":"https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2","tuneIn":"https://tunein.com/radio/Inside-Europe-p731/","rss":"https://partner.dw.com/xml/podcast_inside-europe"}},"latino-usa":{"id":"latino-usa","title":"Latino USA","airtime":"MON 1am-2am, SUN 6pm-7pm","info":"Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg","officialWebsiteLink":"http://latinousa.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/latino-usa","subscribe":{"npr":"https://rpb3r.app.goo.gl/xtTd","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Latino-USA-p621/","rss":"https://feeds.npr.org/510016/podcast.xml"}},"live-from-here-highlights":{"id":"live-from-here-highlights","title":"Live from Here Highlights","info":"Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.","airtime":"SAT 6pm-8pm, SUN 11am-1pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.livefromhere.org/","meta":{"site":"arts","source":"american public media"},"link":"/radio/program/live-from-here-highlights","subscribe":{"apple":"https://itunes.apple.com/us/podcast/id1167173941","tuneIn":"https://tunein.com/radio/Live-from-Here-Highlights-p921744/","rss":"https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"}},"marketplace":{"id":"marketplace","title":"Marketplace","info":"Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. 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