What are ‘the Kids’ Thinking These Days? Honor Levy Aims to Tell in ‘My First Book’
Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public
A 19th-Century Bookbinder Struggles With Race and Identity in ‘The Library Thief’
Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day
Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61
Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?
‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV
Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it
Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’
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Honor Levy Aims to Tell in ‘My First Book’","publishDate":1715722144,"format":"aside","headTitle":"What are ‘the Kids’ Thinking These Days? Honor Levy Aims to Tell in ‘My First Book’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cfigure id=\"attachment_13957815\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg\" alt=\"A blue book cover with pixelated lettering like an old-fashioned computer.\" width=\"664\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c-160x228.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">‘My First Book’ by Honor Levy. \u003ccite>(Penguin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What are the kids thinking these days? That seems be to the question behind the publication of \u003cem>My First Book\u003c/em>, the buzzy debut story collection by Honor Levy.\u003c/p>\n\u003cp>The 26-year-old writer was the subject of \u003ca href=\"https://www.thecut.com/article/honor-levy-my-first-book-dimes-square-interview.html\">a viral profile in \u003cem>The Cut\u003c/em>\u003c/a> earlier this month, in which she described the praise she received for \u003ca href=\"https://www.newyorker.com/books/flash-fiction/good-boys\">her story “Good Boys”\u003c/a> on \u003cem>The New Yorker\u003c/em> website as “not undeserved” and demurred when asked whether she’s the voice of her generation. Social media discourse and the inevitable backlash aside, Levy’s first book is an amusing, if uneven, take on growing up white, privileged and Gen Z, the first generation to completely be born after the existence of the internet.\u003c/p>\n\u003cp>[aside postid='arts_13957749']Readers won’t find meticulously plotted story arcs, fleshed-out characters, emotional epiphanies, or any other earmarks of conventional literary fiction. Most of Levy’s stories run fewer than 12 pages and feel like very long flash fiction, written in a voice dense with the chaotic patois of the internet. In her strongest stories, Levy channels the blitzkrieg of contradictory micro-observations we absorb from social media, video games, and doomscrolling to create the absurd, incomprehensible cacophony that anyone born after 1997 had to grow up enduring. These stories seem to ask: How can anyone expect a well-adjusted adult to rise from all this noise?\u003c/p>\n\u003cp>In “Internet Girl,” the main character is 11 and very online, and Levy’s portrayal of her narrator’s interiority is both compellingly satirical and frighteningly plausible. She writes:\u003c/p>\n\u003cblockquote>\u003cp>It’s 2008, and my dad gets laid off and everything is happening all at once. All at once, there are two girls and one cup and planes hitting towers and a webcam looking at me and me smiling into it and a man and a boy and a love and a stranger on the other end. All at once, there are a million videos to watch and a million more to make. All at once it’s all at once. It’s beginning and ending all at once all the time. I’m twenty-one. I’m eleven. I’m on the internet. I’m twenty-one.\u003c/p>\u003c/blockquote>\n\u003cp>Another strong piece is “Love Story,” the collection’s opener, which is about a boy and a girl having an online relationship that seems to consist entirely of texting and sending pics of their bodies to each other. Levy poignantly captures the girl’s vulnerability. “Little girl lost can’t even find herself,” Levy writes. “Pictures of her naked body are out there everywhere, in the cloud floating, and under the sea, coursing through cables in the dark. It’s so dark.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Levy smartly skewers late capitalism in “Halloween Forever,” about a young woman trying to survive a surreal and drug-filled Halloween night in Brooklyn. She meets a “boy from Stanford dressed as a cowboy,” who, when sufficiently coked-up, muses about the romance of the Wild West and how “The West was freedom … just like the internet originally was!” The narrator is skeptical:\u003c/p>\n\u003cblockquote>\u003cp>Freedom is the stuff of dreams and nightmares only and our free market doesn’t make us free people, but the cowboy doesn’t care. Silicon Valley must have burrowed itself deep into his brain underneath that hat. He is probably afraid of blood, or social media, or something stupid. My drink is seventeen dollars.\u003c/p>\u003c/blockquote>\n\u003cp>As the collection progresses, the unique blend of the satirical and the poignant gives way to a more essayistic approach to storytelling. In “Cancel Me,” which is about cancel culture, the characters — a young woman and two “Ivy League boys with kitten-sharp teeth and Accutane-skin,” all of whom have experienced cancellation for murky reasons — gradually fade into a series of observations about wokeness that aren’t much different or more insightful than what one might find on X or Reddit.\u003c/p>\n\u003cp>[aside postid='arts_13957276']“Z Was For Zoomer,” which runs more than 50 pages, seems to be a continuation of “Cancel Me,” except the two male “edgelords” — someone on an internet forum who deliberately posts about controversial or taboo topics to appear edgy — are named Gideon and Ivan instead of Jack and Roger. Just as in “Cancel Me,” the narrator’s relationship with the men is never defined and doesn’t progress. Character-driven narrative takes a back seat to dashed-off, inch-deep lines like “Identity is a Swedish prison, comfortable but you still can’t leave.”\u003c/p>\n\u003cp>It should also be mentioned that these stories won’t pass the most permissive of racial Bechdel tests. The number of non-white references in this 200-page book won’t go past one hand, unless you count the few references to anime and the rapper formerly known as Kanye West. The milieu of Honor Levy’s fiction is undeniably white and privileged, but her best stories exaggerate that milieu to great satirical effect. Perhaps her second book will contain more of them.\u003c/p>\n\u003cp>\u003cem>Leland Cheuk is an award-winning author of three books of fiction, including the latest “No Good Very Bad Asian.’ His writing has appeared in ‘The Washington Post,’ ‘The Boston Globe,’ ‘San Francisco Chronicle,’ and ‘Salon,’ among other outlets.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My First Book’ by Honor Levy (Penguin Press) is out on May 14, 2014.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Social media discourse and inevitable backlash aside, the 26-year-old's first book is an amusing take on growing up Gen Z.","status":"publish","parent":0,"modified":1715722144,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":967},"headData":{"title":"‘My First Book’ Review: Honor Levy's Short Stories for Gen Z | KQED","description":"Social media discourse and inevitable backlash aside, the 26-year-old's first book is an amusing take on growing up Gen Z.","ogTitle":"What are ‘the Kids’ Thinking These Days? Honor Levy Aims to Tell in ‘My First Book’","ogDescription":"","ogImgId":"","twTitle":"What are ‘the Kids’ Thinking These Days? Honor Levy Aims to Tell in ‘My First Book’","twDescription":"","twImgId":"","socialTitle":"‘My First Book’ Review: Honor Levy's Short Stories for Gen Z %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"What are ‘the Kids’ Thinking These Days? Honor Levy Aims to Tell in ‘My First Book’","datePublished":"2024-05-14T21:29:04.000Z","dateModified":"2024-05-14T21:29:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Leland Cheuk, NPR","nprStoryId":"1250912188","nprHtmlLink":"https://www.npr.org/2024/05/14/1250912188/honor-levy-my-first-book-short-stories-review","nprRetrievedStory":"1","nprPubDate":"2024-05-14T06:00:06-04:00","nprStoryDate":"2024-05-14T06:00:06-04:00","nprLastModifiedDate":"2024-05-14T06:00:06-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957814/what-are-the-kids-thinking-these-days-honor-levy-aims-to-tell-in-my-first-book","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cfigure id=\"attachment_13957815\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg\" alt=\"A blue book cover with pixelated lettering like an old-fashioned computer.\" width=\"664\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c-160x228.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">‘My First Book’ by Honor Levy. \u003ccite>(Penguin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What are the kids thinking these days? That seems be to the question behind the publication of \u003cem>My First Book\u003c/em>, the buzzy debut story collection by Honor Levy.\u003c/p>\n\u003cp>The 26-year-old writer was the subject of \u003ca href=\"https://www.thecut.com/article/honor-levy-my-first-book-dimes-square-interview.html\">a viral profile in \u003cem>The Cut\u003c/em>\u003c/a> earlier this month, in which she described the praise she received for \u003ca href=\"https://www.newyorker.com/books/flash-fiction/good-boys\">her story “Good Boys”\u003c/a> on \u003cem>The New Yorker\u003c/em> website as “not undeserved” and demurred when asked whether she’s the voice of her generation. Social media discourse and the inevitable backlash aside, Levy’s first book is an amusing, if uneven, take on growing up white, privileged and Gen Z, the first generation to completely be born after the existence of the internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957749","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Readers won’t find meticulously plotted story arcs, fleshed-out characters, emotional epiphanies, or any other earmarks of conventional literary fiction. Most of Levy’s stories run fewer than 12 pages and feel like very long flash fiction, written in a voice dense with the chaotic patois of the internet. In her strongest stories, Levy channels the blitzkrieg of contradictory micro-observations we absorb from social media, video games, and doomscrolling to create the absurd, incomprehensible cacophony that anyone born after 1997 had to grow up enduring. These stories seem to ask: How can anyone expect a well-adjusted adult to rise from all this noise?\u003c/p>\n\u003cp>In “Internet Girl,” the main character is 11 and very online, and Levy’s portrayal of her narrator’s interiority is both compellingly satirical and frighteningly plausible. She writes:\u003c/p>\n\u003cblockquote>\u003cp>It’s 2008, and my dad gets laid off and everything is happening all at once. All at once, there are two girls and one cup and planes hitting towers and a webcam looking at me and me smiling into it and a man and a boy and a love and a stranger on the other end. All at once, there are a million videos to watch and a million more to make. All at once it’s all at once. It’s beginning and ending all at once all the time. I’m twenty-one. I’m eleven. I’m on the internet. I’m twenty-one.\u003c/p>\u003c/blockquote>\n\u003cp>Another strong piece is “Love Story,” the collection’s opener, which is about a boy and a girl having an online relationship that seems to consist entirely of texting and sending pics of their bodies to each other. Levy poignantly captures the girl’s vulnerability. “Little girl lost can’t even find herself,” Levy writes. “Pictures of her naked body are out there everywhere, in the cloud floating, and under the sea, coursing through cables in the dark. It’s so dark.”\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>Levy smartly skewers late capitalism in “Halloween Forever,” about a young woman trying to survive a surreal and drug-filled Halloween night in Brooklyn. She meets a “boy from Stanford dressed as a cowboy,” who, when sufficiently coked-up, muses about the romance of the Wild West and how “The West was freedom … just like the internet originally was!” The narrator is skeptical:\u003c/p>\n\u003cblockquote>\u003cp>Freedom is the stuff of dreams and nightmares only and our free market doesn’t make us free people, but the cowboy doesn’t care. Silicon Valley must have burrowed itself deep into his brain underneath that hat. He is probably afraid of blood, or social media, or something stupid. My drink is seventeen dollars.\u003c/p>\u003c/blockquote>\n\u003cp>As the collection progresses, the unique blend of the satirical and the poignant gives way to a more essayistic approach to storytelling. In “Cancel Me,” which is about cancel culture, the characters — a young woman and two “Ivy League boys with kitten-sharp teeth and Accutane-skin,” all of whom have experienced cancellation for murky reasons — gradually fade into a series of observations about wokeness that aren’t much different or more insightful than what one might find on X or Reddit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957276","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Z Was For Zoomer,” which runs more than 50 pages, seems to be a continuation of “Cancel Me,” except the two male “edgelords” — someone on an internet forum who deliberately posts about controversial or taboo topics to appear edgy — are named Gideon and Ivan instead of Jack and Roger. Just as in “Cancel Me,” the narrator’s relationship with the men is never defined and doesn’t progress. Character-driven narrative takes a back seat to dashed-off, inch-deep lines like “Identity is a Swedish prison, comfortable but you still can’t leave.”\u003c/p>\n\u003cp>It should also be mentioned that these stories won’t pass the most permissive of racial Bechdel tests. The number of non-white references in this 200-page book won’t go past one hand, unless you count the few references to anime and the rapper formerly known as Kanye West. The milieu of Honor Levy’s fiction is undeniably white and privileged, but her best stories exaggerate that milieu to great satirical effect. Perhaps her second book will contain more of them.\u003c/p>\n\u003cp>\u003cem>Leland Cheuk is an award-winning author of three books of fiction, including the latest “No Good Very Bad Asian.’ His writing has appeared in ‘The Washington Post,’ ‘The Boston Globe,’ ‘San Francisco Chronicle,’ and ‘Salon,’ among other outlets.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My First Book’ by Honor Levy (Penguin Press) is out on May 14, 2014.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957814/what-are-the-kids-thinking-these-days-honor-levy-aims-to-tell-in-my-first-book","authors":["byline_arts_13957814"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835","arts_75"],"tags":["arts_5221","arts_769","arts_22017","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13957824","label":"arts_140"},"arts_13957749":{"type":"posts","id":"arts_13957749","meta":{"index":"posts_1591205157","site":"arts","id":"13957749","score":null,"sort":[1715696165000]},"guestAuthors":[],"slug":"kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl","title":"Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public","publishDate":1715696165,"format":"standard","headTitle":"Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cfigure class=\"wp-block-image size-large\">\u003cfigcaption>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist, musician and punk pioneer Kathleen Hanna has always been a force. With her band \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill\u003c/a>, she pioneered the “riot grrrl” movement in the 1990s, challenging the misogyny of both the punk scene and society at large.\u003c/p>\n\u003cp>“When I moved to Olympia, [Wash.], there were all these kids who were making music and putting out records on small indie labels,” Hanna says. “And they sort of defined punk not as a genre or a … loud, angry, aggressive sound, but as an idea … that we don’t have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves.”\u003c/p>\n\u003cp>[aside postid='pop_10272']And so she did. Along with Tobi Vail, Billy Karren and Kathi Wilcox, Hanna formed the feminist punk band Bikini Kill. The band urged women and girls in the audience to move up to the front of the stage, write political zines and talk openly about sexual violence. Emboldened by the music, fans would come to Hanna to talk about their own experiences.\u003c/p>\n\u003cp>On tour, Hanna and her bandmates faced abuse and disrespect from male fans and club workers. A one point, a sound man threatened to stab her when she was touring with another one of her bands, Le Tigre.\u003c/p>\n\u003cp>“This was our workplace, and every single night was a different set of threatened angry men … who would treat us with such utter disrespect,” she says. “One of the things that has been getting me by is this phrase: ‘In punk rock, there is no HR.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In her new memoir, \u003cem>Rebel Girl\u003c/em>, Hanna looks back on her childhood and her experiences in the punk scene. She also writes about finding out that an undiagnosed case of Lyme disease was the reason she couldn’t physically perform anymore.\u003c/p>\n\u003cp>Since her diagnosis and treatment, Hanna’s back to to performing again with Bikini Kill and her other bands, Le Tigre and \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>. She says there’s still a lot of anger in the shows, but there’s also “so much more joy.”\u003c/p>\n\u003cp>“The songs really go from joy to sadness to rage very quickly. And I’m finding nuances in them that I didn’t know were there,” she says. “It feels joyous to explore our anger in public.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/rebelgirlbookcover---photo-by-leeta-harding_cover-by-ecco-1-1-_custom-0ef859eb029e015065ad9cadc6266a733c1ccc37.jpeg?s=1200&c=75&f=jpeg\" alt=\"A book cover featuring a photo of a young woman wearing her hair in a pony tail.\" width=\"1200\" height=\"1802\">\u003cfigcaption class=\"wp-caption-text\">‘Rebel Girl’ by Kathleen Hanna.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On the early days of the riot grrrl feminist punk movement\u003c/strong>\u003c/p>\n\u003cp>[There were] girls in the riot grrrl meetings who were just crying because it was the first time they’d been in an all-female atmosphere, and they were just like, “Whoa, this feels really weird. I’m confused.” And then like, “Wait, why have I never made this a priority before?” And just that feeling of a room changing. Just sitting at a crappy plastic Office Max table with a bunch of young women who have been relegated to the back of the room at punk shows for so long, finally saying, “I’ve always wanted to start a band,” or “Hey, does anybody know how to play guitar? I’d like to learn.” That’s an amazing feeling. That really kind of changes the room into this beautiful place of possibilities.\u003c/p>\n\u003cp>\u003cstrong>On writing the 1993\u003c/strong> \u003cstrong>riot grrrl anthem, “Rebel Girl” \u003c/strong>\u003c/p>\n\u003cp>We wrote that one in the basement of this house called The Embassy. It was a punk house, and punk houses a lot of times have names. And this one was called The Embassy because it was pretty close to Embassy Row in D.C. And I just remember how sweaty it was and it was very small. And I’ll always remember writing that song because it was one of those times where I was writing it as we were playing it. So they started coming up with the music, and as it became more full-formed, I started hearing the first couple lines in my head and I just stepped to the mic, and then they just kind of fell out. I stepped back and started thinking, ‘OK, what’s the chorus going to be?’ … And then I walked back to the mic and I just sang and ‘Rebel girl, rebel girl, you are the queen of my world’ came out. And it just kind of happened. It felt like the scene of punk women that I was hanging out with, and that I was becoming friends with, really wrote that song and I just like grabbed it from the air, or something.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/joanjettbikinikill_wide-ed61f729f30fd7890e9b85581c3640e127cff2e3.jpeg?s=1200&c=75&f=jpeg\" alt=\"A girl with a black bob hair cut wearing a leather jacket stands surrounded by three young women and one young man.\" width=\"1200\" height=\"675\">\u003cfigcaption class=\"wp-caption-text\">Hanna (fourth from left) poses with Joan Jett (center) and fellow Bikini Kill members Tobi Vail, Billy Karren and Kathi Wilcox in New York City in 1992.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On how she made her concerts a safe space for women and girls \u003c/strong>\u003c/p>\n\u003cp>We did stuff like hand out lyric sheets that had the lyrics on them so that other girls and women would know these are the lyrics and what the subject matter was, because a lot of times you couldn’t understand what I was saying through the crappy PAs I was singing through, and sometimes even talking in between songs, you couldn’t understand what I was saying. And so that was one way that [we] gave them a souvenir to take home, to read through and think about and maybe disagree with so that they start their own bands or it encourages them to write their own poetry or write their own zines.\u003c/p>\n\u003cp>[aside postid='arts_13863821']We also had zines that talked about a lot of different political issues of the day that we sold at our shows. We prioritized having girls and women come up to the front, because a lot of the shows we were playing back then, it was straight, cisgender white guys predominating and taking up all the space of the room. And we really selfishly wanted to build the community so we had more girl bands to play with. And how is that going to happen if they’re all stuck in the back? … So I started inviting the girls to the front. ‘Hey, do you guys want to come to the front?’ And then it kind of became a thing. … It was like, what if we just rearrange this room a little bit? What’s going to happen? And what happened was a lot of men were really mad and hated us. But it was also an interesting experiment.\u003c/p>\n\u003cp>\u003cstrong>On a drunken night with \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> when she graffitied a phrase that inspired the title of \u003c/strong>\u003cstrong>Nirvana\u003c/strong>\u003cstrong>‘s first big hit \u003c/strong>\u003c/p>\n\u003cp>I took out a Sharpie marker, and I just wrote like, ‘Kurt Smells Like Teen Spirit’ because me and Tobi [Vail] had been at a grocery store and seen this new deodorant [that said] ‘Smells like teen spirit,’ and we were like, ‘That’s hilarious. What does teen spirit smell like? … Sharpie marker and poster board? It smells like Mod Podge? What does it smell like?’ So we were just goofing on that. So [it] was in my head. And when I was wasted, it just came out and I wrote, like, 10 other things on his wall — and he was a renter, so that was kind of a bad move on my part. Not very kind or thoughtful. And then he called me on the phone many, many months later and was like, ‘Can I use that in a song?’ I didn’t even know it was going to be the title for a song. And I was like, ‘Yeah, sure, that’s great.’\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Thea Chaloner and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Bikini Kill frontwoman pioneered riot grrrl in the ’90s. ‘I thought of myself as a feminist performance artist,’ Hanna says. ","status":"publish","parent":0,"modified":1715649395,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1354},"headData":{"title":"Kathleen Hanna Interview: Bikini Kill Frontwoman Talks ‘Rebel Girl’ | KQED","description":"The Bikini Kill frontwoman pioneered riot grrrl in the ’90s. ‘I thought of myself as a feminist performance artist,’ Hanna says. ","ogTitle":"Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public","ogDescription":"","ogImgId":"","twTitle":"Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public","twDescription":"","twImgId":"","socialTitle":"Kathleen Hanna Interview: Bikini Kill Frontwoman Talks ‘Rebel Girl’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public","datePublished":"2024-05-14T14:16:05.000Z","dateModified":"2024-05-14T01:16:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Ann Marie Baldonado, NPR","nprStoryId":"1250507900","nprHtmlLink":"https://www.npr.org/2024/05/13/1250507900/bikini-kill-kathleen-hanna-rebel-girl","nprRetrievedStory":"1","nprPubDate":"2024-05-13T13:12:07-04:00","nprStoryDate":"2024-05-13T13:12:07-04:00","nprLastModifiedDate":"2024-05-13T13:55:32-04:00","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/05/20240513_fa_6bf22e2c-cec8-4979-9a83-0df3d86f9249.mp3?d=2232&size=35718418&e=1250507900&t=progseg&seg=1&p=13","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/05/20240513_fa_6bf22e2c-cec8-4979-9a83-0df3d86f9249.mp3?d=2232&size=35718418&e=1250507900&t=progseg&seg=1&p=13","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003cfigcaption>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist, musician and punk pioneer Kathleen Hanna has always been a force. With her band \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill\u003c/a>, she pioneered the “riot grrrl” movement in the 1990s, challenging the misogyny of both the punk scene and society at large.\u003c/p>\n\u003cp>“When I moved to Olympia, [Wash.], there were all these kids who were making music and putting out records on small indie labels,” Hanna says. “And they sort of defined punk not as a genre or a … loud, angry, aggressive sound, but as an idea … that we don’t have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_10272","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And so she did. Along with Tobi Vail, Billy Karren and Kathi Wilcox, Hanna formed the feminist punk band Bikini Kill. The band urged women and girls in the audience to move up to the front of the stage, write political zines and talk openly about sexual violence. Emboldened by the music, fans would come to Hanna to talk about their own experiences.\u003c/p>\n\u003cp>On tour, Hanna and her bandmates faced abuse and disrespect from male fans and club workers. A one point, a sound man threatened to stab her when she was touring with another one of her bands, Le Tigre.\u003c/p>\n\u003cp>“This was our workplace, and every single night was a different set of threatened angry men … who would treat us with such utter disrespect,” she says. “One of the things that has been getting me by is this phrase: ‘In punk rock, there is no HR.’ ”\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>In her new memoir, \u003cem>Rebel Girl\u003c/em>, Hanna looks back on her childhood and her experiences in the punk scene. She also writes about finding out that an undiagnosed case of Lyme disease was the reason she couldn’t physically perform anymore.\u003c/p>\n\u003cp>Since her diagnosis and treatment, Hanna’s back to to performing again with Bikini Kill and her other bands, Le Tigre and \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>. She says there’s still a lot of anger in the shows, but there’s also “so much more joy.”\u003c/p>\n\u003cp>“The songs really go from joy to sadness to rage very quickly. And I’m finding nuances in them that I didn’t know were there,” she says. “It feels joyous to explore our anger in public.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/rebelgirlbookcover---photo-by-leeta-harding_cover-by-ecco-1-1-_custom-0ef859eb029e015065ad9cadc6266a733c1ccc37.jpeg?s=1200&c=75&f=jpeg\" alt=\"A book cover featuring a photo of a young woman wearing her hair in a pony tail.\" width=\"1200\" height=\"1802\">\u003cfigcaption class=\"wp-caption-text\">‘Rebel Girl’ by Kathleen Hanna.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On the early days of the riot grrrl feminist punk movement\u003c/strong>\u003c/p>\n\u003cp>[There were] girls in the riot grrrl meetings who were just crying because it was the first time they’d been in an all-female atmosphere, and they were just like, “Whoa, this feels really weird. I’m confused.” And then like, “Wait, why have I never made this a priority before?” And just that feeling of a room changing. Just sitting at a crappy plastic Office Max table with a bunch of young women who have been relegated to the back of the room at punk shows for so long, finally saying, “I’ve always wanted to start a band,” or “Hey, does anybody know how to play guitar? I’d like to learn.” That’s an amazing feeling. That really kind of changes the room into this beautiful place of possibilities.\u003c/p>\n\u003cp>\u003cstrong>On writing the 1993\u003c/strong> \u003cstrong>riot grrrl anthem, “Rebel Girl” \u003c/strong>\u003c/p>\n\u003cp>We wrote that one in the basement of this house called The Embassy. It was a punk house, and punk houses a lot of times have names. And this one was called The Embassy because it was pretty close to Embassy Row in D.C. And I just remember how sweaty it was and it was very small. And I’ll always remember writing that song because it was one of those times where I was writing it as we were playing it. So they started coming up with the music, and as it became more full-formed, I started hearing the first couple lines in my head and I just stepped to the mic, and then they just kind of fell out. I stepped back and started thinking, ‘OK, what’s the chorus going to be?’ … And then I walked back to the mic and I just sang and ‘Rebel girl, rebel girl, you are the queen of my world’ came out. And it just kind of happened. It felt like the scene of punk women that I was hanging out with, and that I was becoming friends with, really wrote that song and I just like grabbed it from the air, or something.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/joanjettbikinikill_wide-ed61f729f30fd7890e9b85581c3640e127cff2e3.jpeg?s=1200&c=75&f=jpeg\" alt=\"A girl with a black bob hair cut wearing a leather jacket stands surrounded by three young women and one young man.\" width=\"1200\" height=\"675\">\u003cfigcaption class=\"wp-caption-text\">Hanna (fourth from left) poses with Joan Jett (center) and fellow Bikini Kill members Tobi Vail, Billy Karren and Kathi Wilcox in New York City in 1992.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On how she made her concerts a safe space for women and girls \u003c/strong>\u003c/p>\n\u003cp>We did stuff like hand out lyric sheets that had the lyrics on them so that other girls and women would know these are the lyrics and what the subject matter was, because a lot of times you couldn’t understand what I was saying through the crappy PAs I was singing through, and sometimes even talking in between songs, you couldn’t understand what I was saying. And so that was one way that [we] gave them a souvenir to take home, to read through and think about and maybe disagree with so that they start their own bands or it encourages them to write their own poetry or write their own zines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13863821","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We also had zines that talked about a lot of different political issues of the day that we sold at our shows. We prioritized having girls and women come up to the front, because a lot of the shows we were playing back then, it was straight, cisgender white guys predominating and taking up all the space of the room. And we really selfishly wanted to build the community so we had more girl bands to play with. And how is that going to happen if they’re all stuck in the back? … So I started inviting the girls to the front. ‘Hey, do you guys want to come to the front?’ And then it kind of became a thing. … It was like, what if we just rearrange this room a little bit? What’s going to happen? And what happened was a lot of men were really mad and hated us. But it was also an interesting experiment.\u003c/p>\n\u003cp>\u003cstrong>On a drunken night with \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> when she graffitied a phrase that inspired the title of \u003c/strong>\u003cstrong>Nirvana\u003c/strong>\u003cstrong>‘s first big hit \u003c/strong>\u003c/p>\n\u003cp>I took out a Sharpie marker, and I just wrote like, ‘Kurt Smells Like Teen Spirit’ because me and Tobi [Vail] had been at a grocery store and seen this new deodorant [that said] ‘Smells like teen spirit,’ and we were like, ‘That’s hilarious. What does teen spirit smell like? … Sharpie marker and poster board? It smells like Mod Podge? What does it smell like?’ So we were just goofing on that. So [it] was in my head. And when I was wasted, it just came out and I wrote, like, 10 other things on his wall — and he was a renter, so that was kind of a bad move on my part. Not very kind or thoughtful. And then he called me on the phone many, many months later and was like, ‘Can I use that in a song?’ I didn’t even know it was going to be the title for a song. And I was like, ‘Yeah, sure, that’s great.’\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>Thea Chaloner and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl","authors":["byline_arts_13957749"],"categories":["arts_1","arts_73","arts_69","arts_75"],"tags":["arts_21719","arts_7264","arts_21679"],"affiliates":["arts_137"],"featImg":"arts_13957750","label":"arts_137"},"arts_13957646":{"type":"posts","id":"arts_13957646","meta":{"index":"posts_1591205157","site":"arts","id":"13957646","score":null,"sort":[1715375767000]},"guestAuthors":[],"slug":"book-review-the-library-thief-kuchenga-shenje-historical-fiction","title":"A 19th-Century Bookbinder Struggles With Race and Identity in ‘The Library Thief’","publishDate":1715375767,"format":"aside","headTitle":"A 19th-Century Bookbinder Struggles With Race and Identity in ‘The Library Thief’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13957647\" class=\"wp-caption aligncenter\" style=\"max-width: 990px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/library_custom-1f630ee97d978db420c30a9463c898c40f1cdc68.jpg\" alt=\"A book cover illustration shows a woman in late 19th century dress standing between tall stacks of books before a huge window.\" width=\"990\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/library_custom-1f630ee97d978db420c30a9463c898c40f1cdc68.jpg 990w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/library_custom-1f630ee97d978db420c30a9463c898c40f1cdc68-800x1212.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/library_custom-1f630ee97d978db420c30a9463c898c40f1cdc68-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/library_custom-1f630ee97d978db420c30a9463c898c40f1cdc68-768x1164.jpg 768w\" sizes=\"(max-width: 990px) 100vw, 990px\">\u003cfigcaption class=\"wp-caption-text\">‘The Library Thief’ by Kuchenga Shenjé. \u003ccite>(Hanover Square Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The examination of race and identity can be seen throughout literature, and increasingly today.\u003c/p>\n\u003cp>In her debut novel, \u003cem>The Library Thief\u003c/em>, Kuchenga Shenjé explores these concepts — and the associated expectations that arise when society demands that every group be neatly categorized. Shenjé delves into the past in this work of historical fiction, posing inquiries about Black people’s lives in the Victorian era.\u003c/p>\n\u003cp>[aside postid='arts_13956715']In this 19th-century English story, Florence, an ambitious bookbinder, is expelled from her family home by her harsh and unforgiving father for being with a young man. Florence, a clever and savvy woman, persuades Lord Francis Belfield to let her stay at Rose Hall manor by promising to restore the priceless books in his library in time for an impending sale, assuring him that she is just as skilled as her father. Among Lord Belfield’s minimal staff, Florence stands out as an educated, liberal woman.\u003c/p>\n\u003cp>But Florence is not as polished as she wants her new acquaintances to believe. Being raised by a single father and not knowing her mother, whom she was told is dead, has fostered an emptiness in Florence she thought she could fill with books. She’s adrift and feels unloved. This fragile foundation is fertile ground for the harrowing experiences Florence faces during her stay at the manor.\u003c/p>\n\u003cp>Florence arrives at Rose Hall to find that Lord Banfeild’s wife has died, and the new widower is beside himself with grief. Immediately, Florence finds herself in the middle of a tightly woven plot of family secrets and lies that conveniently shroud the lives of the upper class. She becomes fixated on Lady Persephone’s death and starts investigating suspicious activities around it. During her investigation, she uncovers some dark Banfield family secrets, which include violence, abuse, and “passing” family members. This journey of discovery forces Florence to confront her own identity and the mysteries surrounding her life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some characters in this novel intentionally or unintentionally pass as white because they find it easier than living as a Black person in Victorian England. While the topic of “passing” is frequently explored in literature set in the 1920s and 30s, Shenjé delves into what it means to be a Black person passing in the 19th century. She explores this theme in multiple ways: One character completely abandons their family to live as a white man, another maintains contact with her family but uses her husband’s wealth and influence to hide in plain sight, and the third, and perhaps most intriguing, character lives as a white person without knowing they were actually Black.\u003c/p>\n\u003cp>Florence is uncertain about her own race, and she passionately advocates for the rights of Black people. She often becomes offended by the viewpoints of her friends, neighbors, and even their pastor towards Black people. Florence grew up in a white community and had limited interactions with Black people, other than through books until she met Lady Persephone’s lady’s maid — a beautiful, charming, and highly educated Black woman. “How could a whole sector of humanity once viewed as animals now be writing books and teaching universities and the like? We had been lied to,” she says after a particularly awful sermon propagating the inferiority of African people.\u003c/p>\n\u003cp>[aside postid='arts_13956128']At times, Shenjé’s use of language attempting at inclusivity fails to achieve what appears to be the intended effect. The discussion of gender roles in a highly complex way seems forced and unrealistic. This is especially so when such language and philosophizing are attributed to certain characters in particular.\u003c/p>\n\u003cp>While \u003cem>The Library Thief\u003c/em> doesn’t exactly break new ground when it comes to exploring issues of race and identity, it does have some entertaining elements. Wesley is a standout character who should have received more attention. If a movie adaptation of the character were ever to happen, Patrick Walshe McBride would be an excellent choice to play the part. Shenjé also did an fantastic job planting hints throughout the story that lead to the main character’s true identity. The best part of the book is the unexpected twist at the end that ties up the murder mystery. Kudos to Shenjé for that surprise ending.\u003c/p>\n\u003cp>\u003cem>Keishel Williams is a Trinidadian American book reviewer, arts & culture writer, and editor.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Library Thief’ by Kuchenga Shenjé (Hanover Square Press) is out now.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Kuchenga Shenjé explores the expectations that arise when society demands that every group be neatly categorized.","status":"publish","parent":0,"modified":1715375767,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":770},"headData":{"title":"Book Review: ‘The Library Thief’ by Kuchenga Shenjé | KQED","description":"Kuchenga Shenjé explores the expectations that arise when society demands that every group be neatly categorized.","ogTitle":"A 19th-Century Bookbinder Struggles With Race and Identity in ‘The Library Thief’","ogDescription":"","ogImgId":"","twTitle":"A 19th-Century Bookbinder Struggles With Race and Identity in ‘The Library Thief’","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘The Library Thief’ by Kuchenga Shenjé %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A 19th-Century Bookbinder Struggles With Race and Identity in ‘The Library Thief’","datePublished":"2024-05-10T21:16:07.000Z","dateModified":"2024-05-10T21:16:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"1250437849","nprHtmlLink":"https://www.npr.org/2024/05/10/1250437849/kuchenga-shenje-the-library-thief-book-review","nprRetrievedStory":"1","nprPubDate":"2024-05-10T12:50:14-04:00","nprStoryDate":"2024-05-10T12:50:14-04:00","nprLastModifiedDate":"2024-05-10T12:50:14-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957646/book-review-the-library-thief-kuchenga-shenje-historical-fiction","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957647\" class=\"wp-caption aligncenter\" style=\"max-width: 990px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/library_custom-1f630ee97d978db420c30a9463c898c40f1cdc68.jpg\" alt=\"A book cover illustration shows a woman in late 19th century dress standing between tall stacks of books before a huge window.\" width=\"990\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/library_custom-1f630ee97d978db420c30a9463c898c40f1cdc68.jpg 990w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/library_custom-1f630ee97d978db420c30a9463c898c40f1cdc68-800x1212.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/library_custom-1f630ee97d978db420c30a9463c898c40f1cdc68-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/library_custom-1f630ee97d978db420c30a9463c898c40f1cdc68-768x1164.jpg 768w\" sizes=\"(max-width: 990px) 100vw, 990px\">\u003cfigcaption class=\"wp-caption-text\">‘The Library Thief’ by Kuchenga Shenjé. \u003ccite>(Hanover Square Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The examination of race and identity can be seen throughout literature, and increasingly today.\u003c/p>\n\u003cp>In her debut novel, \u003cem>The Library Thief\u003c/em>, Kuchenga Shenjé explores these concepts — and the associated expectations that arise when society demands that every group be neatly categorized. Shenjé delves into the past in this work of historical fiction, posing inquiries about Black people’s lives in the Victorian era.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956715","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In this 19th-century English story, Florence, an ambitious bookbinder, is expelled from her family home by her harsh and unforgiving father for being with a young man. Florence, a clever and savvy woman, persuades Lord Francis Belfield to let her stay at Rose Hall manor by promising to restore the priceless books in his library in time for an impending sale, assuring him that she is just as skilled as her father. Among Lord Belfield’s minimal staff, Florence stands out as an educated, liberal woman.\u003c/p>\n\u003cp>But Florence is not as polished as she wants her new acquaintances to believe. Being raised by a single father and not knowing her mother, whom she was told is dead, has fostered an emptiness in Florence she thought she could fill with books. She’s adrift and feels unloved. This fragile foundation is fertile ground for the harrowing experiences Florence faces during her stay at the manor.\u003c/p>\n\u003cp>Florence arrives at Rose Hall to find that Lord Banfeild’s wife has died, and the new widower is beside himself with grief. Immediately, Florence finds herself in the middle of a tightly woven plot of family secrets and lies that conveniently shroud the lives of the upper class. She becomes fixated on Lady Persephone’s death and starts investigating suspicious activities around it. During her investigation, she uncovers some dark Banfield family secrets, which include violence, abuse, and “passing” family members. This journey of discovery forces Florence to confront her own identity and the mysteries surrounding her life.\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>Some characters in this novel intentionally or unintentionally pass as white because they find it easier than living as a Black person in Victorian England. While the topic of “passing” is frequently explored in literature set in the 1920s and 30s, Shenjé delves into what it means to be a Black person passing in the 19th century. She explores this theme in multiple ways: One character completely abandons their family to live as a white man, another maintains contact with her family but uses her husband’s wealth and influence to hide in plain sight, and the third, and perhaps most intriguing, character lives as a white person without knowing they were actually Black.\u003c/p>\n\u003cp>Florence is uncertain about her own race, and she passionately advocates for the rights of Black people. She often becomes offended by the viewpoints of her friends, neighbors, and even their pastor towards Black people. Florence grew up in a white community and had limited interactions with Black people, other than through books until she met Lady Persephone’s lady’s maid — a beautiful, charming, and highly educated Black woman. “How could a whole sector of humanity once viewed as animals now be writing books and teaching universities and the like? We had been lied to,” she says after a particularly awful sermon propagating the inferiority of African people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956128","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At times, Shenjé’s use of language attempting at inclusivity fails to achieve what appears to be the intended effect. The discussion of gender roles in a highly complex way seems forced and unrealistic. This is especially so when such language and philosophizing are attributed to certain characters in particular.\u003c/p>\n\u003cp>While \u003cem>The Library Thief\u003c/em> doesn’t exactly break new ground when it comes to exploring issues of race and identity, it does have some entertaining elements. Wesley is a standout character who should have received more attention. If a movie adaptation of the character were ever to happen, Patrick Walshe McBride would be an excellent choice to play the part. Shenjé also did an fantastic job planting hints throughout the story that lead to the main character’s true identity. The best part of the book is the unexpected twist at the end that ties up the murder mystery. Kudos to Shenjé for that surprise ending.\u003c/p>\n\u003cp>\u003cem>Keishel Williams is a Trinidadian American book reviewer, arts & culture writer, and editor.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Library Thief’ by Kuchenga Shenjé (Hanover Square Press) is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957646/book-review-the-library-thief-kuchenga-shenje-historical-fiction","authors":["92"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_5221","arts_769","arts_585","arts_5292"],"affiliates":["arts_137"],"featImg":"arts_13957650","label":"arts_140"},"arts_13957460":{"type":"posts","id":"arts_13957460","meta":{"index":"posts_1591205157","site":"arts","id":"13957460","score":null,"sort":[1715200055000]},"guestAuthors":[],"slug":"beautifully-acted-shardlake-brings-500-year-old-tudor-intrigue-into-the-present-day","title":"Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day","publishDate":1715200055,"format":"standard","headTitle":"Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>We live in discordant times, which may be why the turbulent reign of King Henry VIII has enjoyed a revival over the last few years. We’ve had the gleefully trashy TV series \u003ca href=\"https://www.npr.org/2008/03/28/89182466/the-tudors-battles-with-the-truth\">\u003cem>The Tudors\u003c/em>\u003c/a>, the Tony-winning Broadway musical \u003ca href=\"https://www.npr.org/2022/09/01/1120101041/six-the-musical-tiny-desk-concert\">\u003cem>Six\u003c/em>\u003c/a> and — at the high end of achievement — \u003ca href=\"https://www.npr.org/2022/09/23/1124682328/hilary-mantel-author-wolf-hall-dies\">Hilary Mantel\u003c/a>‘s trilogy about Henry’s right-hand-man Thomas Cromwell.\u003c/p>\n\u003cp>Now comes the new Hulu mystery series \u003cem>Shardlake, \u003c/em>based on C.J. Sansom’s first novel in a series about a crime-solving lawyer in 16th-century England. As a rule, I hate historical mysteries and I feared that \u003cem>Shardlake\u003c/em> would serve up the Tudor era’s usual cavalcade of castles, codpieces, clopping horses and quasi-Shakespearean lingo — “Prithee, stop, sirrah!” But to my surprise this odd, beautifully acted show pulled me in.\u003c/p>\n\u003cp>[aside postid='arts_13956737']Arthur Hughes stars as Matthew Shardlake, a bitingly intense London barrister known for his brains and for the curved spine that leads the world to undervalue him. One who sees his value is the king’s minister Thomas Cromwell — played by a domineering Sean Bean — a dangerous man who’s busy stripping the assets of the Catholic church and claiming them for the Crown.\u003c/p>\n\u003cp>As the action begins, Cromwell has just had his envoy murdered in a coastal monastery. He sends Shardlake to find the killer and, in the process, to find evidence of monkish malfeasance that will justify seizing the monastery’s holdings. To keep Shardlake on his toes, he sends along one of his henchmen, brash, impulsive Jack Barak. That’s Anthony Boyle, who plays John Wilkes Booth in the current series \u003ca href=\"https://www.kqed.org/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms\">\u003cem>Manhunt\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Because the monastery is filled with Catholic monks who hate the Protestant king, things are tricky there from the get-go. Not only do Shardlake and Jack keep being lied to, but the murders are just beginning. As they investigate, they both grow smitten with a servant — played by Ruby Ashbourne Serkis — and they start to develop one of those classic detective story partnerships between a brilliant misfit and an earthier, ordinary guy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bDGNwIM0r9g\u003c/p>\n\u003cp>Now, I don’t want to oversell \u003cem>Shardlake\u003c/em>. As a historical show, it lacks the sweeping grandeur of \u003ca href=\"https://www.npr.org/2024/02/27/1233992898/shogun-review-fx\">\u003cem>Shogun\u003c/em>\u003c/a>, another period drama that reminds us that Protestants and Catholics were once at each other’s throats. Nor does it approach Mantel’s richly vibrant vision of Henry VIII’s England, with its divisions and hatreds and social climbing.\u003c/p>\n\u003cp>Yet it has a strong historical atmosphere, especially in showing how Shardlake and Jack find themselves squeezed by powerful forces around them. Both believe they’re doing the right thing in helping Cromwell seize Catholic wealth, thinking it should go to England’s countless poor people. At the same time, they come to realize that, in Cromwell, they’re working for an utterly ruthless politician, one who may have played a key role in setting up Anne Boleyn, whose beheading figures into the plot here.\u003c/p>\n\u003cp>[aside postid='arts_13956944']The show’s finest moments lie in the byplay between its lead actors, played by two of Britain’s rising stars. As the cocky Jack — a lad risen from the streets and terrified of sinking back — Boyle deftly straddles the line between likable and not. You see why he’s been cast to star as a charismatic IRA leader in the upcoming TV adaptation of \u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Patrick Radden Keefe\u003c/a>‘s book \u003ca href=\"https://www.npr.org/2019/02/25/697727036/say-nothing-is-a-timely-warning-that-irelands-old-wounds-are-easily-opened\">\u003cem>Say Nothing\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Jack’s extroversion pairs nicely with the tightly wound Shardlake, whose smile is almost a wince. Hughes was the first actor with a disability to ever play Richard III for the Royal Shakespeare Company — he was born with radial dysplasia affecting his right arm — and he doubtless understands Shardlake’s pride in the face of what some consider his physical imperfection. “I’m known for my gait,” Shardlake says. “It is I, and I embrace it.”\u003c/p>\n\u003cp>Such self-assertion is profoundly modern, and for all its Tudor trappings, \u003cem>Shardlake\u003c/em> is filled with present day resonances — not least in its portrait of Cromwell who claims to speak for the people but actually works on behalf of the elite. “The truth must be what we want it to be,” Cromwell declares, and though Shardlake knows this is \u003cem>un\u003c/em>-true, he also knows that saying so can get a man killed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shardlake’ is streaming now on Disney+ and Hulu.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A barrister in Henry VIII's England finds himself investigating a murder in a monastery in this new new four-part series.","status":"publish","parent":0,"modified":1715196465,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":772},"headData":{"title":"‘Shardlake’ Review: Disney+ Show Brings Tudor Intrigue to Today | KQED","description":"A barrister in Henry VIII's England finds himself investigating a murder in a monastery in this new new four-part series.","ogTitle":"Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day","ogDescription":"","ogImgId":"","twTitle":"Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day","twDescription":"","twImgId":"","socialTitle":"‘Shardlake’ Review: Disney+ Show Brings Tudor Intrigue to Today%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Beautifully Acted ‘Shardlake’ Brings 500-Year-Old Tudor Intrigue Into the Present Day","datePublished":"2024-05-08T20:27:35.000Z","dateModified":"2024-05-08T19:27:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"John Powers, NPR","nprStoryId":"1248646691","nprHtmlLink":"https://www.npr.org/2024/05/08/1248646691/shardlake-review-hulu-cj-sansom","nprRetrievedStory":"1","nprPubDate":"2024-05-08T11:01:27-04:00","nprStoryDate":"2024-05-08T11:01:27-04:00","nprLastModifiedDate":"2024-05-08T13:24:49-04:00","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/05/20240508_fa_02.mp3?d=405&size=6486353&e=1248646691&t=progseg&seg=2&p=13","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957460/beautifully-acted-shardlake-brings-500-year-old-tudor-intrigue-into-the-present-day","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/05/20240508_fa_02.mp3?d=405&size=6486353&e=1248646691&t=progseg&seg=2&p=13","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in discordant times, which may be why the turbulent reign of King Henry VIII has enjoyed a revival over the last few years. We’ve had the gleefully trashy TV series \u003ca href=\"https://www.npr.org/2008/03/28/89182466/the-tudors-battles-with-the-truth\">\u003cem>The Tudors\u003c/em>\u003c/a>, the Tony-winning Broadway musical \u003ca href=\"https://www.npr.org/2022/09/01/1120101041/six-the-musical-tiny-desk-concert\">\u003cem>Six\u003c/em>\u003c/a> and — at the high end of achievement — \u003ca href=\"https://www.npr.org/2022/09/23/1124682328/hilary-mantel-author-wolf-hall-dies\">Hilary Mantel\u003c/a>‘s trilogy about Henry’s right-hand-man Thomas Cromwell.\u003c/p>\n\u003cp>Now comes the new Hulu mystery series \u003cem>Shardlake, \u003c/em>based on C.J. Sansom’s first novel in a series about a crime-solving lawyer in 16th-century England. As a rule, I hate historical mysteries and I feared that \u003cem>Shardlake\u003c/em> would serve up the Tudor era’s usual cavalcade of castles, codpieces, clopping horses and quasi-Shakespearean lingo — “Prithee, stop, sirrah!” But to my surprise this odd, beautifully acted show pulled me in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956737","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Arthur Hughes stars as Matthew Shardlake, a bitingly intense London barrister known for his brains and for the curved spine that leads the world to undervalue him. One who sees his value is the king’s minister Thomas Cromwell — played by a domineering Sean Bean — a dangerous man who’s busy stripping the assets of the Catholic church and claiming them for the Crown.\u003c/p>\n\u003cp>As the action begins, Cromwell has just had his envoy murdered in a coastal monastery. He sends Shardlake to find the killer and, in the process, to find evidence of monkish malfeasance that will justify seizing the monastery’s holdings. To keep Shardlake on his toes, he sends along one of his henchmen, brash, impulsive Jack Barak. That’s Anthony Boyle, who plays John Wilkes Booth in the current series \u003ca href=\"https://www.kqed.org/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms\">\u003cem>Manhunt\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Because the monastery is filled with Catholic monks who hate the Protestant king, things are tricky there from the get-go. Not only do Shardlake and Jack keep being lied to, but the murders are just beginning. As they investigate, they both grow smitten with a servant — played by Ruby Ashbourne Serkis — and they start to develop one of those classic detective story partnerships between a brilliant misfit and an earthier, ordinary guy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bDGNwIM0r9g'\n title='//www.youtube.com/embed/bDGNwIM0r9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, I don’t want to oversell \u003cem>Shardlake\u003c/em>. As a historical show, it lacks the sweeping grandeur of \u003ca href=\"https://www.npr.org/2024/02/27/1233992898/shogun-review-fx\">\u003cem>Shogun\u003c/em>\u003c/a>, another period drama that reminds us that Protestants and Catholics were once at each other’s throats. Nor does it approach Mantel’s richly vibrant vision of Henry VIII’s England, with its divisions and hatreds and social climbing.\u003c/p>\n\u003cp>Yet it has a strong historical atmosphere, especially in showing how Shardlake and Jack find themselves squeezed by powerful forces around them. Both believe they’re doing the right thing in helping Cromwell seize Catholic wealth, thinking it should go to England’s countless poor people. At the same time, they come to realize that, in Cromwell, they’re working for an utterly ruthless politician, one who may have played a key role in setting up Anne Boleyn, whose beheading figures into the plot here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956944","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The show’s finest moments lie in the byplay between its lead actors, played by two of Britain’s rising stars. As the cocky Jack — a lad risen from the streets and terrified of sinking back — Boyle deftly straddles the line between likable and not. You see why he’s been cast to star as a charismatic IRA leader in the upcoming TV adaptation of \u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Patrick Radden Keefe\u003c/a>‘s book \u003ca href=\"https://www.npr.org/2019/02/25/697727036/say-nothing-is-a-timely-warning-that-irelands-old-wounds-are-easily-opened\">\u003cem>Say Nothing\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Jack’s extroversion pairs nicely with the tightly wound Shardlake, whose smile is almost a wince. Hughes was the first actor with a disability to ever play Richard III for the Royal Shakespeare Company — he was born with radial dysplasia affecting his right arm — and he doubtless understands Shardlake’s pride in the face of what some consider his physical imperfection. “I’m known for my gait,” Shardlake says. “It is I, and I embrace it.”\u003c/p>\n\u003cp>Such self-assertion is profoundly modern, and for all its Tudor trappings, \u003cem>Shardlake\u003c/em> is filled with present day resonances — not least in its portrait of Cromwell who claims to speak for the people but actually works on behalf of the elite. “The truth must be what we want it to be,” Cromwell declares, and though Shardlake knows this is \u003cem>un\u003c/em>-true, he also knows that saying so can get a man killed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shardlake’ is streaming now on Disney+ and Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957460/beautifully-acted-shardlake-brings-500-year-old-tudor-intrigue-into-the-present-day","authors":["byline_arts_13957460"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_10157","arts_15812","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13957461","label":"arts_140"},"arts_13957475":{"type":"posts","id":"arts_13957475","meta":{"index":"posts_1591205157","site":"arts","id":"13957475","score":null,"sort":[1715196173000]},"guestAuthors":[],"slug":"steve-albini-iconoclastic-rock-musician-and-engineer-dies-at-61","title":"Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61","publishDate":1715196173,"format":"standard","headTitle":"Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Steve Albini, renowned for decades as a distinctive underground musician and recording engineer, died Tuesday night of a heart attack. Staff at his Chicago recording studio, Electrical Audio, confirmed news of his death with NPR. Albini was 61 years old.\u003c/p>\n\u003cp>As a performer, he fronted Shellac and Big Black, two indie-rock bands that pushed punk and noise past absurd and abrasive limits. Albini famously did not like to be called a “producer,” but he worked on — by \u003ca href=\"https://web.archive.org/web/20180625075305/https://www.freepresshouston.com/the-steve-albini-interview/\">his own estimate\u003c/a> — “a couple thousand” albums as a recording engineer, including classics like the Pixies’ \u003cem>Surfer Rosa\u003c/em>, Nirvana’s \u003cem>In Utero\u003c/em> and PJ Harvey’s \u003cem>Rid of Me\u003c/em>.\u003c/p>\n\u003cp>Shellac’s sixth studio album,\u003cem> To All Trains\u003c/em>, is set to be released May 17.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Albini led abrasive alternative bands and recorded albums for Nirvana, Pixies and Jawbreaker, among a multitude of others.","status":"publish","parent":0,"modified":1715196173,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":134},"headData":{"title":"Steve Albini, Underground Musician and Engineer, Dies at 61 | KQED","description":"Albini led abrasive alternative bands and recorded albums for Nirvana, Pixies and Jawbreaker, among a multitude of others.","ogTitle":"Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61","ogDescription":"","ogImgId":"","twTitle":"Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61","twDescription":"","twImgId":"","socialTitle":"Steve Albini, Underground Musician and Engineer, Dies at 61 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61","datePublished":"2024-05-08T19:22:53.000Z","dateModified":"2024-05-08T19:22:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lars Gotrich, NPR","nprStoryId":"1249976709","nprHtmlLink":"https://www.npr.org/2024/05/08/1249976709/steve-albini-iconoclastic-rock-musician-and-engineer-dies-at-61","nprRetrievedStory":"1","nprPubDate":"2024-05-08T13:47:22-04:00","nprStoryDate":"2024-05-08T13:47:22-04:00","nprLastModifiedDate":"2024-05-08T13:47:22-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957475/steve-albini-iconoclastic-rock-musician-and-engineer-dies-at-61","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steve Albini, renowned for decades as a distinctive underground musician and recording engineer, died Tuesday night of a heart attack. Staff at his Chicago recording studio, Electrical Audio, confirmed news of his death with NPR. Albini was 61 years old.\u003c/p>\n\u003cp>As a performer, he fronted Shellac and Big Black, two indie-rock bands that pushed punk and noise past absurd and abrasive limits. Albini famously did not like to be called a “producer,” but he worked on — by \u003ca href=\"https://web.archive.org/web/20180625075305/https://www.freepresshouston.com/the-steve-albini-interview/\">his own estimate\u003c/a> — “a couple thousand” albums as a recording engineer, including classics like the Pixies’ \u003cem>Surfer Rosa\u003c/em>, Nirvana’s \u003cem>In Utero\u003c/em> and PJ Harvey’s \u003cem>Rid of Me\u003c/em>.\u003c/p>\n\u003cp>Shellac’s sixth studio album,\u003cem> To All Trains\u003c/em>, is set to be released May 17.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957475/steve-albini-iconoclastic-rock-musician-and-engineer-dies-at-61","authors":["byline_arts_13957475"],"categories":["arts_1","arts_69","arts_1564"],"affiliates":["arts_137"],"featImg":"arts_13957476","label":"arts_137"},"arts_13957370":{"type":"posts","id":"arts_13957370","meta":{"index":"posts_1591205157","site":"arts","id":"13957370","score":null,"sort":[1715107270000]},"guestAuthors":[],"slug":"katy-perry-met-gala-2024-ai-photo-viral-fake-fashion","title":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","publishDate":1715107270,"format":"standard","headTitle":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for? | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Some of the biggest names in music, entertainment and fashion assembled in New York City for Monday’s \u003ca href=\"https://www.kqed.org/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks\">“Garden of Time”-themed Met Gala\u003c/a>, decked out in flowers, sparkles and extravagant timepieces.\u003c/p>\n\u003cp>Contrary to the images circulating on social media, Katy Perry was not one of them.\u003c/p>\n\u003cp>“Couldn’t make it to the MET, had to work,” the singer \u003ca href=\"https://www.instagram.com/p/C6pivKUNWxQ/?img_index=5\">posted on Instagram\u003c/a>, alongside a video of herself singing in the studio — as well as two photos seemingly showing her at the gala.\u003c/p>\n\u003cp>They were actually made with AI.\u003c/p>\n\u003cp>https://twitter.com/jxries/status/1787603212075233371\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the first, Perry appears to be standing on a hedge-lined red carpet at the Met, wearing an elaborate ball gown covered in flowers and butterflies, with her dark hair styled in long waves. In the second, a close-up shot, Perry is wearing a metallic corset top with a large key handle down the middle and a short skirt of flowers and leaves, her hair straight and tousled.\u003c/p>\n\u003cp>The photos — whose exact origin is unclear — made a splash on X (formerly known as Twitter) earlier in the night, as viewers at home refreshed their feeds and weighed in on their favorite celebrity fits.\u003c/p>\n\u003cp>One \u003ca href=\"https://x.com/jxries/status/1787603212075233371\">X post\u003c/a> of the ball gown photo had over 300,000 likes and nearly 70,000 reposts as of Tuesday morning — and a note at the bottom clarifying that it was created with AI. Another post, \u003ca href=\"https://x.com/wanthatoo/status/1787604418956754956\">of the corset outfit\u003c/a>, garnered over 100,000 likes and was eventually labeled “digitally created.”\u003c/p>\n\u003cp>https://twitter.com/wanthatoo/status/1787604418956754956\u003c/p>\n\u003cp>Perry is a regular Met Gala attendee (and famous for dressing on-theme, including as a \u003ca href=\"https://www.vogue.com/slideshow/katy-perry-best-met-gala-looks\">chandelier and hamburger\u003c/a> in recent years), so internet observers would be forgiven for assuming she was there on Monday.\u003c/p>\n\u003cp>Even Perry’s mom, Mary Hudson, thought so. One of the posts in the singer’s Instagram carousel was a screenshot of a text conversation between the two.\u003c/p>\n\u003cp>[aside postid='arts_13957112']“Didn’t know you went to the Met,” her mom wrote. “What a gorgeous gown, you look like the Rose Parade, you are your own float lol.”\u003c/p>\n\u003cp>Perry was quick to clear things up.\u003c/p>\n\u003cp>“Lol mom the AI got you too,” she replied. “BEWARE!”\u003c/p>\n\u003cp>AI-generated images are increasingly easy to make, and celebrity deep fakes are increasingly prevalent — from sexually explicit \u003ca href=\"https://natlawreview.com/article/why-taylor-swift-ai-scandal-pushing-lawmakers-address-pornographic-deepfakes\">deep fakes of Taylor Swift\u003c/a> circulating earlier this year to \u003ca href=\"https://www.npr.org/2024/01/22/1226129926/nh-primary-biden-ai-robocall\">robocalls imitating President Biden\u003c/a> ahead of the New Hampshire primary.\u003c/p>\n\u003cp>In fact, Perry wasn’t the only star to be basically photoshopped onto the Met Gala red carpet: A viral X post claimed to show an elaborately dressed Rihanna in attendance, when she was actually home \u003ca href=\"https://www.eonline.com/news/1400722/why-rihanna-skipped-met-gala-2024-at-the-last-minute\">sick with the flu\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/tereluprados/status/1787618574564999346\u003c/p>\n\u003cp>Another purported to show Lady Gaga, who hasn’t been there \u003ca href=\"https://www.kqed.org/arts/13856751/camp-lgbtq-celebs-shut-down-the-2019-met-gala\">since 2019\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/he_so_candid/status/1787608442116472883\u003c/p>\n\u003cp>And before the gala, \u003ca href=\"https://x.com/duasmoker/status/1787606705380917712\">photos circulated of Dua Lipa\u003c/a> wearing bangs and a corset, only for her to show up on the carpet with crimson hair and an all-black ensemble — and for an X user to point out the early photos were from a \u003ca href=\"https://www.vogue.com/article/dua-lipa-demeanor-video-marie-antoinette\">2021 \u003cem>Vogue\u003c/em> shoot\u003c/a>.\u003c/p>\n\u003cp>While some social media users dismissed the Met Gala fakes as part of the fun, others see them as a worrisome sign of what could lie ahead.\u003c/p>\n\u003cp>Experts warn AI-generated deep fakes pose a threat to everything from \u003ca href=\"https://www.npr.org/2024/02/16/1232001889/ai-deepfakes-election-tech-accord\">election security\u003c/a> to \u003ca href=\"https://www.npr.org/2023/03/22/1165448073/voice-clones-ai-scams-ftc\">everyday scams\u003c/a>. And just last month, more than 200 artists — including Perry herself — \u003ca href=\"https://artistrightsnow.medium.com/200-artists-urge-tech-platforms-stop-devaluing-music-559fb109bbac\">signed a letter\u003c/a> urging tech platforms and digital music services to stop using AI to “infringe upon and devalue the rights of human artists.”\u003c/p>\n\u003ch3>How to tell if an image is fake (or at least suspicious)\u003c/h3>\n\u003cp>So what clues should Mary Hudson — and other discerning viewers — be looking for to spot potential fakes?\u003c/p>\n\u003cp>[aside postid='arts_13952796']Sam Gregory of the nonprofit Witness, which helps people use video and technology to protect human rights, encourages viewers to rely on context and intuition in situations like this one.\u003c/p>\n\u003cp>“My starting point with all images like [Perry’s] is to not trust the online detectors as there are too many variables around whether they give an accurate result,” he explained over email.\u003c/p>\n\u003cp>He said when he ran both Perry images through a widely-used detector, the flower dress came back as “likely human” and the corset as “likely AI generated.” He also discourages people from looking for visual clues in these kinds of images, saying that can “lead down a rabbit hole of unproductive forensic skepticism.”\u003c/p>\n\u003cp>With a high-profile event like the Met Gala, Gregory says, it’s best to use “classic media literacy and verification approaches.” In this case, that could mean looking for more proof of Perry’s attendance, from a variety of sources.\u003c/p>\n\u003cp>“Although some media literacy strategies like checking the source might lead us astray — perhaps we do trust Katy Perry to share real images of herself — if we use another strategy and look for other images from the same event from reliable sources, we’d quickly see this isn’t real,” he explained.\u003c/p>\n\u003cp>He adds that it reminds him of the AI-created images of a \u003ca href=\"https://www.npr.org/2023/05/22/1177590231/fake-viral-images-of-an-explosion-at-the-pentagon-were-probably-created-by-ai\">fire at the Pentagon\u003c/a> that went viral last year. In both cases, he says, the first question people should ask themselves is not whether they can spot the AI glitches in the photo, but “Why aren’t there other photos and videos of this event in a highly populated area?”\u003c/p>\n\u003cp>[aside postid='arts_13932477']But the bigger question, as Gregory sees it, is whether the public should be expected to do this at all.\u003c/p>\n\u003cp>“Why wouldn’t Katy Perry be at the Met Gala and why would we second-guess that, particularly if she’s part of the deception?” he says.\u003c/p>\n\u003cp>More help may be coming from social media platforms, amid growing concerns about the potential for AI to mislead users. Meta said earlier this year that it would start \u003ca href=\"https://www.npr.org/2024/02/06/1229317971/meta-labeling-ai-generated-images-instagram-facebook-artificial-intelligence\">labeling AI-generated images\u003c/a> on Facebook, Instagram and Threads, \u003ca href=\"https://about.fb.com/news/2024/04/metas-approach-to-labeling-ai-generated-content-and-manipulated-media/\">beginning in May\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for now — and as always — keeping your guard up is key. If you need some more pointers, check out these expert tips on how to spot \u003ca href=\"https://www.npr.org/2023/06/07/1180768459/how-to-identify-ai-generated-deepfake-images\">AI-generated images\u003c/a> and \u003ca href=\"https://www.npr.org/2024/04/01/1241657867/april-fools-day-online-misinformation\">avoid getting tricked online\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Katy Perry, Rihanna and Lady Gaga weren't at the Met Gala despite AI-generated red carpet photos of them circulating online.","status":"publish","parent":0,"modified":1715107270,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1093},"headData":{"title":"How to Spot Fake Images of Real Celebrities, Concocted By AI | KQED","description":"Katy Perry, Rihanna and Lady Gaga weren't at the Met Gala despite AI-generated red carpet photos of them circulating online.","ogTitle":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","ogDescription":"","ogImgId":"","twTitle":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","twDescription":"","twImgId":"","socialTitle":"How to Spot Fake Images of Real Celebrities, Concocted By AI %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","datePublished":"2024-05-07T18:41:10.000Z","dateModified":"2024-05-07T18:41:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Rachel Treisman, NPR","nprStoryId":"1249570785","nprHtmlLink":"https://www.npr.org/2024/05/07/1249570785/katy-perry-met-gala-deepfake","nprRetrievedStory":"1","nprPubDate":"2024-05-07T10:33:30-04:00","nprStoryDate":"2024-05-07T10:33:30-04:00","nprLastModifiedDate":"2024-05-07T11:59:56-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957370/katy-perry-met-gala-2024-ai-photo-viral-fake-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the biggest names in music, entertainment and fashion assembled in New York City for Monday’s \u003ca href=\"https://www.kqed.org/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks\">“Garden of Time”-themed Met Gala\u003c/a>, decked out in flowers, sparkles and extravagant timepieces.\u003c/p>\n\u003cp>Contrary to the images circulating on social media, Katy Perry was not one of them.\u003c/p>\n\u003cp>“Couldn’t make it to the MET, had to work,” the singer \u003ca href=\"https://www.instagram.com/p/C6pivKUNWxQ/?img_index=5\">posted on Instagram\u003c/a>, alongside a video of herself singing in the studio — as well as two photos seemingly showing her at the gala.\u003c/p>\n\u003cp>They were actually made with AI.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787603212075233371"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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>In the first, Perry appears to be standing on a hedge-lined red carpet at the Met, wearing an elaborate ball gown covered in flowers and butterflies, with her dark hair styled in long waves. In the second, a close-up shot, Perry is wearing a metallic corset top with a large key handle down the middle and a short skirt of flowers and leaves, her hair straight and tousled.\u003c/p>\n\u003cp>The photos — whose exact origin is unclear — made a splash on X (formerly known as Twitter) earlier in the night, as viewers at home refreshed their feeds and weighed in on their favorite celebrity fits.\u003c/p>\n\u003cp>One \u003ca href=\"https://x.com/jxries/status/1787603212075233371\">X post\u003c/a> of the ball gown photo had over 300,000 likes and nearly 70,000 reposts as of Tuesday morning — and a note at the bottom clarifying that it was created with AI. Another post, \u003ca href=\"https://x.com/wanthatoo/status/1787604418956754956\">of the corset outfit\u003c/a>, garnered over 100,000 likes and was eventually labeled “digitally created.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787604418956754956"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Perry is a regular Met Gala attendee (and famous for dressing on-theme, including as a \u003ca href=\"https://www.vogue.com/slideshow/katy-perry-best-met-gala-looks\">chandelier and hamburger\u003c/a> in recent years), so internet observers would be forgiven for assuming she was there on Monday.\u003c/p>\n\u003cp>Even Perry’s mom, Mary Hudson, thought so. One of the posts in the singer’s Instagram carousel was a screenshot of a text conversation between the two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957112","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Didn’t know you went to the Met,” her mom wrote. “What a gorgeous gown, you look like the Rose Parade, you are your own float lol.”\u003c/p>\n\u003cp>Perry was quick to clear things up.\u003c/p>\n\u003cp>“Lol mom the AI got you too,” she replied. “BEWARE!”\u003c/p>\n\u003cp>AI-generated images are increasingly easy to make, and celebrity deep fakes are increasingly prevalent — from sexually explicit \u003ca href=\"https://natlawreview.com/article/why-taylor-swift-ai-scandal-pushing-lawmakers-address-pornographic-deepfakes\">deep fakes of Taylor Swift\u003c/a> circulating earlier this year to \u003ca href=\"https://www.npr.org/2024/01/22/1226129926/nh-primary-biden-ai-robocall\">robocalls imitating President Biden\u003c/a> ahead of the New Hampshire primary.\u003c/p>\n\u003cp>In fact, Perry wasn’t the only star to be basically photoshopped onto the Met Gala red carpet: A viral X post claimed to show an elaborately dressed Rihanna in attendance, when she was actually home \u003ca href=\"https://www.eonline.com/news/1400722/why-rihanna-skipped-met-gala-2024-at-the-last-minute\">sick with the flu\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787618574564999346"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Another purported to show Lady Gaga, who hasn’t been there \u003ca href=\"https://www.kqed.org/arts/13856751/camp-lgbtq-celebs-shut-down-the-2019-met-gala\">since 2019\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787608442116472883"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And before the gala, \u003ca href=\"https://x.com/duasmoker/status/1787606705380917712\">photos circulated of Dua Lipa\u003c/a> wearing bangs and a corset, only for her to show up on the carpet with crimson hair and an all-black ensemble — and for an X user to point out the early photos were from a \u003ca href=\"https://www.vogue.com/article/dua-lipa-demeanor-video-marie-antoinette\">2021 \u003cem>Vogue\u003c/em> shoot\u003c/a>.\u003c/p>\n\u003cp>While some social media users dismissed the Met Gala fakes as part of the fun, others see them as a worrisome sign of what could lie ahead.\u003c/p>\n\u003cp>Experts warn AI-generated deep fakes pose a threat to everything from \u003ca href=\"https://www.npr.org/2024/02/16/1232001889/ai-deepfakes-election-tech-accord\">election security\u003c/a> to \u003ca href=\"https://www.npr.org/2023/03/22/1165448073/voice-clones-ai-scams-ftc\">everyday scams\u003c/a>. And just last month, more than 200 artists — including Perry herself — \u003ca href=\"https://artistrightsnow.medium.com/200-artists-urge-tech-platforms-stop-devaluing-music-559fb109bbac\">signed a letter\u003c/a> urging tech platforms and digital music services to stop using AI to “infringe upon and devalue the rights of human artists.”\u003c/p>\n\u003ch3>How to tell if an image is fake (or at least suspicious)\u003c/h3>\n\u003cp>So what clues should Mary Hudson — and other discerning viewers — be looking for to spot potential fakes?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Sam Gregory of the nonprofit Witness, which helps people use video and technology to protect human rights, encourages viewers to rely on context and intuition in situations like this one.\u003c/p>\n\u003cp>“My starting point with all images like [Perry’s] is to not trust the online detectors as there are too many variables around whether they give an accurate result,” he explained over email.\u003c/p>\n\u003cp>He said when he ran both Perry images through a widely-used detector, the flower dress came back as “likely human” and the corset as “likely AI generated.” He also discourages people from looking for visual clues in these kinds of images, saying that can “lead down a rabbit hole of unproductive forensic skepticism.”\u003c/p>\n\u003cp>With a high-profile event like the Met Gala, Gregory says, it’s best to use “classic media literacy and verification approaches.” In this case, that could mean looking for more proof of Perry’s attendance, from a variety of sources.\u003c/p>\n\u003cp>“Although some media literacy strategies like checking the source might lead us astray — perhaps we do trust Katy Perry to share real images of herself — if we use another strategy and look for other images from the same event from reliable sources, we’d quickly see this isn’t real,” he explained.\u003c/p>\n\u003cp>He adds that it reminds him of the AI-created images of a \u003ca href=\"https://www.npr.org/2023/05/22/1177590231/fake-viral-images-of-an-explosion-at-the-pentagon-were-probably-created-by-ai\">fire at the Pentagon\u003c/a> that went viral last year. In both cases, he says, the first question people should ask themselves is not whether they can spot the AI glitches in the photo, but “Why aren’t there other photos and videos of this event in a highly populated area?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932477","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But the bigger question, as Gregory sees it, is whether the public should be expected to do this at all.\u003c/p>\n\u003cp>“Why wouldn’t Katy Perry be at the Met Gala and why would we second-guess that, particularly if she’s part of the deception?” he says.\u003c/p>\n\u003cp>More help may be coming from social media platforms, amid growing concerns about the potential for AI to mislead users. Meta said earlier this year that it would start \u003ca href=\"https://www.npr.org/2024/02/06/1229317971/meta-labeling-ai-generated-images-instagram-facebook-artificial-intelligence\">labeling AI-generated images\u003c/a> on Facebook, Instagram and Threads, \u003ca href=\"https://about.fb.com/news/2024/04/metas-approach-to-labeling-ai-generated-content-and-manipulated-media/\">beginning in May\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for now — and as always — keeping your guard up is key. If you need some more pointers, check out these expert tips on how to spot \u003ca href=\"https://www.npr.org/2023/06/07/1180768459/how-to-identify-ai-generated-deepfake-images\">AI-generated images\u003c/a> and \u003ca href=\"https://www.npr.org/2024/04/01/1241657867/april-fools-day-online-misinformation\">avoid getting tricked online\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957370/katy-perry-met-gala-2024-ai-photo-viral-fake-fashion","authors":["byline_arts_13957370"],"categories":["arts_1","arts_76","arts_69","arts_75"],"tags":["arts_22039","arts_11323","arts_22131","arts_1935"],"affiliates":["arts_137"],"featImg":"arts_13957371","label":"arts_137"},"arts_13957264":{"type":"posts","id":"arts_13957264","meta":{"index":"posts_1591205157","site":"arts","id":"13957264","score":null,"sort":[1715017516000]},"guestAuthors":[],"slug":"zillow-gone-wild-hgtv-review-jack-mcbrayer-fun-home-listings","title":"‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV","publishDate":1715017516,"format":"standard","headTitle":"‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The real estate social media space is packed with influencers focusing on specific niches like \u003ca href=\"https://www.instagram.com/luxurymansions__/?hl=en\">luxury mansions\u003c/a>, \u003ca href=\"https://www.instagram.com/midcenturyhome/?hl=en\">mid-century moderns\u003c/a> or \u003ca href=\"https://www.instagram.com/cheapoldhouses/?hl=en\">inexpensive yet promising fixer-uppers\u003c/a>.\u003c/p>\n\u003cp>Within this crowded universe\u003cem>, \u003c/em>\u003ca href=\"https://www.instagram.com/zillowgonewild/?hl=en\">\u003cem>Zillow Gone Wild\u003c/em>\u003c/a> is a place to go if you’re in the market for, say, a home in Kansas City, Mo., shaped \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7246469852041399594\">like a UFO\u003c/a>; a \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\">striking, angular residence\u003c/a> in Kalamazoo, Mich., designed in the late 1940s by Frank Lloyd Wright; or a recently built \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7158117998404832555\">cruise ship\u003c/a> with close to 3,000 bedrooms. (Yes, there is an \u003ca href=\"https://www.zillow.com/house/royal-caribbean/\">actual Zillow listing\u003c/a> for this property.)\u003c/p>\n\u003cp>“Waking up to an ocean view in the actual ocean is the new best way to wake up,” says Samir Mezrahi, \u003cem>Zillow Gone Wild\u003c/em>‘s creator, in his deadpan TikTok commentary on this particularly mind-boggling property listing.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\" data-video-id=\"7348164791539846446\">\n\u003csection>\u003ca title=\"@zillowgonewild\" href=\"https://www.tiktok.com/@zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">@zillowgonewild\u003c/a> Frank Lloyd Wright house for sale in Kalamazoo, MI for under $1 million!! \u003ca title=\"franklloydwright\" href=\"https://www.tiktok.com/tag/franklloydwright?refer=embed\" target=\"_blank\" rel=\"noopener\">#franklloydwright\u003c/a> \u003ca title=\"zillowgonewild\" href=\"https://www.tiktok.com/tag/zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">#zillowgonewild\u003c/a> \u003ca title=\"realestate\" href=\"https://www.tiktok.com/tag/realestate?refer=embed\" target=\"_blank\" rel=\"noopener\">#realestate\u003c/a> \u003ca title=\"foryou\" href=\"https://www.tiktok.com/tag/foryou?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryou\u003c/a> \u003ca title=\"♬ Epic Music(863502) - Draganov89\" href=\"https://www.tiktok.com/music/Epic-Music-863502-6873501791145691137?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Epic Music(863502) – Draganov89\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Mezrahi’s prominent account, which has several million followers across platforms, has now been spun off into an equally wild reality \u003ca href=\"https://www.hgtv.com/shows/zillow-gone-wild\">TV show\u003c/a>. The nine-episode series premiered on HGTV Friday, and is out now on Max.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As on social media, the \u003cem>Zillow Gone Wild\u003c/em> TV show is aimed at a general audience and focuses on homes that defy everyday expectations in some way — whether visible from the outside in the architecture, or hidden inside as part of the home decor.\u003c/p>\n\u003cp>[aside postid='arts_13956737']“It has to be something we’ve pretty much never seen before,” says Mezrahi, a former social media director at \u003cem>Buzzfeed\u003c/em>, in an interview with NPR.\u003c/p>\n\u003ch3>Setting a “wild” tone\u003c/h3>\n\u003cp>The first segment of the first episode sets the tone: Homeowner Andrew Flair shows off the converted U.S. military missile launch facility in York, Neb. The unusual property has very thick steel doors and no windows.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8qQ6fx2LIbc\u003c/p>\n\u003cp>“It’s all underground, covered in concrete, and if, for some reason, a bomb goes off, you’ll be safe,” Flair says on the show.\u003c/p>\n\u003cp>And in episode three, homeowner Kitty Reign tours viewers around the \u003cem>Pirates of the Caribbean\u003c/em>-themed residence in Las Vegas she’s selling. This swashbuckler’s paradise comes with a decorative wooden helm (“Everybody plays with it!”) and a tavern (“Kind of our own little secret pirate nightclub!”)\u003c/p>\n\u003cp>Hosted by comedian Jack McBrayer, who played Kenneth in \u003cem>30 Rock\u003c/em>, the show features 24 homes from around the country either up for sale or recently sold. But only one of them will be crowned the country’s “wildest” at the end of the series, as assessed by HGTV executives. Viewers who correctly guess the winning home can enter a pool for the chance to win $25,000.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/103_zillow-gone-wild_ships-ahoy_interior_custom-f5c7b8593923a6ac670b75e13ac958fe69d06cc5.jpg?s=1200&c=75&f=jpeg\" alt=\"Two women in short dresses stand in the middle of a room that looks like a pirate-themed bar. They are talking to a white man, wearing basic t-shirt and blue jeans.\" width=\"1200\" height=\"848\">\u003cfigcaption class=\"wp-caption-text\">Kitty Reign and her wife, Jennifer, show host Jack McBrayer around their ‘Pirates of the Caribbean’-themed house, as seen on HGTV’s new series ‘Zillow Gone Wild.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>The judging criteria include creativity, commitment to a concept or theme and a quality McBrayer describes as “wackadoo.”\u003c/p>\n\u003cp>“That special thing that sets this property apart,” says McBrayer on the show. “We reward impracticality.”\u003c/p>\n\u003ch3>The growth of an American pastime\u003c/h3>\n\u003cp>Ogling real estate listings on social media has become an enormously popular American pastime in recent years. \u003cem>Saturday Night Live\u003c/em> even did \u003ca href=\"https://www.youtube.com/watch?v=yEfsaXDX0UQ\">a skit\u003c/a> about the trend in 2021. (“The pleasure you once got from sex now comes from looking at other people’s houses.”)\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=yEfsaXDX0UQ&t=20s\u003c/p>\n\u003cp>Mezrahi, who’s based in New York, says he has long made a hobby of idly browsing Zillow. He started \u003cem>Zillow Gone Wild\u003c/em> as a side project in the fall of 2020, knowing it would probably catch on. Mezrahi initially launched it only on Instagram, but soon expanded his offering to Facebook, Twitter, TikTok and a newsletter.\u003c/p>\n\u003cp>[aside postid='arts_13952549']“It was, like, prime pandemic. Everyone’s working from home. Companies are saying you can live wherever you want,” Mezrahi says. “So people are moving, thinking about moving, or browsing Zillow just as a bored-on-your-phone thing. So I kind of felt like there was an audience of people out there that are also doing this.”\u003c/p>\n\u003cp>The rise of TV and online channels devoted to home buying and home improvement, together with the increasingly elaborate social media presence of individual real estate brokers promoting their listings, have further fed the trend.\u003c/p>\n\u003cp>“This is a time when a lot of people are thinking about where and how we want to live,” says Zillow’s home trends expert, Amanda Pendleton, in an interview with NPR. “And these social media accounts captured our imagination and redefined what a home can be.”\u003c/p>\n\u003ch3>“Wild” listings can be challenging for real estate brokers\u003c/h3>\n\u003cp>That “imagination capturing” quality is what makes \u003cem>Zillow Gone Wild\u003c/em> so compelling on TikTok and TV.\u003c/p>\n\u003cp>But when it comes to actually selling a property, eccentric architecture and festive home decor aren’t necessarily virtues.\u003c/p>\n\u003cp>“As a real estate broker, you kind of get nervous about that, because the resale value is not the greatest when you’re making it your own,” says San Francisco Bay Area-based realtor Ria Cotton in an interview with NPR. “It may not be liked by other people.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/jack-mcbrayer_zillow-gone-wild-39a4782504c66c17d993e2558052aad0bc9c8149.jpg?s=1200&c=75&f=jpeg\" alt=\"A white man smiling broadly stands on a spiral staircase with gold accents.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Host Jack McBrayer taking in the sights of the ‘Golden Saxophone House.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>While having a marketable property is preferable, Cotton admits the popularity of social media accounts like \u003cem>Zillow Gone Wild\u003c/em> shows there’s a growing appetite among homebuyers and potential homebuyers for the “wackadoo.”\u003c/p>\n\u003cp>“I think more and more people are kind of bored of the cookie-cutter way of doing things,” Cotton says.\u003c/p>\n\u003cp>Case in point: An unusual music-themed home in Berkeley, Calif., that Cotton recently brokered, featured in \u003cem>Zillow Gone Wild.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13952420']The facade of the “Saxophone House” is dominated by two massive, gold saxophone-shaped columns. On the TV show, new homeowner Adanté Pointer proudly shows off the gold treble clef ornaments on the balcony railings indoors.\u003c/p>\n\u003cp>“The gold accents really make it stand out,” Pointer says appreciatively.\u003c/p>\n\u003cp>The smooth jazz vibes and bling of the Saxophone House might not be for everyone. But Pointer says it’s perfect for him.\u003c/p>\n\u003cp>“I am an attorney, and oftentimes, people come to me to make a statement on their behalf,” he says on the show. “And when you look at the outside of this home, it’s definitely a statement piece.”\u003c/p>\n\u003cp>In an interview with NPR, TV show host McBrayer says if visiting all of the homes featured in the \u003cem>Zillow Gone Wild \u003c/em>TV series taught him anything, it’s that even the wildest of homes won’t sit empty forever.\u003c/p>\n\u003cp>“For every house out there that is just head-to-toe rainbow-colored, there is going to be a buyer. For every home that is attached to the underside of a bridge, there’s going to be a buyer,” McBrayer says. “There’s a lid for every pot.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Zillow Gone Wild’ premiered on HGTV on May 3 at 7:30 p.m.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘Zillow Gone Wild’ started as an Instagram account devoted to eccentric property listings. Now it's hosted by Jack McBrayer.","status":"publish","parent":0,"modified":1715018138,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1261},"headData":{"title":"‘Zillow Gone Wild’ Review: Jack McBrayer Tours Weird Homes | KQED","description":"‘Zillow Gone Wild’ started as an Instagram account devoted to eccentric property listings. Now it's hosted by Jack McBrayer.","ogTitle":"‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV","ogDescription":"","ogImgId":"","twTitle":"‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV","twDescription":"","twImgId":"","socialTitle":"‘Zillow Gone Wild’ Review: Jack McBrayer Tours Weird Homes %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV","datePublished":"2024-05-06T17:45:16.000Z","dateModified":"2024-05-06T17:55:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Chloe Veltman, NPR","nprStoryId":"1248711088","nprHtmlLink":"https://www.npr.org/2024/05/04/1248711088/zillow-gone-wild-tv-series-hgtv-max-instagram","nprRetrievedStory":"1","nprPubDate":"2024-05-04T12:00:40-04:00","nprStoryDate":"2024-05-04T12:00:40-04:00","nprLastModifiedDate":"2024-05-05T18:14:55-04:00","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2024/05/20240505_atc_zillow_gone_wild_brings_wacky_real_estate_listings_to_hgtv.mp3?d=221&size=3552280&e=1248711088&t=progseg&seg=5&p=2","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957264/zillow-gone-wild-hgtv-review-jack-mcbrayer-fun-home-listings","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2024/05/20240505_atc_zillow_gone_wild_brings_wacky_real_estate_listings_to_hgtv.mp3?d=221&size=3552280&e=1248711088&t=progseg&seg=5&p=2","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The real estate social media space is packed with influencers focusing on specific niches like \u003ca href=\"https://www.instagram.com/luxurymansions__/?hl=en\">luxury mansions\u003c/a>, \u003ca href=\"https://www.instagram.com/midcenturyhome/?hl=en\">mid-century moderns\u003c/a> or \u003ca href=\"https://www.instagram.com/cheapoldhouses/?hl=en\">inexpensive yet promising fixer-uppers\u003c/a>.\u003c/p>\n\u003cp>Within this crowded universe\u003cem>, \u003c/em>\u003ca href=\"https://www.instagram.com/zillowgonewild/?hl=en\">\u003cem>Zillow Gone Wild\u003c/em>\u003c/a> is a place to go if you’re in the market for, say, a home in Kansas City, Mo., shaped \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7246469852041399594\">like a UFO\u003c/a>; a \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\">striking, angular residence\u003c/a> in Kalamazoo, Mich., designed in the late 1940s by Frank Lloyd Wright; or a recently built \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7158117998404832555\">cruise ship\u003c/a> with close to 3,000 bedrooms. (Yes, there is an \u003ca href=\"https://www.zillow.com/house/royal-caribbean/\">actual Zillow listing\u003c/a> for this property.)\u003c/p>\n\u003cp>“Waking up to an ocean view in the actual ocean is the new best way to wake up,” says Samir Mezrahi, \u003cem>Zillow Gone Wild\u003c/em>‘s creator, in his deadpan TikTok commentary on this particularly mind-boggling property listing.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\" data-video-id=\"7348164791539846446\">\n\u003csection>\u003ca title=\"@zillowgonewild\" href=\"https://www.tiktok.com/@zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">@zillowgonewild\u003c/a> Frank Lloyd Wright house for sale in Kalamazoo, MI for under $1 million!! \u003ca title=\"franklloydwright\" href=\"https://www.tiktok.com/tag/franklloydwright?refer=embed\" target=\"_blank\" rel=\"noopener\">#franklloydwright\u003c/a> \u003ca title=\"zillowgonewild\" href=\"https://www.tiktok.com/tag/zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">#zillowgonewild\u003c/a> \u003ca title=\"realestate\" href=\"https://www.tiktok.com/tag/realestate?refer=embed\" target=\"_blank\" rel=\"noopener\">#realestate\u003c/a> \u003ca title=\"foryou\" href=\"https://www.tiktok.com/tag/foryou?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryou\u003c/a> \u003ca title=\"♬ Epic Music(863502) - Draganov89\" href=\"https://www.tiktok.com/music/Epic-Music-863502-6873501791145691137?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Epic Music(863502) – Draganov89\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mezrahi’s prominent account, which has several million followers across platforms, has now been spun off into an equally wild reality \u003ca href=\"https://www.hgtv.com/shows/zillow-gone-wild\">TV show\u003c/a>. The nine-episode series premiered on HGTV Friday, and is out now on Max.\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>As on social media, the \u003cem>Zillow Gone Wild\u003c/em> TV show is aimed at a general audience and focuses on homes that defy everyday expectations in some way — whether visible from the outside in the architecture, or hidden inside as part of the home decor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956737","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It has to be something we’ve pretty much never seen before,” says Mezrahi, a former social media director at \u003cem>Buzzfeed\u003c/em>, in an interview with NPR.\u003c/p>\n\u003ch3>Setting a “wild” tone\u003c/h3>\n\u003cp>The first segment of the first episode sets the tone: Homeowner Andrew Flair shows off the converted U.S. military missile launch facility in York, Neb. The unusual property has very thick steel doors and no windows.\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/8qQ6fx2LIbc'\n title='//www.youtube.com/embed/8qQ6fx2LIbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s all underground, covered in concrete, and if, for some reason, a bomb goes off, you’ll be safe,” Flair says on the show.\u003c/p>\n\u003cp>And in episode three, homeowner Kitty Reign tours viewers around the \u003cem>Pirates of the Caribbean\u003c/em>-themed residence in Las Vegas she’s selling. This swashbuckler’s paradise comes with a decorative wooden helm (“Everybody plays with it!”) and a tavern (“Kind of our own little secret pirate nightclub!”)\u003c/p>\n\u003cp>Hosted by comedian Jack McBrayer, who played Kenneth in \u003cem>30 Rock\u003c/em>, the show features 24 homes from around the country either up for sale or recently sold. But only one of them will be crowned the country’s “wildest” at the end of the series, as assessed by HGTV executives. Viewers who correctly guess the winning home can enter a pool for the chance to win $25,000.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/103_zillow-gone-wild_ships-ahoy_interior_custom-f5c7b8593923a6ac670b75e13ac958fe69d06cc5.jpg?s=1200&c=75&f=jpeg\" alt=\"Two women in short dresses stand in the middle of a room that looks like a pirate-themed bar. They are talking to a white man, wearing basic t-shirt and blue jeans.\" width=\"1200\" height=\"848\">\u003cfigcaption class=\"wp-caption-text\">Kitty Reign and her wife, Jennifer, show host Jack McBrayer around their ‘Pirates of the Caribbean’-themed house, as seen on HGTV’s new series ‘Zillow Gone Wild.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>The judging criteria include creativity, commitment to a concept or theme and a quality McBrayer describes as “wackadoo.”\u003c/p>\n\u003cp>“That special thing that sets this property apart,” says McBrayer on the show. “We reward impracticality.”\u003c/p>\n\u003ch3>The growth of an American pastime\u003c/h3>\n\u003cp>Ogling real estate listings on social media has become an enormously popular American pastime in recent years. \u003cem>Saturday Night Live\u003c/em> even did \u003ca href=\"https://www.youtube.com/watch?v=yEfsaXDX0UQ\">a skit\u003c/a> about the trend in 2021. (“The pleasure you once got from sex now comes from looking at other people’s houses.”)\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/yEfsaXDX0UQ'\n title='//www.youtube.com/embed/yEfsaXDX0UQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mezrahi, who’s based in New York, says he has long made a hobby of idly browsing Zillow. He started \u003cem>Zillow Gone Wild\u003c/em> as a side project in the fall of 2020, knowing it would probably catch on. Mezrahi initially launched it only on Instagram, but soon expanded his offering to Facebook, Twitter, TikTok and a newsletter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952549","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It was, like, prime pandemic. Everyone’s working from home. Companies are saying you can live wherever you want,” Mezrahi says. “So people are moving, thinking about moving, or browsing Zillow just as a bored-on-your-phone thing. So I kind of felt like there was an audience of people out there that are also doing this.”\u003c/p>\n\u003cp>The rise of TV and online channels devoted to home buying and home improvement, together with the increasingly elaborate social media presence of individual real estate brokers promoting their listings, have further fed the trend.\u003c/p>\n\u003cp>“This is a time when a lot of people are thinking about where and how we want to live,” says Zillow’s home trends expert, Amanda Pendleton, in an interview with NPR. “And these social media accounts captured our imagination and redefined what a home can be.”\u003c/p>\n\u003ch3>“Wild” listings can be challenging for real estate brokers\u003c/h3>\n\u003cp>That “imagination capturing” quality is what makes \u003cem>Zillow Gone Wild\u003c/em> so compelling on TikTok and TV.\u003c/p>\n\u003cp>But when it comes to actually selling a property, eccentric architecture and festive home decor aren’t necessarily virtues.\u003c/p>\n\u003cp>“As a real estate broker, you kind of get nervous about that, because the resale value is not the greatest when you’re making it your own,” says San Francisco Bay Area-based realtor Ria Cotton in an interview with NPR. “It may not be liked by other people.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/jack-mcbrayer_zillow-gone-wild-39a4782504c66c17d993e2558052aad0bc9c8149.jpg?s=1200&c=75&f=jpeg\" alt=\"A white man smiling broadly stands on a spiral staircase with gold accents.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Host Jack McBrayer taking in the sights of the ‘Golden Saxophone House.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>While having a marketable property is preferable, Cotton admits the popularity of social media accounts like \u003cem>Zillow Gone Wild\u003c/em> shows there’s a growing appetite among homebuyers and potential homebuyers for the “wackadoo.”\u003c/p>\n\u003cp>“I think more and more people are kind of bored of the cookie-cutter way of doing things,” Cotton says.\u003c/p>\n\u003cp>Case in point: An unusual music-themed home in Berkeley, Calif., that Cotton recently brokered, featured in \u003cem>Zillow Gone Wild.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952420","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The facade of the “Saxophone House” is dominated by two massive, gold saxophone-shaped columns. On the TV show, new homeowner Adanté Pointer proudly shows off the gold treble clef ornaments on the balcony railings indoors.\u003c/p>\n\u003cp>“The gold accents really make it stand out,” Pointer says appreciatively.\u003c/p>\n\u003cp>The smooth jazz vibes and bling of the Saxophone House might not be for everyone. But Pointer says it’s perfect for him.\u003c/p>\n\u003cp>“I am an attorney, and oftentimes, people come to me to make a statement on their behalf,” he says on the show. “And when you look at the outside of this home, it’s definitely a statement piece.”\u003c/p>\n\u003cp>In an interview with NPR, TV show host McBrayer says if visiting all of the homes featured in the \u003cem>Zillow Gone Wild \u003c/em>TV series taught him anything, it’s that even the wildest of homes won’t sit empty forever.\u003c/p>\n\u003cp>“For every house out there that is just head-to-toe rainbow-colored, there is going to be a buyer. For every home that is attached to the underside of a bridge, there’s going to be a buyer,” McBrayer says. “There’s a lid for every pot.”\u003c/p>\n\u003chr>\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>‘Zillow Gone Wild’ premiered on HGTV on May 3 at 7:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957264/zillow-gone-wild-hgtv-review-jack-mcbrayer-fun-home-listings","authors":["byline_arts_13957264"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_3945","arts_21952"],"affiliates":["arts_137"],"featImg":"arts_13957265","label":"arts_140"},"arts_13956954":{"type":"posts","id":"arts_13956954","meta":{"index":"posts_1591205157","site":"arts","id":"13956954","score":null,"sort":[1714586439000]},"guestAuthors":[{"ID":"13818453","displayName":"Sidney Madden","firstName":"Sidney","lastName":"Madden","userLogin":"sidney-madden","userEmail":"","linkedAccount":"","website":"https://www.npr.org/people/565465074/sidney-madden","description":"","userNicename":"sidney-madden","type":"guest-author","nickname":""}],"slug":"kendrick-lamar-drake-beef-euphoria-push-ups-like-that","title":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","publishDate":1714586439,"format":"standard","headTitle":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/arts/13912853/kendrick-lamar-morale-big-steppers-artistic-revision\">Kendrick Lamar\u003c/a> just reminded us there’s no substitute for real emotion in rap beef.\u003c/p>\n\u003cp>On April 30, the LA rapper released his response in the ongoing feud between himself and \u003ca href=\"https://www.kqed.org/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album\">Drake\u003c/a>, by dropping a six-minute diatribe aimed at Drizzy as a rap artist and, more importantly, as an assassination of his character on a human level.\u003c/p>\n\u003cp>“Euphoria” not only references Drake’s involvement with the MAX hit drama of the same name but also expresses the level of elation Lamar likely feels in finally getting these things off his chest. Lamar’s song is the latest plot point in the timeline of hostility between the two rap titans considered to be part of hip-hop millennial Mount Rushmore. This is a timeline that \u003ca href=\"https://www.billboard.com/lists/drake-kendrick-lamar-beef-timeline/\">goes back over a decade\u003c/a> and was recently reignited in the beginning of 2024 with a storm of messy diss tracks — both authentic and artificial.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NPqDIwWMtxg\u003c/p>\n\u003cp>On the first verse, Lamar uses a calm, cool yet sinister delivery: “Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But pretty quickly, his rhymes erupt into tunnel-visioned, blood-boiling disgust on the deepest level. Lamar accuses Drake of being an inadequate father to his son, mocks his Toronto slang, jeers at his rumored plastic surgery, alludes to him being a snitch, calls back to past beefs Drake has remained mum about and even comes for Drake’s whole identity, questioning his Blackness. These lyrical shots, while definitely disrespectful, really are not anything too explosive. In fact, these are accusations rap fans have heard before about Drizzy via disses by Rick Ross, \u003ca href=\"https://www.kqed.org/arts/tag/megan-thee-stallion\">Megan Thee Stallion\u003c/a> and Pusha T. But at 3:10, K.Dot breaks his usual poetic form to list out every detail about the streaming-era star he just simply cannot stand:\u003c/p>\n\u003cblockquote>\u003cp>I hate the way that you walk, the way that you talk\u003cbr>\nI hate the way that you dress\u003cbr>\nI hate the way that you sneak diss\u003cbr>\nIf I catch a flight it’s gonna be direct\u003cbr>\nWe hate the b****** you f*** because they confuse themselves for real women\u003cbr>\nNotice I say, “We”\u003cbr>\nIt’s not just me; I’m what the culture feeling\u003c/p>\u003c/blockquote>\n\u003cp>Deployed in rapid succession, this caliber of a callout is so visceral and real that it’s exactly what’s been missing in this rap beef. To rap fandoms and music critics alike, so much of this high-profile hip-hop clash has just felt off\u003cem>. \u003c/em>Synthetic, gummy, uninspired. In the age of artificial \u003cem>everything\u003c/em>, even the war of words between Kendrick Lamar, J. Cole and Drake (plus a few others along the way) has been marked by its detachment from the whole artistic premise of a rap beef — to show off your skills, up the ante and embarrass your opp into submission.\u003c/p>\n\u003cp>[aside postid='arts_13955802']It’s been a month (March 26) since Lamar threw the first stone in the long-brewing beef with his sub on the Future and Metro Boomin track “\u003ca href=\"https://www.youtube.com/watch?v=N9bKBAA22Go\">Like That\u003c/a>“: “Motherf*** the big three, n****, it’s just big me.”\u003c/p>\n\u003cp>After J. Cole dropped the track “\u003ca href=\"https://www.youtube.com/watch?v=5KRMLBh3-N4\">7 Minute Drill\u003c/a>” on April 5 in response to “Like That,” Cole rescinded his diss and announced publicly that he was bowing out of the beef completely while onstage at his label’s annual Dreamville Fest because, point blank, Cole’s heart wasn’t in it.\u003c/p>\n\u003cp>On April 19, Drake finally unleashed his official response to Lamar with “\u003ca href=\"https://www.youtube.com/watch?v=HKH9p19PRLA\">Push Ups\u003c/a>,” coming at Lamar’s past pop-leaning features, his “pip-squeak” stature, mocking TDE’s tour sales and even name-checking “Like That” producer Metro Boomin in the process. But the way “Push Ups” was rolled out created a new frontier of Internet Age confusion among rap fans. When it first dropped, some assumed the low quality, online leak was an AI-generated facade and not Drake himself. The legitimacy of “Push Ups” was confirmed by live streamer DJ Akademiks and eventually hit DSPs, but this disorientation created an added layer of internet chatter, one Drake could capitalize on. Proving he was taking cues from social media timelines, Drake doubled down on his response to Lamar with another track, “Taylor Made Freestyle” just a few days later. Only this time, he started off the song with AI-generated verses from the late \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a> and the very alive \u003ca href=\"https://www.kqed.org/pop/tag/snoop-dogg\">Snoop Dogg\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13912853']The attempt to irk Lamar with manipulated voices of two West Coast legends was a uniquely 2024-type of move, but ultimately, it undercut any potency of the song. The Shakur estate issued a cease and desist to the Toronto rapper for “\u003ca href=\"https://variety.com/2024/music/news/drake-removes-taylor-made-freestyle-tupac-shakur-lawsuit-1235983577/\">unauthorized use of Tupac’s voice and personality\u003c/a>” and the track was promptly taken down from social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Firing back with a track that’s as savage and emotional as “Euphoria” on a random Tuesday morning via YouTube is considered an old-school energy in today’s era of infinite distribution avenues and a conversation-driving chess move that leads back to one source. This record drips with levels of seething, petty hatred for Drake that’s clearly been on K.Dot’s heart for years. At its core, “Euphoria” is fueled with begrudged, tired, emotional baggage from K.Dot that’s only gotten heavier with time and can’t be mimicked or manufactured. It’s free of gimmicks, media personalities, gatekeeping or ChatGPT. This beef is over or it’s just getting started. For real this time.\u003c/p>\n\n","blocks":[],"excerpt":"Lamar’s new Drake-bashing track is so visceral and real that it’s exactly what’s been missing in this rap beef.","status":"publish","parent":0,"modified":1714670802,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":994},"headData":{"title":"Kendrick Lamar’s ‘Euphoria’ Is Six Minutes of Pure Venom | KQED","description":"Lamar’s new Drake-bashing track is so visceral and real that it’s exactly what’s been missing in this rap beef.","ogTitle":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","ogDescription":"","ogImgId":"","twTitle":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","twDescription":"","twImgId":"","socialTitle":"Kendrick Lamar’s ‘Euphoria’ Is Six Minutes of Pure Venom %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it","datePublished":"2024-05-01T18:00:39.000Z","dateModified":"2024-05-02T17:26:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Sidney Madden, NPR","nprStoryId":"1248232222","nprHtmlLink":"https://www.npr.org/2024/04/30/1248232222/kendrick-lamar-euphoria-drake-rap-beef","nprRetrievedStory":"1","nprPubDate":"2024-04-30T16:48:46-04:00","nprStoryDate":"2024-04-30T16:48:46-04:00","nprLastModifiedDate":"2024-04-30T16:48:46-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956954/kendrick-lamar-drake-beef-euphoria-push-ups-like-that","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13912853/kendrick-lamar-morale-big-steppers-artistic-revision\">Kendrick Lamar\u003c/a> just reminded us there’s no substitute for real emotion in rap beef.\u003c/p>\n\u003cp>On April 30, the LA rapper released his response in the ongoing feud between himself and \u003ca href=\"https://www.kqed.org/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album\">Drake\u003c/a>, by dropping a six-minute diatribe aimed at Drizzy as a rap artist and, more importantly, as an assassination of his character on a human level.\u003c/p>\n\u003cp>“Euphoria” not only references Drake’s involvement with the MAX hit drama of the same name but also expresses the level of elation Lamar likely feels in finally getting these things off his chest. Lamar’s song is the latest plot point in the timeline of hostility between the two rap titans considered to be part of hip-hop millennial Mount Rushmore. This is a timeline that \u003ca href=\"https://www.billboard.com/lists/drake-kendrick-lamar-beef-timeline/\">goes back over a decade\u003c/a> and was recently reignited in the beginning of 2024 with a storm of messy diss tracks — both authentic and artificial.\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/NPqDIwWMtxg'\n title='//www.youtube.com/embed/NPqDIwWMtxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the first verse, Lamar uses a calm, cool yet sinister delivery: “Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”\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>But pretty quickly, his rhymes erupt into tunnel-visioned, blood-boiling disgust on the deepest level. Lamar accuses Drake of being an inadequate father to his son, mocks his Toronto slang, jeers at his rumored plastic surgery, alludes to him being a snitch, calls back to past beefs Drake has remained mum about and even comes for Drake’s whole identity, questioning his Blackness. These lyrical shots, while definitely disrespectful, really are not anything too explosive. In fact, these are accusations rap fans have heard before about Drizzy via disses by Rick Ross, \u003ca href=\"https://www.kqed.org/arts/tag/megan-thee-stallion\">Megan Thee Stallion\u003c/a> and Pusha T. But at 3:10, K.Dot breaks his usual poetic form to list out every detail about the streaming-era star he just simply cannot stand:\u003c/p>\n\u003cblockquote>\u003cp>I hate the way that you walk, the way that you talk\u003cbr>\nI hate the way that you dress\u003cbr>\nI hate the way that you sneak diss\u003cbr>\nIf I catch a flight it’s gonna be direct\u003cbr>\nWe hate the b****** you f*** because they confuse themselves for real women\u003cbr>\nNotice I say, “We”\u003cbr>\nIt’s not just me; I’m what the culture feeling\u003c/p>\u003c/blockquote>\n\u003cp>Deployed in rapid succession, this caliber of a callout is so visceral and real that it’s exactly what’s been missing in this rap beef. To rap fandoms and music critics alike, so much of this high-profile hip-hop clash has just felt off\u003cem>. \u003c/em>Synthetic, gummy, uninspired. In the age of artificial \u003cem>everything\u003c/em>, even the war of words between Kendrick Lamar, J. Cole and Drake (plus a few others along the way) has been marked by its detachment from the whole artistic premise of a rap beef — to show off your skills, up the ante and embarrass your opp into submission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955802","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s been a month (March 26) since Lamar threw the first stone in the long-brewing beef with his sub on the Future and Metro Boomin track “\u003ca href=\"https://www.youtube.com/watch?v=N9bKBAA22Go\">Like That\u003c/a>“: “Motherf*** the big three, n****, it’s just big me.”\u003c/p>\n\u003cp>After J. Cole dropped the track “\u003ca href=\"https://www.youtube.com/watch?v=5KRMLBh3-N4\">7 Minute Drill\u003c/a>” on April 5 in response to “Like That,” Cole rescinded his diss and announced publicly that he was bowing out of the beef completely while onstage at his label’s annual Dreamville Fest because, point blank, Cole’s heart wasn’t in it.\u003c/p>\n\u003cp>On April 19, Drake finally unleashed his official response to Lamar with “\u003ca href=\"https://www.youtube.com/watch?v=HKH9p19PRLA\">Push Ups\u003c/a>,” coming at Lamar’s past pop-leaning features, his “pip-squeak” stature, mocking TDE’s tour sales and even name-checking “Like That” producer Metro Boomin in the process. But the way “Push Ups” was rolled out created a new frontier of Internet Age confusion among rap fans. When it first dropped, some assumed the low quality, online leak was an AI-generated facade and not Drake himself. The legitimacy of “Push Ups” was confirmed by live streamer DJ Akademiks and eventually hit DSPs, but this disorientation created an added layer of internet chatter, one Drake could capitalize on. Proving he was taking cues from social media timelines, Drake doubled down on his response to Lamar with another track, “Taylor Made Freestyle” just a few days later. Only this time, he started off the song with AI-generated verses from the late \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a> and the very alive \u003ca href=\"https://www.kqed.org/pop/tag/snoop-dogg\">Snoop Dogg\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13912853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The attempt to irk Lamar with manipulated voices of two West Coast legends was a uniquely 2024-type of move, but ultimately, it undercut any potency of the song. The Shakur estate issued a cease and desist to the Toronto rapper for “\u003ca href=\"https://variety.com/2024/music/news/drake-removes-taylor-made-freestyle-tupac-shakur-lawsuit-1235983577/\">unauthorized use of Tupac’s voice and personality\u003c/a>” and the track was promptly taken down from social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Firing back with a track that’s as savage and emotional as “Euphoria” on a random Tuesday morning via YouTube is considered an old-school energy in today’s era of infinite distribution avenues and a conversation-driving chess move that leads back to one source. This record drips with levels of seething, petty hatred for Drake that’s clearly been on K.Dot’s heart for years. At its core, “Euphoria” is fueled with begrudged, tired, emotional baggage from K.Dot that’s only gotten heavier with time and can’t be mimicked or manufactured. It’s free of gimmicks, media personalities, gatekeeping or ChatGPT. This beef is over or it’s just getting started. For real this time.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956954/kendrick-lamar-drake-beef-euphoria-push-ups-like-that","authors":["byline_arts_13956954"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_6117","arts_831","arts_1774"],"affiliates":["arts_137"],"featImg":"arts_13956955","label":"arts_137"},"arts_13956944":{"type":"posts","id":"arts_13956944","meta":{"index":"posts_1591205157","site":"arts","id":"13956944","score":null,"sort":[1714585450000]},"guestAuthors":[],"slug":"the-veil-fx-hulu-review-elisabeth-moss-spy-thriller-tv-series","title":"Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’","publishDate":1714585450,"format":"standard","headTitle":"Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The new FX on Hulu series \u003cem>The Veil\u003c/em> is a spy show about several different spy agencies — from the United States, England and France — all after the same goal. They want to discover the details of a suspected new Sept. 11-type terrorist plot, reportedly emanating from the Middle East, and stop it before it happens.\u003c/p>\n\u003cp>Sometimes these organizations work together — sometimes they work against one another. But throughout, the agent who is most crucial to cracking the case is a British superspy temporarily going under the name of Imogen. She’s played by \u003ca href=\"https://www.npr.org/2013/07/03/198032876/elisabeth-moss-from-naif-to-player-on-tvs-mad-men\">Elisabeth Moss\u003c/a>, of \u003ca href=\"https://www.npr.org/2013/04/25/178832854/matthew-weiner-on-mad-men-and-meaning\">\u003cem>Mad Men\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem> The Handmaid’s Tale\u003c/em>\u003c/a>, and by the end of the six episodes of \u003cem>The Veil, \u003c/em>I was convinced that this is Moss’ best role, and best performance, yet. She’s amazing.\u003c/p>\n\u003cp>[aside postid='arts_13956676']As a secret agent, Imogen has plenty of secrets of her own, which unfold slowly as the miniseries progresses. She’s a damaged soul with a haunted past — which, for her latest mission, turns out to be a valuable asset. She’s been charged to locate and befriend a woman who recently surfaced in a refugee camp on the Syrian and Turkish border.\u003c/p>\n\u003cp>The woman, going by the name Adilah (Yumna Marwan), claims to be of Algerian descent, and from France — but several spy agencies suspect her of being the elusive mastermind behind the rumored imminent terrorist plot. Imogen’s mission is to locate Adilah, who is held under guard at the camp after being attacked and stabbed by other refugees. Imogen offers to help Adilah escape, while getting close enough to try to ascertain her true identity, motives and target.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GGMmFC_GpXc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The terrorist Imogen is hunting is known as Djinn al Raqqa — in folklore, a shape-shifting genie who can assume any form. Is Adilah actually Djinn al Raqqa hiding in plain sight? Or is she as innocent as she claims? Imogen, a shapeshifter of sorts herself, uses all her spycraft skills to earn Adilah’s trust, by helping her in her quest to cross borders and return to Paris, where her young daughter awaits.\u003c/p>\n\u003cp>Their journey is fascinating, with each probing to learn the other’s secrets while protecting her own. It’s a bit like \u003ca href=\"https://www.npr.org/2020/04/27/845274696/whod-have-thought-we-d-be-watching-the-homeland-finale-to-de-stress\">\u003cem>Homeland \u003c/em>\u003c/a>where you, the viewer, are unsure of each character’s true motives. And as the two women go off the grid and spend time with each other, avoiding all the authorities trying to locate them, their relationship keeps deepening.\u003c/p>\n\u003cfigure id=\"attachment_13956950\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png\" alt=\"Two women peer out from behind a wall, looking for someone.\" width=\"1298\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-768x573.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Elisabeth Moss and Yumna Marwan are more alike than either initially suspect in ‘The Veil.’ \u003ccite>(Christine Tamalet/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, \u003cem>The Veil \u003c/em>is a bit like \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a>\u003cem>. \u003c/em>Except, sometimes, it’s more like \u003cem>Thelma v. Louise.\u003c/em> Both characters are delightfully unpredictable. In one scene, Imogen takes Adilah to a smuggler they hope will give them new passports and identities to get to Paris. Imogen’s plan is to have them pose as singers and belly dancers. But their proposed cover is at risk when the smuggler decides to test them a little by demanding that Adilah display her skills — which she does, leaving both Imogen and the smuggler suitably impressed.\u003c/p>\n\u003cp>[aside postid='arts_13955549']These two actors are incredibly nuanced and well-matched in these roles — captivating as adversaries, and even more so if and when they decide to become allies. The writer and creator of \u003cem>The Veil\u003c/em>, Steven Knight from \u003cem>Peaky Blinders \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale\">\u003cem>All the Light We Cannot See\u003c/em>\u003c/a>\u003cem>,\u003c/em> explores their relationship brilliantly. But he also keeps escalating the terrorist plot, and following the many agents and agencies trying to crack it. One special standout here is Josh Charles, from \u003cem>The Good Wife\u003c/em> and\u003cem> Sports Night,\u003c/em> who is cast as an aggressive CIA agent on French soil — an ugly American in Paris. He plays his part perfectly.\u003c/p>\n\u003cp>Even so,\u003cem> The Veil, \u003c/em>at its core, is the story of two shape-shifting survivors who are more alike than either of them suspected — and whose realization of that fact may, or may not, stop a horrifying terrorist attack. It’s quite a voyage — and quite a drama.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Veil’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In this thrilling FX/Hulu series, Moss plays a British spy on the trail of a woman who may or may not be a terrorist.","status":"publish","parent":0,"modified":1714665651,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":724},"headData":{"title":"‘The Veil’ Review: Elisabeth Moss Kills as a British Secret Agent | KQED","description":"In this thrilling FX/Hulu series, Moss plays a British spy on the trail of a woman who may or may not be a terrorist.","ogTitle":"Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’","ogDescription":"","ogImgId":"","twTitle":"Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’","twDescription":"","twImgId":"","socialTitle":"‘The Veil’ Review: Elisabeth Moss Kills as a British Secret Agent%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’","datePublished":"2024-05-01T17:44:10.000Z","dateModified":"2024-05-02T16:00:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"David Bianculli, NPR","nprStoryId":"1248099075","nprHtmlLink":"https://www.npr.org/2024/05/01/1248099075/the-veil-review-fx-elisabeth-moss","nprRetrievedStory":"1","nprPubDate":"2024-05-01T12:49:55-04:00","nprStoryDate":"2024-05-01T12:49:55-04:00","nprLastModifiedDate":"2024-05-01T12:49:55-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956944/the-veil-fx-hulu-review-elisabeth-moss-spy-thriller-tv-series","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new FX on Hulu series \u003cem>The Veil\u003c/em> is a spy show about several different spy agencies — from the United States, England and France — all after the same goal. They want to discover the details of a suspected new Sept. 11-type terrorist plot, reportedly emanating from the Middle East, and stop it before it happens.\u003c/p>\n\u003cp>Sometimes these organizations work together — sometimes they work against one another. But throughout, the agent who is most crucial to cracking the case is a British superspy temporarily going under the name of Imogen. She’s played by \u003ca href=\"https://www.npr.org/2013/07/03/198032876/elisabeth-moss-from-naif-to-player-on-tvs-mad-men\">Elisabeth Moss\u003c/a>, of \u003ca href=\"https://www.npr.org/2013/04/25/178832854/matthew-weiner-on-mad-men-and-meaning\">\u003cem>Mad Men\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem> The Handmaid’s Tale\u003c/em>\u003c/a>, and by the end of the six episodes of \u003cem>The Veil, \u003c/em>I was convinced that this is Moss’ best role, and best performance, yet. She’s amazing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956676","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As a secret agent, Imogen has plenty of secrets of her own, which unfold slowly as the miniseries progresses. She’s a damaged soul with a haunted past — which, for her latest mission, turns out to be a valuable asset. She’s been charged to locate and befriend a woman who recently surfaced in a refugee camp on the Syrian and Turkish border.\u003c/p>\n\u003cp>The woman, going by the name Adilah (Yumna Marwan), claims to be of Algerian descent, and from France — but several spy agencies suspect her of being the elusive mastermind behind the rumored imminent terrorist plot. Imogen’s mission is to locate Adilah, who is held under guard at the camp after being attacked and stabbed by other refugees. Imogen offers to help Adilah escape, while getting close enough to try to ascertain her true identity, motives and target.\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/GGMmFC_GpXc'\n title='//www.youtube.com/embed/GGMmFC_GpXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The terrorist Imogen is hunting is known as Djinn al Raqqa — in folklore, a shape-shifting genie who can assume any form. Is Adilah actually Djinn al Raqqa hiding in plain sight? Or is she as innocent as she claims? Imogen, a shapeshifter of sorts herself, uses all her spycraft skills to earn Adilah’s trust, by helping her in her quest to cross borders and return to Paris, where her young daughter awaits.\u003c/p>\n\u003cp>Their journey is fascinating, with each probing to learn the other’s secrets while protecting her own. It’s a bit like \u003ca href=\"https://www.npr.org/2020/04/27/845274696/whod-have-thought-we-d-be-watching-the-homeland-finale-to-de-stress\">\u003cem>Homeland \u003c/em>\u003c/a>where you, the viewer, are unsure of each character’s true motives. And as the two women go off the grid and spend time with each other, avoiding all the authorities trying to locate them, their relationship keeps deepening.\u003c/p>\n\u003cfigure id=\"attachment_13956950\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png\" alt=\"Two women peer out from behind a wall, looking for someone.\" width=\"1298\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-768x573.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Elisabeth Moss and Yumna Marwan are more alike than either initially suspect in ‘The Veil.’ \u003ccite>(Christine Tamalet/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, \u003cem>The Veil \u003c/em>is a bit like \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a>\u003cem>. \u003c/em>Except, sometimes, it’s more like \u003cem>Thelma v. Louise.\u003c/em> Both characters are delightfully unpredictable. In one scene, Imogen takes Adilah to a smuggler they hope will give them new passports and identities to get to Paris. Imogen’s plan is to have them pose as singers and belly dancers. But their proposed cover is at risk when the smuggler decides to test them a little by demanding that Adilah display her skills — which she does, leaving both Imogen and the smuggler suitably impressed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955549","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>These two actors are incredibly nuanced and well-matched in these roles — captivating as adversaries, and even more so if and when they decide to become allies. The writer and creator of \u003cem>The Veil\u003c/em>, Steven Knight from \u003cem>Peaky Blinders \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale\">\u003cem>All the Light We Cannot See\u003c/em>\u003c/a>\u003cem>,\u003c/em> explores their relationship brilliantly. But he also keeps escalating the terrorist plot, and following the many agents and agencies trying to crack it. One special standout here is Josh Charles, from \u003cem>The Good Wife\u003c/em> and\u003cem> Sports Night,\u003c/em> who is cast as an aggressive CIA agent on French soil — an ugly American in Paris. He plays his part perfectly.\u003c/p>\n\u003cp>Even so,\u003cem> The Veil, \u003c/em>at its core, is the story of two shape-shifting survivors who are more alike than either of them suspected — and whose realization of that fact may, or may not, stop a horrifying terrorist attack. It’s quite a voyage — and quite a drama.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Veil’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956944/the-veil-fx-hulu-review-elisabeth-moss-spy-thriller-tv-series","authors":["byline_arts_13956944"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_15246","arts_5234","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13956945","label":"arts_140"}},"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. 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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. 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