TERRY GROSS, HOST:

This is FRESH AIR. I’m Terry Gross. Brooke Shields is the subject of a new documentary on Hulu called “Pretty Baby” that has already become part of the larger conversation about the sexualization of children and young women. Her career started as a baby in soap commercials and print ads. She went on to become an actress, famous in part for her beauty. One of her most notable and controversial roles was in the 1978 movie “Pretty Baby,” in which, at the age of 12, she played a child prostitute. Brooke Shields talked about her life and career with our guest interviewer, Tonya Mosley, the host of the podcast Truth Be Told.

TONYA MOSLEY, BYLINE: There was a time when Brooke Shields was a household name, a cultural phenomenon. Even today, depending on how old you are, Shields doesn’t need much of an introduction. Most often, her starring role in the 1980s film “Blue Lagoon” or her Calvin Klein ads are enough.

(SOUNDBITE OF AD)

BROOKE SHIELDS: You want to know what comes between me and my Calvins? Nothing.

MOSLEY: But as the new documentary “Pretty Baby” explores, Shields’ early career was defined by a sexuality that both she and the world are still trying to understand. In this two-part series now on Hulu, director Lana Wilson peels back the layers of Shields’ story, examining the toxic culture and power structure that perpetuates misogyny and objectifies young girls. Brooke Shields has had a long career as a model, a Broadway, film and television actor. She’s authored several books and is the host of the podcast “Now What?”

Brooke Shields, welcome again to FRESH AIR.

SHIELDS: Oh, thank you very much for having me.

MOSLEY: Brooke, you started working at 11 months old. And, really, by the time you were a teenager, you were one of the most recognized children on the planet. How much awareness did you have about your fame?

SHIELDS: Because I never really knew life without it, it was just a part of my life being recognized. It started at such a young age that you just sort of – you never get really used to the feeling, but you get used to surveying an area, knowing when someone’s going to approach. You sort of get this – this other sense becomes very incited. And so it wasn’t about fame as much as it was just about recognition. And the minute you leave your apartment, you are in the world differently than many people are.

MOSLEY: In “Pretty Baby,” you were portrayed as a child prostitute, but you describe it as truly the only artistic film you think you’ve ever been in, even to this day.

SHIELDS: Yeah, I really – I value it so much more. I mean, every single detail in that movie was – in “Pretty Baby” was purely thought out and of the actual time. The research that went into all the wardrobe and the – we had one of the best cinematographers in the world and – you know, so the caliber of talent on that set and really putting the film together was just unlike anything that I’ve ever experienced again.

MOSLEY: Of course, because of the depiction of a child prostitute and you being the age that you were, that’s what made it so controversial for – at the time, in 1978. And it also was a time where you had your first onscreen kiss in the film. And I heard you say that it must have been harder, actually, for the adult male actor, Keith Carradine, than it was for you at the time. Did you even understand the weight of that kiss in the moment?

SHIELDS: No, I just was embarrassed that I didn’t know how to do it. You know, I had never kissed a boy before, you know? So it was one of those things where, I mean, I’d had a crush on a little model that I had worked with, and that was it. I mean, at 11, I didn’t know what I was doing. And so, you know, I kept scrunching up my face and I kept, like – you just don’t know what to do. And it’s funny because it’s such a non-kiss, you know? And it was funny because Louis made us stay together sort of and not move.

MOSLEY: Louis Malle, the director, yes.

SHIELDS: Louis Malle, yes. Made us just stay together and he kept saying, don’t pull apart. Don’t pull away. Don’t pull away. And I was just like, wow, really? Is this all it is, kissing? This is – OK. You know, when you’re 11, too, you don’t think of age difference. So, I mean, he was, I assume, much more aware but such a gentleman and so kind about it. You know, he didn’t want to scar me.

MOSLEY: I read that he said to you, this doesn’t count.

SHIELDS: Yeah. And it really – I thought it did. You know, you think so much about the first kiss, you know, what you’re going to have. And you talk about it with your girlfriends. And, you know, it was funny. We would have those, like, parties where whenever I went to go visit my sisters, they would, you know, five seconds in the closet or 10 seconds in the closet. And every time I got in the closet, I went, don’t even think about it.

MOSLEY: Don’t even think about kissing me (laughter).

SHIELDS: Don’t even think about it. I am certainly not going to have my first kiss in a closet in the dark while other people are waiting outside. I was like, the whole thing is just ridiculous and childish. And I found – I mean, I thought that way even when I was a kid, like, even younger. So this – that’s what – I didn’t want to ruin that. And he sensed that and, you know, had intuited that I had not kissed a boy before, you know. And so he knew that that’s what I was struggling with and how he figured that out, I don’t know. And it was one of the most generous gestures any actor has ever shown me and so kind and so in the moment and so sensitive that I never forgot it. And I’ve always been so thankful to him for that.

MOSLEY: You didn’t feel exploited or unsafe on that set of “Pretty Baby.” But there were instances in other films where you were coaxed in ways that kind of made you feel uncomfortable. There was this weird moment on the set of the 1981 movie “Endless Love” where the director, Franco Zeffirelli, was pinching your toes in order to get you – to get a certain reaction out of you.

SHIELDS: Yeah, he wanted some look of ecstasy or something on my face. And, you know, my first reaction was, how about directing? Here’s an idea.

MOSLEY: You were thinking that even at the time.

SHIELDS: Yeah. Wouldn’t you tell me – like, why – I had somebody once say – they had a coach on the set and I was – I think I was doing “Just You And Me, Kid” or something with George Burns. And he – the person said to me, OK, now you have to cry. So you have a horse, right? And I said, yes. And she said, so think about someone stabbing your horse. And I said, lady, look, if someone stabbed my horse, I would – the first thing I would do would not be cry. I would not cry. I would stab the person who stabbed my horse and then I would fix the horse. And then maybe I would cry. I said, that is the worst thing because I would have an instant look of anger and rage. And I don’t think anger and rage is what the director is looking for. I think he’s looking for sad.

And I just thought, God, can’t people come up with something a little more relatable and a bit more nuanced, you know, to talk you through something and give you an image rather than an image that’s going to possibly produce the antithesis of what is needed? I mean, I’m a very thoughtful kid who has a very good imagination, who is very emotive and, you could have come up with just a little bit – you should have spent a little more time with me, taking me aside and sort of guiding me through it, you know. The boys in those films were always so much more of a focal point because they were considered newcomers, you know? And they were both older, like…

MOSLEY: Your male co-stars. Yeah.

SHIELDS: …All my leading men were older. All my male co-stars were always older. And, you know, they should have been spending more time – you know, I know that in Louis Malle’s case, there was this – he didn’t want me schooled. He didn’t want me thinking of things. He really did just want to see me react in situations. And so that was very different. It was a very different film. But when it actually came to sort of practicality, directors weren’t – didn’t spend any time with me, you know? So I just – you know, the assumption is I look a certain way, so that’s enough. And I’m box office, so that’s enough.

MOSLEY: Yeah. How do you reconcile that? Are you angry about it today? Because just knowing what I know about you, you take your craft seriously. Do you think he would have gotten a better performance – they would have gotten a better performance out of you?

SHIELDS: I think they would have gotten a better performance. I think there’s a sort of thinness to a lot of my earlier – not “Pretty Baby.” I don’t know how Louis Malle ended up – but he would talk in stories, and he would just say stories, and he would get you to think of things. But he didn’t – he – you know, it was very, very different. You know, I don’t – it’s not anger. It’s just sort of missed-opportunity feelings. You know, I think a lot of the movies I made could have been better.

But then again, you know, I’d also have to say that it didn’t matter because I wanted to be liked more than I was worried about really delivering a master performance. Plus, I wanted to really ensure that there was no crossover into my own life. So I made faces, and I had – like, the minute the scene would be over, I would stick my tongue out, or I would just constantly break character because I didn’t want to – I wanted to remain my personal self at the same time. And, you know, that was a form of self-protection and preservation.

MOSLEY: That is really interesting, the two things you said there. One is you wanted to be liked. I think that’s something that a lot of women and young girls can understand. You go along with things because you want to be liked.

SHIELDS: Absolutely.

MOSLEY: But it also sounds like you had a sense of yourself, a really strong sense of yourself, as a young child wanting to make certain that you kept those parts of yourself that weren’t a part of show business. Where did that come from?

SHIELDS: You know, I think any – there was a lot of uncertainty and the unexpected in the way my mother and I lived our life. You know, at the drop of a hat, you were at a different location. Or, you know, she would be sober one minute, drunk the next. And so there was this sort of – there was always a sense of what’s going to happen next? And I think that going on to a movie set, the structure of it and the mechanics of it were so comforting to me because they were so predictable, and you could learn them, and you had a routine, and you had a call sheet, and you had rules, and you had lunchtime, and you had all of these different things that I just loved. And I think that losing myself in a character was scary to me because I was afraid I wouldn’t have any ground to go back to.

So I kept disassociating from all of it. You know, I just compartmentalized. And – you know, and I think that was just my way of keeping steady. And I don’t know how I knew that. I think it was instinctual. And I also think it has a lot to do with being a child of an alcoholic. You know, you get very, very controlling in what you can control because there’s so much you can’t control. And as a child, you know, you need to keep your loved one alive, and so it takes such precedence over everything that I – you know, I became, like, a neat freak and kind of OCD and really organized. And I kept my environment very controlled, you know?

MOSLEY: I want to talk more about your mother a little bit later. Let’s take a moment for a break. We’re talking to Brooke Shields, subject of a new documentary on Hulu titled “Pretty Baby,” which gives a long view of Shield’s career as an ’80s icon. This is FRESH AIR.

(SOUNDBITE OF THE ACORN’S “LOW GRAVITY”)

MOSLEY: This is FRESH AIR, and I’m Tonya Mosley. And if you’re just joining us, I’m talking with Brooke Shields, Broadway, film and television actor. She’s the author of several books and the host of “Now What?” – a podcast. We’re talking about the documentary on Hulu called “Pretty Baby,” which brings a fuller view of when Shields came of age in public.

I really am struck by this mechanism you used to protect yourself, to disassociate. I actually feel like I noticed it in some of those early interviews when these male journalists would be asking you really borderline or suggestive questions. You seemed aloof, almost unfazed. I want to play a clip of you being interviewed around the time of “Pretty Baby.” Let’s take a listen.

(SOUNDBITE OF ARCHIVED RECORDING)

MIKE DOUGLAS: How do you feel about all this fuss that’s being made over you?

SHIELDS: I think it’s kind of fun.

DOUGLAS: Do you?

SHIELDS: Yeah.

DOUGLAS: You’re enjoying it?

SHIELDS: Oh, yeah. I love it.

DOUGLAS: You really are an exquisite-looking young lady. I know you’ve been told that. But isn’t she a pretty girl?

(APPLAUSE)

MOSLEY: That was the interviewer Mike Douglas interviewing you back in the 1970s. And it feels so uncomfortable to listen to this. What goes through your mind when you look back at these kinds of interactions?

SHIELDS: After “Pretty Baby,” there was such a firestorm. You know, it was as if – ’cause I was away in Europe when the film won the Palme d’Or in Cannes. And when we came back to America, you know, Cannes – everything in France was celebrating us. And then we come back to America, and it’s just pitchforks and protests. And they were just – there were so much that I just shut down to all of it. And, you know, you just sit there in these interviews, and you’re just like, ugh, here we go again. They’re going to just – they’re going to say the same thing, ask the same question.

I always used to say, God, I wonder, Mom, if I were to play a murderer, would they – you know, would they be really worried that I was uncomfortable stabbing somebody and, you know, killing somebody and the blood? And, you know, it’s just – you know, I was more traumatized by my first movie where I was 9, and I had to get this prosthetic makeup on my face to look like I had been burned. It was a murder mystery. And I hadn’t seen the makeup. And then I looked in the mirror, and I looked like, you know, I had a big slice of pizza on my face. And I thought it was going to be, like, charcoal, like, you know, a chimney sweep, because I had seen “Mary Poppins,” you know? And all of a sudden, I had this – I was terrified. I looked in the mirror. And it’s so interesting to me that, you know, people never had a problem with me playing that character. Or they never – and I understand because sexuality is just such a trigger for especially the press. But it always struck me as ignorant.

MOSLEY: The funny thing is, watching the documentary and seeing these clips, one might think, oh, well, this is in the rearview mirror, the way that interviewers interview children. But then I recently saw a video where someone stitched together a series of interviews that reporters had done with Justin Bieber when he was a child. And some of the questions were so suggestive and inappropriate. And this was just a few years ago by comparison. Why do you think there is such a need to – maybe it’s not sexualize but adultify (ph), if that’s even a word, child stars? You dealt with it. We see this so much with young stars, especially if they’re considered, like, you know, showboats or the object of desire for young girls or boys.

SHIELDS: You know, asking Britney Spears if she’s a virgin, you know, you look at that, that wasn’t that long ago either. So I don’t think we’ve really come very far, to be honest. I don’t – you know, I think that we think because we’re able to speak out more that the situation is changing. And I don’t really see that much of a change. And they’re, most of the time, you know, mostly men. But there are so many interviews where I was interviewed by women who at one point, I was – God, I must have been 13. And this woman kept asking the same question over and over, just with different words. And I finally said, excuse me, ma’am. I said, but I don’t think you want my answer. And she went, whoa, whoa, whoa.

I said, I just – I keep answering it. And I keep trying to tell you that it’s my truth. But you keep asking the question, so I think you want a different answer. But I can’t give you a different answer because that’s not – I would be lying. That’s not my truth. And I thought, how the hell did I know enough or have the balls to say it to this woman, you know? I mean, Barbara Walters, on air, asked me to stand up to compare our figures because she asked me what my measurements were, as if I knew my waist in inches or centimeters, you know? I was 15. That’s – and these are women and purportedly mothers. And you just think, God, do you think you have to do that to be valid? That’s pretty depraved, if you ask me.

MOSLEY: I’m wondering how the sexualized depictions of you impacted your ability to take on other roles that didn’t portray you as an object of desire.

SHIELDS: They were hardly an option. I mean, you know, I did tilt in “Wanda Nevada” and “Just You And Me, Kid.” And those were real kid roles, you know, ate Butterfingers and drank Dr. Pepper and riding horses in the desert and rafting and, you know, got to play with musicians. And George Burns was my favorite. So I had my fair share of them. It’s just that people were less interested because that wasn’t what was selling. And it was easier for them to just keep me in that, you know, more exotic, sexualized because, you know, it had a direct value. And that value was monetary. So you know, I got it out of my system, you know? I got – and I did 24 Bob Hope shows, traveling all over the world and was Ms. USO. And, you know, so I had my fair share of it. It’s just that, they didn’t sell as much, you know, for the studios. And that’s just the way it was.

GROSS: That’s Brooke Shields speaking with our guest interviewer Tonya Mosley. Shields is the subject of a new documentary called “Pretty Baby” that’s streaming on Hulu. After a short break, Shields will talk about her friendship with Michael Jackson and her relationship with her mother, who was an alcoholic. I’m Terry Gross, and this is FRESH AIR.

(SOUNDBITE OF VIJAY IYER’S “HUMAN NATURE”)

GROSS: This is FRESH AIR. I’m Terry Gross, back with more of our interview with Brooke Shields. There’s a new documentary on Hulu about her career as a child model and actor and the sexual objectification she experienced in Hollywood as a teenager and young woman. She also became famous at the age of 12 when she played a child prostitute in the 1978 movie “Pretty Baby.” The documentary is also about Shields’ adult life. Brooke Shields spoke to our guest interviewer Tonya Mosley, host of the podcast Truth Be Told.

MOSLEY: Brooke, I want to talk with you about your mother, Teri Shields. You know, when you were younger, the media characterized your mother as a stage mom. And you – you’ve always said that that description is not entirely accurate. But your mother struggled with alcoholism. And I’ve heard you say something pretty powerful, that children of alcoholics learn at an early age how to navigate a situation, how to read a room, how to keep the person they love alive. Do you remember a moment or a time in your early life when you realized that that was the role you had to play to keep your mother safe?

SHIELDS: I mean, I think I’ve been playing – I was playing it since I could walk, you know? You just – the child is so intuitive to the mother, you know? They – the tone of a voice or the emotion – there’s just – there’s this crazy, crazy connection. And, I mean, I see it with my girls, and they read me immediately. And there’s this thing that happens if you’re a really – ostensibly, an only child with a certain parent. All I had to do was keep her alive because she was my source, you know? I was never without her and – except for when I’m at my dad’s. But we were always together.

And so I just grew up knowing that there were patterns and that she needed guidance. Like, she – I had to know where I could find her. I had to know where it was going to, you know, sort of turn into, oh, we’re going to be here another hour. I got to figure out how to get us out of here. And, you know – and so it just – you just intuitively start to do that. I don’t think I thought about it. But then it became my focal point because I was so afraid something was going to happen to her.

MOSLEY: Yeah. Your mom died of dementia in 2012, and you’ve written quite a bit about your mother. You wrote a memoir that details your relationship. You’ve gone to therapy, and now there is this documentary. What conclusions have you come to about the choices your mother made as it relates to your career?

SHIELDS: I think my mother’s choices for my career really didn’t have anything to do with a career. It had to do with, how do we get from this point to the next point? How do we keep her in the public eye? Because there’s power in that, and with that, our life can be better. You know, we can support ourselves. We don’t have to – she doesn’t have to rely on any, you know – I mean, she didn’t even get – ask for alimony. When they got divorced, my mother said, you do not pay me alimony. I will find a way to make money, but you put this kid through school. And – because she never went to school. She – he had to pay for my tuitions. And, you know, I was just born. So those were the kinds of things – she wanted me to be afforded a life that she never had. And that had to be comfortable, and there had to be travel and nice things and education.

And so I think her decisions for my life – making us stay in New York, never going to California to live, never taking the high school equivalency test, stopping work and going to college – like, all those things – and always having a friend with me – like, those were all protective, personal things. So I’m more thankful for the fact that I have a life than I am disappointed in the way she sort of handled the career. Because every time we went and did a movie, we had the best time ever.

MOSLEY: Brooke, I want to talk to you about Michael Jackson. You describe your relationship with MJ as a sweet and innocent one, and you spoke at his funeral in 2009. Let’s listen to a bit of your tribute.

(SOUNDBITE OF ARCHIVED RECORDING)

SHIELDS: We had a bond. And maybe it was because we both understood what it was like to be in the spotlight from a very, very young age. I used to tease him. And I’d say, you know, I started when I was 11 months old. You’re a slacker. You were – what? – 5? Both of us needed to be adults very early. But when we were together, we were two little kids having fun.

MOSLEY: It has been a long time since Michael Jackson died. What do you reflect on, these days, when you think about him?

SHIELDS: I just – I get sad because, you know, there was – there’s so much missed opportunity for him, you know? And he was so unhealthy. And his insecurity about the way he looked was so over – it was overriding, you know? And I think that that’s just sad. You know, it just – I feel bad because I think that, you know, I was fighting for a real normal life outside of all of it for so long. And I had – I really had a shot at it, you know? I really was not going to get pulled down or sucked into it. And, you know, he was such a genius. But the arrested development and the other part of him was just – were never taken care of.

And so I just feel – I look back with such pleasant memories and made him laugh all the time. I would say, hey, your shoes better have to have a party. You better have a party and invite your pants down. The pants are too short. What are you doing? Why do you have a Band-Aid on your finger? It’s just weird. Did you lose the other glove? I mean, come on. You know, and he would just – I just made fun of him. And so it would be – it’s just sad for me to see, like, he didn’t get to get what I got – you know? – what I made my – what I insisted I get.

MOSLEY: In your eulogy, you said that he could always count on you as a date. What do you think you represented for, Michael?

SHIELDS: He knew I was going to have my senses around, you know? He knew I was going to see who was coming, what was happening, who was doing this, where the picture was taking. Like, I had such this – it was like a caretaker kind of a thing. I just always said yes. He knew I’d be fun. He knew that somehow I would be grounding amidst the craziness. And it was always insanity. You know, these award shows and the mobs of people and, you know, the rocking of the cars, and, you know, it was just – and yet that was his entire life. You know, it was just his entire life. And, you know, I used to make him go to restaurants with me because I was like, you have to make yourself normal, and if people come over to the table, you can say, well, wait until we finish this meal, but right now we’re having a meal. And, you know, people would respect it. He’s like, how do you do that?

MOSLEY: You had to give him those types of pointers.

SHIELDS: Yeah, because no one was – he was a machine for that whole family, you know, and he was the main – main, main, main – reason and the breadwinner and the – you know, so they were protecting – you know, his mom was so sweet. I mean, his mom was the one who invited me to and asked me to speak at the memorial. And, you know, that always really sort of struck me. And, you know, the people that weren’t asked were, like, mad that I was one of the people that spoke. It was just so crazy. You know, people had such propriety about him. And he just knew that I didn’t want anything from him. I wasn’t really – I was not enamored with the Michael Jackson of – you know, I thought he was extraordinarily talented and loved all his music, but I wasn’t – I didn’t fan out over him. And I think that was just so – and I needed absolutely nothing from him. You know, and I think he just sensed it.

MOSLEY: He sensed it and needed it. But, you know, the insinuation was always there that it was romantic. But it wasn’t.

SHIELDS: It was the farthest thing from romantic. I mean, you know, there was one time when he grabbed me and kissed me and – when the cameras were, you know, clicking. And I was like, what are you doing? I was like, we eat candy together and watch movies, and I’m your sister. Like, don’t – you don’t – you need me as your friend. Find – you know, find it elsewhere. You don’t – it doesn’t have to be me. Like, you’re not going to lose me. So don’t ruin it. You know what I mean? And he was just – that wasn’t in his – you know, there was nothing there because we met when we were so young. We were just – we were each other’s sidekick, you know, in the mania.

MOSLEY: Yeah.

SHIELDS: Nobody wanted to believe it, of course.

MOSLEY: Let’s take a moment for a break. We’re talking with Brooke Shields, subject of a new documentary on Hulu titled “Pretty Baby,” which gives a long view of Shield’s career as an ’80s icon. This is FRESH AIR.

(SOUNDBITE OF PAQUITO D’RIVERA’S “CONTRADANZA”)

MOSLEY: This is FRESH AIR, and I’m Tonya Mosley. And if you’re just joining us, I’m talking to Brooke Shields, Broadway, film and television actor. She’s the author of several books and the host of “Now What?” – a podcast. We’re talking about the new documentary on Hulu called “Pretty Baby,” which brings a fuller view of when Shields came of age in public.

You hit a low point in your career after you graduated from Princeton, and you were looking for work. And you reveal in this documentary this bombshell that you were sexually assaulted by a Hollywood executive. First of all, I’m sorry that happened to you.

SHIELDS: Thank you. It’s very common.

MOSLEY: You didn’t tell anyone at the time. What kept you from reporting it then? And why was it important for you to share what happened now?

SHIELDS: It was absolute fear. It was fear that I would never work again. I was at such a low point in my career. And the person was so prominent, you know, in many different areas in entertainment. And I couldn’t afford it. I just – I was already at a low. And people weren’t ever believing anything I said. You know, it would have seemed like some desperate attempt at attention and pity. And no one would have believed me. They just – no one was believing anybody at that time. And then to be with – to have it be a powerful person was – I mean, the odds were going to be so against me. And, you know, nobody considers what it takes to go through a trial or the public scrutiny and then the victim shaming. And I was sort of shunned by Hollywood, and movies didn’t want me, and TV didn’t want me. And I just – I was way too scared and just wanted to block it all out.

MOSLEY: You’re not naming the person who did this, but you’re talking about it.

SHIELDS: I really needed to process it in my own way and on my own terms. And it took me years. But people don’t want victims to process their experience the way they need to or want to. They – we want to tell them how to do it. And then we want to point the finger, and we – and that’s not what I wanted to accomplish. You know, it was – it would have then become about him…

MOSLEY: Yeah.

SHIELDS: …Yet again.

MOSLEY: You know, I recently read this great article titled “I’m 45 And I Look My Age,” and in it, the author makes the case that we should feel good about all forms that our bodies take as we age. It made me wonder, as someone whose livelihood has often been dependent on your looks, how has that felt? Has it felt like a relief or unsettling?

SHIELDS: You know, it’s both. I mean, I can walk down the street with my 16-year-old, and I’m like, wait, what just happened? What just happened? You know, these guys were like, look at her, and I’ll be like, I’m going to cut your eyeballs out, dude. You better keep walking. Keep walking, you know. And it’s like – so there’s that one piece where you’re protective of your young, fresh, blooming beauty child, you know? And you’re just like, oh, my God. And then you’re also sort of like, hey, isn’t she beautiful? Isn’t she great?

MOSLEY: Right. Right. Yep.

SHIELDS: Isn’t she sweet and pretty and tall and gorgeous and amazing, amazing. And then you’re like, wait a minute. You did not look at me once. Just – you know, and you’re like, what the hell happened?

MOSLEY: Yep.

SHIELDS: So there is that, like, oh, is it – what’s happening to me? You know, nothing’s high as it was. And then there’s this just kind of reveling in it. It’s – you’re – it’s not as exhausting as it used to be. It’s not chasing youth. It’s really just trying to look and feel the best that I am because this 57-year-old body has really taken me through a lot and got me here.

MOSLEY: Yeah. Towards the end of the doc, we see you with your two daughters at the dinner table and your husband talking about “Pretty Baby,” the movie, and your – their thoughts about what you went through as a child actor. And your daughters – you’ve mentioned this – they were disturbed by some parts of your career. How, if at all, has your daughters’ perceptions of your early work changed your perception of what you went through?

SHIELDS: It really was eye-opening and kind of mind-boggling to me that conversation because we had no idea it was going to happen. They weren’t prompted. It wasn’t – and they had seen the film, and they had very different reactions to it. On the one hand, my older daughter said, this needs to be seen. This is going to help women, people. And my other daughter was just very disturbed, never wants to see it again. The fact that anything bad happened to her mom, the fact that I had a life that existed before being their mother was just too much for her to really reconcile. And so I had to – you know, I really have had to deal differently with each of them and have open conversations. But talking to them about it, what was so unbelievable to me is I didn’t feel the need to protect my mother anymore. And that – you know, even today, watching the film, I just – my heart aches for my mother. And, yes, it was such a better life than where she came from. But it could have – there could have been more for her.

MOSLEY: Brooke Shields, I really enjoyed this conversation. Thank you so much.

SHIELDS: Thank you very much for having me.

GROSS: Brooke Shields is the subject of the new documentary “Pretty Baby” that’s now streaming on Hulu. She spoke with our guest interviewer, Tonya Mosley, host of the podcast Truth Be Told. After we take a short break, Ken Tucker will review Lana Del Rey’s new album. This is FRESH AIR.

(SOUNDBITE OF JOHN CALE AND BRIAN ENO SONG, “SPINNING AWAY”)

Copyright © 2023 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

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An Indigo Girls concert on a foggy day in San Francisco at the Stern Grove Festival during Pride weekend. It seems almost too stereotypical to have the pioneering LGBTQ folk group perform just hours after the parade, but the sold-out crowd didn’t mind being part of an obvious Bay Area cliché.

“I will always love Amy (Ray) and Emily (Saliers) and they are like lesbian royalty at this point,” said Oakland’s Allison Goldberg, who is seeing the Indigo Girls for the seventh time.

“Today represents the best that San Francisco has to offer: breathtaking natural beauty and a culture where you don’t compromise on being yourself,” said Rachel Prensky-Pomeranz, fellow Indigo Girls fan, of Stern Grove Festival. The Indigo Girls were the second group to perform at the concert series that year. Big names like Patti Smith and the Flaming Lips are slated for later this summer. Too $hort and Phil Lesh of the Grateful Dead headlined the festival last year.

Singer-songwriter Neko Case opened the afternoon with her mix of folk and pop-inspired music. Case seemed in awe of the opportunity to open for the Indigo Girls.

“I’m going to cry a lot today,” Case told the crowd.

The atmosphere didn’t collapse between the start and the headliners. Festival resident DJ LadyRyan kept the energy high with tracks ranging from AC/DC to Prince to Shania Twain.

Fans enjoy the Indigo Girls concert at the Stern Grove Festival on Sunday, June 25 in San Francisco.

Paige K. Parsons / Stern Grove Festival

The crowd was just as enthusiastic as at other Pride weekend events, but perhaps a little less rowdy. A group of concert-goers were seen shooting LaCroix cans before the Indigo Girls moved on – full of hangover-free thrills.

The Indigo Girls set lasted just over an hour. During the performance, they mixed their biggest hits, many of which have become campfire hits, like “Least Complicated” and “Power of Two,” with newer tracks from their latest album and a superb cover of Dire Meerenge’s “Romeo and Juliet.” .

A huge crowd at @sterngrovefest was able to watch the Indigo Girls on Sunday afternoon. pic.twitter.com/mYlVcpvXh4

— Gabe Lehman (@lehmanga) June 26, 2023

“It’s great to be in San Francisco, especially during Pride Month,” Emily Saliers said toward the end of the show. “It’s an incredible experience, something to remember fondly.”

The performance, like the rest of the day, was mostly cheerful, but the band also used their platform to comment on current political issues.

“Send this to all the school librarians where they ban books,” Amy Ray said, most likely a reference to numerous “Don’t Say Gay” efforts across the country.

Amy Ray and Emily Saliers of the Indigo Girls perform at the Stern Grove Festival in San Francisco on Sunday, June 25th.

Paige K. Parsons / Stern Grove Festival

The Indigo Girls closed with three of their most famous songs: “Galileo”, “Go” and finally “Closer to Fine” to which the amphitheater audience sang along, many with tears in their eyes.

“Stern Grove Festival is a true Bay Area gem. Growing up, I used to go there as a kid and [I] “They took for granted both the beauty of the park and the sense of community it fostered,” said Prensky-Pomeranz, who grew up within walking distance of the amphitheater. “Coming back as an adult for the first time, I now know that this type of experience doesn’t happen in every city.”

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SAN FRANCISCO (AP) — A man has been arrested in Colorado on suspicion of killing a teenage girl in San Francisco more than four decades ago.

San Francisco police say 76-year-old Mark Personette was arrested this week in connection with the 1978 death of Marissa Harvey.

The 15-year-old girl from New York was visiting the city when her body was found in a park.

Marissa Harvey, shown in this family photo, was visiting San Francisco when she was killed in 1978.(Source: San Francisco PD/KUSA/CNN)

Police said detectives used the best available technology at the time and exhausted every lead, but the probe went cold.

In October 2020, they reopened the case and determined Personette to be a suspect using “advanced investigative methods.”

Detectives say Personette may be a suspect in other unsolved homicides involving young women.

Copyright 2021 The Associated Press. All rights reserved.

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Jodi Raffa has been searching for a roommate for over a year. Her husband passed away five years ago, and compounding her loss was a 75% reduction in her household income.

The 76-year-old lives in a sunny three-bedroom, two-bathroom home overlooking a lake in a 55 and over community in Groveland, Fla. The sunsets from her back porch are “stunning.” However, the homeowners association fees just went up again and inflation has left her “flabbergasted.”

“I live on a very strict budget and am not able to indulge in any extras at all,” said Raffa, who worked in administrative jobs before she and her late husband retired in 2010. Raffa now views that move as a “hasty decision” in light of her financial circumstances. “I am a worrier and a planner so logic suggested getting a roommate.”

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When she takes out ads specifying women over 55, she gets responses mostly from men in their 60s or adults in their 20s, 30s, or 40s. Raffa hopes for an easier way to find and vet potential sharers of her home. “I’m very frustrated,” she said.

Like so many boomers, Raffa wants to continue to live in her house and find a job working remotely, either in data entry or editing. Faced with escalating home prices and rents in tight housing markets, as well as careers or earnings curtailed by age or the pandemic, some boomers are looking to share their homes. Enter the boommates.

“With the boomers aging, you see higher and higher numbers in shared housing,” said Rodney Harrell, vice president of family, home and community at AARP, pointing out that boomers are more open than previous generations to trying alternative solutions to the traditional aging trajectory.

In a 1987 interview with NPR, the late Betty White noted that the four women who lived together in “The Golden Girls” did so for social reasons rather than financial necessity. “All that I think we have accomplished is to show that there is an alternative lifestyle,” White told “Fresh Air” about the success of the show. “If you notice, ‘The Golden Girls’ are not together for economic reasons. They’re together for sociological reasons. It fights the loneliness.”

Four decades later, the idea of ​​housemates late into adulthood is experiencing a revival, but with financial factors front and center. As boomers live longer and retire without the financial safety net of employer-sponsored pensions, covering the rising costs of food, housing and insurance become major considerations. Linda Hoffman, founder of the New York Foundation for Senior Citizens, which runs a home sharing program, noted an increasing amount of applications as finances become more of a stressor.

“When we started the home sharing program in 1981, relieving feelings of isolation and loneliness was the primary need,” Hoffman said. “Now, an affordable place to live is the number one need. Hosts need help in meeting their housing expenses.” Even for housemates who entered into the arrangement for social reasons, the extra money has become more important as their financial picture changed with the pandemic.

Debbi Campbell, 70, a retired copywriter, met Loretta Halter, a retired manager from the Kroger grocery chain, in 2018 at a Czech cultural event in New York City. Campbell was grieving the loss of her live-in boyfriend of almost 20 years to cancer. Halter had moved to New York City from Appling, Ga., several years earlier. She had used the NYFSC home sharing program earlier to find affordable apartment but was unhappy in her situation, which is when she decided to become housemates with Campbell.

The two went through the NYFSC program to handle the background checks, vetting and administrative details before Halter moved into Campbell’s rent-stabilized one-bedroom apartment in Greenwich Village. Before the pandemic, the two lived somewhat separate lives. Campbell lived mostly in the bedroom and Halter lived mostly in the living room. But when the city shut down they developed a strong friendship.

“First, we started with the crossword and the jigsaw puzzles, and the TV, and it turned out well,” Campbell said. The ease of the later-in-life roommate-as-friend experience surprised her. “I mean, I’m one of those people who’s spent a good time of my life in therapy, mostly complaining about people I knew.”

After initially being furloughed from her job as a long-term temp at the Department of Education in March 2020, Campbell retired in October 2020, at 68, more than a year earlier than she expected. She also opted to take Social Security benefits at that time, instead of waiting until 70 as she had planned.

“I had not been desperate over money, but having a pandemic come, suddenly you have company where you wouldn’t have. And suddenly there is extra money for you from home sharing, which I wouldn’t have had. It was just a bonanza. I feel like the luckiest person of the pandemic,” she said.

While the dozen home sharers interviewed for this story insisted their parents would have found the idea outlandish, having housemates later in life seems to be finding more acceptance. In 2021, 70% of adults over 50 reported being open to sharing their home with a family member who was not a spouse, 51% said they would be willing to share with a friend, and 6% would share a home with a stranger, according to a survey from AARP. Of those who reported they would not share their home at all, 23% said they would change their mind if they needed extra income.

“The majority of people considering home sharing with a friend or family member tells me that there’s an opportunity there for more people to take advantage of that excess housing stock that we already have within our own homes, and that perhaps meet your needs, and those of a friend or neighbor,” Harrell said. “Or maybe companionship that may help with costs, such as caregiving. There’s just so much advantage there. And we’re just not necessarily taking advantage of it. It’s nowhere near its potential.”

The growing interest in home sharing, especially for those boomers who are house-rich and cash-poor in expensive housing markets, is being cultivated by nonprofit and commercial programs as well as municipalities. Since 2015, New York, Seattle, Denver, Tucson, northern California and the metro Washington area all have or are launching programs.

“From what we’ve seen, attitudes are loosening toward home sharing,” Riley Gibson, president of Denver-based home sharing service Silvernest, which pairs older adults with housemates. The service is particularly active in tighter housing markets such as San Francisco, Phoenix, Tampa, Miami and Los Angeles. Silvernest recently partnered with Montgomery County in Maryland to start a pilot program and plans to launch in a few more cities later this year.

Renters and homeowners can fill out profiles on the site, which supports services including lease templates, insurance and background checks. A similar service, Boston-based Nesterly, matches older adults with younger ones to promote intergenerational home shares. Senior Homeshares, another service, has enrolled nearly 70,000 members across the country since its inception in 2015.

Even before the pandemic, demographics were shifting toward nonfamily households. In 1960, 85% of households were composed of families, according to the Population Reference Bureau. By 2017, that figure had fallen to 65% of households.

As Americans continue to age, Harrell and others expect growing demand for more housing options. “As a society, we’ve been building and thinking about younger families and building housing and communities for younger people,” he said.

“But that need has been shifting as community leaders, builders and designers” are “starting to think more and more about what happens to us as we age. And covid has given momentum to those conversations,” Harrell said.

For Kim Bolding, 61, home sharing enabled her to stay in the five-bedroom Colorado Springs home where she had raised her biological, adopted and foster children after being diagnosed with a form of muscular dystrophy in 2012.

Bolding, a former social worker, was able to keep working from home until 2017. But after she was forced to go on Social Security disability, the payments weren’t enough to keep up with her housing costs. “I did not want to have to go into just affiliate-type living. I wanted to keep my home,” she said.

First, a longtime neighbor moved downstairs, where he could have his own bathroom. With the help of Denver-based nonprofit Sunshine Home Share Colorado, Bolding found two more housemates. Since then, she has mostly lived with three other housemates at a time: two men on one floor sharing a bathroom and a woman on her floor. “It’s allowing me to be able to maintain my own individuality. I can say what I want when I set my own needs and rules,” she said.

All of the housemates are on disability, but collectively able to live independently. Bolding is able to host her adult children when they visit, but they don’t feel obligated to move in with her to manage her illness. Instead, she is building a new community with her housemates, holding regular dinners together.

“We run it like a family and we have space for others,” Bolding said. Having housemates is “a great alternative to being stuck in some place where you don’t have a lot of choices: who your neighbors are, who you interact with, or you lose a lot of autonomy and that’s part of the problem with aging, ” she added.

Bolding has already had several housemates who have moved out because of a change in their fortunes. Two have received government-subsidized housing, one has gotten married and another inherited a house and cars from an uncle who recently passed away. She thinks of her house as a harbinger of good luck and said she has received many calls asking for information or guidance on doing something similar.

“It’s becoming more and more popular, especially for my age group for people in similar situations. We need each other. We get blessed and they get blessed,” Bolding said.

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Two agencies in San Francisco that focus on women, girls and non-binary people are restructuring their relationship after almost 50 years of working together. Both expect the transition to be seamless and benefit both.

The Friends of the Commission on the Status of Women and the San Francisco Department on the Status of Women announced on November 8 that the Friends Group will no longer fund and support the work of the city council and its public oversight agency. Instead, the Friends Group would widen its focus to working with myriad organizations working to ensure equality for all women, girls and non-binary people.

“We are incredibly proud of the extensive work we have done together over the past 46 years and we will continue to work with the Commission and the Department in a new format that will better serve women and girls by focusing on whom and as we expand. ” distribute the funds we have raised, “said Verna Liza Antonio-Caba, director of the group of friends, in a press release announcing the restructuring.

In a telephone interview with the Bay Area reporter, Antonio-Caba said the decision was made amicably between the two organizations. The Friends Group is its own 501 (c) 3 community and has already launched its own programs, such as two upcoming trainings for women and non-binary individuals to learn how to negotiate with their employers about a raise or a better contract . According to the 2019 tax return, the company had revenue of approximately $ 74,000 that year.

“With a view to rebranding and redefining our mission, I hope to offer more services similar to salary negotiations,” said Antonio-Caba, a direct ally who has led the group of friends for the past five years.

Due to the changed relationship with the magistrate, the Freundeskreis is expected to agree on a new name sometime in 2022. It is unclear whether it will be broader than just using the term women.

“This was so new that the board had no chance to actually meet and find out what the new name will be,” said Antonio-Caba. “Most likely yes, we will have a new name in 2022.”

Antonio-Caba noted that providing services to transgender and non-binary people has been a focus of the group of friends for quite some time. When it was founded, these terms were not used

“It’s a 46-year-old organization and I would say that terminology has only become commonplace in the last few years,” she said.

The Friends Group was founded in 1975 when the city set up the Commission on the Status of Women. A few decades later, in 1994, the city’s voters passed a vote creating the Department of the Status of Women to carry out the work of the commission.

Last November, the Mayor of London Breed appointed progressive activist Kimberly Ellis as its new director. Ellis, former executive director of Emerge California, which trains women to run for office, tried unsuccessfully to become chairwoman of the California Democratic Party in 2017. It lost in a closely-split vote against Eric Bauman, a gay man who resigned in 2018 on charges of sexually molesting several party’s employees and younger male leaders.

Ellis took over the management of the city department a few months after Breed issued an executive order that obliged all city departments with external partner organizations to introduce uniform and stricter standards for their fundraising. It followed the federal corruption scandal involving the former head of the city’s public works department, who was accused of channeling bribes into an account owned by the nonprofit San Francisco Parks Alliance.

Part of the mayor’s directive required all city departments to formalize their relationships with a non-city organization that accepts donations on behalf of the department through letters of intent. The MOUs should be drawn up and approved by the offices of the public prosecutor’s office, the controller and, if applicable, the board or commission of the department.

Ellis told the BAR in a telephone interview that her department and circle of friends had concluded that it made no sense for her to enter into a letter of intent. Instead, the city council plans to reach an agreement with a foundation that will monitor its fundraising from outside sources.

“I want to reiterate that this was a decision made after much thought and research into the historical nature of both organizations,” Ellis said, adding that what worked between the two entities decades ago no longer is what they are today Development fits.

“Really, for us it came down to the incongruity in the structural nature of the relationship that led us to decide that we had to take a different direction by partnering with a foundation or company that was not only better structured, but better also “uniquely structured to meet the needs of a department like ours,” said Ellis.

According to their joint publication, the group of friends had given the city council a total of more than $ 260,000 in annual grants over the past 15 years. The fellowships were for specific purposes based on the department’s budgets and projections, with some funding the department’s fellowship program, including a full-time fellow with an emphasis on women’s economic security.

The department, Ellis said in the press release, owes the group of friends “thanks for their staunch support, and we congratulate them as they take this new direction, when their leadership is most needed.”

Ellis told the BAR, “We do not anticipate any negative impact on either side due to the change in the relationship between the two organizations”.

“We look forward to continuing to support the Friends in the development of their organization,” said Ellis. “We look forward to this new chapter for everyone involved.”

The department has a budget of $ 10 million for the current fiscal year and has distributed more than $ 8.5 million to local organizations over the past 18 years. Like the Friends Group, she and her commission provide services to women and girls of all ages, including those who identify as non-binary or transgender.

But it is not intended to change its name to be more expansive, said Ellis, who noted that this could be confusing as the city also has an office for transgender initiatives that reports directly to the mayor. Nonetheless, she pointed out that the department had become more inclusive in the terminology used.

For example, its website includes a statement that “all references to ‘women and girls’ include gender-expansive people (cis women and girls, trans women and girls, non-binary people, gender nonconforming people, gender-specific people, and all women or girls) . identified persons). “

“This is something I have come to be aware of during my tenure, since I have worked here in all aspects of the way we work to take the most comprehensive and inclusive approach to gender,” said Ellis.

Sophia Andary, a queer woman who sits on the commission, told the BAR that there was no need to change the official name of the city council or its regulator as trans women are women.

“Trans women are women’s time,” said Andary, co-founder of the Women’s March San Francisco. “There has to be a more inclusive language for the non-binary community so that they know where they belong. But that doesn’t have to be in the title. ”

To accommodate gender-specific involvement by the department and the commission, several members of the supervisory board, including Andary, have set up a working group to develop a mission statement that will outline how both institutions will provide services to women, girls and non-binary individuals independently their sexual orientation or gender identity. It would be in addition to the model of the two entities.

“You cannot summarize everything in one mission statement. I think a vision statement goes a little deeper, ”explains Andary. “It’s something that focuses on future goals, not just a general everyday thing, but more on getting us to that point.”

It is expected that the full commission will adopt the vision statement in the coming months.

To learn more about the Friends Group, visit their website.

You can find more information about the city office here.

Stay up to date with the latest LGBTQ political news by following the Political Notebook on Twitter @ http://twitter.com/politicalnotes

Do you have a tip about LGBTQ politics? Call Matthew S. Bajko at (415) 829-8836 or email m.bajko@ebar.com

The Political Notes column will appear on Monday, December 6th.

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OAKLAND (BCN) – According to a new report released on Wednesday by the Oakland-based nonprofit Alliance for Girls, girls and gender-specific teens collectively faced larger mental health barriers, more caring responsibilities and fewer resources during the pandemic.

Using mixed methods analysis to interview more than 1,200 girls across the state, the report found that isolation in the early stages of lockdown caused 66 percent of participants to be more stressed or anxious in various ways.

CONTINUE READING: PG&E: Power cut to all customers affected by the power cut to public safety by Thursday evening

About 44 percent of girls said they had more caregiving duties at home than they did before the pandemic, and 31 percent said those duties had a negative impact on their education, the report said.

About 30 percent of girls said they couldn’t get the educational support they needed, 12 percent said they didn’t have a safe place to live, and 15 percent said they didn’t have access to a caring adult during lockdown, according to in called the report.

The findings applied to the report’s analysts, many of whom are girls themselves. Alliance for Girls brought in 16-20 year old members from its Young Women Leadership Board, made up of young women willing to share their experiences in order to keep advocacy relevant.

For example, researcher and board member Uche Esomonu said she could refer to participants’ reports of increased household responsibilities.

“Many of us really understood the concerns expressed in the survey responses. I believe that we are best placed not only to evaluate the data we see, but also to collect recommendations and develop support programs that could help alleviate some of the challenges expressed in the survey responses were brought, ”said Esomonu.

Emma Mayerson, founding director of Alliance for Girls, said the pandemic was not bringing new inequalities, but worsening longstanding challenges for girls to thrive in an already fragile ecosystem.

“For too long we have silenced the voices of women, girls and gender-specific youth, and for too long we have relied on them to be on the front lines of crises, caring for our young, old and sick, and working twice as hard for less, all without making sure they get the support they need to not only survive but thrive, ”Mayerson said.

CONTINUE READING: Man stabbed to death in Fairfield; Suspect at large

This was particularly the case with girls in vulnerable populations, such as the pregnant and parental teenagers whom Sandra Flores, interim executive director of Teen Success, Inc., helps on a daily basis. Too often, these parents are overlooked by the school districts under normal conditions, and it’s important to reach out to them in order to do better in the future, she said.

“We cannot emphasize enough the isolation our members have experienced. There was a tremendous social and emotional impact on what was already happening, ”said Flores. “And if you were a young mother who was already struggling with childbirth, things got worse.”

Kendra Edwards, data and analytics manager at MISSEY Inc., an organization committed to protecting and caring for sexually exploited adolescents, said the needs of black and transgender girls must be specifically addressed in order to have an overall safe community a political level. From her work, she has seen that sexual exploitation is consistent with those who systemically lack adequate services or support.

“Girls tell us that health and wellbeing for them requires access to safe spaces and supportive adults, and that health is relational, that safety is related to belonging,” said Edwards. “And these definitions, these demands have to be made at a political level because we often don’t even think about mental health or safety. Our girls tell us that it has to be. ”

The report urges schools, policymakers and funders to put girls’ wellbeing at the center of planning for services and support.

Aimee Eng, school principal for the Oakland Unified School District, attended the report’s press conference Tuesday to discuss the report, and said the district’s partnership helped them respond and adapt to the needs of girls. For example, in an initial survey in Spring 2020, Alliance for Girls showed that girls in the district rely heavily on schools for menstrual products, and the district has stocked its food distribution locations across town with period products.

“Thanks to this report, we now have even more information that can help us take action to ensure we meet the needs of girls, especially girls of color and gender-specific youth, during this time,” said Eng.

MORE NEWS: UPDATE: Cache fire destroys dozens of homes, burns 80 acres in Lake County

© Copyright 2021 CBS Broadcasting Inc. and Bay City News Service. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

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The 43-year-old worked as a craftsman who was often hired to do odd jobs for his neighbors.

According to police, during one of these jobs, he lured two young girls, ages 7 and 8, to a remote area and touched them. They say it happened separately over the course of several days.

Moffett Mobilehome Park residents were surprised to hear that their neighbor has been arrested.

“I can’t believe it,” said neighbor Belinda Preseren. “I mean, he asked my son, ‘Do you believe in God?’ You know. He looked like he had the Lord’s love in his heart. “

According to the police, the two young girls are sisters who told their parents what happened. They do not live in the RV park, but visit their grandmother there regularly.

The arrest also came as a surprise to members of the Spanish Seventh-day Adventist Church in Mountain View. It is said that Palacios has been attending church services regularly for years.

“Anyone who ends every sentence with ‘God bless you’ is always a warning sign,” said Joe Lilley, manager of the Moffett mobile home park.

But others say they always had a strange feeling about Palacios. They are now grateful that their little ones didn’t get close to him.

“There were a 7-year-old and a 10-year-old girl and that bothers me because I have a 10-year-old granddaughter,” said neighbor Cassandra Lilley. “I wouldn’t like that at all and to know that he’s over there really bothers me.”

The police are asking the population to help identify other children who may have been victims of the suspect. Anyone with information can call Detective Jessica Nanez at (650) 903-6395 or leave an anonymous tip at (650) 961-5800.

Copyright © 2021 KGO-TV. All rights reserved.

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Given the end of athletics in the county, the Daily Journal decided to dive into our 20 year old archives to bring readers some of our favorite stories over the years.

JAN. 18, 2018 – Given that the South City girls’ soccer team dominated the rain-soaked game against Hillsdale, it was only fitting that the Warriors took an important win on Thursday night.

But the fact that South City took a bit of luck – good or bad, whichever side you chose – to get the 4-3 win shows how insane the game can be.

And it wasn’t what you’re probably thinking. Despite a steady drizzle throughout the game, varying in intensity, it wasn’t a crazy water-guided jump or an unexpected jump off the grass because of the wet artificial turf at Clifford Field on the South City campus.

South City’s ultimate goal was the result of hard work. Alex Jara, a second midfielder, ran onto a through pass in the direction of the right corner flag. She carried the ball to the end line before sending a cross in front of Hillsdale gate. A South City striker and Knights defender fell shoulder to shoulder on goal. Hillsdale defender attempted a risky clearance only to get in the back of her own net 11 minutes before the game was over.

It was the perfect example of hard work that made its own happiness. The warriors dominated possession and had by far the most dangerous chances. South City had a 14-6 lead on shots, nine of which were in the picture.

“My player was there (in front of goal),” said South City coach Salvador Navarro. “If she (the Hillsdale attorney) doesn’t use it, my girl was there.”

Jara had a big game for the Warriors, scoring two goals, assisting in a third and creating the own goal.

This closing balance was an exciting game in which the teams scored six goals in the first half. It was a pivotal win for the Warriors, who finished second in the Ocean Division of the Peninsula Athletic League on their own. Both South City (5-2 PAL Ocean) and Hillsdale (4-3) came in second, trying to keep up with Sequoia in first place (5-1 went into Half Moon Bay with 0-6 on Thursday Game). .

“I am fine [the loss]”Said Hillsdale trainer Rachel Lauderdale.” Given how wet it is, I’m fine [the result]. If they played like that when it was dry, that would be different. “

Although Hillsdale had to watch and defend most of the game, he took advantage of his opportunities. The Knights managed six shots on goal, half of which found the back of the net.

“Every time they had a chance they scored,” Navarro said of the Knights.

Hillsdale’s first chance came in the fourth minute and the Knights converted. The freshman wing Aaliyah Schinaman received a pass on the right flank and ran down the sideline for a long time. Before reaching the end line, she sent a flank to the front of the gate, where the South City goalkeeper got her hands on it.

But as it did with the slippery ball for both goalkeepers for most of the day, South City couldn’t correct it, and a ricochet trickled out in front of her – where freshman striker Kathleen Siu quickly put it in the net and Hillsdale with 1 : 0 brought the lead.

It was a short-lived benefit, however, when South City missed the subsequent kick-off and scored about a minute later. Jara received a pass in the top of the box, turned and equalized.

South City would keep the pressure up, with Jara dominating upstairs, receiving passes, turning and running past defenders, either shooting dangerous shots or making dangerous crosses.

And despite the Warriors’ strong possession game, they didn’t seem as affected by the wet field as Hillsdale. “We practice a lot of one-and-two-touch in training,” said Navarro. Hillsdale regained the lead in the 17th minute and scored his second goal with as many shots.

Second defensive midfielder Ekaterini Economou rose in the defensive half, came on a steal and pushed forward. In midfield, she sent a long diagonal pass to the right wing, which Shinaman chased for a long time. She gained possession of the ball, threw herself into goal and shot a perfectly placed shot into the left corner of the net to give Hillsdale a 2-1 advantage.

The warriors came back and tied it 2-0 in the 28th minute. Jara intercepted a Hillsdale pass deep in his own end. She then went around two defenders, carried to the finish line, and sent a cross back to the front of the gate, where Fernanda Ramirez waited and once fired a diverted shot into the net.

Twelve minutes before the end of the first half there was enough time for two more goals. Hillsdale took a 3-2 lead less than five minutes later. Shinaman, who fell back on the left full-back to slow Jara, won a ball on her defense and immediately sent second striker Alyssa Nicole Cano to a 1-1 breakaway. She calmly and skillfully beat the attacking goalkeeper on the far right.

Another five minutes later, the game was tied for the third time in the half. The Warriors received a free kick near midfield. Ariana Garcia found Jara with her back to the goal up in the Hillsdale penalty area. She turned and reconsidered her shot from 20 yards to end half-time in a 3-0 draw.

In the second half, Hillsdale made a formation adjustment to help the Knights better cope with the dominance in the South City midfield. It helped slow down the Warriors, who managed just four shots after firing 10 in the first 40 minutes.

“We switched from a 4-4-2 to a 4-5-1 (by throwing an extra player in midfield) to improve a little more (defensively),” said Lauderdale.

The starting goal came with 11 minutes of play time and the Knights exerted the most consistent offensive pressure in the game to find the balance. Shinaman looked good a few times in the last few minutes – but her first shot was saved and her second chance rolled off her foot as space opened in the South City penalty area.

“It was intense,” said Jara. “[The game] went back and forth, but we kept pushing for victory. “

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