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"content": "\u003cp>Henry Butler, a pianist, singer and cornerstone of the New Orleans sound, died of cancer Monday morning in the Bronx, New York. His death was confirmed by his agent, Maurice Montoya. Butler was 69 years old.\u003c/p>\n\u003cp>Born Sept. 21, 1948 in New Orleans, La., Butler was a prime force in the city’s piano tradition — gifted with an exuberant touch and a keen, razor-sharp musicality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=30&v=cRMfiAjKcfQ\u003c/p>\n\u003cp>Blind since birth, Butler grew up in the city’s Calliope Projects, and taught himself piano by ear. He went on to study classical music at the Louisiana State School for the Blind, where he memorized scores written in Braille and at Southern University, he majored in voice and minored in piano. He also studied with such exemplars of New Orleans piano as Professor Longhair and James Booker. \u003c/p>\n\u003cp>Musically, Butler was the heir to his birth city’s vital piano tradition, and he passed that tradition along. He taught across the United States and developed a summer \u003ca href=\"https://itvs.org/films/musics-gonna-get-you-through\">camp\u003c/a> for visually impaired teenage musicians. That program was depicted in a documentary film that aired on PBS stations in 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CI4qfIYKipA\u003c/p>\n\u003cp>Away from the piano, Butler was an enthusiastic photographer — shooting images of scenes described by friends — and pursued that passion for more than three decades, exhibiting his work around the world.\u003c/p>\n\u003cp>Butler’s piano and music collection, along with much of his other possessions, were ruined during Hurricane Katrina. He left his beloved city, and eventually resettled in Brooklyn. But home, in his heart and under his fingers, was always New Orleans.\u003c/p>\n\u003cp>Butler was diagnosed with advanced-stage cancer last year. All through his illness, however, he kept playing: This May and June, he performed in Beijing, Melbourne and New York, with tour dates scheduled in France and Vienna for later this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“His approach was, ‘I’m going to keep playing until this thing overtakes me,'” his agent, Maurice Montoya, tells NPR. “He was committed to the band, and to the music, and advocating for the art form. That’s who Henry is.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Orleans+Pianist+Henry+Butler+Dead+At+69&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Nile Rodgers, co-founder of the band Chic and a widely hailed producer, songwriter and guitarist, is adding one more feather to his ever-present cap: On Monday, the Songwriters Hall of Fame \u003ca href=\"https://www.songhall.org/news/view/nile_rodgers_elected_chairman_of_songwriters_hall_of_fame\">announced\u003c/a> that Rodgers has been named as its new chairman for a three-year term. He follows Philadelphia soul legends Kenneth Gamble and Leon Huff, who previously served as co-chairs.\u003c/p>\n\u003cp>In a statement, Rodgers said, “I will try and serve with all my heart. I hope I can make you half as proud of me as I am to even sit in the room with you who’ve done so much for the furtherance of composition.”\u003c/p>\n\u003cp>The Hall of Fame’s president and CEO, Linda Moran, noted in the same statement that Rodger’s broad experience made him an appealing candidate. “Nile is respected and admired by his fans and his peers alike for his multi/cross-genre music and for being a musical pioneer. More importantly, Nile’s eloquence in talking about songwriting and its process makes him the ideal voice for the songwriting community as chairman of the SHOF.”\u003c/p>\n\u003cp>Rodgers was himself inducted to the Songwriters Hall of Fame in 2016, and to the Rock & Roll Hall of Fame in 2017. Chic will be releasing its first new album in 25 years, \u003cem>It’s About Time\u003c/em>, on September 14.\u003c/p>\n\u003cp>In 2017, the organization \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/16/533200940/barack-obama-honors-jay-z-at-songwriters-hall-of-fame-gala\">inducted Jay-Z\u003c/a>, the first rapper to be recognized by the Hall. “I’m pretty sure I’m still the only President to listen to Jay-Z’s music in the Oval Office,” former President Barack Obama said in a pre-taped address. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nile+Rodgers+Named+Chairman+Of+Songwriters%27+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nile Rodgers, co-founder of the band Chic and a widely hailed producer, songwriter and guitarist, is adding one more feather to his ever-present cap: On Monday, the Songwriters Hall of Fame \u003ca href=\"https://www.songhall.org/news/view/nile_rodgers_elected_chairman_of_songwriters_hall_of_fame\">announced\u003c/a> that Rodgers has been named as its new chairman for a three-year term. He follows Philadelphia soul legends Kenneth Gamble and Leon Huff, who previously served as co-chairs.\u003c/p>\n\u003cp>In a statement, Rodgers said, “I will try and serve with all my heart. I hope I can make you half as proud of me as I am to even sit in the room with you who’ve done so much for the furtherance of composition.”\u003c/p>\n\u003cp>The Hall of Fame’s president and CEO, Linda Moran, noted in the same statement that Rodger’s broad experience made him an appealing candidate. “Nile is respected and admired by his fans and his peers alike for his multi/cross-genre music and for being a musical pioneer. More importantly, Nile’s eloquence in talking about songwriting and its process makes him the ideal voice for the songwriting community as chairman of the SHOF.”\u003c/p>\n\u003cp>Rodgers was himself inducted to the Songwriters Hall of Fame in 2016, and to the Rock & Roll Hall of Fame in 2017. Chic will be releasing its first new album in 25 years, \u003cem>It’s About Time\u003c/em>, on September 14.\u003c/p>\n\u003cp>In 2017, the organization \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/16/533200940/barack-obama-honors-jay-z-at-songwriters-hall-of-fame-gala\">inducted Jay-Z\u003c/a>, the first rapper to be recognized by the Hall. “I’m pretty sure I’m still the only President to listen to Jay-Z’s music in the Oval Office,” former President Barack Obama said in a pre-taped address. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nile+Rodgers+Named+Chairman+Of+Songwriters%27+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Empathy, tolerance and acceptance: More and more, educators are focusing on the importance of schools’ paying attention to stuff other than academics.\u003c/p>\n\u003cp>And for the past two months, an exhibit at the U.S. Department of Education’s headquarters in Washington, D.C., has gathered the work of student artists expressing themselves — through their work — about these issues.\u003c/p>\n\u003cp>The exhibit is called “Total Tolerance,” and it highlights themes of racism, sexism and diversity.\u003c/p>\n\u003cp>The student art comes from the National YoungArts Foundation, a Miami-based nonprofit that offers mentoring and fellowships \u003ca href=\"http://www.youngarts.org\" target=\"_blank\" rel=\"noopener\">to art students \u003c/a> from around the country. Its proposal was selected late last year by the Department and the dozens of works of art went on display in May.\u003c/p>\n\u003cp>“This exhibition, it really exemplifies why we do this work,” says Carolina Garcia Jayaram, the foundation’s president and CEO. “Together, with the Department of Education, we can signal to the country that arts education is a necessary facet of education for all students.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the exhibit winds down in Washington this week, I spoke with three of the 21 young artists, about their art and about how it felt to have their work shown nationally.\u003c/p>\n\u003cp>Ameya Okamoto, 18, just graduated from high school in Portland, Ore., and will attend Tufts University this fall. Juniel Solis, 16, lives in Miami and will be attending a pre-college at the School of Visual Arts in New York this summer. And Aidan Forster, 17, just graduated from high school in Greenville, S.C., and will be attending Brown University next fall.\u003c/p>\n\u003cp>Our conversations have been edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13836367\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes.jpg\" alt='\"Black Life: Quanice Hayes,\" by Ameya Okamoto.' width=\"400\" height=\"542\" class=\"size-full wp-image-13836367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-240x325.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-375x508.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Black Life: Quanice Hayes,” by Ameya Okamoto. \u003ccite>(Courtesy of YoungArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Describe your work that’s on display.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Aidan Forster:\u003c/strong> My poem\u003cem>, \u003ca href=\"https://www.npr.org/assets/news/2018/06/Forster_Poem.pdf\" target=\"_blank\" rel=\"noopener\">Instructions for Suburban Boy Love\u003c/a>,\u003c/em> was inspired by the particular brand of queer isolation and loneliness endemic to suburban life in the South. It stems from questions of loneliness and isolation: What happens when you’re the only queer kid in your neighborhood? Or in your family? Or in your youth group or your circle of friends? When you start to feel kind of like a threatened or endangered species?\u003c/p>\n\u003cp>I think for me, queerness is very much like an aperture for language — a mode of filtration for experience.\u003c/p>\n\u003cp>\u003cstrong>Ameya Okamoto:\u003c/strong> So I have a couple digitally painted portraits in “Total Tolerance” that are a part of my memorial portrait series, which is ever evolving.\u003c/p>\n\u003cp>The portraits are about celebration of the lives that have been lost to police violence, but also about overturning negative imagery. One piece is of a \u003ca href=\"https://www.opb.org/news/article/portland-police-shooting-quanice-hayes-don-perkins/\">boy named Quanice\u003c/a> who was 17 years old when he was shot and killed in my hometown of Portland. At the time Quanice was 17, and I was also 17, and so having someone who is only a couple train stops away killed, that was extremely jarring to me. I had to do something, so I created a portrait using photos, and that piece became so important because it started being circulated in the media, and it started to replace an old mug shot from a couple years back.\u003c/p>\n\u003cp>I was able to meet with Quanice’s family and give them a print, and that was an extremely moving moment where I realized I could give them a gift of celebration, and in some way help to heal. And I could also use my art to create a positive message and create a more positive narrative.\u003c/p>\n\u003cp>\u003cstrong>Juniel Solis:\u003c/strong> I have a painting up called \u003cem>Los Pajaritos.\u003c/em> It’s a painting of two young adults with makeup and they have a very androgynous feel. They’re wearing orange flowers on their dresses. They’re men and they’re wearing makeup. They are there and you can tell there’s a fear in their eyes.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>What has art done for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster:\u003c/strong> Well for me, growing up in a very conservative state, in a conservative region, I really struggled with internalized shame around sexuality. I grappled with the idea that my body and desires are wrong or alien or that I wasn’t made for love or love wasn’t made for me. And as I grew older and searched for a strain of representation, or some sort of narrative that matched mine, I found poetry. I just realized that poetry presented itself as an antidote to that shame I felt, and allowed me to dismantle it and externalize it.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> When people ask me, “Why do you make art?” I say, for me it’s very reactionary in my gut level. This is what I have to do. I make art to help others.\u003c/p>\n\u003cp>I think art in general is how we are going to translate experiences, and share stories, and talk to people across cultures, and across language and across political values or any sort of ideation in general. We can talk to people through color, and stories and visuals, instead of having them sit down and have a really hard conversation.\u003c/p>\n\u003cp>I think a lot of times people discredit minors who talk about real issues and talk about institutional change and talk about social change.\u003c/p>\n\u003cp>So what can I do? I can do grassroots organizing and I can be a part of changing the narrative for people who can vote for people who can make policy change, because at the end of the day it’s all in themselves.\u003c/p>\n\u003cfigure id=\"attachment_13836366\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos.jpg\" alt='\"Los Pajaritos,\" by Juniel Solis.' width=\"400\" height=\"588\" class=\"size-full wp-image-13836366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-375x551.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Los Pajaritos,” by Juniel Solis. \u003ccite>(Courtesy of YoungArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What sort of responses have you gotten from your work?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster: \u003c/strong>I went to a public, residential arts high school in South Carolina, so I was constantly surrounded by a microcosm of artistic support and development. My friends were always there for each other’s work. My parents have always been really supportive of my sexuality — in writing and off the page. But my extended family — I don’t really talk about my work with them.\u003c/p>\n\u003cp>I’m so humbled to be selected for this. My entire trajectory with YoungArts has just been one humbling sort of blessing after another. There’s been sort of a resounding recognition, I think, with the sort of bravado of the piece.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> My family and friends are usually very supportive, but there are a lot of people who say I’m too young to know anything. With the critics, I kind of ignore it, because if my art touched them in some way, or they felt like they had to respond in some way, then I think at a certain level my art is doing exactly what I want it to do — which is reach out to the people and talk to the people who don’t want to listen. High school is good practice to realizing that there are adult haters out there who are going to come after 16-year-olds.\u003c/p>\n\u003cp>\u003cstrong>What do you hope comes of your work being on display at the Department of Education?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster:\u003c/strong> I think my biggest hope for this is sort of twofold. In the first part is that I envision the show as a sort of promontory for the legitimization and authentication of minority and marginalized narratives written by youth.\u003c/p>\n\u003cp>And so I think this exhibition is proving that some of the most potent and primal narratives at play in artistic planes right now are coming from young people and are coming from these like marginalized voices and voices that have historically been occulted.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> I think it’s amazing to have an exhibit in the U.S. Department of Education that preaches the exact rhetoric that I want to preach, which is equity, inclusion and total tolerance. I hope people see my work and realize they, too, can make work about the things they care about. It doesn’t have to be political. And I hope it changes the negative stereotype of the [Black Lives Matter] movement.\u003c/p>\n\u003cfigure id=\"attachment_13836365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-800x533.jpg\" alt=\"2018 YoungArts winner in writing, Aidan Forster, does a reading on stage.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13836365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2018 YoungArts winner in writing, Aidan Forster, does a reading on stage. \u003ccite>(Gesi Schilling/National YoungArts Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you think the state of arts education is like today in the U.S.?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> They’re cutting our classes. They’re cutting our art in general across mediums in places for — you know, quote unquote academic classes. And for me, I think that everyone has the capacity to create. It’s just about creating space for people to think about their story and how they want to use their stories to express themselves.\u003c/p>\n\u003cp>\u003cstrong>What are your plans for the summer? Next year?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster: \u003c/strong>This summer I’m working to make money for college. I’m hosting at a wild game restaurant, [which serves], like, kangaroo! And I’m a poetry mentor for a summer mentorship program.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> I will be attending Tufts University — a combined degree program to pursue a BA and B.F.A., so [I’ll] be doing interdisciplinary art, race and justice, and neuropsychology. Hopefully, that’s my path right now.\u003c/p>\n\u003cp>\u003cstrong>Solis:\u003c/strong> I’m not sure! I’m in the process of figuring that out. I’m attending a pre-college at the School of Visual Arts in New York this summer. I’m just hoping for a change in environment so I can come to terms with my work and find confidence in it.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.youngarts.org/blog/post/youngarts-us-department-education-total-tolerance-exhibition/\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a> to view all the work in the exhibit. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13836364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-800x599.jpg\" alt=\"Juniel Solis poses in front of his work.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13836364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juniel Solis poses in front of his work. \u003ccite>(Jason Koerner/National YoungArts Foundations)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Education+Department%2C+Student+Artworks+Explore+Tolerance+And+Racism+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "In an exhibit at the department's headquarters in Washington, young artists speak out through their work about race, sexuality and about being young and having a voice.",
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"title": "At the Education Department, Student Artworks Explore Tolerance and Racism | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Empathy, tolerance and acceptance: More and more, educators are focusing on the importance of schools’ paying attention to stuff other than academics.\u003c/p>\n\u003cp>And for the past two months, an exhibit at the U.S. Department of Education’s headquarters in Washington, D.C., has gathered the work of student artists expressing themselves — through their work — about these issues.\u003c/p>\n\u003cp>The exhibit is called “Total Tolerance,” and it highlights themes of racism, sexism and diversity.\u003c/p>\n\u003cp>The student art comes from the National YoungArts Foundation, a Miami-based nonprofit that offers mentoring and fellowships \u003ca href=\"http://www.youngarts.org\" target=\"_blank\" rel=\"noopener\">to art students \u003c/a> from around the country. Its proposal was selected late last year by the Department and the dozens of works of art went on display in May.\u003c/p>\n\u003cp>“This exhibition, it really exemplifies why we do this work,” says Carolina Garcia Jayaram, the foundation’s president and CEO. “Together, with the Department of Education, we can signal to the country that arts education is a necessary facet of education for all students.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the exhibit winds down in Washington this week, I spoke with three of the 21 young artists, about their art and about how it felt to have their work shown nationally.\u003c/p>\n\u003cp>Ameya Okamoto, 18, just graduated from high school in Portland, Ore., and will attend Tufts University this fall. Juniel Solis, 16, lives in Miami and will be attending a pre-college at the School of Visual Arts in New York this summer. And Aidan Forster, 17, just graduated from high school in Greenville, S.C., and will be attending Brown University next fall.\u003c/p>\n\u003cp>Our conversations have been edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13836367\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes.jpg\" alt='\"Black Life: Quanice Hayes,\" by Ameya Okamoto.' width=\"400\" height=\"542\" class=\"size-full wp-image-13836367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-240x325.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-375x508.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Black Life: Quanice Hayes,” by Ameya Okamoto. \u003ccite>(Courtesy of YoungArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Describe your work that’s on display.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Aidan Forster:\u003c/strong> My poem\u003cem>, \u003ca href=\"https://www.npr.org/assets/news/2018/06/Forster_Poem.pdf\" target=\"_blank\" rel=\"noopener\">Instructions for Suburban Boy Love\u003c/a>,\u003c/em> was inspired by the particular brand of queer isolation and loneliness endemic to suburban life in the South. It stems from questions of loneliness and isolation: What happens when you’re the only queer kid in your neighborhood? Or in your family? Or in your youth group or your circle of friends? When you start to feel kind of like a threatened or endangered species?\u003c/p>\n\u003cp>I think for me, queerness is very much like an aperture for language — a mode of filtration for experience.\u003c/p>\n\u003cp>\u003cstrong>Ameya Okamoto:\u003c/strong> So I have a couple digitally painted portraits in “Total Tolerance” that are a part of my memorial portrait series, which is ever evolving.\u003c/p>\n\u003cp>The portraits are about celebration of the lives that have been lost to police violence, but also about overturning negative imagery. One piece is of a \u003ca href=\"https://www.opb.org/news/article/portland-police-shooting-quanice-hayes-don-perkins/\">boy named Quanice\u003c/a> who was 17 years old when he was shot and killed in my hometown of Portland. At the time Quanice was 17, and I was also 17, and so having someone who is only a couple train stops away killed, that was extremely jarring to me. I had to do something, so I created a portrait using photos, and that piece became so important because it started being circulated in the media, and it started to replace an old mug shot from a couple years back.\u003c/p>\n\u003cp>I was able to meet with Quanice’s family and give them a print, and that was an extremely moving moment where I realized I could give them a gift of celebration, and in some way help to heal. And I could also use my art to create a positive message and create a more positive narrative.\u003c/p>\n\u003cp>\u003cstrong>Juniel Solis:\u003c/strong> I have a painting up called \u003cem>Los Pajaritos.\u003c/em> It’s a painting of two young adults with makeup and they have a very androgynous feel. They’re wearing orange flowers on their dresses. They’re men and they’re wearing makeup. They are there and you can tell there’s a fear in their eyes.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>What has art done for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster:\u003c/strong> Well for me, growing up in a very conservative state, in a conservative region, I really struggled with internalized shame around sexuality. I grappled with the idea that my body and desires are wrong or alien or that I wasn’t made for love or love wasn’t made for me. And as I grew older and searched for a strain of representation, or some sort of narrative that matched mine, I found poetry. I just realized that poetry presented itself as an antidote to that shame I felt, and allowed me to dismantle it and externalize it.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> When people ask me, “Why do you make art?” I say, for me it’s very reactionary in my gut level. This is what I have to do. I make art to help others.\u003c/p>\n\u003cp>I think art in general is how we are going to translate experiences, and share stories, and talk to people across cultures, and across language and across political values or any sort of ideation in general. We can talk to people through color, and stories and visuals, instead of having them sit down and have a really hard conversation.\u003c/p>\n\u003cp>I think a lot of times people discredit minors who talk about real issues and talk about institutional change and talk about social change.\u003c/p>\n\u003cp>So what can I do? I can do grassroots organizing and I can be a part of changing the narrative for people who can vote for people who can make policy change, because at the end of the day it’s all in themselves.\u003c/p>\n\u003cfigure id=\"attachment_13836366\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos.jpg\" alt='\"Los Pajaritos,\" by Juniel Solis.' width=\"400\" height=\"588\" class=\"size-full wp-image-13836366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-375x551.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Los Pajaritos,” by Juniel Solis. \u003ccite>(Courtesy of YoungArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What sort of responses have you gotten from your work?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster: \u003c/strong>I went to a public, residential arts high school in South Carolina, so I was constantly surrounded by a microcosm of artistic support and development. My friends were always there for each other’s work. My parents have always been really supportive of my sexuality — in writing and off the page. But my extended family — I don’t really talk about my work with them.\u003c/p>\n\u003cp>I’m so humbled to be selected for this. My entire trajectory with YoungArts has just been one humbling sort of blessing after another. There’s been sort of a resounding recognition, I think, with the sort of bravado of the piece.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> My family and friends are usually very supportive, but there are a lot of people who say I’m too young to know anything. With the critics, I kind of ignore it, because if my art touched them in some way, or they felt like they had to respond in some way, then I think at a certain level my art is doing exactly what I want it to do — which is reach out to the people and talk to the people who don’t want to listen. High school is good practice to realizing that there are adult haters out there who are going to come after 16-year-olds.\u003c/p>\n\u003cp>\u003cstrong>What do you hope comes of your work being on display at the Department of Education?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster:\u003c/strong> I think my biggest hope for this is sort of twofold. In the first part is that I envision the show as a sort of promontory for the legitimization and authentication of minority and marginalized narratives written by youth.\u003c/p>\n\u003cp>And so I think this exhibition is proving that some of the most potent and primal narratives at play in artistic planes right now are coming from young people and are coming from these like marginalized voices and voices that have historically been occulted.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> I think it’s amazing to have an exhibit in the U.S. Department of Education that preaches the exact rhetoric that I want to preach, which is equity, inclusion and total tolerance. I hope people see my work and realize they, too, can make work about the things they care about. It doesn’t have to be political. And I hope it changes the negative stereotype of the [Black Lives Matter] movement.\u003c/p>\n\u003cfigure id=\"attachment_13836365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-800x533.jpg\" alt=\"2018 YoungArts winner in writing, Aidan Forster, does a reading on stage.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13836365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2018 YoungArts winner in writing, Aidan Forster, does a reading on stage. \u003ccite>(Gesi Schilling/National YoungArts Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you think the state of arts education is like today in the U.S.?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> They’re cutting our classes. They’re cutting our art in general across mediums in places for — you know, quote unquote academic classes. And for me, I think that everyone has the capacity to create. It’s just about creating space for people to think about their story and how they want to use their stories to express themselves.\u003c/p>\n\u003cp>\u003cstrong>What are your plans for the summer? Next year?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster: \u003c/strong>This summer I’m working to make money for college. I’m hosting at a wild game restaurant, [which serves], like, kangaroo! And I’m a poetry mentor for a summer mentorship program.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> I will be attending Tufts University — a combined degree program to pursue a BA and B.F.A., so [I’ll] be doing interdisciplinary art, race and justice, and neuropsychology. Hopefully, that’s my path right now.\u003c/p>\n\u003cp>\u003cstrong>Solis:\u003c/strong> I’m not sure! I’m in the process of figuring that out. I’m attending a pre-college at the School of Visual Arts in New York this summer. I’m just hoping for a change in environment so I can come to terms with my work and find confidence in it.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.youngarts.org/blog/post/youngarts-us-department-education-total-tolerance-exhibition/\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a> to view all the work in the exhibit. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13836364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-800x599.jpg\" alt=\"Juniel Solis poses in front of his work.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13836364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juniel Solis poses in front of his work. \u003ccite>(Jason Koerner/National YoungArts Foundations)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Education+Department%2C+Student+Artworks+Explore+Tolerance+And+Racism+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In the Shadow of a Terrorist Attack, Rapper is Targeted by France's Right Wing",
"headTitle": "In the Shadow of a Terrorist Attack, Rapper is Targeted by France’s Right Wing | KQED",
"content": "\u003cp>A Paris concert that’s still months away is generating controversy. Muslim rapper Médine is scheduled to play at the \u003ca href=\"https://www.npr.org/2016/11/13/501904188/one-year-after-paris-attacks-bataclan-concert-hall-reopens\">Bataclan\u003c/a>, the concert hall where 89 people were killed by Islamist extremists in a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">terrorist attack\u003c/a> two and a half years ago. \u003c/p>\n\u003cp>The concert is stoking outrage among France’s right wing. Laurent Wauquiez, the head of the mainstream right party Les Republicans, tweeted that holding this concert would be sacrilege for the victims of the 2015 attack and a dishonor for France. Far right leader Marine Le Pen gathered thousands of signatures on a petition to ban the concert. \u003c/p>\n\u003cp>“Is it normal that a militant, fundamentalist, Islamist goes to the Bataclan to express his hatred and defend ideas that I believe are inciting crimes?” she asked a reporter during an appearance on France’s \u003ca href=\"https://www.bfmtv.com/mediaplayer/video/marine-le-pen-sur-medine-un-trouble-epouvantable-a-l-ordre-public-de-voir-un-islamiste-chanter-au-bataclan-1082683.html\" target=\"_blank\" rel=\"noopener\">BFM TV\u003c/a>. \u003c/p>\n\u003cp>But Médine says he’s always fought against radicalization in his music. And in a statement released by his record company he asked, “When did we start letting the far right manage the country’s concert halls?”\u003c/p>\n\u003cp>The 35-year-old rapper grew up in the working-class port town of Le Havre, France, the son of Algerian immigrants. Médine has described himself as an “Islamo-hooligan.” His lyrics talk mostly about the French Muslim experience — living in the ghetto, facing discrimination. His tone toward French society is often hostile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Médine’s critics are focusing on a song he wrote in 2015 called “Don’t Laïk.” It is a double play on words: on the French word \u003cem>laïcité\u003c/em>, which means secularism, and on the English “don’t like.” A lot of French Muslims feel the country’s official policy of secularism is used as an excuse to target their faith. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wfo-RIsACPw\u003c/p>\n\u003cp>“Your beard, my brother, it’s don’t laïk / Your veil, my sister in this country, it’s don’t laïk,” Médine raps in the song. \u003c/p>\n\u003cp>The song, which talks of “crucifying the secularists like at Golgotha,” happened to come out just a week before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">terrorists killed 12 people\u003c/a> at the satirical weekly magazine \u003ca href=\"https://www.npr.org/tags/141928624/charlie-hebdo\" target=\"_blank\" rel=\"noopener\">\u003cem>Charlie Hebdo\u003c/em>\u003c/a> in 2015.\u003c/p>\n\u003cp>Detractors are also criticizing one of Médine’s albums, entitled \u003ca href=\"https://www.dailymotion.com/video/x1ia5a2\" target=\"_blank\" rel=\"noopener\">\u003cem>Jihad\u003c/em>\u003c/a>. In a recent \u003ca href=\"https://twitter.com/ajplusfrancais/status/1006219512486744065/video/1\" target=\"_blank\" rel=\"noopener\">TV interview\u003c/a>, Médine said people are twisting his lyrics and taking them out of context.\u003c/p>\n\u003cp>“First of all, the album had a subtitle, which was, ‘The biggest battle is against oneself’ — because jihad signifies the internal struggle above all,” Médine said. “And secondly, this album came out in 2005 in a completely different context. It would be impossible to title an album \u003cem>Jihad\u003c/em> today.”\u003c/p>\n\u003cp>Médine has also worked to diffuse the French culture war over Islam. He co-wrote a book with a historian about racism in France. And his record label sells a line of T-shirts with the slogan, “\u003ca href=\"http://din-records.com/boutique/t-shirt-lsa-im-muslim-dont-panik/\">I’m Muslim, Don’t Panik\u003c/a>.”\u003c/p>\n\u003cp>Karim Amellal is working on a presidential commission to fight anti-Semitism and Islamophobia in France. He says this controversy has gotten so big because every Muslim identifies with the accusations against Médine. \u003c/p>\n\u003cp>“Muslims have the feeling they are not recognized for their accomplishments and they are always [associated] with terrorists and jihadists,” Amellal says.\u003c/p>\n\u003cp>Some of the survivors of the Bataclan terrorist attack have defended Médine. One tweeted that right-wing politicians should not exploit the victims of the attack for their bogus controversy.\u003c/p>\n\u003cp>“Marine Le Pen is even talking about ‘our deaths,’ ” attack survivor Emmanuel Domenach \u003ca href=\"https://twitter.com/edomenach/status/1005821663013998593?s=11\" target=\"_blank\" rel=\"noopener\">wrote on Twitter\u003c/a>. “It’s shameful.”\u003c/p>\n\u003cp>One victims’ association, \u003ca href=\"http://www.lifeforparis.org/\" target=\"_blank\" rel=\"noopener\">Life for Paris\u003c/a>, defended the Bataclan, saying it was against censorship, and the venue should be free to book who it wants. “We will not let anyone use the memory of the victims for political ends, as is the case here,” the association said in an official statement.\u003c/p>\n\u003cp>The theater itself has refused to get involved in the fray. But when reached on the phone, a Bataclan employee said that Médine has nothing to do with the terrorists.\u003c/p>\n\u003cp>Amellal says other rappers have much more offensive lyrics than Médine and that Médine never caused much controversy because he’s actually an intellectual rapper with very complicated lyrics. Amellal believes this debate has galvanized public opinion because it involves two groups that are victims. \u003c/p>\n\u003cp>“It’s like a showdown between two legitimate symbols,” he says. “The Bataclan, which is a very symbolic place because of the terrorist attack, and Médine and Islam.”\u003c/p>\n\u003cp>This spring, Médine released a new song, a sentimental ballad about the Bataclan. He raps, “All I ever wanted was to play the Bataclan.” \u003c/p>\n\u003cp>The lyrics don’t mention the attack. Writing in left-wing weekly magazine \u003cem>Marianne\u003c/em>, novelist Arthur Dreyfus, who describes himself as being from the same generation as Médine, says \u003ca href=\"https://www.marianne.net/debattons/tribunes/cher-medine-comment-le-bataclan-t-il-pu-deja-devenir-un-lieu-neutre-tes-yeux\" target=\"_blank\" rel=\"noopener\">the omission stuns him\u003c/a>. \u003c/p>\n\u003cp>“That you dream of crucifying secularists, that’s your right and privilege living in this country. … I’m not in favor of censorship and I’m surely not a fascist,” Dreyfus writes. “But how can you, less than three years after one of the worst massacres ever perpetrated in Paris, write a song about the Bataclan, where it took place, without even mentioning it?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Médine’s concert at the Bataclan is not until October. This debate is far from over. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Shadow+Of+A+Terrorist+Attack%2C+Rapper+Is+Targeted+By+France%27s+Right+Wing+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Paris concert that’s still months away is generating controversy. Muslim rapper Médine is scheduled to play at the \u003ca href=\"https://www.npr.org/2016/11/13/501904188/one-year-after-paris-attacks-bataclan-concert-hall-reopens\">Bataclan\u003c/a>, the concert hall where 89 people were killed by Islamist extremists in a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">terrorist attack\u003c/a> two and a half years ago. \u003c/p>\n\u003cp>The concert is stoking outrage among France’s right wing. Laurent Wauquiez, the head of the mainstream right party Les Republicans, tweeted that holding this concert would be sacrilege for the victims of the 2015 attack and a dishonor for France. Far right leader Marine Le Pen gathered thousands of signatures on a petition to ban the concert. \u003c/p>\n\u003cp>“Is it normal that a militant, fundamentalist, Islamist goes to the Bataclan to express his hatred and defend ideas that I believe are inciting crimes?” she asked a reporter during an appearance on France’s \u003ca href=\"https://www.bfmtv.com/mediaplayer/video/marine-le-pen-sur-medine-un-trouble-epouvantable-a-l-ordre-public-de-voir-un-islamiste-chanter-au-bataclan-1082683.html\" target=\"_blank\" rel=\"noopener\">BFM TV\u003c/a>. \u003c/p>\n\u003cp>But Médine says he’s always fought against radicalization in his music. And in a statement released by his record company he asked, “When did we start letting the far right manage the country’s concert halls?”\u003c/p>\n\u003cp>The 35-year-old rapper grew up in the working-class port town of Le Havre, France, the son of Algerian immigrants. Médine has described himself as an “Islamo-hooligan.” His lyrics talk mostly about the French Muslim experience — living in the ghetto, facing discrimination. His tone toward French society is often hostile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Médine’s critics are focusing on a song he wrote in 2015 called “Don’t Laïk.” It is a double play on words: on the French word \u003cem>laïcité\u003c/em>, which means secularism, and on the English “don’t like.” A lot of French Muslims feel the country’s official policy of secularism is used as an excuse to target their faith. \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/wfo-RIsACPw'\n title='//www.youtube.com/embed/wfo-RIsACPw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Your beard, my brother, it’s don’t laïk / Your veil, my sister in this country, it’s don’t laïk,” Médine raps in the song. \u003c/p>\n\u003cp>The song, which talks of “crucifying the secularists like at Golgotha,” happened to come out just a week before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">terrorists killed 12 people\u003c/a> at the satirical weekly magazine \u003ca href=\"https://www.npr.org/tags/141928624/charlie-hebdo\" target=\"_blank\" rel=\"noopener\">\u003cem>Charlie Hebdo\u003c/em>\u003c/a> in 2015.\u003c/p>\n\u003cp>Detractors are also criticizing one of Médine’s albums, entitled \u003ca href=\"https://www.dailymotion.com/video/x1ia5a2\" target=\"_blank\" rel=\"noopener\">\u003cem>Jihad\u003c/em>\u003c/a>. In a recent \u003ca href=\"https://twitter.com/ajplusfrancais/status/1006219512486744065/video/1\" target=\"_blank\" rel=\"noopener\">TV interview\u003c/a>, Médine said people are twisting his lyrics and taking them out of context.\u003c/p>\n\u003cp>“First of all, the album had a subtitle, which was, ‘The biggest battle is against oneself’ — because jihad signifies the internal struggle above all,” Médine said. “And secondly, this album came out in 2005 in a completely different context. It would be impossible to title an album \u003cem>Jihad\u003c/em> today.”\u003c/p>\n\u003cp>Médine has also worked to diffuse the French culture war over Islam. He co-wrote a book with a historian about racism in France. And his record label sells a line of T-shirts with the slogan, “\u003ca href=\"http://din-records.com/boutique/t-shirt-lsa-im-muslim-dont-panik/\">I’m Muslim, Don’t Panik\u003c/a>.”\u003c/p>\n\u003cp>Karim Amellal is working on a presidential commission to fight anti-Semitism and Islamophobia in France. He says this controversy has gotten so big because every Muslim identifies with the accusations against Médine. \u003c/p>\n\u003cp>“Muslims have the feeling they are not recognized for their accomplishments and they are always [associated] with terrorists and jihadists,” Amellal says.\u003c/p>\n\u003cp>Some of the survivors of the Bataclan terrorist attack have defended Médine. One tweeted that right-wing politicians should not exploit the victims of the attack for their bogus controversy.\u003c/p>\n\u003cp>“Marine Le Pen is even talking about ‘our deaths,’ ” attack survivor Emmanuel Domenach \u003ca href=\"https://twitter.com/edomenach/status/1005821663013998593?s=11\" target=\"_blank\" rel=\"noopener\">wrote on Twitter\u003c/a>. “It’s shameful.”\u003c/p>\n\u003cp>One victims’ association, \u003ca href=\"http://www.lifeforparis.org/\" target=\"_blank\" rel=\"noopener\">Life for Paris\u003c/a>, defended the Bataclan, saying it was against censorship, and the venue should be free to book who it wants. “We will not let anyone use the memory of the victims for political ends, as is the case here,” the association said in an official statement.\u003c/p>\n\u003cp>The theater itself has refused to get involved in the fray. But when reached on the phone, a Bataclan employee said that Médine has nothing to do with the terrorists.\u003c/p>\n\u003cp>Amellal says other rappers have much more offensive lyrics than Médine and that Médine never caused much controversy because he’s actually an intellectual rapper with very complicated lyrics. Amellal believes this debate has galvanized public opinion because it involves two groups that are victims. \u003c/p>\n\u003cp>“It’s like a showdown between two legitimate symbols,” he says. “The Bataclan, which is a very symbolic place because of the terrorist attack, and Médine and Islam.”\u003c/p>\n\u003cp>This spring, Médine released a new song, a sentimental ballad about the Bataclan. He raps, “All I ever wanted was to play the Bataclan.” \u003c/p>\n\u003cp>The lyrics don’t mention the attack. Writing in left-wing weekly magazine \u003cem>Marianne\u003c/em>, novelist Arthur Dreyfus, who describes himself as being from the same generation as Médine, says \u003ca href=\"https://www.marianne.net/debattons/tribunes/cher-medine-comment-le-bataclan-t-il-pu-deja-devenir-un-lieu-neutre-tes-yeux\" target=\"_blank\" rel=\"noopener\">the omission stuns him\u003c/a>. \u003c/p>\n\u003cp>“That you dream of crucifying secularists, that’s your right and privilege living in this country. … I’m not in favor of censorship and I’m surely not a fascist,” Dreyfus writes. “But how can you, less than three years after one of the worst massacres ever perpetrated in Paris, write a song about the Bataclan, where it took place, without even mentioning it?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Médine’s concert at the Bataclan is not until October. This debate is far from over. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Shadow+Of+A+Terrorist+Attack%2C+Rapper+Is+Targeted+By+France%27s+Right+Wing+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15394712/joe-strummer\" target=\"_blank\" rel=\"noopener\">Joe Strummer\u003c/a>‘s barn has been raided.\u003c/p>\n\u003cp>The \u003cem>enfant raisonnable \u003c/em>of U.K. punk’s first wave — who with \u003ca href=\"https://www.npr.org/artists/15394716/the-clash\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> (like many lumped into it) broke from a retroactively applied punk orthodoxy to explore sounds from any and everywhere — is getting an everything-and-the-kitchen-sink treatment for the many reels of unreleased tape he had archived in his barn.\u003c/p>\n\u003cp>In 2013, \u003cem>The Clash Sound System\u003c/em> box set compiled everything of that band’s varied and sundry discography, with the standard live sets, first-, out- and mis-takes, in a package designed like a boom box, stuffed with random physical ephemera (a giant cigarette).\u003c/p>\n\u003cp>\u003cem>Joe Strummer 001\u003c/em> looks to be a more modest affair than that package in every way except the actual music it contains, covering the complete cross-section of Strummer’s solo musical development, inextricable as it is from his work with The Clash; the dead-standard early bar band material, his late-’80s hip-hop-influenced four-on-the-floor slams, bonfire-and-whiskey folk globe-trotters and the weed-smokey collage-pop of The Mescaleros, stretching back to 1975.\u003c/p>\n\u003cp>An incomplete list of the various projects included here should make it clear: The 101ers, The Astro-Physicians, Radar, Electric Dog House, The Soothsayers, Pearl Harbour, Joe Strummer and The Mescaleros, collaborations with \u003ca href=\"https://www.npr.org/artists/15382889/jimmy-cliff\" target=\"_blank\" rel=\"noopener\">Jimmy Cliff\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> and post-Clash work with Mick Jones and Paul Simonon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Below, find a sample single from it, titled “London Is Burning” — a song that was reworked into the (better) Mescaleros’ song “Burning Streets (London Is Burning).”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A5ukiednezEKBpSK7Pt11AN\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Joe Strummer 001\u003cem> will be \u003c/em>\u003ca href=\"https://joestrummer.lnk.to/001\">\u003cem>released Sept. 28 on Ignition Records\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joe+Strummer%27s+Solo+Work+And+Archives+To+Get+Life-Spanning+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15394712/joe-strummer\" target=\"_blank\" rel=\"noopener\">Joe Strummer\u003c/a>‘s barn has been raided.\u003c/p>\n\u003cp>The \u003cem>enfant raisonnable \u003c/em>of U.K. punk’s first wave — who with \u003ca href=\"https://www.npr.org/artists/15394716/the-clash\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> (like many lumped into it) broke from a retroactively applied punk orthodoxy to explore sounds from any and everywhere — is getting an everything-and-the-kitchen-sink treatment for the many reels of unreleased tape he had archived in his barn.\u003c/p>\n\u003cp>In 2013, \u003cem>The Clash Sound System\u003c/em> box set compiled everything of that band’s varied and sundry discography, with the standard live sets, first-, out- and mis-takes, in a package designed like a boom box, stuffed with random physical ephemera (a giant cigarette).\u003c/p>\n\u003cp>\u003cem>Joe Strummer 001\u003c/em> looks to be a more modest affair than that package in every way except the actual music it contains, covering the complete cross-section of Strummer’s solo musical development, inextricable as it is from his work with The Clash; the dead-standard early bar band material, his late-’80s hip-hop-influenced four-on-the-floor slams, bonfire-and-whiskey folk globe-trotters and the weed-smokey collage-pop of The Mescaleros, stretching back to 1975.\u003c/p>\n\u003cp>An incomplete list of the various projects included here should make it clear: The 101ers, The Astro-Physicians, Radar, Electric Dog House, The Soothsayers, Pearl Harbour, Joe Strummer and The Mescaleros, collaborations with \u003ca href=\"https://www.npr.org/artists/15382889/jimmy-cliff\" target=\"_blank\" rel=\"noopener\">Jimmy Cliff\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> and post-Clash work with Mick Jones and Paul Simonon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Harlan Ellison, Award-Winning Science Fiction Writer, Dies at 84",
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"content": "\u003cp>Science fiction writer and provocateur Harlan Ellison, who wrote stories including “Jeffty Is Five,” “‘Repent, Harlequin!’ Said the Ticktockman,” and “I Have No Mouth and I Must Scream,” died in his sleep at home in Los Angeles at age 84. Like many who write short stories and novellas in genres like speculative fiction, the sweep of his career is evident in his collection of awards: Hugo Awards, Nebula Awards, Edgar Awards and many others. He wrote episodes of \u003cem>Star Trek \u003c/em>(“The City on the Edge of Forever” won him a Writer’s Guild of America Award), as well as \u003cem>The Outer Limits\u003c/em> and \u003cem>The Twilight Zone\u003c/em>. He wrote comics and read audiobooks.\u003c/p>\n\u003cp>He also had a reputation for being, as Jason Sheehan called him in \u003ca href=\"https://www.npr.org/2015/12/28/461281398/harlan-ellison-returns-with-a-cantankerous-new-collection\">a review of his 2015 collection \u003cem>Can and Can’tankerous\u003c/em>\u003c/a>, “America’s weird uncle.” Words like that one from the title — “cantankerous” — and “irascible” and “difficult” followed him for much of his life. His rants were legendary, including a profanity-filled \u003ca href=\"https://www.youtube.com/watch?v=mj5IV23g-fE\">one about the need to pay writers\u003c/a> that has been viewed on YouTube more than a million times. Sheehan also said:\u003c/p>\n\u003cblockquote>\n\u003cp>He fronts \u003cem>Weariness \u003c/em>[a story in the collection] by telling the tale of running a workshop at a convention in Washington. A bunch of art pieces handed around as inspiration. A bunch of writers given one hour to compose a complete story.\u003c/p>\n\u003cp>And then there’s Harlan, at the front of the room, with his portable Olympia typewriter, poking away at 120 words per minute (with two fingers and no typos, he brags), feeling sad and tired and coming up with a story about the heat death of the universe which begins: “Very near the final thaw of the universe, the last of them left behind, the last three of the most perfect beings who had ever existed, stood waiting for the transitional moment. The neap tide of all time.”\u003c/p>\n\u003cp>One draft. No idea where he was going with it. Just start hitting the keys and seeing what happens next. That’s how Ellison rolls. Tired, old, ornery — and yet kind, too. Generous. Giving us stories, and then stories about the stories. The lettuce story? Inspired by a Chinese dinner with Norman Spinrad in 1956, sold to \u003cem>Amazing Stories \u003c/em>that same year for $49.50, then remastered for this collection. \u003cem>Weariness\u003c/em> is just a few hundred words long but his afterword is a kind of love letter to Ray Bradbury, and runs for five times the story’s length, maybe more. And it is beautiful.\u003c/p>\n\u003c/blockquote>\n\u003cp>Ellison, who won so many awards, wrote a \u003ca href=\"https://variety.com/2013/film/awards/harlan-ellison-award-shows-the-oscar-1200857501/\">column in \u003cem>Variety\u003c/em>\u003c/a>\u003cem> \u003c/em>in 2013 about the Oscars in which he said, “I do not merely hate all awards shows, I wish to see them beheaded, stakes driven through their black and corrupted widdle hearts, and to see the decapitated remains buried at a crossroads come midnight.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harlan+Ellison%2C+Award-Winning+Science+Fiction+Writer%2C+Dies+at+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Science fiction writer and provocateur Harlan Ellison, who wrote stories including “Jeffty Is Five,” “‘Repent, Harlequin!’ Said the Ticktockman,” and “I Have No Mouth and I Must Scream,” died in his sleep at home in Los Angeles at age 84. Like many who write short stories and novellas in genres like speculative fiction, the sweep of his career is evident in his collection of awards: Hugo Awards, Nebula Awards, Edgar Awards and many others. He wrote episodes of \u003cem>Star Trek \u003c/em>(“The City on the Edge of Forever” won him a Writer’s Guild of America Award), as well as \u003cem>The Outer Limits\u003c/em> and \u003cem>The Twilight Zone\u003c/em>. He wrote comics and read audiobooks.\u003c/p>\n\u003cp>He also had a reputation for being, as Jason Sheehan called him in \u003ca href=\"https://www.npr.org/2015/12/28/461281398/harlan-ellison-returns-with-a-cantankerous-new-collection\">a review of his 2015 collection \u003cem>Can and Can’tankerous\u003c/em>\u003c/a>, “America’s weird uncle.” Words like that one from the title — “cantankerous” — and “irascible” and “difficult” followed him for much of his life. His rants were legendary, including a profanity-filled \u003ca href=\"https://www.youtube.com/watch?v=mj5IV23g-fE\">one about the need to pay writers\u003c/a> that has been viewed on YouTube more than a million times. Sheehan also said:\u003c/p>\n\u003cblockquote>\n\u003cp>He fronts \u003cem>Weariness \u003c/em>[a story in the collection] by telling the tale of running a workshop at a convention in Washington. A bunch of art pieces handed around as inspiration. A bunch of writers given one hour to compose a complete story.\u003c/p>\n\u003cp>And then there’s Harlan, at the front of the room, with his portable Olympia typewriter, poking away at 120 words per minute (with two fingers and no typos, he brags), feeling sad and tired and coming up with a story about the heat death of the universe which begins: “Very near the final thaw of the universe, the last of them left behind, the last three of the most perfect beings who had ever existed, stood waiting for the transitional moment. The neap tide of all time.”\u003c/p>\n\u003cp>One draft. No idea where he was going with it. Just start hitting the keys and seeing what happens next. That’s how Ellison rolls. Tired, old, ornery — and yet kind, too. Generous. Giving us stories, and then stories about the stories. The lettuce story? Inspired by a Chinese dinner with Norman Spinrad in 1956, sold to \u003cem>Amazing Stories \u003c/em>that same year for $49.50, then remastered for this collection. \u003cem>Weariness\u003c/em> is just a few hundred words long but his afterword is a kind of love letter to Ray Bradbury, and runs for five times the story’s length, maybe more. And it is beautiful.\u003c/p>\n\u003c/blockquote>\n\u003cp>Ellison, who won so many awards, wrote a \u003ca href=\"https://variety.com/2013/film/awards/harlan-ellison-award-shows-the-oscar-1200857501/\">column in \u003cem>Variety\u003c/em>\u003c/a>\u003cem> \u003c/em>in 2013 about the Oscars in which he said, “I do not merely hate all awards shows, I wish to see them beheaded, stakes driven through their black and corrupted widdle hearts, and to see the decapitated remains buried at a crossroads come midnight.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harlan+Ellison%2C+Award-Winning+Science+Fiction+Writer%2C+Dies+at+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A division of the American Library Association \u003ca href=\"http://www.alsc.ala.org/blog/2018/06/childrens-literature-legacy-award-alaac18/\" target=\"_blank\" rel=\"noopener\">voted unanimously Saturday\u003c/a> to strip Laura Ingalls Wilder’s name from a major children’s literature award over concerns about how the author referred to Native Americans and blacks.\u003c/p>\n\u003cp>The Association for Library Service to Children says the Laura Ingalls Wilder Award will now be known as the Children’s Literature Legacy Award.\u003c/p>\n\u003cp>Wilder, who wrote the \u003cem>Little House \u003c/em>book series\u003cem>, \u003c/em>was the first recipient of the award, which was established in 1954 and intended to honor books published in the U.S. that have had a big impact on children’s literature.\u003c/p>\n\u003cp>The \u003cem>Little House\u003c/em> series was based on Wilder’s own life and told the story of the Ingalls family as it moved around the Great Plains in the 19th century. While many of the \u003cem>Little House \u003c/em>books became widely read, critics said her work included many stereotypical and reductive depictions of Native Americans and people of color.\u003c/p>\n\u003cp>In 1935’s \u003cem>Little House on the Prairie, \u003c/em>for example, Wilder described one setting as a place where “there were no people. Only Indians lived there.” That description was changed in later editions of the book. And multiple characters in the \u003cem>Little House\u003c/em> series intone that “the only good Indian is a dead Indian.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ALSC had been considering whether it should strip Wilder’s name from the award since February and \u003ca href=\"http://www.alsc.ala.org/blog/2018/02/board-action-update-laura-ingalls-wilder-award/\">announced at the time\u003c/a> that the author’s legacy “may no longer be consistent with the intention of the award named for her.”\u003c/p>\n\u003cp>“The decision was made in consideration of the fact that Wilder’s legacy, as represented by her body of work, includes expressions of stereotypical attitudes inconsistent with ALSC’s core values of inclusiveness, integrity and respect, and responsiveness,” the ALSC said in a \u003ca href=\"http://www.ala.org/alsc/awardsgrants/bookmedia/wildermedal\" target=\"_blank\" rel=\"noopener\">brief statement\u003c/a> following the vote. Previously, \u003ca href=\"http://www.alsc.ala.org/blog/2018/02/board-action-update-laura-ingalls-wilder-award/\">the organization had noted\u003c/a> the “anti-Native and anti-Black sentiments” in Wilder’s writing.\u003c/p>\n\u003cp>However, some Wilder scholars say the author’s work shouldn’t be downplayed. Instead, they say, it should be scrutinized — and taken as an opportunity to inform children of the context surrounding it.\u003c/p>\n\u003cp>The \u003ca href=\"http://beyondlittlehouse.com/tag/laura-ingalls-wilder-legacy-and-research-association/\" target=\"_blank\" rel=\"noopener\">Laura Ingalls Wilder Legacy and Research Association\u003c/a> released a \u003ca href=\"https://www.facebook.com/LIWLegacy/\" target=\"_blank\" rel=\"noopener\">statement defending Wilder’s work\u003c/a>, saying that while her writing included “the perspectives of racism that were representative of her time and place,” it also made “positive contributions to children’s literature”:\u003c/p>\n\u003cblockquote>\n\u003cp>“We believe it is not beneficial to the body of literature to sweep away her name as though the perspectives in her books never existed. Those perspectives are teaching moments to show generations to come how the past was and how we, as a society, must move forward with a more inclusive and diverse perspective.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Debbie Reese, a scholar and the founder of \u003ca href=\"https://americanindiansinchildrensliterature.blogspot.com/\" target=\"_blank\" rel=\"noopener\">American Indians In Children’s Literature\u003c/a>, tweeted that the vote to change the award’s name was a “\u003ca href=\"https://twitter.com/debreese/status/1010842553921482755\" target=\"_blank\" rel=\"noopener\">significant and historic moment\u003c/a>” but still only a step. “There are many more, ahead of us. The backlash to the change is already evident.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The author Jacqueline Woodson, known for award-winning books including \u003cem>Brown Girl Dreaming\u003c/em> and \u003cem>Another Brooklyn,\u003c/em> will be the first honoree of the newly named Children’s Literature Legacy Award. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Little+House+On+The+Controversy%3A+Laura+Ingalls+Wilder%27s+Name+Removed+From+Book+Award&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A division of the American Library Association \u003ca href=\"http://www.alsc.ala.org/blog/2018/06/childrens-literature-legacy-award-alaac18/\" target=\"_blank\" rel=\"noopener\">voted unanimously Saturday\u003c/a> to strip Laura Ingalls Wilder’s name from a major children’s literature award over concerns about how the author referred to Native Americans and blacks.\u003c/p>\n\u003cp>The Association for Library Service to Children says the Laura Ingalls Wilder Award will now be known as the Children’s Literature Legacy Award.\u003c/p>\n\u003cp>Wilder, who wrote the \u003cem>Little House \u003c/em>book series\u003cem>, \u003c/em>was the first recipient of the award, which was established in 1954 and intended to honor books published in the U.S. that have had a big impact on children’s literature.\u003c/p>\n\u003cp>The \u003cem>Little House\u003c/em> series was based on Wilder’s own life and told the story of the Ingalls family as it moved around the Great Plains in the 19th century. While many of the \u003cem>Little House \u003c/em>books became widely read, critics said her work included many stereotypical and reductive depictions of Native Americans and people of color.\u003c/p>\n\u003cp>In 1935’s \u003cem>Little House on the Prairie, \u003c/em>for example, Wilder described one setting as a place where “there were no people. Only Indians lived there.” That description was changed in later editions of the book. And multiple characters in the \u003cem>Little House\u003c/em> series intone that “the only good Indian is a dead Indian.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ALSC had been considering whether it should strip Wilder’s name from the award since February and \u003ca href=\"http://www.alsc.ala.org/blog/2018/02/board-action-update-laura-ingalls-wilder-award/\">announced at the time\u003c/a> that the author’s legacy “may no longer be consistent with the intention of the award named for her.”\u003c/p>\n\u003cp>“The decision was made in consideration of the fact that Wilder’s legacy, as represented by her body of work, includes expressions of stereotypical attitudes inconsistent with ALSC’s core values of inclusiveness, integrity and respect, and responsiveness,” the ALSC said in a \u003ca href=\"http://www.ala.org/alsc/awardsgrants/bookmedia/wildermedal\" target=\"_blank\" rel=\"noopener\">brief statement\u003c/a> following the vote. Previously, \u003ca href=\"http://www.alsc.ala.org/blog/2018/02/board-action-update-laura-ingalls-wilder-award/\">the organization had noted\u003c/a> the “anti-Native and anti-Black sentiments” in Wilder’s writing.\u003c/p>\n\u003cp>However, some Wilder scholars say the author’s work shouldn’t be downplayed. Instead, they say, it should be scrutinized — and taken as an opportunity to inform children of the context surrounding it.\u003c/p>\n\u003cp>The \u003ca href=\"http://beyondlittlehouse.com/tag/laura-ingalls-wilder-legacy-and-research-association/\" target=\"_blank\" rel=\"noopener\">Laura Ingalls Wilder Legacy and Research Association\u003c/a> released a \u003ca href=\"https://www.facebook.com/LIWLegacy/\" target=\"_blank\" rel=\"noopener\">statement defending Wilder’s work\u003c/a>, saying that while her writing included “the perspectives of racism that were representative of her time and place,” it also made “positive contributions to children’s literature”:\u003c/p>\n\u003cblockquote>\n\u003cp>“We believe it is not beneficial to the body of literature to sweep away her name as though the perspectives in her books never existed. Those perspectives are teaching moments to show generations to come how the past was and how we, as a society, must move forward with a more inclusive and diverse perspective.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Debbie Reese, a scholar and the founder of \u003ca href=\"https://americanindiansinchildrensliterature.blogspot.com/\" target=\"_blank\" rel=\"noopener\">American Indians In Children’s Literature\u003c/a>, tweeted that the vote to change the award’s name was a “\u003ca href=\"https://twitter.com/debreese/status/1010842553921482755\" target=\"_blank\" rel=\"noopener\">significant and historic moment\u003c/a>” but still only a step. “There are many more, ahead of us. The backlash to the change is already evident.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The author Jacqueline Woodson, known for award-winning books including \u003cem>Brown Girl Dreaming\u003c/em> and \u003cem>Another Brooklyn,\u003c/em> will be the first honoree of the newly named Children’s Literature Legacy Award. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Little+House+On+The+Controversy%3A+Laura+Ingalls+Wilder%27s+Name+Removed+From+Book+Award&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "mexican-american-duo-jesse-joy-advocate-for-migrants-in-the-u-s",
"title": "Mexican-American Duo Jesse & Joy Advocate for Migrants in the U.S.",
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"headTitle": "Mexican-American Duo Jesse & Joy Advocate for Migrants in the U.S. | KQED",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/623313792/623773912\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Jesse and Joy Huerta of the sibling duo \u003ca href=\"https://www.npr.org/sections/therecord/2012/11/16/165268816/jesse-joy-juanes-win-big-at-latin-grammys\" target=\"_blank\" rel=\"noopener\">Jesse & Joy\u003c/a> have been staples in Latin American pop circles for more than a decade. Jesse, with his trademark wide-brim fedoras and tattoos, plays guitar and piano. Joy brings the melodies and harmonic high notes.\u003c/p>\n\u003cp>While long-embracing their bicultural heritage, current tensions between the U.S. and Mexico over immigration have compelled the duo to plunge into the \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener\">debate over migrant families\u003c/a>. In making the video for the title track of the pair’s Grammy Award-winning album \u003ca href=\"https://itunes.apple.com/mx/album/un-besito-m%C3%A1s/1056387508\" target=\"_blank\" rel=\"noopener\">Un Besito Más\u003c/a>, Jesse says he and his sister dove deep into the plight of separated families. The song’s official video spotlights the struggle of a mother and father facing deportation and their decision to leave their U.S.-born daughter behind.\u003c/p>\n\u003cp>https://youtu.be/z1EB-fI0JDI\u003c/p>\n\u003cp>Jesse says speaking both languages and holding two passports gives them a unique place to speak out for those not as privileged. “Why are we so lucky and blessed enough that we can travel back and forth without exposing our lives?” he asks. “That just made us commit more to it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joy hopes their music can change hearts and minds. “I think it’s a matter of respect, and if we give people information enough just to respect one another, I think we can help,” she says.\u003c/p>\n\u003cp>The duo’s musical success has helped cement them as binational, bilingual advocates, a role Joy tearfully embraced during her acceptance speech at\u003ca href=\"https://www.youtube.com/watch?v=SCOuVniZlGM\"> last year’s Grammy Awards\u003c/a>.\u003c/p>\n\u003cp>“We are so proud to be Mexican-Americans, so this goes to all the Hispanics out there in this country,” Jesse said in the speech. “To every minority group: We are with you. We stand with you.”\u003c/p>\n\u003cp>Though the pair has made a wholesome foray into reggaeton — their remixed single “3 A.M.” with Cuba’s reggaeton duo \u003ca href=\"https://www.npr.org/2017/08/02/541133965/subeme-la-radio-is-cuba-s-heartbreak-anthem-of-the-summer\" target=\"_blank\" rel=\"noopener\">Gente de Zona\u003c/a> is a hit among fans — Jesse & Joy sometimes strike a chord reminiscent of 1970s brother-and-sister pop icons \u003ca href=\"https://www.npr.org/artists/15395475/donny-osmond\" target=\"_blank\" rel=\"noopener\">Donny and Marie Osmond\u003c/a>.\u003c/p>\n\u003cp>That simplicity, often an outlier in today’s music scene, is what 22-year-old fan Carla Hernandez Pedraza likes about Jesse & Joy.\u003c/p>\n\u003cp>“I love the way they are,” Pedraza says in Spanish. “They are just really down to Earth, lovely people.”\u003c/p>\n\u003cp>Church factored big in the roots of Jesse and Joy. They learned music by borrowing instruments from their father’s evangelical church. And while they started off writing and singing in Spanish, both languages got equal play in their recent hometown concert in Mexico City.\u003c/p>\n\u003cp>Their father is Mexican, their mother is from Wisconsin, and Joy says she had strict rules: “No Spanglish at home. She’s like, ‘No, no, no, just stick to one language.’ I guess she wanted us to really get both languages separately.”\u003c/p>\n\u003cp>Moving into English language albums would seem like a natural next step for the duo, but like many of their fellow Latin American artists, it’s a tough calculation.\u003c/p>\n\u003cp>“We want to, but we don’t want to lose our crowd, you know, our fan base” Joy says. “We don’t want them to hate us here,” Jesse adds.\u003c/p>\n\u003cp>While they haven’t committed to all-English just yet, Jesse & Joy released several English cuts, including the melodic “Echoes of Love.”\u003c/p>\n\u003cp>But Jesse & Joy shouldn’t worry about being labeled a sell-out act. Eighteen-year-old fan Fatima Garcia traveled six hours by bus to get to the Mexico City concert. She says she loves the positive image Jesse & Joy reflect of Mexico and Mexicans these days, especially in the U.S.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are all just so proud of them,” Garcia says.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mexican-American+Duo+Jesse+%26+Joy+Advocate+For+Migrants+In+The+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/623313792/623773912\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Jesse and Joy Huerta of the sibling duo \u003ca href=\"https://www.npr.org/sections/therecord/2012/11/16/165268816/jesse-joy-juanes-win-big-at-latin-grammys\" target=\"_blank\" rel=\"noopener\">Jesse & Joy\u003c/a> have been staples in Latin American pop circles for more than a decade. Jesse, with his trademark wide-brim fedoras and tattoos, plays guitar and piano. Joy brings the melodies and harmonic high notes.\u003c/p>\n\u003cp>While long-embracing their bicultural heritage, current tensions between the U.S. and Mexico over immigration have compelled the duo to plunge into the \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener\">debate over migrant families\u003c/a>. In making the video for the title track of the pair’s Grammy Award-winning album \u003ca href=\"https://itunes.apple.com/mx/album/un-besito-m%C3%A1s/1056387508\" target=\"_blank\" rel=\"noopener\">Un Besito Más\u003c/a>, Jesse says he and his sister dove deep into the plight of separated families. The song’s official video spotlights the struggle of a mother and father facing deportation and their decision to leave their U.S.-born daughter behind.\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/z1EB-fI0JDI'\n title='//www.youtube.com/embed/z1EB-fI0JDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jesse says speaking both languages and holding two passports gives them a unique place to speak out for those not as privileged. “Why are we so lucky and blessed enough that we can travel back and forth without exposing our lives?” he asks. “That just made us commit more to it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joy hopes their music can change hearts and minds. “I think it’s a matter of respect, and if we give people information enough just to respect one another, I think we can help,” she says.\u003c/p>\n\u003cp>The duo’s musical success has helped cement them as binational, bilingual advocates, a role Joy tearfully embraced during her acceptance speech at\u003ca href=\"https://www.youtube.com/watch?v=SCOuVniZlGM\"> last year’s Grammy Awards\u003c/a>.\u003c/p>\n\u003cp>“We are so proud to be Mexican-Americans, so this goes to all the Hispanics out there in this country,” Jesse said in the speech. “To every minority group: We are with you. We stand with you.”\u003c/p>\n\u003cp>Though the pair has made a wholesome foray into reggaeton — their remixed single “3 A.M.” with Cuba’s reggaeton duo \u003ca href=\"https://www.npr.org/2017/08/02/541133965/subeme-la-radio-is-cuba-s-heartbreak-anthem-of-the-summer\" target=\"_blank\" rel=\"noopener\">Gente de Zona\u003c/a> is a hit among fans — Jesse & Joy sometimes strike a chord reminiscent of 1970s brother-and-sister pop icons \u003ca href=\"https://www.npr.org/artists/15395475/donny-osmond\" target=\"_blank\" rel=\"noopener\">Donny and Marie Osmond\u003c/a>.\u003c/p>\n\u003cp>That simplicity, often an outlier in today’s music scene, is what 22-year-old fan Carla Hernandez Pedraza likes about Jesse & Joy.\u003c/p>\n\u003cp>“I love the way they are,” Pedraza says in Spanish. “They are just really down to Earth, lovely people.”\u003c/p>\n\u003cp>Church factored big in the roots of Jesse and Joy. They learned music by borrowing instruments from their father’s evangelical church. And while they started off writing and singing in Spanish, both languages got equal play in their recent hometown concert in Mexico City.\u003c/p>\n\u003cp>Their father is Mexican, their mother is from Wisconsin, and Joy says she had strict rules: “No Spanglish at home. She’s like, ‘No, no, no, just stick to one language.’ I guess she wanted us to really get both languages separately.”\u003c/p>\n\u003cp>Moving into English language albums would seem like a natural next step for the duo, but like many of their fellow Latin American artists, it’s a tough calculation.\u003c/p>\n\u003cp>“We want to, but we don’t want to lose our crowd, you know, our fan base” Joy says. “We don’t want them to hate us here,” Jesse adds.\u003c/p>\n\u003cp>While they haven’t committed to all-English just yet, Jesse & Joy released several English cuts, including the melodic “Echoes of Love.”\u003c/p>\n\u003cp>But Jesse & Joy shouldn’t worry about being labeled a sell-out act. Eighteen-year-old fan Fatima Garcia traveled six hours by bus to get to the Mexico City concert. She says she loves the positive image Jesse & Joy reflect of Mexico and Mexicans these days, especially in the U.S.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are all just so proud of them,” Garcia says.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mexican-American+Duo+Jesse+%26+Joy+Advocate+For+Migrants+In+The+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Joe Jackson, Patriarch of the Jacksons, Dead at 89",
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"content": "\u003cp>Joe Jackson, patriarch of the legendary Jackson family, which included Michael and Janet Jackson, has died, the estate of Michael has confirmed in a statement. No cause of death was given, though he had reportedly been diagnosed with cancer.\u003c/p>\n\u003cp>Officially, Joe Jackson was a band manager, taking five of his sons from a locally celebrated pop vocal group in Gary, Ind., in the mid-1960s to international acclaim, acting as the launchpad to superstardom for his son Michael. Their paths, however, would be revealed through the decades as ones paved in checkers.\u003c/p>\n\u003cp>Joe Jackson, \u003ca href=\"https://www.jwjackson.com/about-joejackson/\" target=\"_blank\" rel=\"noopener\">born\u003c/a> in Alabama on July 26, 1928, was the eldest of six children of Samuel and Chrystal Jackson. Jackson’s parents separated in 1942, leaving Joe to travel between his father in Oakland, Calif. and his mother in East Chicago, Ind., before settling in the latter.\u003c/p>\n\u003cp>In his early 20s, while moonlighting in a blues band with his brother Luther, Joe met Katherine Scruse, whom he would marry in November 1949. (It would be his second, following a brief marriage that was annulled.) Rebbie Jackson — the first of their 10 children — was born in 1950; Jackie in 1951; Tito in 1953; Jermaine in 1954; La Toya in 1956; Marlon in 1957; Brandon in 1957; Michael in 1958; Randy in 1961; and Janet in 1966.\u003c/p>\n\u003cp>In the early 1960s, Jackson was working in a steel mill when he formed — or regimented, with regular daily practice scheduled by the tempestuous family head — a band sourced from his five sons: Jermaine, Jackie, Marlon, Tito and the youngest, Michael, as its charismatic lead singer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Through performances at local malls and talent shows, the group quickly cultivated a sterling local reputation, eventually taking top prize in a contest at the Apollo Theater in New York in 1967, when Michael was 9 years old. After auditioning in July 1968, The Jackson 5 was signed to Berry Gordy’s legendary Motown Records in March 1969. The group released its first single, “I Want You Back,” that October, \u003ca href=\"https://www.billboard.com/music/the-jacksons/chart-history/hot-100/song/581782\" target=\"_blank\" rel=\"noopener\">becoming\u003c/a> its first No. 1 hit the following January. The group’s first album, \u003cem>Diana Ross Presents The Jackson 5,\u003c/em> would tally an astounding 10 million sales over just 10 months; the following April, the Jackson 5’s classic “ABC” would dethrone The Beatles’ “Let It Be” from the top of the singles chart.\u003c/p>\n\u003cp>Later in life, however — after “Jackson Mania” and Saturday morning cartoons, solo careers and meet-and-greets with the Queen of England — a darker public picture of the Jackson family’s internal life was slowly revealed.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=BbItFJJPPmA\" target=\"_blank\" rel=\"noopener\">interview with Oprah Winfrey\u003c/a> in 1993, Michael Jackson revealed that the drive behind his and his brothers’ early success was a harsh regime enforced by Joe, bordering on physical and mental abuse.\u003c/p>\n\u003cp>Joe Jackson and some of the other Jackson siblings denied those allegations, describing the treatment as in line with the stern discipline practices of the day.\u003c/p>\n\u003cp>“There was a lot of love in that little house,” Jackie Jackson, the eldest brother, is quoted as saying in \u003cem>The Jacksons: Legacy\u003c/em>. “My mother was the sweetest woman you could ever meet. … My father was the one who cracked the whip.”\u003c/p>\n\u003cp>In a 2007 interview with \u003cem>The Chicago Defender,\u003c/em> Joe Jackson explained that his form of discipline was not unlike any other black family of the era. “Yeah, I whipped my kids and back then there was nothing wrong with that,” he said. “Nowadays people want to call the police on you. The people complaining about what I did got whippings from their parents too.”\u003c/p>\n\u003cp>Despite the internal tensions the allegations caused within the family, Jackson was seen holding his son’s hand as they walked into the Santa Barbara County Superior Court, before Michael’s 2005 trial on charges of child molestation, and never wavered in maintaining his son’s innocence.\u003c/p>\n\u003cp>In fact, Jackson acknowledged Michael did not exactly have the most idyllic of childhoods, saying it may have influenced the public’s perception of The King of Pop. As he \u003ca href=\"https://www.cnn.com/2013/01/30/showbiz/joe-jackson-pmt/index.html\">told CNN\u003c/a> in 2013: “Well … Michael was a big old kid himself. He was still — had the mind of a kid. But he loved kids so much. And the things that he didn’t have, he tried to help them to have it.”\u003c/p>\n\u003cp>When questioned about any regrets in that CNN interview, Jackson replied: “Well, I’m glad I was tough, because look what I came out with. I came out with some kids that everybody loved all over the world. And they treated everybody right.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Andrew Flanagan.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joe+Jackson%2C+Strict+Manager+And+Father+To+Pop+Royalty%2C+Dead+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Jackson, patriarch of the legendary Jackson family, which included Michael and Janet Jackson, has died, the estate of Michael has confirmed in a statement. No cause of death was given, though he had reportedly been diagnosed with cancer.\u003c/p>\n\u003cp>Officially, Joe Jackson was a band manager, taking five of his sons from a locally celebrated pop vocal group in Gary, Ind., in the mid-1960s to international acclaim, acting as the launchpad to superstardom for his son Michael. Their paths, however, would be revealed through the decades as ones paved in checkers.\u003c/p>\n\u003cp>Joe Jackson, \u003ca href=\"https://www.jwjackson.com/about-joejackson/\" target=\"_blank\" rel=\"noopener\">born\u003c/a> in Alabama on July 26, 1928, was the eldest of six children of Samuel and Chrystal Jackson. Jackson’s parents separated in 1942, leaving Joe to travel between his father in Oakland, Calif. and his mother in East Chicago, Ind., before settling in the latter.\u003c/p>\n\u003cp>In his early 20s, while moonlighting in a blues band with his brother Luther, Joe met Katherine Scruse, whom he would marry in November 1949. (It would be his second, following a brief marriage that was annulled.) Rebbie Jackson — the first of their 10 children — was born in 1950; Jackie in 1951; Tito in 1953; Jermaine in 1954; La Toya in 1956; Marlon in 1957; Brandon in 1957; Michael in 1958; Randy in 1961; and Janet in 1966.\u003c/p>\n\u003cp>In the early 1960s, Jackson was working in a steel mill when he formed — or regimented, with regular daily practice scheduled by the tempestuous family head — a band sourced from his five sons: Jermaine, Jackie, Marlon, Tito and the youngest, Michael, as its charismatic lead singer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through performances at local malls and talent shows, the group quickly cultivated a sterling local reputation, eventually taking top prize in a contest at the Apollo Theater in New York in 1967, when Michael was 9 years old. After auditioning in July 1968, The Jackson 5 was signed to Berry Gordy’s legendary Motown Records in March 1969. The group released its first single, “I Want You Back,” that October, \u003ca href=\"https://www.billboard.com/music/the-jacksons/chart-history/hot-100/song/581782\" target=\"_blank\" rel=\"noopener\">becoming\u003c/a> its first No. 1 hit the following January. The group’s first album, \u003cem>Diana Ross Presents The Jackson 5,\u003c/em> would tally an astounding 10 million sales over just 10 months; the following April, the Jackson 5’s classic “ABC” would dethrone The Beatles’ “Let It Be” from the top of the singles chart.\u003c/p>\n\u003cp>Later in life, however — after “Jackson Mania” and Saturday morning cartoons, solo careers and meet-and-greets with the Queen of England — a darker public picture of the Jackson family’s internal life was slowly revealed.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=BbItFJJPPmA\" target=\"_blank\" rel=\"noopener\">interview with Oprah Winfrey\u003c/a> in 1993, Michael Jackson revealed that the drive behind his and his brothers’ early success was a harsh regime enforced by Joe, bordering on physical and mental abuse.\u003c/p>\n\u003cp>Joe Jackson and some of the other Jackson siblings denied those allegations, describing the treatment as in line with the stern discipline practices of the day.\u003c/p>\n\u003cp>“There was a lot of love in that little house,” Jackie Jackson, the eldest brother, is quoted as saying in \u003cem>The Jacksons: Legacy\u003c/em>. “My mother was the sweetest woman you could ever meet. … My father was the one who cracked the whip.”\u003c/p>\n\u003cp>In a 2007 interview with \u003cem>The Chicago Defender,\u003c/em> Joe Jackson explained that his form of discipline was not unlike any other black family of the era. “Yeah, I whipped my kids and back then there was nothing wrong with that,” he said. “Nowadays people want to call the police on you. The people complaining about what I did got whippings from their parents too.”\u003c/p>\n\u003cp>Despite the internal tensions the allegations caused within the family, Jackson was seen holding his son’s hand as they walked into the Santa Barbara County Superior Court, before Michael’s 2005 trial on charges of child molestation, and never wavered in maintaining his son’s innocence.\u003c/p>\n\u003cp>In fact, Jackson acknowledged Michael did not exactly have the most idyllic of childhoods, saying it may have influenced the public’s perception of The King of Pop. As he \u003ca href=\"https://www.cnn.com/2013/01/30/showbiz/joe-jackson-pmt/index.html\">told CNN\u003c/a> in 2013: “Well … Michael was a big old kid himself. He was still — had the mind of a kid. But he loved kids so much. And the things that he didn’t have, he tried to help them to have it.”\u003c/p>\n\u003cp>When questioned about any regrets in that CNN interview, Jackson replied: “Well, I’m glad I was tough, because look what I came out with. I came out with some kids that everybody loved all over the world. And they treated everybody right.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Andrew Flanagan.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joe+Jackson%2C+Strict+Manager+And+Father+To+Pop+Royalty%2C+Dead+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:57 p.m. ET, June 26 with a statement from the Canadian government.\u003c/em>\u003c/p>\n\u003cp>Organizers of Ottawa’s RBC Bluesfest, which \u003ca href=\"https://ottawabluesfest.ca/our-organization/\" target=\"_blank\" rel=\"noopener\">describes\u003c/a> itself as “the Canadian version of Bonnaroo, Coachella, and/or the New Orleans Jazz and Heritage festival,” are refusing to separate a family of birds that has nested near its festival site, preventing the construction of its main stage.\u003c/p>\n\u003cp>“The fact of the matter is that, without sounding righteous, we want to do the most humane thing,” AJ Sauve, the festival’s communications director, told NPR.\u003c/p>\n\u003cp>The festival, which is expecting to draw 100,000 music fans from July 5-15, has received the go-ahead to relocate the eggs some time Tuesday.\u003c/p>\n\u003cp>“We’ve seen it all — you name it, we’ve seen it,” Sauve said. “This one here, this is a new one.” Sauve added that he and his team have become amateur ornithologists over the past two days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Environment and Climate Change Canada (ECCC) has issued a permit under the federal Migratory Birds Convention Act to allow the relocation of the nest to nearby suitable habitat,” a spokesperson for the ECCC writes in a statement to NPR. “The Killdeer is not a species at risk although the Canadian population has seen a decline over the last 40 years. The relocation will allow the nest to remain and eggs to hatch in the natural environment. In the event of nest abandonment, eggs will be transported to a rehabilitation facility to provide the best probability for survival.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=QFzxR3NERUQ\" target=\"_blank\" rel=\"noopener\">press conference\u003c/a> held Monday, festival director Mark Monahan stressed the need to find a compromise. “Within a week or so there’s going to be 100,000 people congregating on this site,” he said. “We realize that, although it may seem calm right now, it is highly unlikely that the activity level, which will be tremendous, will be conducive to the eggs or the bird continuing to be here. So we’re trying to come up with a solution that’s best obviously for the eggs and the birds, and also hopefully that wouldn’t hamper our ability to set up and eventually put on the festival.”\u003c/p>\n\u003cp>The birds are a common species called “killdeers,” which is known for both its boisterous vocalizing and its “fake broken wing dance,” which it uses to distract predators from its nest. Organizers hope to incubate the eggs, or move the nest to a safer location until the eggs hatch, after which the chicks — unlike, say, human beings — become relatively independent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I5Kt8XGFcXw\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Killdeer+Plays+Killjoy%2C+Halts+Production+Of+%27Canada%27s+Coachella%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:57 p.m. ET, June 26 with a statement from the Canadian government.\u003c/em>\u003c/p>\n\u003cp>Organizers of Ottawa’s RBC Bluesfest, which \u003ca href=\"https://ottawabluesfest.ca/our-organization/\" target=\"_blank\" rel=\"noopener\">describes\u003c/a> itself as “the Canadian version of Bonnaroo, Coachella, and/or the New Orleans Jazz and Heritage festival,” are refusing to separate a family of birds that has nested near its festival site, preventing the construction of its main stage.\u003c/p>\n\u003cp>“The fact of the matter is that, without sounding righteous, we want to do the most humane thing,” AJ Sauve, the festival’s communications director, told NPR.\u003c/p>\n\u003cp>The festival, which is expecting to draw 100,000 music fans from July 5-15, has received the go-ahead to relocate the eggs some time Tuesday.\u003c/p>\n\u003cp>“We’ve seen it all — you name it, we’ve seen it,” Sauve said. “This one here, this is a new one.” Sauve added that he and his team have become amateur ornithologists over the past two days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Environment and Climate Change Canada (ECCC) has issued a permit under the federal Migratory Birds Convention Act to allow the relocation of the nest to nearby suitable habitat,” a spokesperson for the ECCC writes in a statement to NPR. “The Killdeer is not a species at risk although the Canadian population has seen a decline over the last 40 years. The relocation will allow the nest to remain and eggs to hatch in the natural environment. In the event of nest abandonment, eggs will be transported to a rehabilitation facility to provide the best probability for survival.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=QFzxR3NERUQ\" target=\"_blank\" rel=\"noopener\">press conference\u003c/a> held Monday, festival director Mark Monahan stressed the need to find a compromise. “Within a week or so there’s going to be 100,000 people congregating on this site,” he said. “We realize that, although it may seem calm right now, it is highly unlikely that the activity level, which will be tremendous, will be conducive to the eggs or the bird continuing to be here. So we’re trying to come up with a solution that’s best obviously for the eggs and the birds, and also hopefully that wouldn’t hamper our ability to set up and eventually put on the festival.”\u003c/p>\n\u003cp>The birds are a common species called “killdeers,” which is known for both its boisterous vocalizing and its “fake broken wing dance,” which it uses to distract predators from its nest. Organizers hope to incubate the eggs, or move the nest to a safer location until the eggs hatch, after which the chicks — unlike, say, human beings — become relatively independent. \u003c/p>\n\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/I5Kt8XGFcXw'\n title='//www.youtube.com/embed/I5Kt8XGFcXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Killdeer+Plays+Killjoy%2C+Halts+Production+Of+%27Canada%27s+Coachella%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 1:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The Smithsonian’s \u003ca href=\"http://www.nmai.si.edu/\">National Museum of the American Indian\u003c/a> has announced the winning concept for the \u003ca href=\"https://nmai.si.edu/nnavm/\">National Native American Veterans Memorial\u003c/a>: Multimedia artist \u003ca href=\"https://harveypratt.com/\">Harvey Pratt’s\u003c/a> \u003cem>Warriors’ Circle of Honor\u003c/em> will incorporate a large, upright stainless steel circle set above a stone drum in the center of a circular walkway with intricate carvings of the five military seals.\u003c/p>\n\u003cfigure id=\"attachment_13836023\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-800x800.jpg\" alt=\"The multimedia artist Harvey Pratt's "Warriors' Circle of Honor" will incorporate an enormous, upright stainless steel circle.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13836023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The multimedia artist Harvey Pratt’s “Warriors’ Circle of Honor” will incorporate an enormous, upright stainless steel circle. \u003ccite>(National Museum of the American Indian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The memorial will sit on the National Mall in Washington, D.C., and Pratt envisions that from there will be a clear view of the U.S. Capitol’s dome. As Smithsonian.com \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/this-innovative-memorial-soon-honor-native-american-veterans-180969060/\">has reported\u003c/a>, Pratt’s use of circles suggest “the cycle of life and death, and the continuity of all things.” The stone drum, it adds, symbolizes an invitation for people to “harmonize their experiences” with one another to the “silent rhythms” of the drumbeat.\u003c/p>\n\u003cp>Pratt was born in Guthrie, Okla., and is a citizen of the Cheyenne and Arapaho nations. He’s a veteran of the Marine Corps and served in Vietnam from 1962 to 1965. He also worked as a forensic artist for years, creating witness description drawings for law enforcement.\u003c/p>\n\u003cp>Pratt tells NPR’s Mary Louise Kelly that he hopes his design will function as an architectural piece rather than just a work of sculpture — something that people can become a part of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says he can picture people taking a seat on the benches tucked into the drum fountain, and reflecting on their own experiences with the military. He also hopes that it might be a cathartic place for some veterans.\u003c/p>\n\u003cp>“Most nations have veterans tell stories about what they did,” Pratt says. “People can come in there and do that and be comforted, and get rid of some things that are on their minds that bother them.”\u003c/p>\n\u003cp>More than 150,000 veterans \u003ca href=\"https://www.census.gov/newsroom/releases/archives/facts_for_features_special_editions/cb11-ff22.html\">identified as American Indian and Alaska Native in the 2010 census\u003c/a>. And according to the U.S. Department of Defense, \u003ca href=\"https://www.va.gov/TRIBALGOVERNMENT/docs/AIAN_Report_FINAL_v2_7.pdf\">there are more than 20,000 active duty service members\u003c/a> in the military who identify as American Indian or Alaska Native.\u003c/p>\n\u003cp>The memorial was selected unanimously by an eight-person jury of Native and non-Native artists, designers, museum directors and veterans. It acknowledges the history and service of American Indian, Alaska Native and Native Hawaiian veterans, according to the museum’s director, Kevin Gover, who is a citizen of the Pawnee Tribe of Oklahoma.\u003c/p>\n\u003cp>Gover says that throughout the process of helping plan the memorial, he’s met thousands Native American veterans who have demonstrated over and over their commitment to the U.S.\u003c/p>\n\u003cp>“These veterans are perfectly aware that they are serving a country that had not kept its commitments to Native people, and yet they chose — and are still choosing — to serve,” Gover says. “This reflects a very deep kind of patriotism. I can think of no finer example of service to the United States and the promise it holds.”\u003c/p>\n\u003cp>The memorial will break ground on Sept. 21, 2019, and will be unveiled in late 2020.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want it to be a place of healing and comfort, and a place that’s hopefully going to be built on love,” Pratt says. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Smithsonian+Reveals+Winning+Design+For+New+Native+American+Veterans+Memorial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The Smithsonian’s \u003ca href=\"http://www.nmai.si.edu/\">National Museum of the American Indian\u003c/a> has announced the winning concept for the \u003ca href=\"https://nmai.si.edu/nnavm/\">National Native American Veterans Memorial\u003c/a>: Multimedia artist \u003ca href=\"https://harveypratt.com/\">Harvey Pratt’s\u003c/a> \u003cem>Warriors’ Circle of Honor\u003c/em> will incorporate a large, upright stainless steel circle set above a stone drum in the center of a circular walkway with intricate carvings of the five military seals.\u003c/p>\n\u003cfigure id=\"attachment_13836023\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-800x800.jpg\" alt=\"The multimedia artist Harvey Pratt's "Warriors' Circle of Honor" will incorporate an enormous, upright stainless steel circle.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13836023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The multimedia artist Harvey Pratt’s “Warriors’ Circle of Honor” will incorporate an enormous, upright stainless steel circle. \u003ccite>(National Museum of the American Indian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The memorial will sit on the National Mall in Washington, D.C., and Pratt envisions that from there will be a clear view of the U.S. Capitol’s dome. As Smithsonian.com \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/this-innovative-memorial-soon-honor-native-american-veterans-180969060/\">has reported\u003c/a>, Pratt’s use of circles suggest “the cycle of life and death, and the continuity of all things.” The stone drum, it adds, symbolizes an invitation for people to “harmonize their experiences” with one another to the “silent rhythms” of the drumbeat.\u003c/p>\n\u003cp>Pratt was born in Guthrie, Okla., and is a citizen of the Cheyenne and Arapaho nations. He’s a veteran of the Marine Corps and served in Vietnam from 1962 to 1965. He also worked as a forensic artist for years, creating witness description drawings for law enforcement.\u003c/p>\n\u003cp>Pratt tells NPR’s Mary Louise Kelly that he hopes his design will function as an architectural piece rather than just a work of sculpture — something that people can become a part of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says he can picture people taking a seat on the benches tucked into the drum fountain, and reflecting on their own experiences with the military. He also hopes that it might be a cathartic place for some veterans.\u003c/p>\n\u003cp>“Most nations have veterans tell stories about what they did,” Pratt says. “People can come in there and do that and be comforted, and get rid of some things that are on their minds that bother them.”\u003c/p>\n\u003cp>More than 150,000 veterans \u003ca href=\"https://www.census.gov/newsroom/releases/archives/facts_for_features_special_editions/cb11-ff22.html\">identified as American Indian and Alaska Native in the 2010 census\u003c/a>. And according to the U.S. Department of Defense, \u003ca href=\"https://www.va.gov/TRIBALGOVERNMENT/docs/AIAN_Report_FINAL_v2_7.pdf\">there are more than 20,000 active duty service members\u003c/a> in the military who identify as American Indian or Alaska Native.\u003c/p>\n\u003cp>The memorial was selected unanimously by an eight-person jury of Native and non-Native artists, designers, museum directors and veterans. It acknowledges the history and service of American Indian, Alaska Native and Native Hawaiian veterans, according to the museum’s director, Kevin Gover, who is a citizen of the Pawnee Tribe of Oklahoma.\u003c/p>\n\u003cp>Gover says that throughout the process of helping plan the memorial, he’s met thousands Native American veterans who have demonstrated over and over their commitment to the U.S.\u003c/p>\n\u003cp>“These veterans are perfectly aware that they are serving a country that had not kept its commitments to Native people, and yet they chose — and are still choosing — to serve,” Gover says. “This reflects a very deep kind of patriotism. I can think of no finer example of service to the United States and the promise it holds.”\u003c/p>\n\u003cp>The memorial will break ground on Sept. 21, 2019, and will be unveiled in late 2020.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want it to be a place of healing and comfort, and a place that’s hopefully going to be built on love,” Pratt says. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Smithsonian+Reveals+Winning+Design+For+New+Native+American+Veterans+Memorial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following through on promises to finally diversify the rank and file of the Academy of Motion Pictures, the Oscar-granting body has \u003ca href=\"http://www.app.oscars.org/newmembers2018/\">invited a record number of 928 new members\u003c/a>, making the 2018 class the largest in history.\u003c/p>\n\u003cp>The invitations, issued Monday to an array of people involved in the film industry across 59 countries, are part of the Academy’s stated mission to include more women and more people of color after the 2014 and 2015 #OscarsSoWhite controversies, which essentially shut-out non-white acting nominees from all 20 spots in the lead and supporting acting roles.\u003c/p>\n\u003cp>According to the Academy’s breakdown, 49 percent of new members this year are women and 38 percent are people of color. Still, those numbers do little to raise overall numbers of both groups over last year. Should everyone who has been invited actually agree to join, it would raise overall female membership from 28 percent to 31 percent, while non-white participation would inch up from 13 percent to 16 percent.\u003c/p>\n\u003cp>Among the most recognizable names asked into the privileged fold are Tiffany Haddish, Dave Chappelle, Mindy Kaling, Amy Schumer, Kumail Nanjiani, Wendell Pierce, Gina Rodriguez, Sarah Silverman, J.K. Rowling, Kendrick Lamar, Questlove and Jada Pinkett Smith, who boycotted the 2016 awards for its lack of diversity.\u003c/p>\n\u003cp>As of Tuesday morning, only a handful of those newly invited had acknowledged it on Twitter. Rodriguez and Pierce both said they were “honored.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/HereIsGina/status/1011378202973859840\u003c/p>\n\u003cp>https://twitter.com/WendellPierce/status/1011383955793248256\u003c/p>\n\u003cp>Nanjiani took a more factual tone, writing, “Hey yo. I’m in the Academy.”\u003c/p>\n\u003cp>https://twitter.com/kumailn/status/1011322202694864897\u003c/p>\n\u003cp>And actor Miles Teller promised “to never let anyone borrow my screeners.”\u003c/p>\n\u003cp>https://twitter.com/Miles_Teller/status/1011367085715402753\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Former Academy president Cheryl Boone Isaacs — the first African-American president of the group and the third woman to hold the position — initiated push to broaden membership in 2016 after it was revealed that 92% were white and 75% male. At the time she said her goal was to \u003ca href=\"https://www.hollywoodreporter.com/news/new-academy-members-2018-revealed-1123069\">double the number of women and people of color\u003c/a> in the Academy by 2020. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscar%27s+Academy+Invites+928+New+Members%2C+Getting+Closer+To+Diversity+Goals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following through on promises to finally diversify the rank and file of the Academy of Motion Pictures, the Oscar-granting body has \u003ca href=\"http://www.app.oscars.org/newmembers2018/\">invited a record number of 928 new members\u003c/a>, making the 2018 class the largest in history.\u003c/p>\n\u003cp>The invitations, issued Monday to an array of people involved in the film industry across 59 countries, are part of the Academy’s stated mission to include more women and more people of color after the 2014 and 2015 #OscarsSoWhite controversies, which essentially shut-out non-white acting nominees from all 20 spots in the lead and supporting acting roles.\u003c/p>\n\u003cp>According to the Academy’s breakdown, 49 percent of new members this year are women and 38 percent are people of color. Still, those numbers do little to raise overall numbers of both groups over last year. Should everyone who has been invited actually agree to join, it would raise overall female membership from 28 percent to 31 percent, while non-white participation would inch up from 13 percent to 16 percent.\u003c/p>\n\u003cp>Among the most recognizable names asked into the privileged fold are Tiffany Haddish, Dave Chappelle, Mindy Kaling, Amy Schumer, Kumail Nanjiani, Wendell Pierce, Gina Rodriguez, Sarah Silverman, J.K. Rowling, Kendrick Lamar, Questlove and Jada Pinkett Smith, who boycotted the 2016 awards for its lack of diversity.\u003c/p>\n\u003cp>As of Tuesday morning, only a handful of those newly invited had acknowledged it on Twitter. Rodriguez and Pierce both said they were “honored.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
"link": "/radio/program/bbc-world-service",
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"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"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"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 />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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