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"content": "\u003cp>\u003cstrong>Updated at 3 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>If you’ve got a burning secret about the 13 pieces of art missing from Boston’s Isabella Stewart Gardner Museum, the clock is ticking.\u003c/p>\n\u003cp>Share the details in the next four days, and you’ll earn a cool $10 million.\u003c/p>\n\u003cp>Wait until 2018, and that reward will be slashed in half.\u003c/p>\n\u003cp>The March 18, 1990, theft of the masterpieces was the biggest-ever heist from an art museum and the largest property crime America has ever seen. Three Rembrandts, including his only known seascape. A Vermeer. A Manet. Sketches by Degas. All spirited away by bold thieves disguised as policemen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The artworks are, collectively, worth more than $500 million, but they’re so recognizable that they’re believed to be nearly impossible to sell. No one knows where they are; at least, no one has told the museum or the FBI.\u003c/p>\n\u003cp>Twenty-seven years later, the museum has empty frames on its walls — reminders of the art that isn’t there.\u003c/p>\n\u003cp>A $1 million reward was later boosted to $5 million. And this year, the prize money was doubled, with a deadline of Dec. 31.\u003c/p>\n\u003cp>As the deadline approaches, museum spokeswoman Kathy Sharpless \u003ca href=\"https://www.cbsnews.com/news/art-theft-reward-deadline-isabella-stewart-gardner-museum-boston/\">told CBS News\u003c/a> the museum is watching that date.\u003c/p>\n\u003cp>“Clearly there’s a sense of urgency on our part,” she said. “We want our paintings back.”\u003c/p>\n\u003cp>To be clear, the museum isn’t looking for the names of the thieves. The FBI actually has a pretty good idea who did it — they suspect two men tied to the mob — but the statute of limitations on the crime expired years ago.\u003c/p>\n\u003cp>It’s not about catching the crooks or making sure justice is served. The museum just wants its masterpieces back.\u003c/p>\n\u003cp>“I am focused like a laser beam on one thing and that is recovering our stolen art and putting it back on the walls here at the museum, where it belongs,” Anthony Amore, head of security at the museum and the chief investigator into the heist, tells NPR.\u003c/p>\n\u003cp>Amore tells NPR he’s been busy lately, chasing leads and responding to calls and emails from the public.\u003c/p>\n\u003cp>“We have received a few good calls with important information, and we hope to receive more before the end of the year,” he says.\u003c/p>\n\u003cp>But not all tips are created equal. “The majority of the calls are theories,” he says. “And what we’re looking for are facts that will lead us to a recovery, rather than theories that people have come up with from their homes.”\u003c/p>\n\u003cp>If you have those kinds of facts at hand, email theft@gardnermuseum.org to pass along your tip — confidentiality guaranteed — and claim your $10 million.\u003c/p>\n\u003cp>Curious about how that grand heist went down? \u003cem>Boston Globe \u003c/em>reporter Stephen Kurkjian, author of a book about the theft, \u003ca href=\"https://www.npr.org/2015/03/18/393565096/25-years-after-art-heist-empty-frames-still-hang-in-bostons-gardner-museum\">explained the night’s fateful events\u003c/a> to NPR in 2015.\u003c/p>\n\u003cblockquote>\u003cp>“Two men dressed in police uniforms rang the bell to the employees’ entrance of the Isabella Stewart Gardner Museum. They showed up on the monitor screen of one of the two night watchmen who were on duty that night. … They said, ‘We’re here to investigate a disturbance,’ so [security guard Rick Abath] buzzed them in.\u003c/p>\n\u003cp>“He stepped away from the security desk that he was sitting at, and that removed him from the only alert. The only outside alarm that the museum had was a button that was at his security desk. And he stepped away from it because the alleged police officers, the thieves, said to him that he ‘looked familiar,’ that ‘didn’t they have a warrant out for his arrest?’\u003c/p>\n\u003cp>“He was worried that if he was arrested on a weekend night — and this was Sunday morning — he would not be in court until Monday, and he knew he had tickets to that night’s Grateful Dead concert in Hartford, Conn. And he didn’t want to miss it by being in jail, so he stepped away and he got tied up, he got apprehended. His fellow night watchman came down and they tied him up and then, you know, these two thugs were allowed to pull off the greatest art theft — half a billion dollars … probably more.\u003c/p>\n\u003cp>“No one can put a value on these paintings because no one’s going to buy stolen artwork of this value. And that’s why the sense is that the works do not lay in the hands of an art collector who cannot live without this Rembrandt or that Vermeer but they were stolen for some other reason.”\u003c/p>\u003c/blockquote>\n\u003cp>That security guard who let the thieves in, Rick Abath, \u003ca href=\"https://www.npr.org/2015/03/13/392567024/former-security-guard-reflects-on-what-he-lost-one-fateful-night\">shared his memories\u003c/a> of that night on StoryCorps in 2015. He remembered being handcuffed to the electrical box in the museum for eight hours, duct tape over his eyes, singing Bob Dylan’s “I Shall Be Released” over and over again.\u003c/p>\n\u003cp>“I was just this hippie guy who wasn’t hurting anything, wasn’t on anybody’s radar,” he said. “And the next day, I was on everybody’s radar for the largest art heist in history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Two of the Rembrandts, they cut them out of the frames. So even if they get the paintings back, they’ll never be the same,” he said. “And I feel horrible about that … ultimately, I’m the one who made that decision to buzz them in.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Got+The+Scoop+On+The+Gardner+Museum+Art+Heist%3F+You+Have+4+Days+To+Earn+%2410+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "In 1990, two men stole 13 pieces of art from a Boston museum. They're worth half a billion dollars ... \u003cem>if\u003c/em> you could sell them. On the other hand, the museum has a hefty reward for their whereabouts.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 3 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>If you’ve got a burning secret about the 13 pieces of art missing from Boston’s Isabella Stewart Gardner Museum, the clock is ticking.\u003c/p>\n\u003cp>Share the details in the next four days, and you’ll earn a cool $10 million.\u003c/p>\n\u003cp>Wait until 2018, and that reward will be slashed in half.\u003c/p>\n\u003cp>The March 18, 1990, theft of the masterpieces was the biggest-ever heist from an art museum and the largest property crime America has ever seen. Three Rembrandts, including his only known seascape. A Vermeer. A Manet. Sketches by Degas. All spirited away by bold thieves disguised as policemen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The artworks are, collectively, worth more than $500 million, but they’re so recognizable that they’re believed to be nearly impossible to sell. No one knows where they are; at least, no one has told the museum or the FBI.\u003c/p>\n\u003cp>Twenty-seven years later, the museum has empty frames on its walls — reminders of the art that isn’t there.\u003c/p>\n\u003cp>A $1 million reward was later boosted to $5 million. And this year, the prize money was doubled, with a deadline of Dec. 31.\u003c/p>\n\u003cp>As the deadline approaches, museum spokeswoman Kathy Sharpless \u003ca href=\"https://www.cbsnews.com/news/art-theft-reward-deadline-isabella-stewart-gardner-museum-boston/\">told CBS News\u003c/a> the museum is watching that date.\u003c/p>\n\u003cp>“Clearly there’s a sense of urgency on our part,” she said. “We want our paintings back.”\u003c/p>\n\u003cp>To be clear, the museum isn’t looking for the names of the thieves. The FBI actually has a pretty good idea who did it — they suspect two men tied to the mob — but the statute of limitations on the crime expired years ago.\u003c/p>\n\u003cp>It’s not about catching the crooks or making sure justice is served. The museum just wants its masterpieces back.\u003c/p>\n\u003cp>“I am focused like a laser beam on one thing and that is recovering our stolen art and putting it back on the walls here at the museum, where it belongs,” Anthony Amore, head of security at the museum and the chief investigator into the heist, tells NPR.\u003c/p>\n\u003cp>Amore tells NPR he’s been busy lately, chasing leads and responding to calls and emails from the public.\u003c/p>\n\u003cp>“We have received a few good calls with important information, and we hope to receive more before the end of the year,” he says.\u003c/p>\n\u003cp>But not all tips are created equal. “The majority of the calls are theories,” he says. “And what we’re looking for are facts that will lead us to a recovery, rather than theories that people have come up with from their homes.”\u003c/p>\n\u003cp>If you have those kinds of facts at hand, email theft@gardnermuseum.org to pass along your tip — confidentiality guaranteed — and claim your $10 million.\u003c/p>\n\u003cp>Curious about how that grand heist went down? \u003cem>Boston Globe \u003c/em>reporter Stephen Kurkjian, author of a book about the theft, \u003ca href=\"https://www.npr.org/2015/03/18/393565096/25-years-after-art-heist-empty-frames-still-hang-in-bostons-gardner-museum\">explained the night’s fateful events\u003c/a> to NPR in 2015.\u003c/p>\n\u003cblockquote>\u003cp>“Two men dressed in police uniforms rang the bell to the employees’ entrance of the Isabella Stewart Gardner Museum. They showed up on the monitor screen of one of the two night watchmen who were on duty that night. … They said, ‘We’re here to investigate a disturbance,’ so [security guard Rick Abath] buzzed them in.\u003c/p>\n\u003cp>“He stepped away from the security desk that he was sitting at, and that removed him from the only alert. The only outside alarm that the museum had was a button that was at his security desk. And he stepped away from it because the alleged police officers, the thieves, said to him that he ‘looked familiar,’ that ‘didn’t they have a warrant out for his arrest?’\u003c/p>\n\u003cp>“He was worried that if he was arrested on a weekend night — and this was Sunday morning — he would not be in court until Monday, and he knew he had tickets to that night’s Grateful Dead concert in Hartford, Conn. And he didn’t want to miss it by being in jail, so he stepped away and he got tied up, he got apprehended. His fellow night watchman came down and they tied him up and then, you know, these two thugs were allowed to pull off the greatest art theft — half a billion dollars … probably more.\u003c/p>\n\u003cp>“No one can put a value on these paintings because no one’s going to buy stolen artwork of this value. And that’s why the sense is that the works do not lay in the hands of an art collector who cannot live without this Rembrandt or that Vermeer but they were stolen for some other reason.”\u003c/p>\u003c/blockquote>\n\u003cp>That security guard who let the thieves in, Rick Abath, \u003ca href=\"https://www.npr.org/2015/03/13/392567024/former-security-guard-reflects-on-what-he-lost-one-fateful-night\">shared his memories\u003c/a> of that night on StoryCorps in 2015. He remembered being handcuffed to the electrical box in the museum for eight hours, duct tape over his eyes, singing Bob Dylan’s “I Shall Be Released” over and over again.\u003c/p>\n\u003cp>“I was just this hippie guy who wasn’t hurting anything, wasn’t on anybody’s radar,” he said. “And the next day, I was on everybody’s radar for the largest art heist in history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Two of the Rembrandts, they cut them out of the frames. So even if they get the paintings back, they’ll never be the same,” he said. “And I feel horrible about that … ultimately, I’m the one who made that decision to buzz them in.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Got+The+Scoop+On+The+Gardner+Museum+Art+Heist%3F+You+Have+4+Days+To+Earn+%2410+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'I, Tonya,' You, Implicated",
"headTitle": "‘I, Tonya,’ You, Implicated | KQED",
"content": "\u003cp>Tonya Harding was never supposed to be a pro figure skater. Like so many young American dreamers before her, she had it all wrong for success: born into the wrong class, raised by the wrong role model, drawn to the wrong men. And she had the wrong kind of femininity for the sport she loved, too, because those judges didn’t want to see a ZZ Top routine from someone who sewed her own costume, even if it did include a flawlessly executed triple axel.\u003c/p>\n\u003cp>So when Harding did find a bit of glory, there were corrective measures in place, and her self-made undoing — by playing some part in the “hit” on U.S. rival Nancy Kerrigan’s leg, the scandal that would unravel her career and the entire 1990s along with it — was the fitting, flaming end to her membership in the elite club that never wanted her anyway.\u003c/p>\n\u003cp>That is the argument put forth by \u003cem>I, Tonya\u003c/em>, the cheeky and skate-sharp new biopic from director Craig Gillespie coming only a few short years after the \u003ca href=\"https://www.npr.org/sections/monkeysee/2014/01/16/263073794/complicating-the-tonya-and-nancy-narratives-20-years-later\">ESPN documentary\u003c/a>. The title tips us off that Harding’s story — drawn from interviews with all the key players — has been rehabilitated into the stuff of tabloid Greek tragedy. This is a bold film, especially in its leveraging of all that real-life contradiction to create something that shocks and delights us with its own stylistic wrongness. \u003cem>I, Tonya \u003c/em>takes greater risks with the biopic genre than any other in recent memory, and it’s remarkable how much of it lands upright. It’s the triple axel of based-on-a-true-story movies.\u003c/p>\n\u003cp>https://youtu.be/d2iy5y0YjGM\u003c/p>\n\u003cp>As played magnificently by Margot Robbie, Tonya is a powerhouse athlete, a fragile abuse victim, an impoverished country girl and a snarky media critic. Robbie embodies all these roles with a childlike sincerity, a lost-soul cluelessness, as her Tonya never ceases to wonder why it can’t just be about the skating. She and the film whip among these personas with wild abandon, mixing styles and tones in a chaotic fashion that borders on overkill. (Must we indulge “present-day” interviews, voice-over AND talking directly to the camera?) But it all builds to a satisfying and illuminating portrait of a poor American girl who maybe never stood a chance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s account of Harding’s upbringing is so heartbreaking that it would be unbearable if it weren’t presented in such a bouncy, off-kilter way. As a child in Oregon, she was practically shoved onto the ice by her waitress mother LaVona (a superb Allison Janney), partially because her mom sees talent but mostly because she is grooming Tonya for a future as the butt of her endless verbal and physical abuse. LaVona will hold the cost of Tonya’s skating lessons over her head for the rest of her life, long after she compelled her daughter to drop out of school so she can focus on the sport.\u003c/p>\n\u003cp>Most of the film is devoted to Tonya’s marriage to, and subsequent divorce from, Jeff Gillooly (Sebastian Stan). Although the Jeff in the “present day” sequences is muted and introspective, offering deep insights into how his decisions would go on to shape the culture, in the rest of the film, he is an abusive leech, incapable of offering anything to Tonya except psychological obsession as she climbs the ranks of U.S. Figure Skating. Their tumultuous relationship is marked by the cycle of Jeff’s abuse (he hits her at home and later threatens her at gunpoint) followed by his blubbering, shameless apologies and Tonya’s continued gravitation to him even after leaving him and filing a restraining order. Even these scenes, which are brutal enough to watch without the pop songs that punctuate them like thunderclaps, don’t come close to reaching the real-life Harding’s accounts of what Gillooly did to her. But abuse is complex, particularly if you live a sheltered, scrutinized existence, and one of the big strengths of \u003cem>I, Tonya \u003c/em>is how it refuses to make its hero into a sap or her abusers into mere monsters. If they were, we wouldn’t feel as affected by a moving (if a bit showoffy) long take of a post-divorce Jeff in various mopey positions around the house, inhabiting Tonya’s negative space.\u003c/p>\n\u003cp>The film abruptly shifts gears into full-blown farce as we approach what everyone on screen refers to as “the incident”: the attack that created the inescapable digital-video image of the innocent, white-dressed Kerrigan clutching her knee and wailing, “Why? Why?” Gillespie and screenwriter Steven Rogers know an inept hit job when they see one, and they milk this conspiracy of dunces for all it’s worth. It’s all orchestrated by Jeff’s buddy and self-proclaimed Tonya bodyguard Shawn Eckhardt (Paul Hauser, champion goober), who mimes criminal-mastermind behavior from inside his mom’s basement; his “guys” get hyped for their job by blasting “Gloria”; and when it’s all over and Shawn has blown his own cover, he insists to a TV reporter that he has training in “counterespionage and counterterrorism,” despite all evidence to the contrary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I, Tonya\u003c/em> gets mushy on the question of exactly how much knowledge Tonya had of the incident, which is consistent with the intrigue that has surrounded this sordid saga ever since. But it takes the extra step of insisting the \u003cem>real\u003c/em> culprits are us, the basic-cable mouth-droolers who hoovered up her every mistake because we love to watch train wrecks on ice. In fact, Tonya shames us right to our faces, an accusation we might take more seriously if the movie didn’t seem to be trying so hard to reconnect with whatever electric qualities first hooked America on her story. Still, for as jolting an experience as watching the film can be, it does help Tonya live her truth, while revealing, from within all its wrongs, the basic truth of figure skating: It has never just been about the skating.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tonya Harding was never supposed to be a pro figure skater. Like so many young American dreamers before her, she had it all wrong for success: born into the wrong class, raised by the wrong role model, drawn to the wrong men. And she had the wrong kind of femininity for the sport she loved, too, because those judges didn’t want to see a ZZ Top routine from someone who sewed her own costume, even if it did include a flawlessly executed triple axel.\u003c/p>\n\u003cp>So when Harding did find a bit of glory, there were corrective measures in place, and her self-made undoing — by playing some part in the “hit” on U.S. rival Nancy Kerrigan’s leg, the scandal that would unravel her career and the entire 1990s along with it — was the fitting, flaming end to her membership in the elite club that never wanted her anyway.\u003c/p>\n\u003cp>That is the argument put forth by \u003cem>I, Tonya\u003c/em>, the cheeky and skate-sharp new biopic from director Craig Gillespie coming only a few short years after the \u003ca href=\"https://www.npr.org/sections/monkeysee/2014/01/16/263073794/complicating-the-tonya-and-nancy-narratives-20-years-later\">ESPN documentary\u003c/a>. The title tips us off that Harding’s story — drawn from interviews with all the key players — has been rehabilitated into the stuff of tabloid Greek tragedy. This is a bold film, especially in its leveraging of all that real-life contradiction to create something that shocks and delights us with its own stylistic wrongness. \u003cem>I, Tonya \u003c/em>takes greater risks with the biopic genre than any other in recent memory, and it’s remarkable how much of it lands upright. It’s the triple axel of based-on-a-true-story movies.\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/d2iy5y0YjGM'\n title='//www.youtube.com/embed/d2iy5y0YjGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As played magnificently by Margot Robbie, Tonya is a powerhouse athlete, a fragile abuse victim, an impoverished country girl and a snarky media critic. Robbie embodies all these roles with a childlike sincerity, a lost-soul cluelessness, as her Tonya never ceases to wonder why it can’t just be about the skating. She and the film whip among these personas with wild abandon, mixing styles and tones in a chaotic fashion that borders on overkill. (Must we indulge “present-day” interviews, voice-over AND talking directly to the camera?) But it all builds to a satisfying and illuminating portrait of a poor American girl who maybe never stood a chance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s account of Harding’s upbringing is so heartbreaking that it would be unbearable if it weren’t presented in such a bouncy, off-kilter way. As a child in Oregon, she was practically shoved onto the ice by her waitress mother LaVona (a superb Allison Janney), partially because her mom sees talent but mostly because she is grooming Tonya for a future as the butt of her endless verbal and physical abuse. LaVona will hold the cost of Tonya’s skating lessons over her head for the rest of her life, long after she compelled her daughter to drop out of school so she can focus on the sport.\u003c/p>\n\u003cp>Most of the film is devoted to Tonya’s marriage to, and subsequent divorce from, Jeff Gillooly (Sebastian Stan). Although the Jeff in the “present day” sequences is muted and introspective, offering deep insights into how his decisions would go on to shape the culture, in the rest of the film, he is an abusive leech, incapable of offering anything to Tonya except psychological obsession as she climbs the ranks of U.S. Figure Skating. Their tumultuous relationship is marked by the cycle of Jeff’s abuse (he hits her at home and later threatens her at gunpoint) followed by his blubbering, shameless apologies and Tonya’s continued gravitation to him even after leaving him and filing a restraining order. Even these scenes, which are brutal enough to watch without the pop songs that punctuate them like thunderclaps, don’t come close to reaching the real-life Harding’s accounts of what Gillooly did to her. But abuse is complex, particularly if you live a sheltered, scrutinized existence, and one of the big strengths of \u003cem>I, Tonya \u003c/em>is how it refuses to make its hero into a sap or her abusers into mere monsters. If they were, we wouldn’t feel as affected by a moving (if a bit showoffy) long take of a post-divorce Jeff in various mopey positions around the house, inhabiting Tonya’s negative space.\u003c/p>\n\u003cp>The film abruptly shifts gears into full-blown farce as we approach what everyone on screen refers to as “the incident”: the attack that created the inescapable digital-video image of the innocent, white-dressed Kerrigan clutching her knee and wailing, “Why? Why?” Gillespie and screenwriter Steven Rogers know an inept hit job when they see one, and they milk this conspiracy of dunces for all it’s worth. It’s all orchestrated by Jeff’s buddy and self-proclaimed Tonya bodyguard Shawn Eckhardt (Paul Hauser, champion goober), who mimes criminal-mastermind behavior from inside his mom’s basement; his “guys” get hyped for their job by blasting “Gloria”; and when it’s all over and Shawn has blown his own cover, he insists to a TV reporter that he has training in “counterespionage and counterterrorism,” despite all evidence to the contrary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I, Tonya\u003c/em> gets mushy on the question of exactly how much knowledge Tonya had of the incident, which is consistent with the intrigue that has surrounded this sordid saga ever since. But it takes the extra step of insisting the \u003cem>real\u003c/em> culprits are us, the basic-cable mouth-droolers who hoovered up her every mistake because we love to watch train wrecks on ice. In fact, Tonya shames us right to our faces, an accusation we might take more seriously if the movie didn’t seem to be trying so hard to reconnect with whatever electric qualities first hooked America on her story. Still, for as jolting an experience as watching the film can be, it does help Tonya live her truth, while revealing, from within all its wrongs, the basic truth of figure skating: It has never just been about the skating.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Pictures: Sharon Jones Remembered",
"headTitle": "In Pictures: Sharon Jones Remembered | KQED",
"content": "\u003cp>\u003ca href=\"http://www.33-13.com/\">\u003cem>Jacob Blickenstaff\u003c/em>\u003c/a>\u003cem> is a New York-based music photographer who worked with Sharon Jones and The Dap-Kings extensively since 2009. Here, he shares archival shots of the dearly departed star. Jones’ posthumous album with The Dap-Kings, \u003c/em>Soul of a Woman\u003cem>, was \u003c/em>\u003ca href=\"http://dapt.one/soulofawoman\">\u003cem>released by Daptone Records\u003c/em>\u003c/a>\u003cem> in November.\u003c/em>\u003c/p>\n\u003cp>With a lot of other musical subjects, you wait for the opportunities to show them in the best moments. In a fleeting gesture, they might reveal themselves subconsciously. But \u003ca href=\"https://www.npr.org/artists/15325312/sharon-jones\">Sharon Jones\u003c/a> beamed who she was right at you, from the first minute to the last. It was more about rising to her level of commitment and the way she gave herself over to the music. You had to keep up with her. She was going to give you a lot, but you had to act fast in order to gather and distill as much of that energy into a photograph as you could.\u003c/p>\n\u003cp>As many of her friends and bandmates did, I loved Sharon. I think my deepest motivation was to be a witness of who she was and reflect it back to her in pictures. I’m proud to have worked on several album covers and publicity portraits for Daptone, but a deeper personal current ran beneath it all. We weren’t close socially, we didn’t correspond or talk on the phone, but I always felt an intimacy when I was around her, and she seemed to understand what I was doing. I remember meeting her backstage after not seeing her for a while and she said matter-of-factly, “Oh, it’s Jacob with the pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13817866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817866\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2009, Highline Ballroom\u003c/strong> — Sharon Jones and The Dap-Kings performing. This was the first time photographing them and I was lucky to catch them in a smaller room.\u003c/p>\n\u003cfigure id=\"attachment_13817867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2009, Brooklyn Bowl\u003c/strong> — As a regular part of Sharon’s show she’d invite people up to dance with her. Sometimes her dancing partners were a little awkward, but she loved the interaction and the exchange of energy directly with fans.\u003c/p>\n\u003cfigure id=\"attachment_13817868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817868\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>August, 2012, Williamsburg Waterfront \u003c/strong>— This image really captures her sassy command of the stage. I remember the excitement of shooting from the stage; it allowed me to sense the relationship of her with her audience and when the band was locked in with her I could sync up with their energy and document the experience from within.\u003c/p>\n\u003cfigure id=\"attachment_13817869\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March, 2013, New York\u003c/strong> — This was from a promotional portrait shoot commissioned by the label. The work stayed in the can for several years, as right after this Sharon got her cancer diagnosis and took the better part of a year for treatment. Someone had the good sense to go out and buy some flowers, which really softened up the image. By default, I always directed Sharon to look tough, but being more comfortable with each other I became aware of a very sweet side of her, and remember the quiet intimacy of that day.\u003c/p>\n\u003cfigure id=\"attachment_13817870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2014, Beacon Theater\u003c/strong> — I didn’t really know about Sharon’s spiritual dimension until the time of this picture. I learned that leading up to a performance, Starr Duncan (left) and Saundra Williams (right) would often say a prayer together with Sharon, which was an important part of focusing the emotional energy that she would bring to her performances.\u003c/p>\n\u003cfigure id=\"attachment_13817871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon, and nearly the entire Daptone roster, returned to the Apollo Theater for three nights, for the “Daptone Super Soul Revue.” My most personal memories of Sharon are being one-on-one with her in her dressing room. I’m very humbled that she’d let me in to that space. I felt fully accepted, and I hope she felt fully seen.\u003c/p>\n\u003cfigure id=\"attachment_13817872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-960x699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-520x378.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A sequence shot on film. Her performances were so physical, I was always looking for the subtleties (and not-so-subtleties) of her body language.\u003c/p>\n\u003cfigure id=\"attachment_13817873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon doing what she did best: working a room.\u003c/p>\n\u003cfigure id=\"attachment_13817874\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-520x356.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A multiple-exposure image. With a big group like the Dap-Kings, it’s hard to get all of them in a live photo and at the same time do justice to Sharon’s energy. But Sharon and the Dap-Kings have a very symbiotic relationship, they rose to match Sharon’s performance, and Sharon operated at her peak because of their musical excellence. The whole is greater than the sum of the parts.\u003c/p>\n\u003cfigure id=\"attachment_13817875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon was always humble, but in this case was deservedly proud over the news. The day of one of the Apollo shows, it was announced that \u003cem>Give The People What They Want \u003c/em>was nominated for a Grammy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13817876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-375x380.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-520x527.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-96x96.jpg 96w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/p>\n\u003cp>\u003cstrong>March, 2015\u003c/strong> — This is an outtake from the album cover shoot for \u003cem>It’s a Holiday Soul Party\u003c/em>. She was never a diva on set, but I remember that at this point of the shoot she was improvising lyrics to the effect of: “Let’s get this damn photo over so we can eat lunch.”\u003c/p>\n\u003cfigure id=\"attachment_13817877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg\" alt=\"\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-520x388.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — The band was opening for Daryl Hall and John Oates. In the green room, around her band, management and close friends, she was a very playful and funny person.\u003c/p>\n\u003cfigure id=\"attachment_13817878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — Sharon as seen between Joey Crispiano (left) and Gabe Roth (right).\u003c/p>\n\u003cfigure id=\"attachment_13817882\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-520x779.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — An unglamorous dressing trailer in back of a very hot, outdoor venue in Indiana. This one’s hard to talk about because it was the last time I had a private moment with her. I was in quiet awe being there with her as she transformed for the stage. She was speaking quietly about wanting to leave behind as much as she could musically for her fans, her band and her label. She was pushing for everyone else from a place of deep-selflessness and generosity.\u003c/p>\n\u003cfigure id=\"attachment_13817881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — On tour with Daryl Hall and John Oates, the Dap-Kings convinced Oates to perform an obscure single he had cut as a teenager in Philadelphia called “I Need Your Love.” The band learned the music and they rehearsed it at soundcheck to perform that night as a duet. It was a moment of pure fun for the band and Sharon.\u003c/p>\n\u003cfigure id=\"attachment_13817879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — When I came to this show, I wasn’t sure if I was going to photograph it or just hang out. Sometimes it’s easy to rest and think that I’ve made enough pictures of Sharon performing, but there was something special about this show, Sharon and the band were just ferocious. It was an important lesson: if Sharon can push herself like that every time, then I should get off my butt whenever I think what I’ve already done is “good enough.”\u003c/p>\n\u003cfigure id=\"attachment_13817880\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-520x347.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — After the show, Sharon (Jones) met with Sharon (Van Etten). This photo reminds me that every musician that I’ve talked with about Sharon has a tremendous respect for her. Almost universally, they knew she was the real thing and how much it took to do what she did.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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+Pictures%3A+Sharon+Jones+Remembered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Photographer Jacob Blickenstaff documented Sharon Jones for years both on- and off-stage. Here, he shares archival shots of the dearly departed star.",
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"description": "Photographer Jacob Blickenstaff documented Sharon Jones for years both on- and off-stage. Here, he shares archival shots of the dearly departed star.",
"title": "In Pictures: Sharon Jones Remembered | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.33-13.com/\">\u003cem>Jacob Blickenstaff\u003c/em>\u003c/a>\u003cem> is a New York-based music photographer who worked with Sharon Jones and The Dap-Kings extensively since 2009. Here, he shares archival shots of the dearly departed star. Jones’ posthumous album with The Dap-Kings, \u003c/em>Soul of a Woman\u003cem>, was \u003c/em>\u003ca href=\"http://dapt.one/soulofawoman\">\u003cem>released by Daptone Records\u003c/em>\u003c/a>\u003cem> in November.\u003c/em>\u003c/p>\n\u003cp>With a lot of other musical subjects, you wait for the opportunities to show them in the best moments. In a fleeting gesture, they might reveal themselves subconsciously. But \u003ca href=\"https://www.npr.org/artists/15325312/sharon-jones\">Sharon Jones\u003c/a> beamed who she was right at you, from the first minute to the last. It was more about rising to her level of commitment and the way she gave herself over to the music. You had to keep up with her. She was going to give you a lot, but you had to act fast in order to gather and distill as much of that energy into a photograph as you could.\u003c/p>\n\u003cp>As many of her friends and bandmates did, I loved Sharon. I think my deepest motivation was to be a witness of who she was and reflect it back to her in pictures. I’m proud to have worked on several album covers and publicity portraits for Daptone, but a deeper personal current ran beneath it all. We weren’t close socially, we didn’t correspond or talk on the phone, but I always felt an intimacy when I was around her, and she seemed to understand what I was doing. I remember meeting her backstage after not seeing her for a while and she said matter-of-factly, “Oh, it’s Jacob with the pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13817866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817866\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2009, Highline Ballroom\u003c/strong> — Sharon Jones and The Dap-Kings performing. This was the first time photographing them and I was lucky to catch them in a smaller room.\u003c/p>\n\u003cfigure id=\"attachment_13817867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2009, Brooklyn Bowl\u003c/strong> — As a regular part of Sharon’s show she’d invite people up to dance with her. Sometimes her dancing partners were a little awkward, but she loved the interaction and the exchange of energy directly with fans.\u003c/p>\n\u003cfigure id=\"attachment_13817868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817868\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>August, 2012, Williamsburg Waterfront \u003c/strong>— This image really captures her sassy command of the stage. I remember the excitement of shooting from the stage; it allowed me to sense the relationship of her with her audience and when the band was locked in with her I could sync up with their energy and document the experience from within.\u003c/p>\n\u003cfigure id=\"attachment_13817869\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March, 2013, New York\u003c/strong> — This was from a promotional portrait shoot commissioned by the label. The work stayed in the can for several years, as right after this Sharon got her cancer diagnosis and took the better part of a year for treatment. Someone had the good sense to go out and buy some flowers, which really softened up the image. By default, I always directed Sharon to look tough, but being more comfortable with each other I became aware of a very sweet side of her, and remember the quiet intimacy of that day.\u003c/p>\n\u003cfigure id=\"attachment_13817870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2014, Beacon Theater\u003c/strong> — I didn’t really know about Sharon’s spiritual dimension until the time of this picture. I learned that leading up to a performance, Starr Duncan (left) and Saundra Williams (right) would often say a prayer together with Sharon, which was an important part of focusing the emotional energy that she would bring to her performances.\u003c/p>\n\u003cfigure id=\"attachment_13817871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon, and nearly the entire Daptone roster, returned to the Apollo Theater for three nights, for the “Daptone Super Soul Revue.” My most personal memories of Sharon are being one-on-one with her in her dressing room. I’m very humbled that she’d let me in to that space. I felt fully accepted, and I hope she felt fully seen.\u003c/p>\n\u003cfigure id=\"attachment_13817872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-960x699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-520x378.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A sequence shot on film. Her performances were so physical, I was always looking for the subtleties (and not-so-subtleties) of her body language.\u003c/p>\n\u003cfigure id=\"attachment_13817873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon doing what she did best: working a room.\u003c/p>\n\u003cfigure id=\"attachment_13817874\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-520x356.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A multiple-exposure image. With a big group like the Dap-Kings, it’s hard to get all of them in a live photo and at the same time do justice to Sharon’s energy. But Sharon and the Dap-Kings have a very symbiotic relationship, they rose to match Sharon’s performance, and Sharon operated at her peak because of their musical excellence. The whole is greater than the sum of the parts.\u003c/p>\n\u003cfigure id=\"attachment_13817875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon was always humble, but in this case was deservedly proud over the news. The day of one of the Apollo shows, it was announced that \u003cem>Give The People What They Want \u003c/em>was nominated for a Grammy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13817876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-375x380.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-520x527.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-96x96.jpg 96w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/p>\n\u003cp>\u003cstrong>March, 2015\u003c/strong> — This is an outtake from the album cover shoot for \u003cem>It’s a Holiday Soul Party\u003c/em>. She was never a diva on set, but I remember that at this point of the shoot she was improvising lyrics to the effect of: “Let’s get this damn photo over so we can eat lunch.”\u003c/p>\n\u003cfigure id=\"attachment_13817877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg\" alt=\"\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-520x388.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — The band was opening for Daryl Hall and John Oates. In the green room, around her band, management and close friends, she was a very playful and funny person.\u003c/p>\n\u003cfigure id=\"attachment_13817878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — Sharon as seen between Joey Crispiano (left) and Gabe Roth (right).\u003c/p>\n\u003cfigure id=\"attachment_13817882\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-520x779.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — An unglamorous dressing trailer in back of a very hot, outdoor venue in Indiana. This one’s hard to talk about because it was the last time I had a private moment with her. I was in quiet awe being there with her as she transformed for the stage. She was speaking quietly about wanting to leave behind as much as she could musically for her fans, her band and her label. She was pushing for everyone else from a place of deep-selflessness and generosity.\u003c/p>\n\u003cfigure id=\"attachment_13817881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — On tour with Daryl Hall and John Oates, the Dap-Kings convinced Oates to perform an obscure single he had cut as a teenager in Philadelphia called “I Need Your Love.” The band learned the music and they rehearsed it at soundcheck to perform that night as a duet. It was a moment of pure fun for the band and Sharon.\u003c/p>\n\u003cfigure id=\"attachment_13817879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — When I came to this show, I wasn’t sure if I was going to photograph it or just hang out. Sometimes it’s easy to rest and think that I’ve made enough pictures of Sharon performing, but there was something special about this show, Sharon and the band were just ferocious. It was an important lesson: if Sharon can push herself like that every time, then I should get off my butt whenever I think what I’ve already done is “good enough.”\u003c/p>\n\u003cfigure id=\"attachment_13817880\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-520x347.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\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>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — After the show, Sharon (Jones) met with Sharon (Van Etten). This photo reminds me that every musician that I’ve talked with about Sharon has a tremendous respect for her. Almost universally, they knew she was the real thing and how much it took to do what she did.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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+Pictures%3A+Sharon+Jones+Remembered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Meek Mill's Legal Team, Denied at Every Turn, Presses Ahead",
"headTitle": "Meek Mill’s Legal Team, Denied at Every Turn, Presses Ahead | KQED",
"content": "\u003cp>On Nov. 6, \u003ca href=\"https://www.npr.org/tags/564392028/meek-mill\" target=\"_blank\" rel=\"noopener\">Meek Mill\u003c/a>, a platinum-selling rapper and Philadelphia native, was sentenced to two and four years in state prison over multiple parole violations stemming from a 2007 case. This decision was handed down by Judge Genece Brinkley, the presiding judge in Meek’s case since 2009.\u003c/p>\n\u003cp>The legal team of the Philly rapper has, unsurprisingly, been fighting the judgments against their client every step of the way.\u003c/p>\n\u003cp>Meek’s legal team have so far:\u003c/p>\n\u003cul>\n\u003cli>Requested that Judge Brinkley \u003ca href=\"http://file///C:/Users/smadden/AppData/Local/Microsoft/Windows/Temporary%20Internet%20Files/Content.Outlook/HCE2226J/recusal-motion.pdf\" target=\"_blank\" rel=\"noopener\">recuse herself\u003c/a> from the case on Nov. 14.\u003c/li>\n\u003cli>Applied for a bail reconsideration on Nov. 16 (This was denied by Brinkley on Dec. 1. Brinkley wrote in her ruling that she believes the rapper to be a “\u003ca href=\"http://file///C:/Users/smadden/AppData/Local/Microsoft/Windows/Temporary%20Internet%20Files/Content.Outlook/HCE2226J/BRINKLEYOPINION.pdf\" target=\"_blank\" rel=\"noopener\">flight risk\u003c/a>” given the fact that he has multiple addresses and knows the severity of the sentence he faces.)\u003c/li>\n\u003cli>Filed an emergency Original Writ of Habeas Corpus motion to have Meek immediately released on Nov. 28. (This was denied by the Pennsylvania Superior Court the same day.)\u003c/li>\n\u003cli>Appealed Judge Brinkley’s denial with the Superior Court on Dec. 6. (This was denied on Dec. 7.)\u003c/li>\n\u003cli>Appealed the \u003ca href=\"http://www.tmz.com/2017/12/07/meek-mill-appeals-probation-violation-prison-sentence/\" target=\"_blank\" rel=\"noopener\">two-to-four year sentence as a whole\u003c/a> on Dec. 7.\u003c/li>\n\u003c/ul>\n\u003cp>Meek’s lawyer, Brian McMonagle, says they will continue trying to vindicate Meek.\u003c/p>\n\u003cp>“Just today, we appealed this unfair and improper sentence to the Pennsylvania Superior Court and will ask the court to release Mr.Williams on bail pending appeal,” Mill’s lawyer Brian McMonagle told NPR in a statement on Dec. 7. “We will not rest until we secure Mr. Williams’ freedom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One part of the strategy of Mill’s legal team has focused on Judge Brinkley herself. The team has asserted in interviews and in official court documents that the judge has behaved unprofessionally with the rapper, accusing her of requesting a name-drop in a song or suggesting Meek get new management.\u003c/p>\n\u003cp>After reports that the FBI was investigating Judge Brinkley began to surface (neither confirmed nor denied by the Department of Justice, per policy) Meek’s attorneys filed an official recusal request on Nov. 14, citing the investigation as a reason for the judge recuse herself. A new report from \u003ca href=\"http://www.philly.com/philly/news/pennsylvania/philadelphia/sources-feds-asked-meek-mill-to-tape-philly-judge-he-refused-20171207.html\" target=\"_blank\" rel=\"noopener\">\u003cem>The\u003c/em> \u003cem>Philadelphia Inquirer\u003c/em>\u003c/a>, based on three anonymous sources, claims that it was Meek and a former lawyer who asked the FBI to investigate Judge Brinkley but Meek’s refusal to wear a wire during he and Brinkley’s conversations stalled the investigation.\u003c/p>\n\u003cp>As of now, that recusal request is still pending.\u003c/p>\n\u003cp>What is the remaining recourse for Meek Mill’s team?\u003c/p>\n\u003cp>“Meek’s appeals are still alive and well,” Kevin Harden Jr., a personal injury attorney at Ross Feller Casey and former public prosecutor in Philadelphia, tells NPR. “I expect them to continue pursuing emergency petitions based on the recusal issue and the bail issue.”\u003c/p>\n\u003cp>Harden Jr. says that Pennsylvania’s appellate courts typically defer to trial courts except in extraordinary cases — Meek’s case could be one of those instances.\u003c/p>\n\u003cp>“With the level of media attention, there may be an emergency appeal to the Supreme Court if the Superior Court takes no issue with Judge Brinkley’s reasoning in her opinion denying the emergency bail motion,” Harden says.\u003c/p>\n\u003cp>As his fate is still tied up in the courts, the public outcry over Meek Mill’s probation violation sentencing has brought national attention to the debate over probation and parole reform as a whole in the U.S. In the time that Meek has been behind bars this year, rappers, athletes and prominent activists have rallied in support of the 30-year-old rapper, with some claiming Judge Brinkley had a specific bias against him. Reverend Al Sharpton \u003ca href=\"https://www.nbcnews.com/news/nbcblk/rev-al-sharpton-visits-rapper-meek-mill-prison-calls-him-n824221\">visited \u003c/a>Meek Mill in prison while Jay-Z, Meek’s Roc Nation boss, published an opinion piece in \u003ca href=\"https://www.nytimes.com/2017/11/17/opinion/jay-z-meek-mill-probation.html\">\u003cem>The New York Times\u003c/em>\u003c/a> detailing how he believes the criminal justice system stalks men like Meek.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What’s happening to Meek Mill is just one example of how our criminal justice system entraps and harasses hundreds of thousands of black people every day,” wrote Jay. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Meek+Mill%27s+Legal+Team%2C+Denied+At+Every+Turn%2C+Presses+Ahead&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Nov. 6, \u003ca href=\"https://www.npr.org/tags/564392028/meek-mill\" target=\"_blank\" rel=\"noopener\">Meek Mill\u003c/a>, a platinum-selling rapper and Philadelphia native, was sentenced to two and four years in state prison over multiple parole violations stemming from a 2007 case. This decision was handed down by Judge Genece Brinkley, the presiding judge in Meek’s case since 2009.\u003c/p>\n\u003cp>The legal team of the Philly rapper has, unsurprisingly, been fighting the judgments against their client every step of the way.\u003c/p>\n\u003cp>Meek’s legal team have so far:\u003c/p>\n\u003cul>\n\u003cli>Requested that Judge Brinkley \u003ca href=\"http://file///C:/Users/smadden/AppData/Local/Microsoft/Windows/Temporary%20Internet%20Files/Content.Outlook/HCE2226J/recusal-motion.pdf\" target=\"_blank\" rel=\"noopener\">recuse herself\u003c/a> from the case on Nov. 14.\u003c/li>\n\u003cli>Applied for a bail reconsideration on Nov. 16 (This was denied by Brinkley on Dec. 1. Brinkley wrote in her ruling that she believes the rapper to be a “\u003ca href=\"http://file///C:/Users/smadden/AppData/Local/Microsoft/Windows/Temporary%20Internet%20Files/Content.Outlook/HCE2226J/BRINKLEYOPINION.pdf\" target=\"_blank\" rel=\"noopener\">flight risk\u003c/a>” given the fact that he has multiple addresses and knows the severity of the sentence he faces.)\u003c/li>\n\u003cli>Filed an emergency Original Writ of Habeas Corpus motion to have Meek immediately released on Nov. 28. (This was denied by the Pennsylvania Superior Court the same day.)\u003c/li>\n\u003cli>Appealed Judge Brinkley’s denial with the Superior Court on Dec. 6. (This was denied on Dec. 7.)\u003c/li>\n\u003cli>Appealed the \u003ca href=\"http://www.tmz.com/2017/12/07/meek-mill-appeals-probation-violation-prison-sentence/\" target=\"_blank\" rel=\"noopener\">two-to-four year sentence as a whole\u003c/a> on Dec. 7.\u003c/li>\n\u003c/ul>\n\u003cp>Meek’s lawyer, Brian McMonagle, says they will continue trying to vindicate Meek.\u003c/p>\n\u003cp>“Just today, we appealed this unfair and improper sentence to the Pennsylvania Superior Court and will ask the court to release Mr.Williams on bail pending appeal,” Mill’s lawyer Brian McMonagle told NPR in a statement on Dec. 7. “We will not rest until we secure Mr. Williams’ freedom.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One part of the strategy of Mill’s legal team has focused on Judge Brinkley herself. The team has asserted in interviews and in official court documents that the judge has behaved unprofessionally with the rapper, accusing her of requesting a name-drop in a song or suggesting Meek get new management.\u003c/p>\n\u003cp>After reports that the FBI was investigating Judge Brinkley began to surface (neither confirmed nor denied by the Department of Justice, per policy) Meek’s attorneys filed an official recusal request on Nov. 14, citing the investigation as a reason for the judge recuse herself. A new report from \u003ca href=\"http://www.philly.com/philly/news/pennsylvania/philadelphia/sources-feds-asked-meek-mill-to-tape-philly-judge-he-refused-20171207.html\" target=\"_blank\" rel=\"noopener\">\u003cem>The\u003c/em> \u003cem>Philadelphia Inquirer\u003c/em>\u003c/a>, based on three anonymous sources, claims that it was Meek and a former lawyer who asked the FBI to investigate Judge Brinkley but Meek’s refusal to wear a wire during he and Brinkley’s conversations stalled the investigation.\u003c/p>\n\u003cp>As of now, that recusal request is still pending.\u003c/p>\n\u003cp>What is the remaining recourse for Meek Mill’s team?\u003c/p>\n\u003cp>“Meek’s appeals are still alive and well,” Kevin Harden Jr., a personal injury attorney at Ross Feller Casey and former public prosecutor in Philadelphia, tells NPR. “I expect them to continue pursuing emergency petitions based on the recusal issue and the bail issue.”\u003c/p>\n\u003cp>Harden Jr. says that Pennsylvania’s appellate courts typically defer to trial courts except in extraordinary cases — Meek’s case could be one of those instances.\u003c/p>\n\u003cp>“With the level of media attention, there may be an emergency appeal to the Supreme Court if the Superior Court takes no issue with Judge Brinkley’s reasoning in her opinion denying the emergency bail motion,” Harden says.\u003c/p>\n\u003cp>As his fate is still tied up in the courts, the public outcry over Meek Mill’s probation violation sentencing has brought national attention to the debate over probation and parole reform as a whole in the U.S. In the time that Meek has been behind bars this year, rappers, athletes and prominent activists have rallied in support of the 30-year-old rapper, with some claiming Judge Brinkley had a specific bias against him. Reverend Al Sharpton \u003ca href=\"https://www.nbcnews.com/news/nbcblk/rev-al-sharpton-visits-rapper-meek-mill-prison-calls-him-n824221\">visited \u003c/a>Meek Mill in prison while Jay-Z, Meek’s Roc Nation boss, published an opinion piece in \u003ca href=\"https://www.nytimes.com/2017/11/17/opinion/jay-z-meek-mill-probation.html\">\u003cem>The New York Times\u003c/em>\u003c/a> detailing how he believes the criminal justice system stalks men like Meek.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What’s happening to Meek Mill is just one example of how our criminal justice system entraps and harasses hundreds of thousands of black people every day,” wrote Jay. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Meek+Mill%27s+Legal+Team%2C+Denied+At+Every+Turn%2C+Presses+Ahead&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bryan Singer, the director best known for the \u003cem>X-Men\u003c/em> series of films, is being sued over an allegation that he raped 17-year-old boy during a party 14 years ago.\u003c/p>\n\u003cp>Singer has denied the accusation.\u003c/p>\n\u003cp>\u003ca href=\"http://www.hermanlaw.com/wp-content/uploads/2017/12/2017-12-07-Guzman-Complaint-for-Damages.pdf\" target=\"_blank\" rel=\"noopener\">In a complaint\u003c/a> filed in Superior Court of the State of Washington for King County on Thursday, Cesar Sanchez-Guzman says he met Singer in 2003 at a party aboard a yacht owned by technology investor Lester Waters, who the complaint says “frequently hosted parties for young gay males in the Seattle area.”\u003c/p>\n\u003cp>Sanchez-Guzman alleges that Singer, while giving him a tour of the yacht, lured him into the master stateroom, shut the door and demanded oral sex.\u003c/p>\n\u003cp>When Sanchez-Guzman refused, “Singer forced him into acts of oral and anal sex,” according to the complaint. Sanchez-Guzman says he repeatedly pleaded for Singer to stop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Later … Singer approached Cesar and told him that he was a producer in Hollywood and that he could help Cesar get into acting as long as Cesar never said anything about the incident,” according to the complaint. “He then told Cesar that no one would believe him if he ever reported the incident and that he could hire people who are capable of ruining someone’s reputation.”\u003c/p>\n\u003cp>Sanchez-Guzman says the alleged incident left him with “severe psychological, mental and emotional injuries.”\u003c/p>\n\u003cp>The latest revelations add to a growing list of charges of misconduct in Hollywood in the wake of those against producer \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/10/557014835/harvey-weinstein-sexual-assault-allegations-spread\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein.\u003c/a> However, the accounts of misconduct extend beyond Hollywood and have engulfed various media outlets, including NPR.\u003c/p>\n\u003cp>The director’s attorney Andrew Brettler \u003ca href=\"http://beta.latimes.com/business/hollywood/la-fi-ct-bryan-singer-assault-lawsuit20171207-story.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a> that his client “categorically denies these allegations and will vehemently defend this lawsuit to the very end.” Brettler also threatened to file a malicious prosecution lawsuit against Sanchez-Guzman.\u003c/p>\n\u003cp>Singer has been the subject of several sexual abuse and sexual assault accusations in the past, but each of them was dismissed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Monday, Singer was fired by Fox from the Freddie Mercury biopic \u003cem>Bohemian Rhapsody\u003c/em>. \u003ca href=\"http://variety.com/2017/film/news/bohemian-rhapsody-new-director-dexter-fletcher-bryan-singer-1202632599/\" target=\"_blank\" rel=\"noopener\">Variety\u003c/a> reports that his dismissal was “due to repeated failures to show up on the set” and that he has been replaced by director Dexter Fletcher. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27X-Men%27+Director+Bryan+Singer+Accused+Of+Sexual+Assault&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bryan Singer, the director best known for the \u003cem>X-Men\u003c/em> series of films, is being sued over an allegation that he raped 17-year-old boy during a party 14 years ago.\u003c/p>\n\u003cp>Singer has denied the accusation.\u003c/p>\n\u003cp>\u003ca href=\"http://www.hermanlaw.com/wp-content/uploads/2017/12/2017-12-07-Guzman-Complaint-for-Damages.pdf\" target=\"_blank\" rel=\"noopener\">In a complaint\u003c/a> filed in Superior Court of the State of Washington for King County on Thursday, Cesar Sanchez-Guzman says he met Singer in 2003 at a party aboard a yacht owned by technology investor Lester Waters, who the complaint says “frequently hosted parties for young gay males in the Seattle area.”\u003c/p>\n\u003cp>Sanchez-Guzman alleges that Singer, while giving him a tour of the yacht, lured him into the master stateroom, shut the door and demanded oral sex.\u003c/p>\n\u003cp>When Sanchez-Guzman refused, “Singer forced him into acts of oral and anal sex,” according to the complaint. Sanchez-Guzman says he repeatedly pleaded for Singer to stop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Later … Singer approached Cesar and told him that he was a producer in Hollywood and that he could help Cesar get into acting as long as Cesar never said anything about the incident,” according to the complaint. “He then told Cesar that no one would believe him if he ever reported the incident and that he could hire people who are capable of ruining someone’s reputation.”\u003c/p>\n\u003cp>Sanchez-Guzman says the alleged incident left him with “severe psychological, mental and emotional injuries.”\u003c/p>\n\u003cp>The latest revelations add to a growing list of charges of misconduct in Hollywood in the wake of those against producer \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/10/557014835/harvey-weinstein-sexual-assault-allegations-spread\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein.\u003c/a> However, the accounts of misconduct extend beyond Hollywood and have engulfed various media outlets, including NPR.\u003c/p>\n\u003cp>The director’s attorney Andrew Brettler \u003ca href=\"http://beta.latimes.com/business/hollywood/la-fi-ct-bryan-singer-assault-lawsuit20171207-story.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a> that his client “categorically denies these allegations and will vehemently defend this lawsuit to the very end.” Brettler also threatened to file a malicious prosecution lawsuit against Sanchez-Guzman.\u003c/p>\n\u003cp>Singer has been the subject of several sexual abuse and sexual assault accusations in the past, but each of them was dismissed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Monday, Singer was fired by Fox from the Freddie Mercury biopic \u003cem>Bohemian Rhapsody\u003c/em>. \u003ca href=\"http://variety.com/2017/film/news/bohemian-rhapsody-new-director-dexter-fletcher-bryan-singer-1202632599/\" target=\"_blank\" rel=\"noopener\">Variety\u003c/a> reports that his dismissal was “due to repeated failures to show up on the set” and that he has been replaced by director Dexter Fletcher. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27X-Men%27+Director+Bryan+Singer+Accused+Of+Sexual+Assault&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘The Other Side Of Hope’: Finding Haven — And Hamachi — in Helsinki | KQED",
"content": "\u003cp>Arriving in supposedly liberal Europe, a refugee is hounded by the authorities but saved by a handful of scruffy outsiders. If the scenario of Aki Kaurismaki’s \u003cem>The Other Side of Hope\u003c/em> sounds familiar, that might be because it’s essentially the same as the plot of its predecessor, 2011’s \u003cem>Le Havre\u003c/em>. The principal distinction is that the Finnish writer-director’s latest comic melodrama is darker and more directly tied to current events.\u003c/p>\n\u003cp>\u003cem>Le Havre\u003c/em> was set in a country constructed largely from fragments of classic French cinema. \u003cem>The Other Side of Hope\u003c/em> returns to Helsinki and Kaurismaki’s usual retro haunts: the docks, the streets, shabby restaurants, and any place Finnish hipsters perform their takes on American roots music. Both films have a similar tone: simultaneously bemused and outraged, detached and engaged. \u003c/p>\n\u003cp>As always, Kaurismaki draws from mid-20th-century film noir and “women’s pictures,” sublimating their agonies and ecstasies into a sort of deadpan minimalism. Sets and shots are deliberately simple, but heightened by lots of music (sometimes amusingly incongruous) and theatrical lighting. The filmmaker’s universe is both deeply ordinary and just a little uncanny. \u003c/p>\n\u003cp>https://youtu.be/72coY37gcfM\u003c/p>\n\u003cp>In an unusual move for him, Kaurismaki keeps the two principal characters apart for much of the tale. Syrian emigrant Khaled (Sherwan Haji) quickly materializes, digging himself out of the coal bin in which he hid on his ship journey from Poland. Next enters Waldemar (Sakari Kuosmanen), grim and purposeful as he abandons his wife and sets out to switch careers from shirt salesman to restaurateur. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Khaled applies for asylum (in English, one of the movie’s three languages). Waldemar sells his inventory and heads to a high-stakes poker game to win enough Euros to purchase a restaurant called the Golden Pint. After Khaled’s bid is denied, he escapes from the detention center, tangles with three members of the Nazi-like Liberation Army of Finland, and takes refuge behind the trash cans of a nondescript eatery. It’s the Golden Pint. \u003c/p>\n\u003cp>Waldemar gives Khaled a job, in part because he’s a nicer guy than we’ve previously had any occasion to notice. Also, the restaurant owner and his three eccentric employees are just naturally seditious. When a health department team arrives for a surprise inspection, Khaled is not the only thing the crew rushes to conceal. They also hide the restaurant’s dog and its ashtrays. Apparently the smoking that’s routine for the Golden Pint’s regulars is against the rules. \u003c/p>\n\u003cfigure id=\"attachment_13816617\" class=\"wp-caption aligncenter\" style=\"max-width: 2949px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e.jpg\" alt=\"L to R: Khaled (Sherwan Haji), Mazdak (Simon Al-Bazoon) and Waldemar (Sakari Kuosmanen) in 'The Other Side of Hope.'\" width=\"2949\" height=\"1658\" class=\"size-full wp-image-13816617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e.jpg 2949w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-520x292.jpg 520w\" sizes=\"(max-width: 2949px) 100vw, 2949px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Khaled (Sherwan Haji), Mazdak (Simon Al-Bazoon) and Waldemar (Sakari Kuosmanen) in ‘The Other Side of Hope.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This development, unmentioned in a single line of dialogue, exemplifies the filmmaker’s brand of rebellion. One unusually direct moment underscores Khaled’s plight with TV-news footage of the carnage in Aleppo, his hometown. But most of the film’s defiance is directed toward change. Cigarettes, rockabilly, and mannered old-Hollywood movies are not simply Kaurismaki’s passions. They’re the planks of his political platform. \u003c/p>\n\u003cp>In addition to Khaled’s search for refuge, the film is driven by his quest to learn the whereabouts of his sister, Miriam (Niroz Haji), who left Syria with him but was separated along the way. Waldemar helps with the search, but Miriam’s story is left partly unresolved. Of course, so is Khaled’s — and the tales of all the other exiles who inspired \u003cem>The Other Side of Hope\u003c/em>. \u003c/p>\n\u003cp>The director lightens the mood with his customary absurdist slapstick, notably a failed attempt to turn the cafe into a sushi restaurant. But the funniest line is characteristically double-edged. While still in custody, Khaled meets an Iraqi asylum-seeker who counsels him to appear upbeat: “All melancholics are sent back.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By that logic, no one in Finland more deserves deportation than Aki Kaurismaki. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27The+Other+Side+Of+Hope%27%3A+Finding+Haven+%E2%80%94+And+Hamachi+%E2%80%94+in+Helsinki&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Finnish writer/director Ali Kaurismaki follows up his 2011 film 'The Havre' with a darker, but still comic, variation on a similar theme — a character fleeing bloody conflict gets taken in by a group of outcasts.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arriving in supposedly liberal Europe, a refugee is hounded by the authorities but saved by a handful of scruffy outsiders. If the scenario of Aki Kaurismaki’s \u003cem>The Other Side of Hope\u003c/em> sounds familiar, that might be because it’s essentially the same as the plot of its predecessor, 2011’s \u003cem>Le Havre\u003c/em>. The principal distinction is that the Finnish writer-director’s latest comic melodrama is darker and more directly tied to current events.\u003c/p>\n\u003cp>\u003cem>Le Havre\u003c/em> was set in a country constructed largely from fragments of classic French cinema. \u003cem>The Other Side of Hope\u003c/em> returns to Helsinki and Kaurismaki’s usual retro haunts: the docks, the streets, shabby restaurants, and any place Finnish hipsters perform their takes on American roots music. Both films have a similar tone: simultaneously bemused and outraged, detached and engaged. \u003c/p>\n\u003cp>As always, Kaurismaki draws from mid-20th-century film noir and “women’s pictures,” sublimating their agonies and ecstasies into a sort of deadpan minimalism. Sets and shots are deliberately simple, but heightened by lots of music (sometimes amusingly incongruous) and theatrical lighting. The filmmaker’s universe is both deeply ordinary and just a little uncanny. \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/72coY37gcfM'\n title='//www.youtube.com/embed/72coY37gcfM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an unusual move for him, Kaurismaki keeps the two principal characters apart for much of the tale. Syrian emigrant Khaled (Sherwan Haji) quickly materializes, digging himself out of the coal bin in which he hid on his ship journey from Poland. Next enters Waldemar (Sakari Kuosmanen), grim and purposeful as he abandons his wife and sets out to switch careers from shirt salesman to restaurateur. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Khaled applies for asylum (in English, one of the movie’s three languages). Waldemar sells his inventory and heads to a high-stakes poker game to win enough Euros to purchase a restaurant called the Golden Pint. After Khaled’s bid is denied, he escapes from the detention center, tangles with three members of the Nazi-like Liberation Army of Finland, and takes refuge behind the trash cans of a nondescript eatery. It’s the Golden Pint. \u003c/p>\n\u003cp>Waldemar gives Khaled a job, in part because he’s a nicer guy than we’ve previously had any occasion to notice. Also, the restaurant owner and his three eccentric employees are just naturally seditious. When a health department team arrives for a surprise inspection, Khaled is not the only thing the crew rushes to conceal. They also hide the restaurant’s dog and its ashtrays. Apparently the smoking that’s routine for the Golden Pint’s regulars is against the rules. \u003c/p>\n\u003cfigure id=\"attachment_13816617\" class=\"wp-caption aligncenter\" style=\"max-width: 2949px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e.jpg\" alt=\"L to R: Khaled (Sherwan Haji), Mazdak (Simon Al-Bazoon) and Waldemar (Sakari Kuosmanen) in 'The Other Side of Hope.'\" width=\"2949\" height=\"1658\" class=\"size-full wp-image-13816617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e.jpg 2949w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005_wide-ec67d5dfb01f707e574dfc03aa764235bcd61a4e-520x292.jpg 520w\" sizes=\"(max-width: 2949px) 100vw, 2949px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Khaled (Sherwan Haji), Mazdak (Simon Al-Bazoon) and Waldemar (Sakari Kuosmanen) in ‘The Other Side of Hope.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This development, unmentioned in a single line of dialogue, exemplifies the filmmaker’s brand of rebellion. One unusually direct moment underscores Khaled’s plight with TV-news footage of the carnage in Aleppo, his hometown. But most of the film’s defiance is directed toward change. Cigarettes, rockabilly, and mannered old-Hollywood movies are not simply Kaurismaki’s passions. They’re the planks of his political platform. \u003c/p>\n\u003cp>In addition to Khaled’s search for refuge, the film is driven by his quest to learn the whereabouts of his sister, Miriam (Niroz Haji), who left Syria with him but was separated along the way. Waldemar helps with the search, but Miriam’s story is left partly unresolved. Of course, so is Khaled’s — and the tales of all the other exiles who inspired \u003cem>The Other Side of Hope\u003c/em>. \u003c/p>\n\u003cp>The director lightens the mood with his customary absurdist slapstick, notably a failed attempt to turn the cafe into a sushi restaurant. But the funniest line is characteristically double-edged. While still in custody, Khaled meets an Iraqi asylum-seeker who counsels him to appear upbeat: “All melancholics are sent back.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By that logic, no one in Finland more deserves deportation than Aki Kaurismaki. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27The+Other+Side+Of+Hope%27%3A+Finding+Haven+%E2%80%94+And+Hamachi+%E2%80%94+in+Helsinki&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "#MeToo Movement is Person of the Year, 'Time' Says",
"headTitle": "#MeToo Movement is Person of the Year, ‘Time’ Says | KQED",
"content": "\u003cp>It has created a wave of awareness and brave confrontations over sexual harassment and assault, taking down powerful men in the process. And now the #MeToo movement has been named \u003cem>Time\u003c/em> magazine’s Person of the Year for 2017.\u003c/p>\n\u003cp>On its cover, \u003cem>Time\u003c/em> called the people behind the movement “The Silence Breakers.” Its story features women and men who have spoken out — including activist \u003ca href=\"https://twitter.com/TaranaBurke/status/938388492299702277\" target=\"_blank\" rel=\"noopener\">Tarana Burke\u003c/a>, who started the hashtag 10 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13816800\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg\" alt='Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the \"silence breakers\" — are its Person of the Year.' width=\"700\" height=\"933\" class=\"size-full wp-image-13816800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-520x693.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the “silence breakers” — are its Person of the Year. \u003ccite>(Time magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>#MeToo rose to prominence as a social media campaign in the wake of high-profile accusations against Hollywood producer Harvey Weinstein. After actress Alyssa Milano popularized the hashtag, thousands of women began sharing their stories about the pervasive damage wrought by sexual harassment and by “open secrets” about abuse.\u003c/p>\n\u003cp>The movement’s empowering reach could be seen in the platform on which \u003cem>Time\u003c/em> announced its choice: the \u003cem>Today\u003c/em> show. It was just one week ago that NBC fired the morning program’s longtime and powerful co-host, Matt Lauer, over \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567421270/fired-today-host-matt-lauer-responds-promises-soul-searching\" target=\"_blank\" rel=\"noopener\">a detailed complaint\u003c/a> of “inappropriate sexual behavior in the workplace.”\u003c/p>\n\u003cp>While the most high-profile #MeToo stories have come from women and men who work in the movies and media, \u003ca href=\"http://time.com/time-person-of-the-year-2017-silence-breakers/\">the Time article\u003c/a> also features women who work hourly jobs, some of whom want to remain anonymous. The magazine’s cover portrait includes strawberry picker Isabel Pascual, lobbyist Adama Iwu and former Uber engineer Susan Fowler along with Ashley Judd and Taylor Swift.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The reckoning appears to have sprung up overnight. But it has actually been simmering for years, decades, centuries,” \u003cem>Time’s\u003c/em> Stephanie Zacharek, Eliana Dockterman and Haley Sweetland Edwards write. “Women have had it with bosses and coworkers who not only cross boundaries but don’t even seem to know that boundaries exist.”\u003c/p>\n\u003cp>Marking a possible cultural shift \u003ca href=\"https://www.npr.org/2017/10/16/558165331/in-the-wake-of-harvey-weinstein-scandal-women-say-metoo\" target=\"_blank\" rel=\"noopener\">back in October\u003c/a>, NPR’s Sarah McCammon quoted associate professor Lisa Huebner saying of #MeToo, “It helps a lot of people individually, I think, and it also will help us to mark publicly that this is a widespread occurrence, and it’s not OK.”\u003c/p>\n\u003cp>The \u003ca href=\"http://time.com/5045719/time-person-of-the-year-2017-shortlist/\" target=\"_blank\" rel=\"noopener\">shortlist of candidates\u003c/a> for the distinction included:\u003c/p>\n\u003cul>\n\u003cli>The Dreamers\u003c/li>\n\u003cli>Amazon founder Jeff Bezos\u003c/li>\n\u003cli>\u003cem>Wonder Woman\u003c/em> director Patty Jenkins\u003c/li>\n\u003cli>North Korean leader Kim Jong Un\u003c/li>\n\u003cli>Protest leader Colin Kaepernick\u003c/li>\n\u003cli>Special counsel Robert Mueller\u003c/li>\n\u003cli>Chinese President Xi Jinping\u003c/li>\n\u003cli>Crown Prince Mohammed bin Salman of Saudi Arabia\u003c/li>\n\u003cli>President Trump\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>Time\u003c/em> also conducted a reader poll, which the magazine says was won by Mohammed bin Salman, with 24 percent of the votes. Second place went to the #MeToo movement, followed by a three-way tie among Kaepernick, Mueller and the Dreamers.\u003c/p>\n\u003cp>In the magazine’s tally, Trump was the runner-up.\u003c/p>\n\u003cp>The final decision comes weeks after Trump — who was named Person of the Year in 2016 — said he \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/25/566433478/trump-says-he-passed-on-being-person-of-the-year-time-says-he-s-incorrect\" target=\"_blank\" rel=\"noopener\">“took a pass” on being named again\u003c/a> in 2017. Trump, who had called it “a tremendous honor” to win last year, said the magazine had been in touch to say he would “probably” win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The president’s comment prompted \u003cem>Time\u003c/em> to clarify, “The President is incorrect about how we choose Person of the Year. TIME does not comment on our choice until publication, which is December 6.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%23MeToo+Movement+Is+Person+Of+The+Year%2C+%27Time%27+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has created a wave of awareness and brave confrontations over sexual harassment and assault, taking down powerful men in the process. And now the #MeToo movement has been named \u003cem>Time\u003c/em> magazine’s Person of the Year for 2017.\u003c/p>\n\u003cp>On its cover, \u003cem>Time\u003c/em> called the people behind the movement “The Silence Breakers.” Its story features women and men who have spoken out — including activist \u003ca href=\"https://twitter.com/TaranaBurke/status/938388492299702277\" target=\"_blank\" rel=\"noopener\">Tarana Burke\u003c/a>, who started the hashtag 10 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13816800\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg\" alt='Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the \"silence breakers\" — are its Person of the Year.' width=\"700\" height=\"933\" class=\"size-full wp-image-13816800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-520x693.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the “silence breakers” — are its Person of the Year. \u003ccite>(Time magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>#MeToo rose to prominence as a social media campaign in the wake of high-profile accusations against Hollywood producer Harvey Weinstein. After actress Alyssa Milano popularized the hashtag, thousands of women began sharing their stories about the pervasive damage wrought by sexual harassment and by “open secrets” about abuse.\u003c/p>\n\u003cp>The movement’s empowering reach could be seen in the platform on which \u003cem>Time\u003c/em> announced its choice: the \u003cem>Today\u003c/em> show. It was just one week ago that NBC fired the morning program’s longtime and powerful co-host, Matt Lauer, over \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567421270/fired-today-host-matt-lauer-responds-promises-soul-searching\" target=\"_blank\" rel=\"noopener\">a detailed complaint\u003c/a> of “inappropriate sexual behavior in the workplace.”\u003c/p>\n\u003cp>While the most high-profile #MeToo stories have come from women and men who work in the movies and media, \u003ca href=\"http://time.com/time-person-of-the-year-2017-silence-breakers/\">the Time article\u003c/a> also features women who work hourly jobs, some of whom want to remain anonymous. The magazine’s cover portrait includes strawberry picker Isabel Pascual, lobbyist Adama Iwu and former Uber engineer Susan Fowler along with Ashley Judd and Taylor Swift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The reckoning appears to have sprung up overnight. But it has actually been simmering for years, decades, centuries,” \u003cem>Time’s\u003c/em> Stephanie Zacharek, Eliana Dockterman and Haley Sweetland Edwards write. “Women have had it with bosses and coworkers who not only cross boundaries but don’t even seem to know that boundaries exist.”\u003c/p>\n\u003cp>Marking a possible cultural shift \u003ca href=\"https://www.npr.org/2017/10/16/558165331/in-the-wake-of-harvey-weinstein-scandal-women-say-metoo\" target=\"_blank\" rel=\"noopener\">back in October\u003c/a>, NPR’s Sarah McCammon quoted associate professor Lisa Huebner saying of #MeToo, “It helps a lot of people individually, I think, and it also will help us to mark publicly that this is a widespread occurrence, and it’s not OK.”\u003c/p>\n\u003cp>The \u003ca href=\"http://time.com/5045719/time-person-of-the-year-2017-shortlist/\" target=\"_blank\" rel=\"noopener\">shortlist of candidates\u003c/a> for the distinction included:\u003c/p>\n\u003cul>\n\u003cli>The Dreamers\u003c/li>\n\u003cli>Amazon founder Jeff Bezos\u003c/li>\n\u003cli>\u003cem>Wonder Woman\u003c/em> director Patty Jenkins\u003c/li>\n\u003cli>North Korean leader Kim Jong Un\u003c/li>\n\u003cli>Protest leader Colin Kaepernick\u003c/li>\n\u003cli>Special counsel Robert Mueller\u003c/li>\n\u003cli>Chinese President Xi Jinping\u003c/li>\n\u003cli>Crown Prince Mohammed bin Salman of Saudi Arabia\u003c/li>\n\u003cli>President Trump\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>Time\u003c/em> also conducted a reader poll, which the magazine says was won by Mohammed bin Salman, with 24 percent of the votes. Second place went to the #MeToo movement, followed by a three-way tie among Kaepernick, Mueller and the Dreamers.\u003c/p>\n\u003cp>In the magazine’s tally, Trump was the runner-up.\u003c/p>\n\u003cp>The final decision comes weeks after Trump — who was named Person of the Year in 2016 — said he \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/25/566433478/trump-says-he-passed-on-being-person-of-the-year-time-says-he-s-incorrect\" target=\"_blank\" rel=\"noopener\">“took a pass” on being named again\u003c/a> in 2017. Trump, who had called it “a tremendous honor” to win last year, said the magazine had been in touch to say he would “probably” win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The president’s comment prompted \u003cem>Time\u003c/em> to clarify, “The President is incorrect about how we choose Person of the Year. TIME does not comment on our choice until publication, which is December 6.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%23MeToo+Movement+Is+Person+Of+The+Year%2C+%27Time%27+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s an unforgettable scene in the Netflix documentary \u003cem>Joan Didion: The Center Will Not Hold\u003c/em>. Filmmaker Griffin Dunne asks Didion about the legendary moment when, while reporting a piece on the counter-culture in San Francisco’s Haight-Ashbury neighborhood, she came across a 5-year-old girl tripping on LSD.\u003c/p>\n\u003cp>“What was that like?” Dunne wonders. Didion pauses, and replies, “It was gold.” Which is to say that the little girl was great material.\u003c/p>\n\u003cp>What counts as material, and how you use it, lies at the heart of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, the delightfully zippy new Amazon series created by Amy Sherman-Palladino and her husband, Daniel Palladino — a team best known for \u003cem>Gilmore Girls\u003c/em> and \u003cem>Bunheads\u003c/em>. Set in a brightly colored version of late 1950s New York — the soundtrack is bursting with show tunes and Sinatra — it’s a backhanded riposte to the old canard that women can’t be funny.\u003c/p>\n\u003cp>When we first meet Miriam Maisel (Rachel Brosnahan) she’s in her bridal gown and addressing her wedding banquet. She turns her speech into a piece of impromptu stand-up, complete with jokes about the food not being kosher.\u003c/p>\n\u003cp>But while Miriam clearly has a mouth on her, she’s content to be the comfortably Upper West Side wife of Joel Maisel (Michael Zegen) who works in an office by day but, by night, goes down to the Village to try to make it as a comedian.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 26-year-old Miriam, known as “Midge,” is just what her parents, her husband and \u003cem>his\u003c/em> parents want: a chic, Bryn Mawr-educated, alpha Jewish \u003cem>hausfrau\u003c/em> who bribes club owners with brisket to get her husband better performing slots at the Gaslight Café, and who tells total strangers the best way to remove blood stains from a blouse. There’s just one problem: Joel proves to be less than she hoped for, as both a husband \u003cem>and\u003c/em> a comedian.\u003c/p>\n\u003cp>Midge soon finds herself in that most classic of Sherman-Palladino situations: She’s a single woman making it on her own. But how? She uses her clever tongue to become a comedian herself.\u003c/p>\n\u003cp>Before she quite knows what’s happened, Midge has crashed the Gaslight Café stage, been discovered by a butch manager named Susie (played by Alex Borstein), been tossed in jail for obscenity and begun an unlikely relationship with, of all people, comedian Lenny Bruce.\u003c/p>\n\u003cp>Although \u003cem>The Marvelous Mrs. Maisel\u003c/em> is set in the \u003cem>Mad Men\u003c/em> era, it’s sunnier and far more yakkety. In fact, there’s an aspect of the old Hollywood musical in the dreamy production design and the portraits of Midge and Joel’s parents (who are too broadly conceived, yet played by real pros — Marin Hinkle, Tony Shalhoub, Kevin Pollak and Caroline Aaron). They provide the setting for Brosnahan, whose fast-talking brilliance as Midge is a real knockout. Whether Midge is making reflexively neurotic jokes, being devastated by betrayal or slaying people at the club, Brosnahan makes us believe that here is a woman able to shed her conventional life and discover her truest self being funny behind a microphone.\u003c/p>\n\u003cp>This is a not an easy thing to pull off. The trouble with nearly all stories about comedians — from the ’80s Tom Hanks-Sally Field film \u003cem>Punchline\u003c/em> to the recent show \u003cem>I’m Dying Up Here\u003c/em> — is that when they get on stage, they aren’t funny enough and their humor isn’t as daring as everyone pretends it is.\u003c/p>\n\u003cp>In the monologues written by Sherman-Palladino, Midge does what great comedians are able to do: She transforms personal pain and confusion into a genuinely funny performance. And the series triumph lies in showing us how she turns her life into great and original material.\u003c/p>\n\u003cp>Of course, back then there were no real-life women doing the equivalent of Midge’s stand-up act, which pushes far beyond the self-mockery of Phyllis Diller or the wisecracks of the young Joan Rivers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this isn’t a complaint. \u003cem>The Marvelous Mrs. Maisel\u003c/em> isn’t aiming for realism. It’s a heroic fantasy. And Midge’s humor, one might say, is the ultimate version of staircase wit. Recklessly honest, she says what female comedians \u003cem>would’ve\u003c/em> said half a century ago — if they had only been free to say it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Zippy+And+Delightful%2C+%27The+Marvelous+Mrs.+Maisel%27+Spotlights+An+Unlikely+Comic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an unforgettable scene in the Netflix documentary \u003cem>Joan Didion: The Center Will Not Hold\u003c/em>. Filmmaker Griffin Dunne asks Didion about the legendary moment when, while reporting a piece on the counter-culture in San Francisco’s Haight-Ashbury neighborhood, she came across a 5-year-old girl tripping on LSD.\u003c/p>\n\u003cp>“What was that like?” Dunne wonders. Didion pauses, and replies, “It was gold.” Which is to say that the little girl was great material.\u003c/p>\n\u003cp>What counts as material, and how you use it, lies at the heart of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, the delightfully zippy new Amazon series created by Amy Sherman-Palladino and her husband, Daniel Palladino — a team best known for \u003cem>Gilmore Girls\u003c/em> and \u003cem>Bunheads\u003c/em>. Set in a brightly colored version of late 1950s New York — the soundtrack is bursting with show tunes and Sinatra — it’s a backhanded riposte to the old canard that women can’t be funny.\u003c/p>\n\u003cp>When we first meet Miriam Maisel (Rachel Brosnahan) she’s in her bridal gown and addressing her wedding banquet. She turns her speech into a piece of impromptu stand-up, complete with jokes about the food not being kosher.\u003c/p>\n\u003cp>But while Miriam clearly has a mouth on her, she’s content to be the comfortably Upper West Side wife of Joel Maisel (Michael Zegen) who works in an office by day but, by night, goes down to the Village to try to make it as a comedian.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 26-year-old Miriam, known as “Midge,” is just what her parents, her husband and \u003cem>his\u003c/em> parents want: a chic, Bryn Mawr-educated, alpha Jewish \u003cem>hausfrau\u003c/em> who bribes club owners with brisket to get her husband better performing slots at the Gaslight Café, and who tells total strangers the best way to remove blood stains from a blouse. There’s just one problem: Joel proves to be less than she hoped for, as both a husband \u003cem>and\u003c/em> a comedian.\u003c/p>\n\u003cp>Midge soon finds herself in that most classic of Sherman-Palladino situations: She’s a single woman making it on her own. But how? She uses her clever tongue to become a comedian herself.\u003c/p>\n\u003cp>Before she quite knows what’s happened, Midge has crashed the Gaslight Café stage, been discovered by a butch manager named Susie (played by Alex Borstein), been tossed in jail for obscenity and begun an unlikely relationship with, of all people, comedian Lenny Bruce.\u003c/p>\n\u003cp>Although \u003cem>The Marvelous Mrs. Maisel\u003c/em> is set in the \u003cem>Mad Men\u003c/em> era, it’s sunnier and far more yakkety. In fact, there’s an aspect of the old Hollywood musical in the dreamy production design and the portraits of Midge and Joel’s parents (who are too broadly conceived, yet played by real pros — Marin Hinkle, Tony Shalhoub, Kevin Pollak and Caroline Aaron). They provide the setting for Brosnahan, whose fast-talking brilliance as Midge is a real knockout. Whether Midge is making reflexively neurotic jokes, being devastated by betrayal or slaying people at the club, Brosnahan makes us believe that here is a woman able to shed her conventional life and discover her truest self being funny behind a microphone.\u003c/p>\n\u003cp>This is a not an easy thing to pull off. The trouble with nearly all stories about comedians — from the ’80s Tom Hanks-Sally Field film \u003cem>Punchline\u003c/em> to the recent show \u003cem>I’m Dying Up Here\u003c/em> — is that when they get on stage, they aren’t funny enough and their humor isn’t as daring as everyone pretends it is.\u003c/p>\n\u003cp>In the monologues written by Sherman-Palladino, Midge does what great comedians are able to do: She transforms personal pain and confusion into a genuinely funny performance. And the series triumph lies in showing us how she turns her life into great and original material.\u003c/p>\n\u003cp>Of course, back then there were no real-life women doing the equivalent of Midge’s stand-up act, which pushes far beyond the self-mockery of Phyllis Diller or the wisecracks of the young Joan Rivers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this isn’t a complaint. \u003cem>The Marvelous Mrs. Maisel\u003c/em> isn’t aiming for realism. It’s a heroic fantasy. And Midge’s humor, one might say, is the ultimate version of staircase wit. Recklessly honest, she says what female comedians \u003cem>would’ve\u003c/em> said half a century ago — if they had only been free to say it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Zippy+And+Delightful%2C+%27The+Marvelous+Mrs.+Maisel%27+Spotlights+An+Unlikely+Comic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "40th Annual Kennedy Center Honors Recognize Hip-Hop for the First Time",
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"content": "\u003cp>The 40th annual Kennedy Center Honors last night (Dec. 3) recognized those in the arts who’ve made lifetime achievements in American pop culture and ushered in some new traditions in the process. This year’s honorees were dancer/choreographer \u003ca href=\"https://www.npr.org/2014/10/28/359326972/at-83-dancer-carmen-de-lavallade-looks-back-at-a-life-spent-onstage\" target=\"_blank\" rel=\"noopener\">Carmen de Lavallade\u003c/a>, singer \u003ca href=\"https://www.npr.org/2017/10/02/554730777/shocking-omissions-gloria-estefan-and-miami-sound-machine-s-let-it-loose\" target=\"_blank\" rel=\"noopener\">Gloria Estefan\u003c/a>, rapper \u003ca href=\"https://www.npr.org/artists/15770396/ll-cool-j\" target=\"_blank\" rel=\"noopener\">LL Cool J\u003c/a>, TV writer\u003ca href=\"https://www.npr.org/2014/11/18/364985147/norman-lear-looks-back-on-his-long-life-in-even-this-i-get-to-experience\" target=\"_blank\" rel=\"noopener\"> Norman Lear\u003c/a> and singer \u003ca href=\"https://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Richie\u003c/a>.\u003c/p>\n\u003cp>LL Cool J becomes the first hip-hop artist to be recognized at the Kennedy Center Honors. In a career spanning more than three decades, the Queens-born MC helped pioneer the burgeoning rap genre, while often being cited as hip-hop’s first heartthrob. As Def Jam Recordings’ first signee, LL is best known for hits like “Mama Said Knock You Out” and “Doin’ It.”\u003c/p>\n\u003cp>Fellow golden-era rapper Queen Latifah immortalized LL on stage before he received the award. Q-Tip and The Roots members Questlove and Black Thought were in attendance for support while Busta Rhymes, DMC and DJ Z-Trip paid tribute to LL in a performance. A true chameleon in the industry, LL has earned many awards for rapping and acting, including two Grammys, but the legendary MC told NPR’s \u003ca href=\"https://www.npr.org/2017/12/04/568255235/kennedy-center-celebrates-latest-honorees-but-without-the-first-family\" target=\"_blank\" rel=\"noopener\">\u003cem>Morning Edition\u003c/em>\u003c/a>, the Kennedy Center Honors is different “because now you’re being recognized by your country.”\u003c/p>\n\u003cp>Another ‘first’ for the evening was Gloria Estefan’s induction as the first Cuban-American to receive a Kennedy Center Honor. Estefan, who’s served as front woman for the Miami Sound Machine for nearly two decades, is best known for crossover hits like “Conga” and “Get On Your Feet.” The latter song has later become the title of a Broadway production based on the singer’s life.\u003c/p>\n\u003cp>2001 honoree Quincy Jones, 1999 honoree Stevie Wonder, Kenny Rogers and Leona Lewis and paid tribute to R&B titan Lionel Richie in song, belting a rendition of his song “All Night Long.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the 2017 honorees graciously shared the spotlight, some of the night’s conversation pivoted to a famous face that was noticeably missing from the ceremony. \u003ca href=\"https://www.npr.org/tags/511343536/president-trump\" target=\"_blank\" rel=\"noopener\">President Trump\u003c/a> notably did not go this year’s honors, breaking a presidential tradition of the first family attending the ceremony. President Trump announced he would be missing the ceremony back in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\" target=\"_blank\" rel=\"noopener\">August\u003c/a> after Lear and de Lavallade said they would boycott the awards if he was there. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=40th+Annual+Kennedy+Center+Honors+Recognize+Hip-Hop+For+The+First+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 40th annual Kennedy Center Honors last night (Dec. 3) recognized those in the arts who’ve made lifetime achievements in American pop culture and ushered in some new traditions in the process. This year’s honorees were dancer/choreographer \u003ca href=\"https://www.npr.org/2014/10/28/359326972/at-83-dancer-carmen-de-lavallade-looks-back-at-a-life-spent-onstage\" target=\"_blank\" rel=\"noopener\">Carmen de Lavallade\u003c/a>, singer \u003ca href=\"https://www.npr.org/2017/10/02/554730777/shocking-omissions-gloria-estefan-and-miami-sound-machine-s-let-it-loose\" target=\"_blank\" rel=\"noopener\">Gloria Estefan\u003c/a>, rapper \u003ca href=\"https://www.npr.org/artists/15770396/ll-cool-j\" target=\"_blank\" rel=\"noopener\">LL Cool J\u003c/a>, TV writer\u003ca href=\"https://www.npr.org/2014/11/18/364985147/norman-lear-looks-back-on-his-long-life-in-even-this-i-get-to-experience\" target=\"_blank\" rel=\"noopener\"> Norman Lear\u003c/a> and singer \u003ca href=\"https://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Richie\u003c/a>.\u003c/p>\n\u003cp>LL Cool J becomes the first hip-hop artist to be recognized at the Kennedy Center Honors. In a career spanning more than three decades, the Queens-born MC helped pioneer the burgeoning rap genre, while often being cited as hip-hop’s first heartthrob. As Def Jam Recordings’ first signee, LL is best known for hits like “Mama Said Knock You Out” and “Doin’ It.”\u003c/p>\n\u003cp>Fellow golden-era rapper Queen Latifah immortalized LL on stage before he received the award. Q-Tip and The Roots members Questlove and Black Thought were in attendance for support while Busta Rhymes, DMC and DJ Z-Trip paid tribute to LL in a performance. A true chameleon in the industry, LL has earned many awards for rapping and acting, including two Grammys, but the legendary MC told NPR’s \u003ca href=\"https://www.npr.org/2017/12/04/568255235/kennedy-center-celebrates-latest-honorees-but-without-the-first-family\" target=\"_blank\" rel=\"noopener\">\u003cem>Morning Edition\u003c/em>\u003c/a>, the Kennedy Center Honors is different “because now you’re being recognized by your country.”\u003c/p>\n\u003cp>Another ‘first’ for the evening was Gloria Estefan’s induction as the first Cuban-American to receive a Kennedy Center Honor. Estefan, who’s served as front woman for the Miami Sound Machine for nearly two decades, is best known for crossover hits like “Conga” and “Get On Your Feet.” The latter song has later become the title of a Broadway production based on the singer’s life.\u003c/p>\n\u003cp>2001 honoree Quincy Jones, 1999 honoree Stevie Wonder, Kenny Rogers and Leona Lewis and paid tribute to R&B titan Lionel Richie in song, belting a rendition of his song “All Night Long.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Met Suspends Famed Conductor Accused of Molesting Teen For Years",
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"content": "\u003cp>\u003cstrong>Updated at 8:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>James Levine, a legendary conductor at the Metropolitan Opera, has been accused of sexually abusing a teenager in Illinois for a period of several years in the 1980s. \u003c/p>\n\u003cp>The Met said in \u003ca href=\"https://www.facebook.com/MetOpera/posts/10159806195345533\">a statement\u003c/a> Sunday it is suspending Levine from all activities related to the opera house while the allegations are being investigated, “following multiple allegations of sexual misconduct committed by Mr. Levine that took place from the 60’s to the 80’s, including the earlier part of his conducting career at the Met.”\u003c/p>\n\u003cp>Met General Manager Peter Gelb added, “While we await the results of the investigation, based on these new news reports, the Met has made the decision to act now.”\u003c/p>\n\u003cp>Levine, now 74, was the music director at the Met for four decades. He has recently suffered a variety of health problems and retired from his headline role at the Met last year, but continues to conduct occasional performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Officials at the Met were reportedly made aware of the allegations sometime in 2016. On Saturday, the Met said on Twitter that an investigation has been launched, with the help of “outside resources,” to evaluate the veracity of the claims.\u003c/p>\n\u003cp>https://twitter.com/MetOpera/status/937139056991002624\u003c/p>\n\u003cp>The allegations, \u003ca href=\"https://nypost.com/2017/12/02/legendary-opera-conductor-molested-teen-for-years-police-report/\" target=\"_blank\" rel=\"noopener\">first described\u003c/a> by the \u003cem>New York Post, \u003c/em>were described in a police report that was filed in 2016. In that report, a man says that he met Levine as a child in Illinois, where Levine was a conductor at the Ravinia Music Festival each summer. \u003c/p>\n\u003cp>In the report the man alleges that in 1985, when he was 15 and Levine was 41, Levine held his hand in a “prolonged and incredibly sensual way” while they were alone in a car, the \u003cem>Post\u003c/em> reports. The following year Levine began to touch the teenager’s genitalia and masturbate in front of him. The ensuing sexual contact lasted for years, according to the allegation.\u003c/p>\n\u003cp>Levine also served as a mentor to the teenager, wrote a college recommendation essay, and gave him tens of thousands of dollars of cash, the \u003cem>Post \u003c/em>writes. \u003c/p>\n\u003cp>There were “hundreds of incidents,” the alleged victim said. The man, who says he is straight and that he was not aroused by any of their interactions, wrote in the report that he was “confused and paralyzed” by Levine’s actions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/02/arts/music/james-levine-sexual-misconduct-met-opera.html\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> has also seen a copy of the police report, and confirmed the stories contained in the report with the alleged victim and with one of his relatives. The \u003cem>Times \u003c/em>also notes that rumors of sexual misconduct have swirled around Levine, unconfirmed, for years. \u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Times \u003c/em>reports that Levine invited the victim to audition as a conductor, and told him that he should focus on “other talents” — while continuing to promise to “raise [him] ‘special’ ” in some way. The young man first told a relative about the abuse in 1993, the newspaper writes; he reported it to police in 2016, after realizing that Levine’s behavior had negatively affected his life.\u003c/p>\n\u003cp>The allegations describe acts that would be criminal in Illinois, but the statute of limitations for sex crimes with children had expired by the time the police report was filed, the \u003cem>Post \u003c/em>says.\u003c/p>\n\u003cp>Police from Lake Forest, Ill., spoke to Peter Gelb, the general manager of the Met, among other people, the \u003cem>Times \u003c/em>reports:\u003cem> \u003c/em>“Met officials acknowledged they had been aware of the police report since last year, but said that Mr. Levine had denied the accusation and that they had heard nothing further from the police.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Met’s announcement of an investigation does not mention prior knowledge of the allegations; it cites media reports as the inspiration for taking action. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Met+Suspends+Famed+Conductor+Accused+Of+Molesting+Teenager+For+Years+In+The+%2780s&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>James Levine, a legendary conductor at the Metropolitan Opera, has been accused of sexually abusing a teenager in Illinois for a period of several years in the 1980s. \u003c/p>\n\u003cp>The Met said in \u003ca href=\"https://www.facebook.com/MetOpera/posts/10159806195345533\">a statement\u003c/a> Sunday it is suspending Levine from all activities related to the opera house while the allegations are being investigated, “following multiple allegations of sexual misconduct committed by Mr. Levine that took place from the 60’s to the 80’s, including the earlier part of his conducting career at the Met.”\u003c/p>\n\u003cp>Met General Manager Peter Gelb added, “While we await the results of the investigation, based on these new news reports, the Met has made the decision to act now.”\u003c/p>\n\u003cp>Levine, now 74, was the music director at the Met for four decades. He has recently suffered a variety of health problems and retired from his headline role at the Met last year, but continues to conduct occasional performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Officials at the Met were reportedly made aware of the allegations sometime in 2016. On Saturday, the Met said on Twitter that an investigation has been launched, with the help of “outside resources,” to evaluate the veracity of the claims.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The allegations, \u003ca href=\"https://nypost.com/2017/12/02/legendary-opera-conductor-molested-teen-for-years-police-report/\" target=\"_blank\" rel=\"noopener\">first described\u003c/a> by the \u003cem>New York Post, \u003c/em>were described in a police report that was filed in 2016. In that report, a man says that he met Levine as a child in Illinois, where Levine was a conductor at the Ravinia Music Festival each summer. \u003c/p>\n\u003cp>In the report the man alleges that in 1985, when he was 15 and Levine was 41, Levine held his hand in a “prolonged and incredibly sensual way” while they were alone in a car, the \u003cem>Post\u003c/em> reports. The following year Levine began to touch the teenager’s genitalia and masturbate in front of him. The ensuing sexual contact lasted for years, according to the allegation.\u003c/p>\n\u003cp>Levine also served as a mentor to the teenager, wrote a college recommendation essay, and gave him tens of thousands of dollars of cash, the \u003cem>Post \u003c/em>writes. \u003c/p>\n\u003cp>There were “hundreds of incidents,” the alleged victim said. The man, who says he is straight and that he was not aroused by any of their interactions, wrote in the report that he was “confused and paralyzed” by Levine’s actions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/02/arts/music/james-levine-sexual-misconduct-met-opera.html\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> has also seen a copy of the police report, and confirmed the stories contained in the report with the alleged victim and with one of his relatives. The \u003cem>Times \u003c/em>also notes that rumors of sexual misconduct have swirled around Levine, unconfirmed, for years. \u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Times \u003c/em>reports that Levine invited the victim to audition as a conductor, and told him that he should focus on “other talents” — while continuing to promise to “raise [him] ‘special’ ” in some way. The young man first told a relative about the abuse in 1993, the newspaper writes; he reported it to police in 2016, after realizing that Levine’s behavior had negatively affected his life.\u003c/p>\n\u003cp>The allegations describe acts that would be criminal in Illinois, but the statute of limitations for sex crimes with children had expired by the time the police report was filed, the \u003cem>Post \u003c/em>says.\u003c/p>\n\u003cp>Police from Lake Forest, Ill., spoke to Peter Gelb, the general manager of the Met, among other people, the \u003cem>Times \u003c/em>reports:\u003cem> \u003c/em>“Met officials acknowledged they had been aware of the police report since last year, but said that Mr. Levine had denied the accusation and that they had heard nothing further from the police.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Met’s announcement of an investigation does not mention prior knowledge of the allegations; it cites media reports as the inspiration for taking action. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Met+Suspends+Famed+Conductor+Accused+Of+Molesting+Teenager+For+Years+In+The+%2780s&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Disaster Artist' Is 'The Room' Where It Happened",
"headTitle": "‘The Disaster Artist’ Is ‘The Room’ Where It Happened | KQED",
"content": "\u003cp>Though Ed Wood’s \u003cem>Plan 9 From Outer Space\u003c/em> is commonly cited as the worst film ever made, he released a far more compelling failure three years before with \u003cem>Glen or Glenda\u003c/em>, a semi-autobiographical melodrama about a cross-dresser, played by Wood under the pseudonym “Daniel Davis.” \u003cem>Glen or Glenda\u003c/em> has all the staggering ineptitude of \u003cem>Plan 9\u003c/em> — most memorably, Bela Lugosi’s armchair commentator shouting “Pull the string!” — but it has the added benefit of being nakedly personal, a plea for tolerance from a man who has chosen to reveal a closely guarded secret on screen. Bad films are released every week, but the truly enduring ones tell us something about their creators that is utterly specific and unique.\u003c/p>\n\u003cp>Tommy Wiseau’s 2003 opus, \u003cem>The Room\u003c/em>,is a miracle of a movie, a modern-day \u003cem>Glen or Glenda\u003c/em> in which the writer/director/star, so spectacularly inept in all three departments, bares his soul (and his body) for all to see. So much about Wiseau is famously murky — his country of origin, which by his accent sounds vaguely Eastern European; his age, which is surely much older than he suggests; and his seemingly bottomless source of financing — but \u003cem>The Room\u003c/em> is a tale of heartbreak and betrayal that is defined by an almost childlike simplicity. Wiseau’s understanding of human relationships may be hilariously alien, but his emotions are raw and unfiltered.\u003c/p>\n\u003cp>The cult of \u003cem>The Room\u003c/em> started in Los Angeles over a decade ago, built on word-of-mouth and a \u003ca href=\"http://hollywood-elsewhere.com/images/column/ocky17/roombillboard640.jpg\" target=\"_blank\" rel=\"noopener\">curious promotional billboard\u003c/a>, and it has since become a 21st century \u003cem>Rocky Horror Picture Show\u003c/em>, with audiences yelling canned one-liners at the screen and lobbing footballs and plastic spoons. In 2013, Wiseau’s co-star and partner-in-crime, Greg Sestero, teamed up with author Tom Bissell to publish \u003cem>The Disaster Artist\u003c/em>, a wildly entertaining book that deserves shelf space alongside other classics of the movie-fiasco genre like Steven Bach’s \u003cem>Final Cut\u003c/em> (about \u003cem>Heaven’s Gate\u003c/em>) and Julie Salamon’s \u003cem>The Devil’s Candy\u003c/em> (about \u003cem>The Bonfire of the Vanities\u003c/em>). It turns out the behind-the-scenes story is every bit as stupefying as film itself.\u003c/p>\n\u003cp>With his winning adaptation of \u003cem>The Disaster Artist\u003c/em>, director/star James Franco follows the model of Tim Burton’s biopic \u003cem>Ed Wood\u003c/em>, approaching Wiseau with a delicate balance of affectionate mockery and a heartfelt appreciation for his creative passion. It would be unforgivably mean-spirited for Franco merely to point and laugh, so instead he casts Wiseau as a Hollywood outsider who chose to defy the gatekeepers and pursue his cinematic dreams on his own dime. That may be the path of least resistance, given the darker corners of Wiseau’s biography and the gross misogyny at the core of \u003cem>The Room\u003c/em>, but it’s also the most gratifying, because it so firmly embraces the cult that’s rallied around Wiseau and his peculiar DIY triumph.\u003c/p>\n\u003cp>Before the cameras start to roll, however, \u003cem>The Disaster Artist\u003c/em> begins with the friendship between Wiseau (James Franco) and Sestero (Dave Franco), two Hollywood nobodies who meet at an acting class and wind up making history together. In Sestero’s telling, he is the passenger in a car that is careening down Sunset Boulevard, a passive accomplice to the runaway ambitions of a man who wants to be the next James Dean or Marlon Brando and has the money to make it happen. When Wiseau hacks out a script for \u003cem>The Room\u003c/em>, Sestero recognizes it as a nonsensical, subliterate bafflement, but Wiseau’s mysterious millions will the production into existence anyway and movie anti-magic commences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cMKX2tE5Luk\u003c/p>\n\u003cp>In the book and in the film, there’s something naggingly inauthentic about Sestero’s friendship with Wiseau: He presents himself as an insider while also keeping his distance, in case anyone might associate him with historic failure. But \u003cem>The Disaster Artist\u003c/em> is comedy gold once Wiseau starts making \u003cem>The Room\u003c/em> in earnest and Franco re-creates every misstep with the scrupulousness of a medieval monk transcribing religious text. There are production follies, like Wiseau shooting on digital and film simultaneously or using green screens of a balcony rather than the real thing, and there are multiple takes of treasured moments, culminating in the immortal “You’re tearing me apart, Lisa!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Disaster Artist\u003c/em> eases into the uncomfortable nature of a so-bad-it’s-good phenomenon like \u003cem>The Room\u003c/em>, when audiences turn out to hoot at a film that its creator intended to move them. The real-life Wiseau has been steering into that curve for years — he even tried to promote it as a “black comedy” — but the film does well to register the sting of failure while celebrating the creative spirit that drove him to realize his ambitions. As someone who has attached his name to plenty of ill-conceived enterprises himself recently — he adapted unadaptable William Faulkner and Cormac McCarthy novels in the same year! — Franco understands the perils of the profession. In that respect, Wiseau isn’t a case study. He’s a kindred spirit.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27The+Disaster+Artist%27+Is+%27The+Room%27+Where+It+Happened&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though Ed Wood’s \u003cem>Plan 9 From Outer Space\u003c/em> is commonly cited as the worst film ever made, he released a far more compelling failure three years before with \u003cem>Glen or Glenda\u003c/em>, a semi-autobiographical melodrama about a cross-dresser, played by Wood under the pseudonym “Daniel Davis.” \u003cem>Glen or Glenda\u003c/em> has all the staggering ineptitude of \u003cem>Plan 9\u003c/em> — most memorably, Bela Lugosi’s armchair commentator shouting “Pull the string!” — but it has the added benefit of being nakedly personal, a plea for tolerance from a man who has chosen to reveal a closely guarded secret on screen. Bad films are released every week, but the truly enduring ones tell us something about their creators that is utterly specific and unique.\u003c/p>\n\u003cp>Tommy Wiseau’s 2003 opus, \u003cem>The Room\u003c/em>,is a miracle of a movie, a modern-day \u003cem>Glen or Glenda\u003c/em> in which the writer/director/star, so spectacularly inept in all three departments, bares his soul (and his body) for all to see. So much about Wiseau is famously murky — his country of origin, which by his accent sounds vaguely Eastern European; his age, which is surely much older than he suggests; and his seemingly bottomless source of financing — but \u003cem>The Room\u003c/em> is a tale of heartbreak and betrayal that is defined by an almost childlike simplicity. Wiseau’s understanding of human relationships may be hilariously alien, but his emotions are raw and unfiltered.\u003c/p>\n\u003cp>The cult of \u003cem>The Room\u003c/em> started in Los Angeles over a decade ago, built on word-of-mouth and a \u003ca href=\"http://hollywood-elsewhere.com/images/column/ocky17/roombillboard640.jpg\" target=\"_blank\" rel=\"noopener\">curious promotional billboard\u003c/a>, and it has since become a 21st century \u003cem>Rocky Horror Picture Show\u003c/em>, with audiences yelling canned one-liners at the screen and lobbing footballs and plastic spoons. In 2013, Wiseau’s co-star and partner-in-crime, Greg Sestero, teamed up with author Tom Bissell to publish \u003cem>The Disaster Artist\u003c/em>, a wildly entertaining book that deserves shelf space alongside other classics of the movie-fiasco genre like Steven Bach’s \u003cem>Final Cut\u003c/em> (about \u003cem>Heaven’s Gate\u003c/em>) and Julie Salamon’s \u003cem>The Devil’s Candy\u003c/em> (about \u003cem>The Bonfire of the Vanities\u003c/em>). It turns out the behind-the-scenes story is every bit as stupefying as film itself.\u003c/p>\n\u003cp>With his winning adaptation of \u003cem>The Disaster Artist\u003c/em>, director/star James Franco follows the model of Tim Burton’s biopic \u003cem>Ed Wood\u003c/em>, approaching Wiseau with a delicate balance of affectionate mockery and a heartfelt appreciation for his creative passion. It would be unforgivably mean-spirited for Franco merely to point and laugh, so instead he casts Wiseau as a Hollywood outsider who chose to defy the gatekeepers and pursue his cinematic dreams on his own dime. That may be the path of least resistance, given the darker corners of Wiseau’s biography and the gross misogyny at the core of \u003cem>The Room\u003c/em>, but it’s also the most gratifying, because it so firmly embraces the cult that’s rallied around Wiseau and his peculiar DIY triumph.\u003c/p>\n\u003cp>Before the cameras start to roll, however, \u003cem>The Disaster Artist\u003c/em> begins with the friendship between Wiseau (James Franco) and Sestero (Dave Franco), two Hollywood nobodies who meet at an acting class and wind up making history together. In Sestero’s telling, he is the passenger in a car that is careening down Sunset Boulevard, a passive accomplice to the runaway ambitions of a man who wants to be the next James Dean or Marlon Brando and has the money to make it happen. When Wiseau hacks out a script for \u003cem>The Room\u003c/em>, Sestero recognizes it as a nonsensical, subliterate bafflement, but Wiseau’s mysterious millions will the production into existence anyway and movie anti-magic commences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cMKX2tE5Luk'\n title='//www.youtube.com/embed/cMKX2tE5Luk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the book and in the film, there’s something naggingly inauthentic about Sestero’s friendship with Wiseau: He presents himself as an insider while also keeping his distance, in case anyone might associate him with historic failure. But \u003cem>The Disaster Artist\u003c/em> is comedy gold once Wiseau starts making \u003cem>The Room\u003c/em> in earnest and Franco re-creates every misstep with the scrupulousness of a medieval monk transcribing religious text. There are production follies, like Wiseau shooting on digital and film simultaneously or using green screens of a balcony rather than the real thing, and there are multiple takes of treasured moments, culminating in the immortal “You’re tearing me apart, Lisa!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Disaster Artist\u003c/em> eases into the uncomfortable nature of a so-bad-it’s-good phenomenon like \u003cem>The Room\u003c/em>, when audiences turn out to hoot at a film that its creator intended to move them. The real-life Wiseau has been steering into that curve for years — he even tried to promote it as a “black comedy” — but the film does well to register the sting of failure while celebrating the creative spirit that drove him to realize his ambitions. As someone who has attached his name to plenty of ill-conceived enterprises himself recently — he adapted unadaptable William Faulkner and Cormac McCarthy novels in the same year! — Franco understands the perils of the profession. In that respect, Wiseau isn’t a case study. He’s a kindred spirit.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27The+Disaster+Artist%27+Is+%27The+Room%27+Where+It+Happened&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Def Jam Recordings co-founder Russell Simmons announced Thursday that he would relinquish his leadership roles in “all the companies I founded,” after a second woman accused him of sexual assault.\u003c/p>\n\u003cp>Following the publication of a letter by writer Jenny Lumet in \u003cem>The Hollywood Reporter\u003c/em>, Simmons issued \u003ca href=\"https://www.instagram.com/p/BcH9Ua3DVaj/?taken-by=unclerush\">a statement\u003c/a> that he would be “removing” himself from his companies. In his statement, Simmons acknowledges Lumet’s allegation but only admits to being “thoughtless and insensitive in some of my relationships over many decades.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.hollywoodreporter.com/news/writer-jenny-lumet-russell-simmons-sexually-violated-me-guest-column-1062934\">her letter\u003c/a>, Lumet — who is a story writer on the Tom Cruise film \u003cem>The Mummy\u003c/em>, which was released this year, and the daughter of director Sidney Lumet — writes that Simmons had expressed romantic interest in her prior to the night of the alleged assault, sending her 250 balloons. Some time after, she says, Simmons offered her a ride home after a dinner but then directed his driver to take them to Simmons’ home, despite her repeated requests to be driven to her home.\u003c/p>\n\u003cp>“I felt dread and disorientation,” she writes, “I wanted to go home. I said I wanted to go home. I didn’t recognize the man next to me. I didn’t know if the situation would turn violent. I remember thinking that I must be crazy; I remember hoping that the Russell I knew would return any moment.”\u003c/p>\n\u003cp>“Alone in the elevator” to Simmons’ apartment, Lumet continues, “you pressed me into the corner with your body, your hands and your mouth.” She then describes making “the trade in my mind” and acquiescing to sex with Simmons, fearing for her safety if she refused.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Nov. 19, the model Keri Claussen Khalighi also levied allegations of sexual assault against Simmons, \u003ca href=\"http://www.latimes.com/business/hollywood/la-fi-brett-ratner-russell-simmons-20171119-htmlstory.html\">telling The Los Angeles Times\u003c/a> that Simmons and the director Brett Ratner — himself the subject of sexual assault allegations by six women, also reported \u003ca href=\"http://www.latimes.com/business/hollywood/la-fi-ct-brett-ratner-allegations-20171101-htmlstory.html\">by the Times\u003c/a> — had invited her back to Ratner’s apartment. There, the newspaper writes, Simmons reportedly began “yanking off” Khalighi’s clothes and “tried to force her to have intercourse.”\u003c/p>\n\u003cp>Khalighi said the assault occurred in 1991, the same year Lumet said she was assaulted by Simmons.\u003c/p>\n\u003cp>Simmons \u003ca href=\"https://twitter.com/UncleRUSH/status/932249961638584320\">denied\u003c/a> Khalighi’s accusations the day they were published, writing that their interaction was “completely consensual and with Keri’s full participation.” He continued: “Let me be crystal clear and very direct. Abusing women in any way shape or form violates the very core of my being.”\u003c/p>\n\u003cp>Simmons is best-known as the co-founder Def Jam Recordings, one of the keystone labels in the history of hip-hop, which he and Rick Rubin famously began in Rubin’s New York University dorm room. Rubin sold his portion of the company to Simmons four years after the label’s founding. In 1999, Simmons sold off his stake in the label to Universal Music Group for a reported $100 million. In the years since, Simmons has been a producer, writer and guest star on the reality series \u003cem>Run’s House\u003c/em>, starring Reverend Run of Run-DMC. The hip-hop group helped establish Def Jam as a cornerstone in the mainstream development of hip-hop. Simmons has founded several other companies, most recently digital media startup All Def Digital.\u003c/p>\n\u003cp>A representative for Def Jam declined to comment; All Def Digital couldn’t immediately be reached for comment.\u003c/p>\n\u003cp>Simmons is the latest high-profile figure — including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/28/567026934/npr-chief-news-editor-departs-in-wake-of-harassment-allegations\">two senior news executives\u003c/a> at NPR — forced to publicly reckon with damaging allegations of sexual misconduct against women. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Def Jam Recordings co-founder Russell Simmons announced Thursday that he would relinquish his leadership roles in “all the companies I founded,” after a second woman accused him of sexual assault.\u003c/p>\n\u003cp>Following the publication of a letter by writer Jenny Lumet in \u003cem>The Hollywood Reporter\u003c/em>, Simmons issued \u003ca href=\"https://www.instagram.com/p/BcH9Ua3DVaj/?taken-by=unclerush\">a statement\u003c/a> that he would be “removing” himself from his companies. In his statement, Simmons acknowledges Lumet’s allegation but only admits to being “thoughtless and insensitive in some of my relationships over many decades.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.hollywoodreporter.com/news/writer-jenny-lumet-russell-simmons-sexually-violated-me-guest-column-1062934\">her letter\u003c/a>, Lumet — who is a story writer on the Tom Cruise film \u003cem>The Mummy\u003c/em>, which was released this year, and the daughter of director Sidney Lumet — writes that Simmons had expressed romantic interest in her prior to the night of the alleged assault, sending her 250 balloons. Some time after, she says, Simmons offered her a ride home after a dinner but then directed his driver to take them to Simmons’ home, despite her repeated requests to be driven to her home.\u003c/p>\n\u003cp>“I felt dread and disorientation,” she writes, “I wanted to go home. I said I wanted to go home. I didn’t recognize the man next to me. I didn’t know if the situation would turn violent. I remember thinking that I must be crazy; I remember hoping that the Russell I knew would return any moment.”\u003c/p>\n\u003cp>“Alone in the elevator” to Simmons’ apartment, Lumet continues, “you pressed me into the corner with your body, your hands and your mouth.” She then describes making “the trade in my mind” and acquiescing to sex with Simmons, fearing for her safety if she refused.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Nov. 19, the model Keri Claussen Khalighi also levied allegations of sexual assault against Simmons, \u003ca href=\"http://www.latimes.com/business/hollywood/la-fi-brett-ratner-russell-simmons-20171119-htmlstory.html\">telling The Los Angeles Times\u003c/a> that Simmons and the director Brett Ratner — himself the subject of sexual assault allegations by six women, also reported \u003ca href=\"http://www.latimes.com/business/hollywood/la-fi-ct-brett-ratner-allegations-20171101-htmlstory.html\">by the Times\u003c/a> — had invited her back to Ratner’s apartment. There, the newspaper writes, Simmons reportedly began “yanking off” Khalighi’s clothes and “tried to force her to have intercourse.”\u003c/p>\n\u003cp>Khalighi said the assault occurred in 1991, the same year Lumet said she was assaulted by Simmons.\u003c/p>\n\u003cp>Simmons \u003ca href=\"https://twitter.com/UncleRUSH/status/932249961638584320\">denied\u003c/a> Khalighi’s accusations the day they were published, writing that their interaction was “completely consensual and with Keri’s full participation.” He continued: “Let me be crystal clear and very direct. Abusing women in any way shape or form violates the very core of my being.”\u003c/p>\n\u003cp>Simmons is best-known as the co-founder Def Jam Recordings, one of the keystone labels in the history of hip-hop, which he and Rick Rubin famously began in Rubin’s New York University dorm room. Rubin sold his portion of the company to Simmons four years after the label’s founding. In 1999, Simmons sold off his stake in the label to Universal Music Group for a reported $100 million. In the years since, Simmons has been a producer, writer and guest star on the reality series \u003cem>Run’s House\u003c/em>, starring Reverend Run of Run-DMC. The hip-hop group helped establish Def Jam as a cornerstone in the mainstream development of hip-hop. Simmons has founded several other companies, most recently digital media startup All Def Digital.\u003c/p>\n\u003cp>A representative for Def Jam declined to comment; All Def Digital couldn’t immediately be reached for comment.\u003c/p>\n\u003cp>Simmons is the latest high-profile figure — including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/28/567026934/npr-chief-news-editor-departs-in-wake-of-harassment-allegations\">two senior news executives\u003c/a> at NPR — forced to publicly reckon with damaging allegations of sexual misconduct against women. On Wednesday, longtime \u003cem>Today\u003c/em> co-host Matt Lauer was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567421270/fired-today-host-matt-lauer-responds-promises-soul-searching\">fired by NBC News\u003c/a> following sexual assault allegations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I will step aside,” Simmons concludes in Thursday’s statement, “and commit myself to continuing my personal growth, spiritual learning and above all to listening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Russell+Simmons+%27Removing%27+Himself+After+2nd+Allegation+Of+Sexual+Assault&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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.",
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"mindshift": {
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"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>",
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"order": 12
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"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?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
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