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"title": "'In The Fade': A Fine Central Performance, An Uncertain Ending",
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"content": "\u003cp>Poignant and complex if occasionally frustrating, Fatih Akin’s \u003cem>In the Fade\u003c/em> is the story of a marriage. Not a conventional one, as the director announces with a prologue in which white-suited Nuri (Numan Acar) struts through a lineup of wedding-day well-wishers to meet his much-tattooed bride, Katja (Diane Kruger). Nuri’s pals are fellow inmates, and the ceremony is performed in a prison classroom.\u003c/p>\n\u003cp>Nuri was a drug dealer, and Katja met him as a client during her college days. Years later, the couple has become more bourgeois. They have a six-year-old son, Rocco (Rafael Santana), and Nuri runs an office where he assists other people of Turkish and Kurdish origin with their taxes, the German language, and other complications of living in Hamburg.\u003c/p>\n\u003cfigure id=\"attachment_13818976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/1_1200.jpg\" alt=\"Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in 'In the Fade.'\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13818976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is familiar territory for \u003cem>Head-On\u003c/em> director Akin, who’s of Turkish descent but was born in Hamburg. Many of his films are set in the city, and they often involve cross-cultural romance, drugs, and rock’n’roll. \u003cem>In the Fade\u003c/em> is named for a song by Queens of the Stone Age, whose Joshua Homme composed the movie’s incidental music. The songs on the soundtrack come from several continents, but they’re all in English.\u003c/p>\n\u003cp>Akin divides the tale into three chapters, the first two of which are ironically titled. In “Family,” Katja returns from an excursion to find that her husband’s office was bombed. Nuri and Rocco are dead, and Katja must deal with her own grief was well as the demands and recriminations of her mother and in-laws.\u003c/p>\n\u003cp>The police arrive soon, which leads to part two, “Justice.” Set mostly in a courtroom, the chapter pits Katja and her loyal attorney (Denis Moschitto) against two neo-Nazis and their smirking counsel. (Co-writer Hark Bohm, a lawyer, was enlisted for this sequence.) The episode is fascinating, infuriating, and — when a forensic scientist describes Rocco’s injuries — harrowing.\u003c/p>\n\u003cfigure id=\"attachment_13818978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/6_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trial’s verdict disappoints Katja, which sets up the last part, “The Sea.” Newly inscribed with a tattoo of a samurai, the widow travels to Greece on the trail of the couple accused of killing Nuri and Rocco. She seeks revenge, but is ambivalent about her quest. That’s her problem. Akin’s is that any possible outcome indulges either vigilantism or despair (or perhaps both).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Narratively, the final act doesn’t work. Thematically, it’s more interesting. \u003cem>In the Fade\u003c/em> was inspired by the story of the \u003ca href=\"https://www.npr.org/2011/11/17/142466439/discovery-of-neo-nazi-crime-spree-roils-germany\">National Socialist Underground\u003c/a>, a neo-Nazi network accused in a series of murders of immigrants as well as the murder of a policewoman in Germany in the 2000s. The police who investigate Nuri’s death want to know if he was involved with Islamic terrorists. But not all violence slots into ideological categories.\u003c/p>\n\u003cp>\u003cem>In the Fade\u003c/em> boasts an assured sense of style and a meticulously constructed script. Moments that initially appear to be asides turn out to be essential, and the final scenes of the first two chapters are vivid and startling. But its top attraction is the performance that won Kruger the best actress award at Cannes.\u003c/p>\n\u003cfigure id=\"attachment_13818979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/7_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The multilingual Kruger is known for playing characters who are poised, detached, and sometimes literally — as in \u003cem>Farewell, My Queen\u003c/em> — regal. Here, she’s believably scruffy and out of control, buffeted by emotion and circumstance. She lurches from chain-smoking to cocaine-snorting to thoughts of suicide, but is capable of tremendous acts of will when they’re required.\u003c/p>\n\u003cp>Will, however, may not be enough. Katja is still living the story of a marriage that’s over, and struggling to write the conclusion. \u003cem>In the Fade\u003c/em> suggests, perhaps unintentionally, that there is no satisfactory ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poignant and complex if occasionally frustrating, Fatih Akin’s \u003cem>In the Fade\u003c/em> is the story of a marriage. Not a conventional one, as the director announces with a prologue in which white-suited Nuri (Numan Acar) struts through a lineup of wedding-day well-wishers to meet his much-tattooed bride, Katja (Diane Kruger). Nuri’s pals are fellow inmates, and the ceremony is performed in a prison classroom.\u003c/p>\n\u003cp>Nuri was a drug dealer, and Katja met him as a client during her college days. Years later, the couple has become more bourgeois. They have a six-year-old son, Rocco (Rafael Santana), and Nuri runs an office where he assists other people of Turkish and Kurdish origin with their taxes, the German language, and other complications of living in Hamburg.\u003c/p>\n\u003cfigure id=\"attachment_13818976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/1_1200.jpg\" alt=\"Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in 'In the Fade.'\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13818976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is familiar territory for \u003cem>Head-On\u003c/em> director Akin, who’s of Turkish descent but was born in Hamburg. Many of his films are set in the city, and they often involve cross-cultural romance, drugs, and rock’n’roll. \u003cem>In the Fade\u003c/em> is named for a song by Queens of the Stone Age, whose Joshua Homme composed the movie’s incidental music. The songs on the soundtrack come from several continents, but they’re all in English.\u003c/p>\n\u003cp>Akin divides the tale into three chapters, the first two of which are ironically titled. In “Family,” Katja returns from an excursion to find that her husband’s office was bombed. Nuri and Rocco are dead, and Katja must deal with her own grief was well as the demands and recriminations of her mother and in-laws.\u003c/p>\n\u003cp>The police arrive soon, which leads to part two, “Justice.” Set mostly in a courtroom, the chapter pits Katja and her loyal attorney (Denis Moschitto) against two neo-Nazis and their smirking counsel. (Co-writer Hark Bohm, a lawyer, was enlisted for this sequence.) The episode is fascinating, infuriating, and — when a forensic scientist describes Rocco’s injuries — harrowing.\u003c/p>\n\u003cfigure id=\"attachment_13818978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/6_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trial’s verdict disappoints Katja, which sets up the last part, “The Sea.” Newly inscribed with a tattoo of a samurai, the widow travels to Greece on the trail of the couple accused of killing Nuri and Rocco. She seeks revenge, but is ambivalent about her quest. That’s her problem. Akin’s is that any possible outcome indulges either vigilantism or despair (or perhaps both).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Narratively, the final act doesn’t work. Thematically, it’s more interesting. \u003cem>In the Fade\u003c/em> was inspired by the story of the \u003ca href=\"https://www.npr.org/2011/11/17/142466439/discovery-of-neo-nazi-crime-spree-roils-germany\">National Socialist Underground\u003c/a>, a neo-Nazi network accused in a series of murders of immigrants as well as the murder of a policewoman in Germany in the 2000s. The police who investigate Nuri’s death want to know if he was involved with Islamic terrorists. But not all violence slots into ideological categories.\u003c/p>\n\u003cp>\u003cem>In the Fade\u003c/em> boasts an assured sense of style and a meticulously constructed script. Moments that initially appear to be asides turn out to be essential, and the final scenes of the first two chapters are vivid and startling. But its top attraction is the performance that won Kruger the best actress award at Cannes.\u003c/p>\n\u003cfigure id=\"attachment_13818979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/7_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The multilingual Kruger is known for playing characters who are poised, detached, and sometimes literally — as in \u003cem>Farewell, My Queen\u003c/em> — regal. Here, she’s believably scruffy and out of control, buffeted by emotion and circumstance. She lurches from chain-smoking to cocaine-snorting to thoughts of suicide, but is capable of tremendous acts of will when they’re required.\u003c/p>\n\u003cp>Will, however, may not be enough. Katja is still living the story of a marriage that’s over, and struggling to write the conclusion. \u003cem>In the Fade\u003c/em> suggests, perhaps unintentionally, that there is no satisfactory ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>[contextly_sidebar id=”79oXVmZwflNIO6aIMLgO6FLujd5GvFQe”]\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 12:50 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>After publishing images of a visit to Japan’s “suicide forest” that included footage of a dead body, YouTube star Logan Paul is apologizing — and critics are denouncing both the video and Logan’s behavior in it. The video was watched millions of times before he removed it.\u003c/p>\n\u003cp>“I didn’t do it for views. I get views,” \u003ca href=\"https://twitter.com/LoganPaul/status/948026294066864128\" target=\"_blank\" rel=\"noopener\">said Paul,\u003c/a> who has some 15 million YouTube subscribers. “I did it because I thought I could make a positive ripple on the internet, not cause a monsoon of negativity. That’s never the intention.”\u003c/p>\n\u003cp>The video was filmed in the Aokigahara forest at the edge of Mount Fuji, an area that for years has been famous for its popularity among people who want to carry out a suicide. In his video, Paul blurred out the face of the person who had died, but he showed other parts of the body as he and his friends stood near it and talked.\u003c/p>\n\u003cp>Intended or not, an intense backlash has hit Paul, including calls for YouTube to remove his channel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The negative feedback included a tweet from actress and online video veteran Anna Akana, who lost her sister, Kristina, to suicide 10 years ago.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/AnnaAkana/status/948080312159895552\" target=\"_blank\" rel=\"noopener\">Akana wrote\u003c/a>:\u003c/p>\n\u003cp>“Dear @LoganPaul, When my brother found my sister’s body, he screamed with horror & confusion & grief & tried to save her. That body was a person someone loved. You do not walk into a suicide forest with a camera and claim mental health awareness.”\u003c/p>\n\u003cp>Akana was responding to Paul’s attempt at an apology, in which he wrote, “I intended to raise awareness for suicide and suicide prevention and while I thought ‘if this video saves just ONE life, it’ll be worth it,’ I was misguided by shock and awe, as portrayed in the video. I still am.”\u003c/p>\n\u003cp>An edited version of the video was later \u003ca href=\"https://twitter.com/JhbTeam/status/948003235310157824\" target=\"_blank\" rel=\"noopener\">posted to Twitter\u003c/a>; it does not include footage of the body. Rather, it shows some of Paul’s reactions and comments.\u003c/p>\n\u003cp>YouTube says that Paul’s video violates its policies against presenting violent or gory content in a way that is sensational or disrespectful.\u003c/p>\n\u003cp>When contacted by NPR, a YouTube spokesperson said, “Our hearts go out to the family of the person featured in the video.”\u003c/p>\n\u003cp>The site confirms that Logan Paul took the video down. It also notes that it works with the National Suicide Prevention Lifeline — and that it displays suicide prevention resources at the top of the results for YouTube searches related to suicide.\u003c/p>\n\u003cp>Paul said that he had “demonetized” the video, which included a segment in the parking lot near the forest in which he told viewers that his laughter and attempts at humor were a coping mechanism after seeing the body. He had initially cast the outing as an attempt to look for ghosts — but the Aokigahara’s reputation as a suicide hotspot is well-known. It was the subject of \u003ca href=\"https://www.youtube.com/watch?v=4FDSdg09df8\" target=\"_blank\" rel=\"noopener\">a Vice documentary\u003c/a> in 2012, for instance.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.theverge.com/2018/1/2/16840176/logan-paul-suicide-video-apology-aokigahara-forest\" target=\"_blank\" rel=\"noopener\">The Verge reports:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“The group’s guide phones the police while they approach the body, shouting ‘Yo, are you alive, are you fooling with us?’ They film the apparent suicide victim up close, blurring his face but showing his hands, clothes, and abandoned bag. Paul then talks to the camera, saying: ‘Suicide is not a joke. Depression and mental illnesses are not a joke. We came here with an intent to focus on the haunted aspect of the forest. This just became very real.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those sentiments did little to ease the criticism from actor Aaron Paul, who \u003ca href=\"https://twitter.com/aaronpaul_8/status/948032944408444928\" target=\"_blank\" rel=\"noopener\">said in a tweet\u003c/a>, “Dear @LoganPaul, How dare you! You disgust me. I can’t believe that so many young people look up to you. So sad. Hopefully this latest video woke them up. You are pure trash. Plain and simple. Suicide is not a joke. Go rot in hell.”\u003c/p>\n\u003cp>YouTube star Laci Green wrote, “logan paul exploiting a suicide victim in Japan to the tune of 6M+ views while youtube demonetizes students protesting in Iran is a perfect example of what a sociopathic garbage fire youtube has become. this industry has no soul left. byeee.”\u003c/p>\n\u003cp>On Tuesday, Logan Paul \u003ca href=\"https://twitter.com/LoganPaul/status/948233761665171456\" target=\"_blank\" rel=\"noopener\">released a video apology\u003c/a> saying that the encounter in the forest had been unplanned, adding, “I should have never posted the video; I should have put the cameras down, stopped recording what we were going through. There’s a lot of things I should have done differently, but I didn’t. And for that, from the bottom of my heart, I am sorry.”\u003c/p>\n\u003cp>The apologies come as Paul has also been criticized for mocking Japanese culture during his visit to the country. At the end of the first of those videos shot in Japan, Paul said, “Literally this place is content gold.”\u003c/p>\n\u003cp>The day before he published the suicide forest video, Logan Paul had written on Twitter, “tomorrow’s vlog will be the craziest and most real video I’ve ever uploaded.”\u003c/p>\n\u003cp>Japan’s suicide rate is one of the highest among developed nations. In the U.S., the rate \u003ca href=\"https://www.cdc.gov/nchs/products/databriefs/db241.htm\" target=\"_blank\" rel=\"noopener\">has been climbing since 2000\u003c/a> — with the biggest increase seen in girls who are 10-14 years old, the Centers for Disease Control and Prevention said last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://suicidepreventionlifeline.org/talk-to-someone-now/\" target=\"_blank\" rel=\"noopener\">National Suicide Prevention Lifeline\u003c/a> is a resource for people who are “thinking about suicide, are worried about a friend or loved one, or would like emotional support.” The free and confidential service is available in either English (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>) or Spanish (\u003ca href=\"tel:1-888-628-9454\">1-888-628-9454\u003c/a>). There is also a line tailored for veterans (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>). \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Logan+Paul%2C+YouTube+Star%2C+Apologizes+As+Critics+Slam+Video+Showing+Dead+Body&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 12:50 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>After publishing images of a visit to Japan’s “suicide forest” that included footage of a dead body, YouTube star Logan Paul is apologizing — and critics are denouncing both the video and Logan’s behavior in it. The video was watched millions of times before he removed it.\u003c/p>\n\u003cp>“I didn’t do it for views. I get views,” \u003ca href=\"https://twitter.com/LoganPaul/status/948026294066864128\" target=\"_blank\" rel=\"noopener\">said Paul,\u003c/a> who has some 15 million YouTube subscribers. “I did it because I thought I could make a positive ripple on the internet, not cause a monsoon of negativity. That’s never the intention.”\u003c/p>\n\u003cp>The video was filmed in the Aokigahara forest at the edge of Mount Fuji, an area that for years has been famous for its popularity among people who want to carry out a suicide. In his video, Paul blurred out the face of the person who had died, but he showed other parts of the body as he and his friends stood near it and talked.\u003c/p>\n\u003cp>Intended or not, an intense backlash has hit Paul, including calls for YouTube to remove his channel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The negative feedback included a tweet from actress and online video veteran Anna Akana, who lost her sister, Kristina, to suicide 10 years ago.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/AnnaAkana/status/948080312159895552\" target=\"_blank\" rel=\"noopener\">Akana wrote\u003c/a>:\u003c/p>\n\u003cp>“Dear @LoganPaul, When my brother found my sister’s body, he screamed with horror & confusion & grief & tried to save her. That body was a person someone loved. You do not walk into a suicide forest with a camera and claim mental health awareness.”\u003c/p>\n\u003cp>Akana was responding to Paul’s attempt at an apology, in which he wrote, “I intended to raise awareness for suicide and suicide prevention and while I thought ‘if this video saves just ONE life, it’ll be worth it,’ I was misguided by shock and awe, as portrayed in the video. I still am.”\u003c/p>\n\u003cp>An edited version of the video was later \u003ca href=\"https://twitter.com/JhbTeam/status/948003235310157824\" target=\"_blank\" rel=\"noopener\">posted to Twitter\u003c/a>; it does not include footage of the body. Rather, it shows some of Paul’s reactions and comments.\u003c/p>\n\u003cp>YouTube says that Paul’s video violates its policies against presenting violent or gory content in a way that is sensational or disrespectful.\u003c/p>\n\u003cp>When contacted by NPR, a YouTube spokesperson said, “Our hearts go out to the family of the person featured in the video.”\u003c/p>\n\u003cp>The site confirms that Logan Paul took the video down. It also notes that it works with the National Suicide Prevention Lifeline — and that it displays suicide prevention resources at the top of the results for YouTube searches related to suicide.\u003c/p>\n\u003cp>Paul said that he had “demonetized” the video, which included a segment in the parking lot near the forest in which he told viewers that his laughter and attempts at humor were a coping mechanism after seeing the body. He had initially cast the outing as an attempt to look for ghosts — but the Aokigahara’s reputation as a suicide hotspot is well-known. It was the subject of \u003ca href=\"https://www.youtube.com/watch?v=4FDSdg09df8\" target=\"_blank\" rel=\"noopener\">a Vice documentary\u003c/a> in 2012, for instance.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.theverge.com/2018/1/2/16840176/logan-paul-suicide-video-apology-aokigahara-forest\" target=\"_blank\" rel=\"noopener\">The Verge reports:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“The group’s guide phones the police while they approach the body, shouting ‘Yo, are you alive, are you fooling with us?’ They film the apparent suicide victim up close, blurring his face but showing his hands, clothes, and abandoned bag. Paul then talks to the camera, saying: ‘Suicide is not a joke. Depression and mental illnesses are not a joke. We came here with an intent to focus on the haunted aspect of the forest. This just became very real.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those sentiments did little to ease the criticism from actor Aaron Paul, who \u003ca href=\"https://twitter.com/aaronpaul_8/status/948032944408444928\" target=\"_blank\" rel=\"noopener\">said in a tweet\u003c/a>, “Dear @LoganPaul, How dare you! You disgust me. I can’t believe that so many young people look up to you. So sad. Hopefully this latest video woke them up. You are pure trash. Plain and simple. Suicide is not a joke. Go rot in hell.”\u003c/p>\n\u003cp>YouTube star Laci Green wrote, “logan paul exploiting a suicide victim in Japan to the tune of 6M+ views while youtube demonetizes students protesting in Iran is a perfect example of what a sociopathic garbage fire youtube has become. this industry has no soul left. byeee.”\u003c/p>\n\u003cp>On Tuesday, Logan Paul \u003ca href=\"https://twitter.com/LoganPaul/status/948233761665171456\" target=\"_blank\" rel=\"noopener\">released a video apology\u003c/a> saying that the encounter in the forest had been unplanned, adding, “I should have never posted the video; I should have put the cameras down, stopped recording what we were going through. There’s a lot of things I should have done differently, but I didn’t. And for that, from the bottom of my heart, I am sorry.”\u003c/p>\n\u003cp>The apologies come as Paul has also been criticized for mocking Japanese culture during his visit to the country. At the end of the first of those videos shot in Japan, Paul said, “Literally this place is content gold.”\u003c/p>\n\u003cp>The day before he published the suicide forest video, Logan Paul had written on Twitter, “tomorrow’s vlog will be the craziest and most real video I’ve ever uploaded.”\u003c/p>\n\u003cp>Japan’s suicide rate is one of the highest among developed nations. In the U.S., the rate \u003ca href=\"https://www.cdc.gov/nchs/products/databriefs/db241.htm\" target=\"_blank\" rel=\"noopener\">has been climbing since 2000\u003c/a> — with the biggest increase seen in girls who are 10-14 years old, the Centers for Disease Control and Prevention said last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://suicidepreventionlifeline.org/talk-to-someone-now/\" target=\"_blank\" rel=\"noopener\">National Suicide Prevention Lifeline\u003c/a> is a resource for people who are “thinking about suicide, are worried about a friend or loved one, or would like emotional support.” The free and confidential service is available in either English (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>) or Spanish (\u003ca href=\"tel:1-888-628-9454\">1-888-628-9454\u003c/a>). There is also a line tailored for veterans (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>). \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Logan+Paul%2C+YouTube+Star%2C+Apologizes+As+Critics+Slam+Video+Showing+Dead+Body&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "2017 Has Been A Great Year For Women In TV",
"headTitle": "2017 Has Been A Great Year For Women In TV | KQED",
"content": "\u003cp>In a year filled with paradoxes, this might be one of the saddest: 2017 has been a great year for women in TV. But current circumstances sometimes make it difficult to celebrate.\u003c/p>\n\u003cp>That’s because we’re in the early stages of a reckoning over sexual harassment in Hollywood that is reshaping the industry in ways that are painful, necessary and tough to predict.\u003c/p>\n\u003cp>Still, I was calling 2017 an important year for women in the industry \u003ca href=\"http://www.wbur.org/hereandnow/2017/02/17/2017-women-on-screen\">last February\u003c/a>, long before the #MeToo movement would wake up the showbiz world about sexual harassment and assault. Back then, I could see amazing projects coming down the line for female performers, producers and writers; I knew we were in for some stupendous programming.\u003c/p>\n\u003cp>Let’s start with my favorite TV show of the year, Hulu’s \u003cem>The Handmaid’s Tale\u003c/em>. Like the best speculative fiction, it takes a topic from contemporary life — the struggle of women to survive male dominance in American society — and uses a fantastical concept to blow it up into a ferociously compelling adventure: life in a dystopian, near-future world where a theocratic government has seized control of the U.S. and is forcing some women to serve as unwilling breeders for their leaders.\u003c/p>\n\u003cp>This is how you make questions about women’s control over their bodies and the effects of patriarchy in politics feel real. Turning mostly middle-class, mostly white women into slaves in a fictional world that looks much like our own, only adds to the impact. \u003cem>The Handmaid’s Tale\u003c/em> showcases a wide array of \u003ca href=\"https://www.youtube.com/watch?v=SUDAXt_GAPA\">amazing performances\u003c/a> from talented women, including quality TV queen Elisabeth Moss.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest of \u003ca href=\"https://www.npr.org/sections/monkeysee/2017/12/14/569893288/nprs-favorite-tv-shows-of-2017\">my best TV in 2017 list\u003c/a> is studded with series that not only offer meaty roles for a wide variety of women, but are often created by, produced by or written by women. This year, 2017, was a moment when women had a seriously active role in shaping shows in the “quality TV” space.\u003c/p>\n\u003cp>Pamela Adlon co-created, co-wrote, co-executive produced and starred in a second, stellar season of \u003cem>Better Things\u003c/em>, her FX dramedy on a struggling single mom\u003cem>. \u003c/em>(Here’s hoping the series will survive the removal of her close, longtime collaborator, Louis C.K.).\u003c/p>\n\u003cp>Reese Witherspoon and Nicole Kidman executive produced\u003cem> Big Little Lies,\u003c/em>HBO’s compelling look at five moms caught in a swirl of murder and domestic violence.\u003c/p>\n\u003cp>Lena Waithe co-wrote “Thanksgiving,” my favorite episode in \u003cem>Master of None\u003c/em>‘s breathtakingly good second season. It shows her character \u003ca href=\"https://www.youtube.com/watch?v=5mhDpAFnDaM\">coming out to her mom\u003c/a> (Angela Bassett) and aunt (Kym Whitley) in a string of successive holiday dinners that mimicked her own coming out story. Sometimes, the banter between Whitley and Bassett was so authentic, I thought I was looking at my own mom and aunt. And when “Thanksgiving” won an Emmy, Waithe made history as the first black woman to win that award for comedy writing.\u003c/p>\n\u003cp>And the list goes on: Maggie Gyllenhaal as co-star and producer on HBO’s \u003cem>The Deuce\u003c/em>; Sonequa Martin-Green in \u003cem>Star Trek: Discovery\u003c/em> on CBS All Access; Susan Sarandon and Jessica Lange as Bette Davis and Joan Crawford on FX’s \u003cem>Feud: Bette and Joan\u003c/em>;Merritt Wever and Michelle Dockery on Netflix’s classic western re-invention \u003cem>Godless; \u003c/em>Rachel Brosnahan’s Golden Globe-nominated turn in Amazon’s\u003cem> The Marvelous Mrs. Maisel\u003c/em>.\u003c/p>\n\u003cp>New talent also broke through, including Logan Browning as Samantha White on Netflix’s version of \u003cem>Dear White People\u003c/em> and DeWanda Wise as Nola Darling in Spike Lee’s TV version of \u003cem>She’s Gotta Have It\u003c/em>. Robin Thede, former head writer on \u003cem>The Nightly Show with Larry Wilmore\u003c/em>, shook up late night with \u003cem>The Rundown with Robin Thede — \u003c/em>a show on BET that Slate magazine \u003ca href=\"http://www.slate.com/blogs/browbeat/2017/11/16/the_rundown_with_robin_thede_reviewed_video.html\">dubbed “Black Twitter personified.”\u003c/a>\u003c/p>\n\u003cp>I’ve always advocated for giving marginalized people more agency and power in the artistic world; you get better and more authentic art. You get work that actually reflects more of the culture. It makes TV in 2017 feel light years removed from the days when the white males of \u003cem>The Sopranos\u003c/em>, \u003cem>Mad Men\u003c/em> and \u003cem>Breaking Bad\u003c/em> ruled the land and quality roles for women often amounted to well-written girlfriends or wives.\u003c/p>\n\u003cp>Even the growing roster of powerful men in media who have lost their careers because of sexual harassment allegations feels linked to a greater agency for women, who are speaking up about such situations — and believed — more often. One of the best TV critics in the business, \u003cem>Variety\u003c/em>‘s Maureen Ryan, was a stellar example.\u003c/p>\n\u003cp>Ryan wrote \u003ca href=\"http://variety.com/2017/tv/columns/harvey-weinstein-sexual-assault-me-too-television-hollywood-1202591406/\">a poignant story\u003c/a> revealing she was sexually assaulted by a TV executive in 2014. Later, she reported two exposés of sexual harassment allegations against powerful producers: \u003cem>NCIS: New Orleans\u003c/em> showrunner \u003ca href=\"http://variety.com/2017/tv/news/brad-kern-cbs-showrunner-ncis-new-orleans-cbs-harassment-1202641474/\">Brad Kern\u003c/a> and \u003ca href=\"http://variety.com/2017/tv/news/warner-bros-sexual-harassment-andrew-kreisberg-1202612522/\">Andrew Kreisberg\u003c/a>, executive producer of The CW’s superhero shows \u003cem>Supergirl\u003c/em>, \u003cem>Arrow\u003c/em>, \u003cem>The Flash\u003c/em> and \u003cem>DC’s Legends of Tomorrow\u003c/em>.\u003c/p>\n\u003cp>I’m hoping such incidents have taught the industry a few lessons. First, that tolerating bullies and toxic people because they are successful can have serious consequences. Second, that there is a long-term cost to supporting a system that marginalizes and exploits some people in favor of others. How many talented journalists or performers have left the field because of toxic encounters with people like Harvey Weinstein, Louis C.K. or Roger Ailes? How many great movies or TV shows didn’t get made? (We faced similar questions at NPR when our senior vice president of news, Mike Oreskes, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\">resigned earlier this year\u003c/a> amid allegations of sexual harassment.)\u003c/p>\n\u003cp>Equality isn’t just about being fair; it’s about making sure the most talented people can contribute, regardless of who they are. It’s simple math: TV and media gets better when the most talented people — regardless of race, ethnicity or gender — can contribute.\u003c/p>\n\u003cp>The statistics tell us there’s still a long way to go. \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/09/2016-17_Boxed_In_Report.pdf\">The most recent report on gender diversity in prime time TV\u003c/a> from San Diego State University found for the 2016-17 TV season, male characters still dominated speaking characters (58 percent), major characters (58 percent) and major behind-the-scenes jobs like creators and executive producers (72 percent).\u003c/p>\n\u003cp>It may feel, amid the torrent of sexual harassment allegations, as if the wheels are coming off the media world. But that’s only because we have lived for so long with an industry dominated by men and the male gaze. Transitioning to a new time, when different sensibilities shape news, scripted programs and high-profile showbiz projects, will be an uncomfortable, fitful process.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, if the reward waiting for us is more of the kind of work we’ve seen in 2017, I say bring it on. I can’t imagine how stellar my list of the year’s best TV shows will be at the end of 2018, if women and people of color have even more say in what gets made and celebrated.\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=2017+Has+Been+A+Great+Year+For+Women+In+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a year filled with paradoxes, this might be one of the saddest: 2017 has been a great year for women in TV. But current circumstances sometimes make it difficult to celebrate.\u003c/p>\n\u003cp>That’s because we’re in the early stages of a reckoning over sexual harassment in Hollywood that is reshaping the industry in ways that are painful, necessary and tough to predict.\u003c/p>\n\u003cp>Still, I was calling 2017 an important year for women in the industry \u003ca href=\"http://www.wbur.org/hereandnow/2017/02/17/2017-women-on-screen\">last February\u003c/a>, long before the #MeToo movement would wake up the showbiz world about sexual harassment and assault. Back then, I could see amazing projects coming down the line for female performers, producers and writers; I knew we were in for some stupendous programming.\u003c/p>\n\u003cp>Let’s start with my favorite TV show of the year, Hulu’s \u003cem>The Handmaid’s Tale\u003c/em>. Like the best speculative fiction, it takes a topic from contemporary life — the struggle of women to survive male dominance in American society — and uses a fantastical concept to blow it up into a ferociously compelling adventure: life in a dystopian, near-future world where a theocratic government has seized control of the U.S. and is forcing some women to serve as unwilling breeders for their leaders.\u003c/p>\n\u003cp>This is how you make questions about women’s control over their bodies and the effects of patriarchy in politics feel real. Turning mostly middle-class, mostly white women into slaves in a fictional world that looks much like our own, only adds to the impact. \u003cem>The Handmaid’s Tale\u003c/em> showcases a wide array of \u003ca href=\"https://www.youtube.com/watch?v=SUDAXt_GAPA\">amazing performances\u003c/a> from talented women, including quality TV queen Elisabeth Moss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest of \u003ca href=\"https://www.npr.org/sections/monkeysee/2017/12/14/569893288/nprs-favorite-tv-shows-of-2017\">my best TV in 2017 list\u003c/a> is studded with series that not only offer meaty roles for a wide variety of women, but are often created by, produced by or written by women. This year, 2017, was a moment when women had a seriously active role in shaping shows in the “quality TV” space.\u003c/p>\n\u003cp>Pamela Adlon co-created, co-wrote, co-executive produced and starred in a second, stellar season of \u003cem>Better Things\u003c/em>, her FX dramedy on a struggling single mom\u003cem>. \u003c/em>(Here’s hoping the series will survive the removal of her close, longtime collaborator, Louis C.K.).\u003c/p>\n\u003cp>Reese Witherspoon and Nicole Kidman executive produced\u003cem> Big Little Lies,\u003c/em>HBO’s compelling look at five moms caught in a swirl of murder and domestic violence.\u003c/p>\n\u003cp>Lena Waithe co-wrote “Thanksgiving,” my favorite episode in \u003cem>Master of None\u003c/em>‘s breathtakingly good second season. It shows her character \u003ca href=\"https://www.youtube.com/watch?v=5mhDpAFnDaM\">coming out to her mom\u003c/a> (Angela Bassett) and aunt (Kym Whitley) in a string of successive holiday dinners that mimicked her own coming out story. Sometimes, the banter between Whitley and Bassett was so authentic, I thought I was looking at my own mom and aunt. And when “Thanksgiving” won an Emmy, Waithe made history as the first black woman to win that award for comedy writing.\u003c/p>\n\u003cp>And the list goes on: Maggie Gyllenhaal as co-star and producer on HBO’s \u003cem>The Deuce\u003c/em>; Sonequa Martin-Green in \u003cem>Star Trek: Discovery\u003c/em> on CBS All Access; Susan Sarandon and Jessica Lange as Bette Davis and Joan Crawford on FX’s \u003cem>Feud: Bette and Joan\u003c/em>;Merritt Wever and Michelle Dockery on Netflix’s classic western re-invention \u003cem>Godless; \u003c/em>Rachel Brosnahan’s Golden Globe-nominated turn in Amazon’s\u003cem> The Marvelous Mrs. Maisel\u003c/em>.\u003c/p>\n\u003cp>New talent also broke through, including Logan Browning as Samantha White on Netflix’s version of \u003cem>Dear White People\u003c/em> and DeWanda Wise as Nola Darling in Spike Lee’s TV version of \u003cem>She’s Gotta Have It\u003c/em>. Robin Thede, former head writer on \u003cem>The Nightly Show with Larry Wilmore\u003c/em>, shook up late night with \u003cem>The Rundown with Robin Thede — \u003c/em>a show on BET that Slate magazine \u003ca href=\"http://www.slate.com/blogs/browbeat/2017/11/16/the_rundown_with_robin_thede_reviewed_video.html\">dubbed “Black Twitter personified.”\u003c/a>\u003c/p>\n\u003cp>I’ve always advocated for giving marginalized people more agency and power in the artistic world; you get better and more authentic art. You get work that actually reflects more of the culture. It makes TV in 2017 feel light years removed from the days when the white males of \u003cem>The Sopranos\u003c/em>, \u003cem>Mad Men\u003c/em> and \u003cem>Breaking Bad\u003c/em> ruled the land and quality roles for women often amounted to well-written girlfriends or wives.\u003c/p>\n\u003cp>Even the growing roster of powerful men in media who have lost their careers because of sexual harassment allegations feels linked to a greater agency for women, who are speaking up about such situations — and believed — more often. One of the best TV critics in the business, \u003cem>Variety\u003c/em>‘s Maureen Ryan, was a stellar example.\u003c/p>\n\u003cp>Ryan wrote \u003ca href=\"http://variety.com/2017/tv/columns/harvey-weinstein-sexual-assault-me-too-television-hollywood-1202591406/\">a poignant story\u003c/a> revealing she was sexually assaulted by a TV executive in 2014. Later, she reported two exposés of sexual harassment allegations against powerful producers: \u003cem>NCIS: New Orleans\u003c/em> showrunner \u003ca href=\"http://variety.com/2017/tv/news/brad-kern-cbs-showrunner-ncis-new-orleans-cbs-harassment-1202641474/\">Brad Kern\u003c/a> and \u003ca href=\"http://variety.com/2017/tv/news/warner-bros-sexual-harassment-andrew-kreisberg-1202612522/\">Andrew Kreisberg\u003c/a>, executive producer of The CW’s superhero shows \u003cem>Supergirl\u003c/em>, \u003cem>Arrow\u003c/em>, \u003cem>The Flash\u003c/em> and \u003cem>DC’s Legends of Tomorrow\u003c/em>.\u003c/p>\n\u003cp>I’m hoping such incidents have taught the industry a few lessons. First, that tolerating bullies and toxic people because they are successful can have serious consequences. Second, that there is a long-term cost to supporting a system that marginalizes and exploits some people in favor of others. How many talented journalists or performers have left the field because of toxic encounters with people like Harvey Weinstein, Louis C.K. or Roger Ailes? How many great movies or TV shows didn’t get made? (We faced similar questions at NPR when our senior vice president of news, Mike Oreskes, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\">resigned earlier this year\u003c/a> amid allegations of sexual harassment.)\u003c/p>\n\u003cp>Equality isn’t just about being fair; it’s about making sure the most talented people can contribute, regardless of who they are. It’s simple math: TV and media gets better when the most talented people — regardless of race, ethnicity or gender — can contribute.\u003c/p>\n\u003cp>The statistics tell us there’s still a long way to go. \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/09/2016-17_Boxed_In_Report.pdf\">The most recent report on gender diversity in prime time TV\u003c/a> from San Diego State University found for the 2016-17 TV season, male characters still dominated speaking characters (58 percent), major characters (58 percent) and major behind-the-scenes jobs like creators and executive producers (72 percent).\u003c/p>\n\u003cp>It may feel, amid the torrent of sexual harassment allegations, as if the wheels are coming off the media world. But that’s only because we have lived for so long with an industry dominated by men and the male gaze. Transitioning to a new time, when different sensibilities shape news, scripted programs and high-profile showbiz projects, will be an uncomfortable, fitful process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, if the reward waiting for us is more of the kind of work we’ve seen in 2017, I say bring it on. I can’t imagine how stellar my list of the year’s best TV shows will be at the end of 2018, if women and people of color have even more say in what gets made and celebrated.\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=2017+Has+Been+A+Great+Year+For+Women+In+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Got The Scoop On The Gardner Museum Art Heist? You Have 4 Days To Earn $10 Million",
"headTitle": "Got The Scoop On The Gardner Museum Art Heist? You Have 4 Days To Earn $10 Million | KQED",
"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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"excerpt": "Director Craig Gillespie brings bold innovation to the biopic genre, using various tones and approaches to tell the tale of Tonya Harding (Margot Robbie) while satirizing our love of spectacle.",
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"description": "Director Craig Gillespie brings bold innovation to the biopic genre, using various tones and approaches to tell the tale of Tonya Harding (Margot Robbie) while satirizing our love of spectacle.",
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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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"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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"excerpt": "As the Philadelphia rapper remains behind bars, Meek Mill's legal team tells NPR they will continue to fight for his freedom, despite a growing list of rejections.",
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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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"title": "'X-Men' Director Bryan Singer Accused of Sexual Assault",
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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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"closealltabs": {
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"link": "/radio/program/latino-usa",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "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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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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