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"content": "\u003cp>The Internet Movie Database (IMDb) has adopted the F-rating, a classification system designed to champion women in film.\u003c/p>\n\u003cp>The new rating was created three years ago by Holly Tarquini, executive director of the Bath Film Festival, to “support women in film and change the stories we see on screen.” The Bath festival created \u003ca href=\"http://f-rated.org/\">a website for the rating\u003c/a>, which says:\u003c/p>\n\u003cp>“The F-Rating is a classification for any film which\u003c/p>\n\u003col>\n\u003cli>is directed by a woman\u003c/li>\n\u003cli>is written by a woman\u003c/li>\n\u003cli>features significant women on screen in their own right.”\u003c/li>\n\u003c/ol>\n\u003cp>Tarquini says that the rating was inspired by the Bechdel test, a system devised by cartoonist Alison Bechdel to identify works of fiction that feature at least two women talking about topics other than a man.\u003c/p>\n\u003cp>Ellen Telje’s “A” rating did something similar in Swedish cinemas in 2013, but Tarquini broadened the scope for her F-rating to include women’s contributions not just on-camera, but behind the camera. At the 2014 Bath Film Festival, where the rating was first introduced, 17 of the 42 films received the F-rating. More than 40 festivals and theater chains have adopted the rating since its inception.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now they’ve been joined by IMDb, an online database of info about films, TV programs and video games, which is a subsidiary of Amazon. With listings of more than 4.1 million titles (including TV episodes) IMDb’s adoption of the F-rating will significantly broaden the new rating’s reach.\u003c/p>\n\u003cp>IMDb has attached the F-rating to more than 22,000 films in its listings, and for films that feature all three qualifiers — that is, that were written by, directed by, and feature complex women characters — the site awards a triple-F rating. Thus far, there are 81 films that have qualified for a triple-F, including \u003cem>Clueless\u003c/em>, Pixar’s \u003cem>Brave\u003c/em>, \u003cem>Belle\u003c/em>, \u003cem>My Brilliant Career\u003c/em>, and the upcoming \u003cem>The Zookeeper’s Wife\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, the site does not feature the F or Triple-F ratings nearly as prominently as it does, say, such MPAA ratings as PG-13 and R. To find women-centered films on IMDb.com you need to use “F-rated” as a keyword search, and then sort through some 22,000 titles. Or you can reduce the search by looking only for women-directed titles (of which there are nearly 1,500), or films with a female protagonist. \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=IMDb+Adopts+F-Rating+Of+Women%27s+Contributions+To+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Trump's Electronics Restrictions Could Cause Headaches for Touring Musicians",
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"content": "\u003cp>The news that the U.S. is placing restrictions on what airline passengers can carry in the cabin on direct flights from eight majority-Muslim nations is creating ripples of concern throughout the arts community.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>According to the rules newly issued by President Trump’s administration, passengers must check most electronic devices — including laptops, cameras and tablets — into their checked baggage. Travelers will still be allowed to carry their mobile phones in their hand luggage.\u003c/p>\n\u003cp>Just as international businesspeople and tourists may be concerned about possible thefts, data breaches, lithium battery hazards and other potential forms of damage, musicians are beginning to grapple with the possible effects that these restrictions may have on their live performances. Many artists bring along work gear in the cabin when they tour — and elements of their shows (including electronic music and visual projections) might well be stored on their laptops, tablets and other devices that now will be relegated to the cargo hold, if the artists travel on the affected carriers.\u003c/p>\n\u003cp>The regulations are directed towards flights coming into the U.S. from eight majority-Muslim countries who are all traditionally allies of the U.S.: Egypt, Kuwait, Jordan, Morocco, Qatar, Saudi Arabia, Turkey and the United Arab Emirates. According to our colleague Greg Myre who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/03/21/520896835/u-s-limits-electronic-devices-on-flights-from-8-muslim-countries\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> on this story for \u003cem>Morning Edition\u003c/em>, the new rules affect passengers on about 50 incoming flights per day, on travelers traveling on non-U.S. carriers. As Myre also notes, the eight affected countries include “every major travel hub in the region except Israel’s main airport just outside Tel Aviv.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the airports on the list also serve as major transportation hubs to other international destinations, including Dubai (which is now the \u003ca href=\"http://www.telegraph.co.uk/travel/news/busiest-airport-international-passengers/\" target=\"_blank\" rel=\"noopener\">busiest airport\u003c/a> in the world, beating out the likes of London’s Heathrow and Hong Kong); Istanbul, an important connection point between Europe and Asia; and Casablanca, a popular hub for travelers coming to and from elsewhere in Africa.\u003c/p>\n\u003cp>Some prominent American musicians have tour dates in several of these cities in the coming weeks, including pianist and composer Vijay Iyer, who is slated to peform at NYU Abu Dhabi’s Arts Center on March 30 and 31 with his trio Tirtha and ICE (International Contemporary Ensemble); the group Pink Martini, who has dates in Casablanca (April 9 at the Jazzablanca festival) and Istanbul (April 15 at the Volkswagen Arena); and hip-hop artists Earl Sweatshirt and Danny Brown, as well as singer Julianna Barwick, who are all slated to perform in Dubai on April 14 as part of the RBMA Weekender Dubai festival.\u003c/p>\n\u003cp>Iyer says that the Abu Dhabi concerts include quite a bit of the exact kinds of equipment that the new regulations target. The performances are of \u003cem>\u003ca href=\"http://nyuad.nyu.edu/en/news-events/abu-dhabi-events/2017/03/radhe-radhe-rites-of-holi.html\" target=\"_blank\" rel=\"noopener\">Radhe Radhe: Rites of Holi\u003c/a>\u003c/em>, a multi-media, film and live-music project which Iyer created with the late filmmaker Prashant Bhargava.\u003c/p>\n\u003cp>“In \u003cem>Radhe Radhe\u003c/em>,” Iyer explains, “there are multiple laptops involved — one for video run from front of house, one for audio cues run by me from the stage, and whatever system used to run front-of-house sound — not to mention a lot of instruments and gear all around.”\u003c/p>\n\u003cp>“Many of the ICE musicians read their music on iPads,” he continues, “using a foot switch to turn virtual pages. It seems we’d have to check these items only on the way home, but of course then we’d all be worried about loss, damage or theft. I’m guessing we still won’t be allowed to lock these cases.” Iyer points out that if musicians were traveling on an American carrier or routing through Europe, they wouldn’t be having these issues; instead, they’re booked on a foreign carrier.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Iyer adds that he, along with other musicians, have spent this morning looking into various solutions for getting gear back home to the U.S. \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=Trump%27s+Electronics+Restrictions+Could+Cause+Headaches+For+Touring+Musicians&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The news that the U.S. is placing restrictions on what airline passengers can carry in the cabin on direct flights from eight majority-Muslim nations is creating ripples of concern throughout the arts community.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>According to the rules newly issued by President Trump’s administration, passengers must check most electronic devices — including laptops, cameras and tablets — into their checked baggage. Travelers will still be allowed to carry their mobile phones in their hand luggage.\u003c/p>\n\u003cp>Just as international businesspeople and tourists may be concerned about possible thefts, data breaches, lithium battery hazards and other potential forms of damage, musicians are beginning to grapple with the possible effects that these restrictions may have on their live performances. Many artists bring along work gear in the cabin when they tour — and elements of their shows (including electronic music and visual projections) might well be stored on their laptops, tablets and other devices that now will be relegated to the cargo hold, if the artists travel on the affected carriers.\u003c/p>\n\u003cp>The regulations are directed towards flights coming into the U.S. from eight majority-Muslim countries who are all traditionally allies of the U.S.: Egypt, Kuwait, Jordan, Morocco, Qatar, Saudi Arabia, Turkey and the United Arab Emirates. According to our colleague Greg Myre who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/03/21/520896835/u-s-limits-electronic-devices-on-flights-from-8-muslim-countries\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> on this story for \u003cem>Morning Edition\u003c/em>, the new rules affect passengers on about 50 incoming flights per day, on travelers traveling on non-U.S. carriers. As Myre also notes, the eight affected countries include “every major travel hub in the region except Israel’s main airport just outside Tel Aviv.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the airports on the list also serve as major transportation hubs to other international destinations, including Dubai (which is now the \u003ca href=\"http://www.telegraph.co.uk/travel/news/busiest-airport-international-passengers/\" target=\"_blank\" rel=\"noopener\">busiest airport\u003c/a> in the world, beating out the likes of London’s Heathrow and Hong Kong); Istanbul, an important connection point between Europe and Asia; and Casablanca, a popular hub for travelers coming to and from elsewhere in Africa.\u003c/p>\n\u003cp>Some prominent American musicians have tour dates in several of these cities in the coming weeks, including pianist and composer Vijay Iyer, who is slated to peform at NYU Abu Dhabi’s Arts Center on March 30 and 31 with his trio Tirtha and ICE (International Contemporary Ensemble); the group Pink Martini, who has dates in Casablanca (April 9 at the Jazzablanca festival) and Istanbul (April 15 at the Volkswagen Arena); and hip-hop artists Earl Sweatshirt and Danny Brown, as well as singer Julianna Barwick, who are all slated to perform in Dubai on April 14 as part of the RBMA Weekender Dubai festival.\u003c/p>\n\u003cp>Iyer says that the Abu Dhabi concerts include quite a bit of the exact kinds of equipment that the new regulations target. The performances are of \u003cem>\u003ca href=\"http://nyuad.nyu.edu/en/news-events/abu-dhabi-events/2017/03/radhe-radhe-rites-of-holi.html\" target=\"_blank\" rel=\"noopener\">Radhe Radhe: Rites of Holi\u003c/a>\u003c/em>, a multi-media, film and live-music project which Iyer created with the late filmmaker Prashant Bhargava.\u003c/p>\n\u003cp>“In \u003cem>Radhe Radhe\u003c/em>,” Iyer explains, “there are multiple laptops involved — one for video run from front of house, one for audio cues run by me from the stage, and whatever system used to run front-of-house sound — not to mention a lot of instruments and gear all around.”\u003c/p>\n\u003cp>“Many of the ICE musicians read their music on iPads,” he continues, “using a foot switch to turn virtual pages. It seems we’d have to check these items only on the way home, but of course then we’d all be worried about loss, damage or theft. I’m guessing we still won’t be allowed to lock these cases.” Iyer points out that if musicians were traveling on an American carrier or routing through Europe, they wouldn’t be having these issues; instead, they’re booked on a foreign carrier.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Iyer adds that he, along with other musicians, have spent this morning looking into various solutions for getting gear back home to the U.S. \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=Trump%27s+Electronics+Restrictions+Could+Cause+Headaches+For+Touring+Musicians&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A man entered the National Gallery in London on Saturday afternoon, approached a painting by British master Thomas Gainsborough, and proceeded to attack it with a “sharp object.”\u003c/p>\n\u003cp>A Metropolitan Police Service spokesman tells NPR that a 63-year-old man named Keith Gregory, “of no fixed abode,” was charged with causing criminal damage to a National Gallery painting.\u003c/p>\n\u003cp>It’s not clear what motivated the attack on Gainsborough’s 1785 work \u003cem>Mr and Mrs William Hallett\u003c/em>, more commonly known as \u003cem>The Morning Walk\u003c/em>. The \u003ca href=\"https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/statement-on-gainsborough-incident\" target=\"_blank\" rel=\"noopener\">museum said in a statement\u003c/a> that the suspect was quickly apprehended by museum staff and visitors, and then arrested by the police.\u003c/p>\n\u003cp>“The damage is limited to two long scratches which have penetrated the paint layers, but not the supporting canvas,” the museum said. “The painting was removed from display and examined by the Gallery’s conservators, who are now assessing next steps.”\u003c/p>\n\u003cp>The National Gallery did not specify what type of “sharp object” was used to attack the work of art, though one Reddit user said bystanders \u003ca href=\"https://www.reddit.com/r/london/comments/609fhr/curious_unreported_incident_the_national_gallery/?st=j0i8tkoa&sh=db7ff898\" target=\"_blank\" rel=\"noopener\">were speaking about a screwdriver\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gregory “appeared in custody at Westminster Magistrates’ Court on Monday, 20 March and was remanded to next appear on Thursday, 23 March,” the police said. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>Mark Bills, the director of the museum Gainsborough’s House, described the incident as “quite shocking” in \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/19/man-charged-damage-to-gainsborough-work-at-national-gallery-evacuation\" target=\"_blank\" rel=\"noopener\">an interview with The Guardian\u003c/a>.\u003c/p>\n\u003cp>“It’s a picture that I can’t imagine anybody finding offensive,” Bills said. “What an odd thing to want to do.”\u003c/p>\n\u003cp>The gallery’s East Wing was closed immediately after the incident and reopened within two hours. The painting was housed in a room of \u003ca href=\"https://www.nationalgallery.org.uk/visiting/floorplans/level-2/room-34\" target=\"_blank\" rel=\"noopener\">British art from 1750-1850\u003c/a>, including paintings by John Constable and J.M.W. Turner.\u003c/p>\n\u003cp>In the James Bond film \u003cem>Skyfall\u003c/em>, the room “was used as the setting for a covert meeting between Daniel Craig’s James Bond and Ben Whishaw’s equipment expert Q,” the \u003cem>Guardian\u003c/em> added.\u003c/p>\n\u003cp>The painting itself depicts a young couple on a walk with a white, fluffy dog. “William Hallett and Elizabeth Stephen were both aged 21 and due to be married in the summer of 1785, shortly after the painting was completed,” \u003ca href=\"https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-william-hallett-the-morning-walk\" target=\"_blank\" rel=\"noopener\">according to the museum’s description\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bills tells the \u003cem>Guardian\u003c/em> that the painting is one of Gainsborough’s “great masterpieces.” He adds: “When we think about Gainsborough, it’s usually from around these years. When you think of the elegant portraits of the Georgian period, that’s the one that comes to mind.” \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=Man+Charged+After+Attack+On+Painting+At+London%27s+National+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A man entered the National Gallery in London on Saturday afternoon, approached a painting by British master Thomas Gainsborough, and proceeded to attack it with a “sharp object.”\u003c/p>\n\u003cp>A Metropolitan Police Service spokesman tells NPR that a 63-year-old man named Keith Gregory, “of no fixed abode,” was charged with causing criminal damage to a National Gallery painting.\u003c/p>\n\u003cp>It’s not clear what motivated the attack on Gainsborough’s 1785 work \u003cem>Mr and Mrs William Hallett\u003c/em>, more commonly known as \u003cem>The Morning Walk\u003c/em>. The \u003ca href=\"https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/statement-on-gainsborough-incident\" target=\"_blank\" rel=\"noopener\">museum said in a statement\u003c/a> that the suspect was quickly apprehended by museum staff and visitors, and then arrested by the police.\u003c/p>\n\u003cp>“The damage is limited to two long scratches which have penetrated the paint layers, but not the supporting canvas,” the museum said. “The painting was removed from display and examined by the Gallery’s conservators, who are now assessing next steps.”\u003c/p>\n\u003cp>The National Gallery did not specify what type of “sharp object” was used to attack the work of art, though one Reddit user said bystanders \u003ca href=\"https://www.reddit.com/r/london/comments/609fhr/curious_unreported_incident_the_national_gallery/?st=j0i8tkoa&sh=db7ff898\" target=\"_blank\" rel=\"noopener\">were speaking about a screwdriver\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gregory “appeared in custody at Westminster Magistrates’ Court on Monday, 20 March and was remanded to next appear on Thursday, 23 March,” the police said. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>Mark Bills, the director of the museum Gainsborough’s House, described the incident as “quite shocking” in \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/19/man-charged-damage-to-gainsborough-work-at-national-gallery-evacuation\" target=\"_blank\" rel=\"noopener\">an interview with The Guardian\u003c/a>.\u003c/p>\n\u003cp>“It’s a picture that I can’t imagine anybody finding offensive,” Bills said. “What an odd thing to want to do.”\u003c/p>\n\u003cp>The gallery’s East Wing was closed immediately after the incident and reopened within two hours. The painting was housed in a room of \u003ca href=\"https://www.nationalgallery.org.uk/visiting/floorplans/level-2/room-34\" target=\"_blank\" rel=\"noopener\">British art from 1750-1850\u003c/a>, including paintings by John Constable and J.M.W. Turner.\u003c/p>\n\u003cp>In the James Bond film \u003cem>Skyfall\u003c/em>, the room “was used as the setting for a covert meeting between Daniel Craig’s James Bond and Ben Whishaw’s equipment expert Q,” the \u003cem>Guardian\u003c/em> added.\u003c/p>\n\u003cp>The painting itself depicts a young couple on a walk with a white, fluffy dog. “William Hallett and Elizabeth Stephen were both aged 21 and due to be married in the summer of 1785, shortly after the painting was completed,” \u003ca href=\"https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-william-hallett-the-morning-walk\" target=\"_blank\" rel=\"noopener\">according to the museum’s description\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bills tells the \u003cem>Guardian\u003c/em> that the painting is one of Gainsborough’s “great masterpieces.” He adds: “When we think about Gainsborough, it’s usually from around these years. When you think of the elegant portraits of the Georgian period, that’s the one that comes to mind.” \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=Man+Charged+After+Attack+On+Painting+At+London%27s+National+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With that, they skedaddle, an exit that calls for the six Muppeteers squatted out of sight below them to scramble accordingly. Joining her pals, Julia (performed by Stacey Gordon) takes off hunting.\u003c/p>\n\u003cp>For more than a year, Julia has existed in print and digital illustrations as the centerpiece of a multifaceted initiative by Sesame Workshop called \"Sesame Street and Autism: See Amazing in All Children.\"\u003c/p>\n\u003cp>She has been the subject of a storybook released along with videos, e-books, an app and website. The goal is to promote a better understanding of what the Autism Speaks advocacy group describes as \"a range of conditions characterized by challenges with social skills, repetitive behaviors, speech and nonverbal communication, as well as by unique strengths and differences.\"\u003c/p>\n\u003cp>But now Julia has been brought to life in fine Muppet fettle. 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"title": "Derek Walcott, Who Wrote of Caribbean Beauty and Bondage, Dies at 87",
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"content": "\u003cp>Derek Walcott’s work explored the beauty of his Caribbean homeland and its brutal colonial history. The prolific, Nobel Prize-winning poet and playwright died Friday at his home in St. Lucia. He was 87.\u003c/p>\n\u003cp>Walcott wrote dozens of books of poetry and plays, among them his epic poem \u003ca href=\"http://www.npr.org/books/titles/511637767/omeros\" target=\"_blank\" rel=\"noopener\">Omeros\u003c/a> and his Obie-winning drama, \u003ca href=\"http://www.npr.org/books/titles/511656297/dream-on-monkey-mountain-and-other-plays\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream on Monkey Mountain.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>For most of his life, Walcott taught poetry at universities in the United States, England and Canada — but his work never strayed far from St. Lucia, the island in the West Indies where he was born.\u003c/p>\n\u003cp>In 1984, when he was teaching at Boston University, Walcott said that a book-length poem like \u003ca href=\"http://www.npr.org/books/titles/511606714/midsummer\" target=\"_blank\" rel=\"noopener\">Midsummer\u003c/a> was a natural extension of the language all around him.\u003c/p>\n\u003cp>“You would get some fantastic syntactical phenomena,” he said in an interview, “You would hear people talking in Barbados in the exact melody as a minor character in Shakespeare. Because here you have a thing that was not immured and preserved and mummified, but a voluble language, very active, very swift, very sharp. And that is going on still in all the languages of the Caribbean. So that you didn’t make yourself a poet — you entered a situation in which there was poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Walcott’s father was a poet and a painter. He died when Derek was an infant. His mother was a school teacher who recited Shakespeare to him. He borrowed $200 to publish his first book of poetry when he was 19 and sold it on street corners. Then he attended the University College of the West Indies on a scholarship.\u003c/p>\n\u003cp>“When I went to college — when I read Shakespeare, or Dickens, or Scott I just felt that as a citizen of England, a British citizen, this was as much my heritage as any schoolboy’s,” he said. “That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.”\u003c/p>\n\u003cp>David Biespiel, a literary critic and author of a book on poetry called \u003cem>A Long High Whistle,\u003c/em> says Walcott represented “an elegant West Indies murmur against history’s violent colonial narrative of bondage.”\u003c/p>\n\u003cp>“His poems expose the discrepancy between blooming flowers and sparkling waters with these island economies built on the history of sugar plantations and slavery and forced labor,” Biespiel says. “It’s kind of grandeur mixed in with imprisonment.”\u003c/p>\n\u003cp>In all of his work, Walcott fused his classical education with the language and history of the Caribbean. The result, Biespiel says, was poetry of the highest order. “I think people will be reading Derek Walcott as long as we’ve been reading John Milton.”\u003c/p>\n\u003cp>Walcott said his energy to write came from being part of a generation of Caribbean writers who were the first to describe the world beyond their doorsteps.\u003c/p>\n\u003cp>“I go back to St. Lucia and the exhilaration I feel is not simply the exhilaration of homecoming and of nostalgia,” he said. “It is almost an irritation of feeling: \u003cem>Well, you never got it right. Now you have another chance. Maybe you can try and look harder.\u003c/em>”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many would say Derek Walcott did get it right. \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=Derek+Walcott%2C+Who+Wrote+Of+Caribbean+Beauty+And+Bondage%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Paul McCartney, Denied Control Over Beatles Hits for Decades, is Told to Wait",
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"content": "\u003cp>After missing two chances to control the compositions he co-authored while in The Beatles — once in 1969 when he and John Lennon were outbid and \u003ca href=\"http://www.billboard.com/articles/news/7263857/paul-mccartney-beatles-songs-publishing\" target=\"_blank\" rel=\"noopener\">again\u003c/a> to Michael Jackson, in a duplicitous move by the King of Pop, in the ’80s — Paul McCartney is not taking any chances.\u003c/p>\n\u003cp>First, the fine print. In the U.S., authors are allowed to regain copyrights they had previously assigned to other parties, such as a music publishing company, after 56 years, a feature of stateside copyright law designed to give late-in-life artists and their families a financial silver lining (not that McCartney needs it). McCartney is \u003cem>extremely\u003c/em> keen, after the previously mentioned burns he sustained, to regain control of his Beatles work — so much so that he filed termination notices, the legal mechanism for him to regain his copyrights, on The Beatles’ “Love Me Do” and “P.S. I Love You,” about 10 years ahead of schedule. (They turn 56 years old in October, 2018.)\u003c/p>\n\u003cp>Despite that due diligence, McCartney is understandably skittish given his track record of failure in this particular area of his business. The pop genius filed suit, in fact, this past January against Sony/ATV — the world’s largest music publisher, which controls much of the Lennon/McCartney songbook — based essentially on a conversation, shared in court documents, in late 2016 during a Billy Joel concert between his lawyer and Sony/ATV chairman and CEO Martin Bandier. The talk seemed to indicate that McCartney’s reclamations, which should be protected by U.S. law, may not go as smoothly as he’d hoped.\u003c/p>\n\u003cp>The pair’s chat focused on a recent U.K. court case in which Sony/ATV successfully prevented members of Duran Duran \u003ca href=\"http://www.billboard.com/articles/business/7597255/duran-duran-loses-copyright-case-britain-us-termination\" target=\"_blank\" rel=\"noopener\">from regaining\u003c/a> control of hit songs they’d signed away to publishers in the ’80s, despite filing notices much as McCartney has. The discussion alarmed McCartney enough that he brought suit against the publishing giant to ensure it wasn’t planning on using the same legal strategy against him next year. The company urged calm.\u003c/p>\n\u003cp>In both an email thread before McCartney sued and in subsequent court documents, Sony/ATV has maintained that it does not plan to challenge the notices McCartney filed to get back his landmark Beatles compositions. Bandier emailed McCartney’s lawyer that “the previously served notices of termination … constitute an effective exercise … and will become effective on the dates stated in the notices.” Sony/ATV also wrote in a court memo Monday (Mar. 13) that it “has never stated that it intends to assert” a claim similar to the one in the Duran Duran case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the rub, though: The purpose of Sony/ATV’s filing on Mar. 13 was to claim that McCartney’s suit is premature — or “unripe” — since the Duran Duran case in the U.K. in ongoing (it is currently awaiting appeal). Because of this, the publisher wants to have McCartney’s suit against the company dismissed without prejudice (“without” allows McCartney to bring his case again). That the company is looking to dismiss McCartney’s case until Duran Duran’s is finished could, however, is an ominous sign — one that McCartney and his lawyers picked up on, clearly.\u003c/p>\n\u003cp>Sony/ATV maintains it is simply protecting itself by not signing away rights before they’re fully determined via the Duran Duran case — rights it could, ostensibly, use to challenge McCartney’s termination claims in the U.K. Which, again, it says it does not plan on doing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McCartney, wisely given his past copyright failures, isn’t waiting around to find out whether or not Sony/ATV is as benevolent as it claims. \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=Paul+McCartney%2C+Denied+Control+Over+Beatles+Hits+For+Decades%2C+Is+Told+To+Wait&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After missing two chances to control the compositions he co-authored while in The Beatles — once in 1969 when he and John Lennon were outbid and \u003ca href=\"http://www.billboard.com/articles/news/7263857/paul-mccartney-beatles-songs-publishing\" target=\"_blank\" rel=\"noopener\">again\u003c/a> to Michael Jackson, in a duplicitous move by the King of Pop, in the ’80s — Paul McCartney is not taking any chances.\u003c/p>\n\u003cp>First, the fine print. In the U.S., authors are allowed to regain copyrights they had previously assigned to other parties, such as a music publishing company, after 56 years, a feature of stateside copyright law designed to give late-in-life artists and their families a financial silver lining (not that McCartney needs it). McCartney is \u003cem>extremely\u003c/em> keen, after the previously mentioned burns he sustained, to regain control of his Beatles work — so much so that he filed termination notices, the legal mechanism for him to regain his copyrights, on The Beatles’ “Love Me Do” and “P.S. I Love You,” about 10 years ahead of schedule. (They turn 56 years old in October, 2018.)\u003c/p>\n\u003cp>Despite that due diligence, McCartney is understandably skittish given his track record of failure in this particular area of his business. The pop genius filed suit, in fact, this past January against Sony/ATV — the world’s largest music publisher, which controls much of the Lennon/McCartney songbook — based essentially on a conversation, shared in court documents, in late 2016 during a Billy Joel concert between his lawyer and Sony/ATV chairman and CEO Martin Bandier. The talk seemed to indicate that McCartney’s reclamations, which should be protected by U.S. law, may not go as smoothly as he’d hoped.\u003c/p>\n\u003cp>The pair’s chat focused on a recent U.K. court case in which Sony/ATV successfully prevented members of Duran Duran \u003ca href=\"http://www.billboard.com/articles/business/7597255/duran-duran-loses-copyright-case-britain-us-termination\" target=\"_blank\" rel=\"noopener\">from regaining\u003c/a> control of hit songs they’d signed away to publishers in the ’80s, despite filing notices much as McCartney has. The discussion alarmed McCartney enough that he brought suit against the publishing giant to ensure it wasn’t planning on using the same legal strategy against him next year. The company urged calm.\u003c/p>\n\u003cp>In both an email thread before McCartney sued and in subsequent court documents, Sony/ATV has maintained that it does not plan to challenge the notices McCartney filed to get back his landmark Beatles compositions. Bandier emailed McCartney’s lawyer that “the previously served notices of termination … constitute an effective exercise … and will become effective on the dates stated in the notices.” Sony/ATV also wrote in a court memo Monday (Mar. 13) that it “has never stated that it intends to assert” a claim similar to the one in the Duran Duran case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the rub, though: The purpose of Sony/ATV’s filing on Mar. 13 was to claim that McCartney’s suit is premature — or “unripe” — since the Duran Duran case in the U.K. in ongoing (it is currently awaiting appeal). Because of this, the publisher wants to have McCartney’s suit against the company dismissed without prejudice (“without” allows McCartney to bring his case again). That the company is looking to dismiss McCartney’s case until Duran Duran’s is finished could, however, is an ominous sign — one that McCartney and his lawyers picked up on, clearly.\u003c/p>\n\u003cp>Sony/ATV maintains it is simply protecting itself by not signing away rights before they’re fully determined via the Duran Duran case — rights it could, ostensibly, use to challenge McCartney’s termination claims in the U.K. Which, again, it says it does not plan on doing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McCartney, wisely given his past copyright failures, isn’t waiting around to find out whether or not Sony/ATV is as benevolent as it claims. \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=Paul+McCartney%2C+Denied+Control+Over+Beatles+Hits+For+Decades%2C+Is+Told+To+Wait&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Blind Theatergoer's 'Hamilton' Lawsuit Aims Spotlight On Broadway Accessibility",
"headTitle": "A Blind Theatergoer’s ‘Hamilton’ Lawsuit Aims Spotlight On Broadway Accessibility | KQED",
"content": "\u003cp>A recent lawsuit brought by a blind theatergoer against the producers of the hit musical \u003cem>Hamilton\u003c/em> has highlighted Broadway’s spotty track record in serving audiences with disabilities.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> opened almost a year and a half ago, but it’s \u003ca href=\"http://www.npr.org/2016/04/09/473503407/lin-manuel-miranda-talks-hamilton-once-a-ridiculous-pitch-now-a-revolution\">still the hottest ticket\u003c/a> on Broadway. Mark Lasser of Denver, who is blind, wanted to take his wife to the show and get audio description services to help him enjoy a performance. That means he hoped to get a headset and hear the stage action being described in real time, during the show. But he discovered that \u003cem>Hamilton\u003c/em> doesn’t offer this particular service.\u003c/p>\n\u003cp>“I think what this suit brings to light is that you have a hidden population out there that is not gaining the full access to Broadway,” says attorney \u003ca href=\"http://www.dininlaw.com/ada-claims/\" target=\"_blank\" rel=\"noopener\">Scott Dinin\u003c/a>, who is representing Lasser in the \u003ca href=\"https://www.classaction.org/blog/hamilton-production-companies-hit-with-civil-rights-class-action-lawsuit\">class-action suit\u003c/a> against the show’s producers and theater owner.\u003c/p>\n\u003cp>“Sometimes you need a lawsuit like this to bring this to the public’s attention,” Dinin says.\u003c/p>\n\u003cfigure id=\"attachment_11277676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg\" alt=\"Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11277676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON. \u003ccite>(Photo Credit: Joan Marcus )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Broadway has taken great strides in the decades since the Americans with Disabilities Act, or ADA, was passed in 1990. Last year, a new website called \u003ca href=\"http://www.theatreaccess.nyc/\" target=\"_blank\" rel=\"noopener\">Theatre Access NYC\u003c/a> launched — a collaboration between the \u003ca href=\"https://www.broadwayleague.com/home/\" target=\"_blank\" rel=\"noopener\">Broadway League\u003c/a>, which represents producers and theater owners, and the \u003ca href=\"https://www.tdf.org/\" target=\"_blank\" rel=\"noopener\">Theatre Development Fund\u003c/a>, a nonprofit that offers discount tickets and services to theatergoers with disabilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.tdf.org/nyc/46/TDF-Staff-Board-of-Trustees\" target=\"_blank\" rel=\"noopener\">Lisa Carling\u003c/a>, TDF’s director of accessibility programs, says the goal of the website is to provide one stop where people with disabilities can find accessible performances.\u003c/p>\n\u003cp>A quick glance shows that most Broadway theaters are wheelchair accessible and offer open captioning and hearing assistance devices; there are also occasional special performances for people on the autism spectrum. But only \u003cem>four\u003c/em> long-running musicals, including \u003cem>The Lion King\u003c/em> and \u003cem>The Book of Mormon,\u003c/em> offer audio description.\u003c/p>\n\u003cp>Audio description has been around since the 1980s, says \u003ca href=\"https://www.accessibilityonline.org/ada-con/speakers/10570/?ret=speakers\" target=\"_blank\" rel=\"noopener\">Mark Annunziato\u003c/a>, vice president for operations and engineering at Sound Associates, a company that rents audio and video equipment to Broadway shows and develops audio description services.\u003c/p>\n\u003cp>In the past, groups of blind and low-vision customers attended special performances with a live interpreter. Since Broadway shows now use computers to trigger light, set and sound cues, automated audio description can be set up to work with those systems and offered at \u003cem>every\u003c/em> performance, with minimal cost — especially when Broadway musicals have budgets between $5 million and $25 million.\u003c/p>\n\u003cfigure id=\"attachment_11453177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg\" alt=\"Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11453177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg 886w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during ‘Hamilton’ GRAMMY performance \u003ccite>(Photo: Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The base system varies, but it usually ranges in and around $20,000,” Annunziato says. “So that would be the automation system, the computer system and the wireless broadcast system to all the devices.”\u003c/p>\n\u003cp>Then add $5,000 more to write, record and sync a script, and a monthly maintenance fee. When you’re talking about a hit show, the cost of setting up an audio description system more than pays for itself, says \u003ca href=\"http://www.hesherman.com/about/\" target=\"_blank\" rel=\"noopener\">Howard Sherman\u003c/a>, of the Alliance for Inclusion in the Arts.\u003c/p>\n\u003cp>“Certainly once a show sets up a sustained run — and when we look at musicals that run five, 10, 15, 20 years — it really is a very small price to pay for opening up a show to a much, much wider audience,” Sherman says.\u003c/p>\n\u003cp>That’s really what Dinin, Lasser’s attorney, is trying to say with this legal action. He is not seeking damages for his client — he can’t, under the terms of the ADA. He is trying to make sure that theater becomes more inclusive, by spotlighting the problem, using Broadway’s biggest hit.\u003c/p>\n\u003cp>“Audio description is so necessary,” Dinin says. “It’s the right thing to do. It’s not that expensive. And it’s just a thinking process. It’s a mindset. We have to get a mindset: How do we increase inclusion? It should be top-of-mind. Equality, accommodation and respect. Because once people put that at the decision-making table, all the services will flow from that.”\u003c/p>\n\u003cp>With the case ongoing, \u003cem>Hamilton\u003c/em>‘s producers declined to comment for this story. So did a number of other Broadway producers.\u003c/p>\n\u003cp>\u003cb>NOTE:\u003c/b>\u003ci>KQED has reached out to SHN, the promoters behind the Hamilton run in San Francisco. As of Wednesday morning, they had not replied to our email.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radio editor Tom Cole and Web producer Beth Novey contributed to this report.\u003c/em> \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=A+Blind+Theatergoer%27s+%27Hamilton%27+Lawsuit+Aims+Spotlight+On+Broadway+Accessibility&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A recent lawsuit brought by a blind theatergoer against the producers of the hit musical \u003cem>Hamilton\u003c/em> has highlighted Broadway’s spotty track record in serving audiences with disabilities.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> opened almost a year and a half ago, but it’s \u003ca href=\"http://www.npr.org/2016/04/09/473503407/lin-manuel-miranda-talks-hamilton-once-a-ridiculous-pitch-now-a-revolution\">still the hottest ticket\u003c/a> on Broadway. Mark Lasser of Denver, who is blind, wanted to take his wife to the show and get audio description services to help him enjoy a performance. That means he hoped to get a headset and hear the stage action being described in real time, during the show. But he discovered that \u003cem>Hamilton\u003c/em> doesn’t offer this particular service.\u003c/p>\n\u003cp>“I think what this suit brings to light is that you have a hidden population out there that is not gaining the full access to Broadway,” says attorney \u003ca href=\"http://www.dininlaw.com/ada-claims/\" target=\"_blank\" rel=\"noopener\">Scott Dinin\u003c/a>, who is representing Lasser in the \u003ca href=\"https://www.classaction.org/blog/hamilton-production-companies-hit-with-civil-rights-class-action-lawsuit\">class-action suit\u003c/a> against the show’s producers and theater owner.\u003c/p>\n\u003cp>“Sometimes you need a lawsuit like this to bring this to the public’s attention,” Dinin says.\u003c/p>\n\u003cfigure id=\"attachment_11277676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg\" alt=\"Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11277676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON. \u003ccite>(Photo Credit: Joan Marcus )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Broadway has taken great strides in the decades since the Americans with Disabilities Act, or ADA, was passed in 1990. Last year, a new website called \u003ca href=\"http://www.theatreaccess.nyc/\" target=\"_blank\" rel=\"noopener\">Theatre Access NYC\u003c/a> launched — a collaboration between the \u003ca href=\"https://www.broadwayleague.com/home/\" target=\"_blank\" rel=\"noopener\">Broadway League\u003c/a>, which represents producers and theater owners, and the \u003ca href=\"https://www.tdf.org/\" target=\"_blank\" rel=\"noopener\">Theatre Development Fund\u003c/a>, a nonprofit that offers discount tickets and services to theatergoers with disabilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tdf.org/nyc/46/TDF-Staff-Board-of-Trustees\" target=\"_blank\" rel=\"noopener\">Lisa Carling\u003c/a>, TDF’s director of accessibility programs, says the goal of the website is to provide one stop where people with disabilities can find accessible performances.\u003c/p>\n\u003cp>A quick glance shows that most Broadway theaters are wheelchair accessible and offer open captioning and hearing assistance devices; there are also occasional special performances for people on the autism spectrum. But only \u003cem>four\u003c/em> long-running musicals, including \u003cem>The Lion King\u003c/em> and \u003cem>The Book of Mormon,\u003c/em> offer audio description.\u003c/p>\n\u003cp>Audio description has been around since the 1980s, says \u003ca href=\"https://www.accessibilityonline.org/ada-con/speakers/10570/?ret=speakers\" target=\"_blank\" rel=\"noopener\">Mark Annunziato\u003c/a>, vice president for operations and engineering at Sound Associates, a company that rents audio and video equipment to Broadway shows and develops audio description services.\u003c/p>\n\u003cp>In the past, groups of blind and low-vision customers attended special performances with a live interpreter. Since Broadway shows now use computers to trigger light, set and sound cues, automated audio description can be set up to work with those systems and offered at \u003cem>every\u003c/em> performance, with minimal cost — especially when Broadway musicals have budgets between $5 million and $25 million.\u003c/p>\n\u003cfigure id=\"attachment_11453177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg\" alt=\"Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11453177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg 886w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during ‘Hamilton’ GRAMMY performance \u003ccite>(Photo: Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The base system varies, but it usually ranges in and around $20,000,” Annunziato says. “So that would be the automation system, the computer system and the wireless broadcast system to all the devices.”\u003c/p>\n\u003cp>Then add $5,000 more to write, record and sync a script, and a monthly maintenance fee. When you’re talking about a hit show, the cost of setting up an audio description system more than pays for itself, says \u003ca href=\"http://www.hesherman.com/about/\" target=\"_blank\" rel=\"noopener\">Howard Sherman\u003c/a>, of the Alliance for Inclusion in the Arts.\u003c/p>\n\u003cp>“Certainly once a show sets up a sustained run — and when we look at musicals that run five, 10, 15, 20 years — it really is a very small price to pay for opening up a show to a much, much wider audience,” Sherman says.\u003c/p>\n\u003cp>That’s really what Dinin, Lasser’s attorney, is trying to say with this legal action. He is not seeking damages for his client — he can’t, under the terms of the ADA. He is trying to make sure that theater becomes more inclusive, by spotlighting the problem, using Broadway’s biggest hit.\u003c/p>\n\u003cp>“Audio description is so necessary,” Dinin says. “It’s the right thing to do. It’s not that expensive. And it’s just a thinking process. It’s a mindset. We have to get a mindset: How do we increase inclusion? It should be top-of-mind. Equality, accommodation and respect. Because once people put that at the decision-making table, all the services will flow from that.”\u003c/p>\n\u003cp>With the case ongoing, \u003cem>Hamilton\u003c/em>‘s producers declined to comment for this story. So did a number of other Broadway producers.\u003c/p>\n\u003cp>\u003cb>NOTE:\u003c/b>\u003ci>KQED has reached out to SHN, the promoters behind the Hamilton run in San Francisco. As of Wednesday morning, they had not replied to our email.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radio editor Tom Cole and Web producer Beth Novey contributed to this report.\u003c/em> \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=A+Blind+Theatergoer%27s+%27Hamilton%27+Lawsuit+Aims+Spotlight+On+Broadway+Accessibility&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Record Producer, Label Executive Tommy LiPuma Has Died at Age 80",
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"content": "\u003cp>Tommy LiPuma, a record label executive and producer who made recordings with George Benson, Diana Krall, Paul McCartney, Natalie Cole, Dr. John, David Sanborn, Barbra Streisand, Queen Latifah, Leon Russell, Al Jarreau and Miles Davis, died Monday evening in New York City after a brief, undisclosed illness. His death was announced by Regina Joskow, a former colleague, family friend and jazz publicist.\u003c/p>\n\u003cp>Over the course of his career, LiPuma brought his artists — and labels — notable commercial success outside the realm pop albums. The recordings which he produced sold more than 75 million copies in total, including 35 titles that went gold or platinum. They include Natalie Cole’s 1991 album \u003cem>Unforgettable … With Love\u003c/em> (which went seven times platinum); George Benson’s \u003cem>Breezin’ \u003c/em>from 1976, which became a \u003ca href=\"http://www.billboard.com/artist/1489992/george-benson/chart?f=305\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> album on the Billboard 200 Chart; and a string of hits with singer Diana Krall across 11 titles and over 15 million albums sold. Along the way, LiPuma also won five Grammy Awards and earned 33 Grammy nominations.\u003c/p>\n\u003cp>Born July 5, 1936, LiPuma grew up in Cleveland, and played saxophone as a student. His rise in the record business was the result of a very old-school progression through the music industry. As jazz bassist and composer (and \u003cem>\u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener\">Jazz Night in America\u003c/a>\u003c/em> host) Christian McBride \u003ca href=\"http://www.cleveland.com/entertainment/index.ssf/2016/06/diana_krall_al_jarreau_more_se.html\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> at an 80th-birthday celebration concert held last year in LiPuma’s honor, he went from “cutting hair to cutting hit records.”\u003c/p>\n\u003cp>After working as a barber, LiPuma began packing vinyl records at a warehouse. Soon, he was offered a job in Los Angeles as a radio promoter for Liberty Records before taking a job in publishing. He then began to work as a producer on early recordings by performers including The O’Jays and Randy Newman.\u003c/p>\n\u003cp>He was the first staff producer at A&M records, and in the ’60s co-founded the musically eclectic \u003ca href=\"http://www.bsnpubs.com/abc/bluethumb.html\" target=\"_blank\" rel=\"noopener\">Blue Thumb Records\u003c/a> with future Rock and Roll Hall of Fame co-founder Bob Krasnow. He went on to hold executive positions at many of the top American labels that produced jazz, smooth jazz and music aimed at older audiences; they included Warner Bros., Elektra, GRP/Impulse and Verve.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2011, he produced Paul McCartney’s Concord album \u003cem>Kisses On The Bottom\u003c/em>, which won a Grammy for Best Pop Standard Album (Vocal) along with projects with Leon Russell and the trumpeter Dominick Farinacci. His last production was a forthcoming album from Krall entitled \u003cem>Turn Up The Quiet\u003c/em>, which is scheduled for release in May.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LiPuma is survived by his wife, Gill, daughters Jen Monti and Danielle Wiener, and four granchildren: Matty, Julia, Chloe and Ava. \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=Record+Producer+And+Label+Executive+Tommy+LiPuma+Has+Died+At+Age+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tommy LiPuma, a record label executive and producer who made recordings with George Benson, Diana Krall, Paul McCartney, Natalie Cole, Dr. John, David Sanborn, Barbra Streisand, Queen Latifah, Leon Russell, Al Jarreau and Miles Davis, died Monday evening in New York City after a brief, undisclosed illness. His death was announced by Regina Joskow, a former colleague, family friend and jazz publicist.\u003c/p>\n\u003cp>Over the course of his career, LiPuma brought his artists — and labels — notable commercial success outside the realm pop albums. The recordings which he produced sold more than 75 million copies in total, including 35 titles that went gold or platinum. They include Natalie Cole’s 1991 album \u003cem>Unforgettable … With Love\u003c/em> (which went seven times platinum); George Benson’s \u003cem>Breezin’ \u003c/em>from 1976, which became a \u003ca href=\"http://www.billboard.com/artist/1489992/george-benson/chart?f=305\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> album on the Billboard 200 Chart; and a string of hits with singer Diana Krall across 11 titles and over 15 million albums sold. Along the way, LiPuma also won five Grammy Awards and earned 33 Grammy nominations.\u003c/p>\n\u003cp>Born July 5, 1936, LiPuma grew up in Cleveland, and played saxophone as a student. His rise in the record business was the result of a very old-school progression through the music industry. As jazz bassist and composer (and \u003cem>\u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener\">Jazz Night in America\u003c/a>\u003c/em> host) Christian McBride \u003ca href=\"http://www.cleveland.com/entertainment/index.ssf/2016/06/diana_krall_al_jarreau_more_se.html\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> at an 80th-birthday celebration concert held last year in LiPuma’s honor, he went from “cutting hair to cutting hit records.”\u003c/p>\n\u003cp>After working as a barber, LiPuma began packing vinyl records at a warehouse. Soon, he was offered a job in Los Angeles as a radio promoter for Liberty Records before taking a job in publishing. He then began to work as a producer on early recordings by performers including The O’Jays and Randy Newman.\u003c/p>\n\u003cp>He was the first staff producer at A&M records, and in the ’60s co-founded the musically eclectic \u003ca href=\"http://www.bsnpubs.com/abc/bluethumb.html\" target=\"_blank\" rel=\"noopener\">Blue Thumb Records\u003c/a> with future Rock and Roll Hall of Fame co-founder Bob Krasnow. He went on to hold executive positions at many of the top American labels that produced jazz, smooth jazz and music aimed at older audiences; they included Warner Bros., Elektra, GRP/Impulse and Verve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Was That Italian Band Soviet Soviet Deported?",
"headTitle": "Why Was That Italian Band Soviet Soviet Deported? | KQED",
"content": "\u003cp>Last Friday afternoon, a controversy erupted about the Italian post-punk band Soviet Soviet, who were denied entrance to the United States on Wednesday and detained overnight before being \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/10/519707931/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported\" target=\"_blank\" rel=\"noopener\">deported\u003c/a> back to Italy.\u003c/p>\n\u003cp>In the wake of that news, there was a huge wellspring of reader commentary and questions about what had happened. To help clarify, we’re digging into the thickets of U.S. policy, specifically the regulations surrounding performing artists, as well as various interpretations of those regulations, to figure out what exactly happened — and what musicians, fans and industry professionals alike can learn from the Soviet Soviet situation.\u003c/p>\n\u003cp>It is also very likely that there will be other denials of entry for other performers trying to enter the U.S. in the coming days and weeks, especially as the South by Southwest [SXSW] festival, which begins today, continues. Just last night, the band Massive Scar Era, who were, like Soviet Soviet also hoping to perform at SXSW, posted a \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">video\u003c/a> claiming that they were denied entry as well, though under a different set of circumstances.\u003c/p>\n\u003cp>\u003cstrong>What exactly did Soviet Soviet do wrong?\u003c/strong>\u003c/p>\n\u003cp>The Italian trio \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\">has stated\u003c/a> it tried to come into the U.S. for a number of performances: a showcase at SXSW, a live performance at Member Station \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">KEXP\u003c/a> and at least two other shows. It’s those two other shows that seem to have formed the basis of the Custom and Border Protection [CBP] officials’ decision to deport the bands’ members. NPR is basing our interpretation of these events on statements made by Soviet Soviet and the Department of Homeland Security [DHS], as well as in articles by and interviews with several immigration lawyers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Soviet Soviet, its members told immigration officials that at two of the planned shows, the venues would be charging fans entry fees, but that the band itself would not get paid for those performances. The group seemed to believe that not receiving income from those shows would keep it on the right side of CBP — but this is exactly where Soviet Soviet’s case goes sideways.\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>As Italians, the band tried to entered the U.S. under the Visa Waiver Program (also known as ESTA), which permits citizens of nearly 40, mostly Western European countries to come into the U.S. for up to 90 days as non-working tourists.\u003c/p>\n\u003cp>However, under the Visa Waiver Program or as holders of tourist visas, travelers to the U.S. are theoretically allowed to solicit future business while in the U.S.\u003c/p>\n\u003cp>As immigration lawyer Leena Khandwala \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> to NPR earlier this month, this can mean doing things like attending a conference or convention, meeting with clients, or attending a meeting. Musicians often interpret this regulation as permitting them to perform at a showcase at a large industry event, such as SXSW.\u003c/p>\n\u003cp>\u003cstrong>Is the “showcase exception” a real thing?\u003c/strong>\u003c/p>\n\u003cp>That’s up for interpretation — and the “showcase exception” is not a universally accepted standard. One prominent immigration attorney who specializes in working with international performers, Brian Taylor Goldstein of GG Law, wrote an article last week \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">arguing\u003c/a> that there is no such exception:\u003c/p>\n\u003cblockquote>\n\u003cp>“Artists cannot perform on visitor visas (B-1/B-2) or through the Visa Waiver Program (‘ESTA’) regardless of whether or not they are being paid and regarding of whether or not tickets are sold. Except in the most narrowly defined circumstances, US immigration law has always defined ‘work’ as it pertains to artists, as any kind of performance. Artists denied entry on the basis of fraud, will have a denied entry on their record, impeding future visas and travel.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On the other hand, certain presenters and festivals — including SXSW — do encourage artists to utilize this theoretical exception, provided that they don’t try to do other performances or activities while in the U.S.\u003c/p>\n\u003cp>As Roland Swenson, SXSW’s co-founder and CEO, \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">argued\u003c/a> to NPR earlier this month, securing a work visa is beyond the reach of many musicians, especially younger or emerging acts. (More on those work visas below.) “If the artists had to qualify for other types of visas,” Swenson said, “they might not have the career credentials to gain those.”\u003c/p>\n\u003cp>In essence, what SXSW was saying was that \u003cem>if\u003c/em> bands choose to try to come into the U.S. under the so-called “showcase exception,” then they can only perform at an industry-focused event like SXSW. (Whether or not SXSW is solely an industry event at this point — considering the fact that \u003ca href=\"https://www.sxsw.com/wp-content/uploads/2016/05/2016-SXSW-Economic-Impact-Analysis.pdf\" target=\"_blank\" rel=\"noopener\">tens of thousands\u003c/a> of SXSW passes are sold to fans and not solely to music-business professionals — is a matter for another day.)\u003c/p>\n\u003cp>\u003cstrong>Did Soviet Soviet even use the “showcase exception” correctly? \u003c/strong>\u003c/p>\n\u003cp>Apparently not — the band seemed to believe that their planned non-paid appearances were equivalent to showcases, and CBP apparently disagreed. (KEXP reported on Friday that the Department of Homeland Security [DHS] “\u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">maintained the position\u003c/a> that the band lacked the proper visa for entry into the United States.”)\u003c/p>\n\u003cp>Two immigration attorneys who specialize in securing visas for performing artists — Matthew Covey and Will Spitz of the non-profit organization \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/06/513255643/even-with-travel-ban-blocked-artists-are-still-left-hanging\">Tamizdat\u003c/a> — posted a \u003ca href=\"https://www.facebook.com/matthew.covey.9/posts/10154227691171610\" target=\"_blank\" rel=\"noopener\">piece on Facebook\u003c/a> over the weekend that posited why Soviet Soviet were specifically wrong. They wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soviet Soviet was doing precisely what the much maligned SXSW invitation letter was attempting to caution them against doing. As monstrous as reports of CBP’s handling of Soviet Soviet sound, it is clear that these artists were entering the U.S. intending to violate U.S. law. They were scheduled to play non-showcase events, and even after all last week’s fuss, they still did not understand: not getting paid does not mean you don’t need a visa. That they did not understand the law is, of course, unfortunately ‘no defense.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Soviet Soviet says that its members were handcuffed and kept in jail overnight before being put on a flight back to Italy. Is that standard treatment?\u003c/strong>\u003c/p>\n\u003cp>According to the \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> that DHS gave to KEXP, the answer is yes, though the response referred to “restraints” rather than “handcuffs,” and described the place in which the three men were held as a “detention facility” rather than a jail.\u003c/p>\n\u003cblockquote>\n\u003cp>“When a traveler is deemed inadmissible, CBP makes every effort to return the traveler without delay. CBP does not have an overnight detention facility at the airport. Therefore, it is standard procedure for any traveler who is deemed inadmissible and is awaiting return travel to be taken to a detention center until return travel is available. According to CBP policy, it is standard procedure to restrain a traveler who is being transported to a detention facility. The use of restraints on detainees during transport is in a manner that is safe, secure, humane, and professional. It is the responsibility of officers to ensure that the need and level of restraints used is consistent with the operational office’s policies and procedures. At no time are restraints used in a punitive manner or in a manner that causes detainees undue pain.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>So the band was denied entry on security grounds, or for economic reasons?\u003c/strong>\u003c/p>\n\u003cp>Covey and Spitz argue that the CBP’s rationale in the Soviet Soviet case is entirely economic. They say that the reason that the current regulations exist in the way they do is a matter of protecting American labor:\u003c/p>\n\u003cblockquote>\n\u003cp>In this case, the U.S. artist visa laws were written for Congress by the artists’ labor unions in the late eighties with the intent of protecting the interests of U.S. labor — American performing artists. So let’s do a hypothetical: Imagine a group of lumberjacks in British Columbia wanted to enter the U.S. to log in Washington State; naturally the U.S. government would say ‘No way, not unless you can get a work visa first.’ But these loggers reply, ‘Well we like logging so much, how about we do it for free! That’s ok, right?’ No, it’s not, and in fact from a labor standpoint, the fact that they are working for free is WORSE than them getting paid: not only are they taking the jobs of individual American lumberjacks, they are generally depressing the value of the labor of U.S. lumberjacks! So from a labor standpoint, foreign musicians playing in the U.S. for free is anything but harmless. (Artists can get visas to perform in the U.S. of course; but they have to prove that they are eligible for an O or P visa, which is issued when the artist’s importance to American business or cultural interests is deemed to outweigh their threat to labor interests.)\u003c/p>\n\u003c/blockquote>\n\u003cp>But it also seems true that there are plenty of performance opportunities to go around: in 2016, \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> international acts from \u003ca href=\"https://www.sxsw.com/festivals/music/\" target=\"_blank\" rel=\"noopener\">more than 65\u003c/a> countries played SXSW showcases — but there were more than 2,200 official performers in total.\u003c/p>\n\u003cp>\u003cstrong>Is it going to be harder for international artists to come to the United States in the future?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>In a word: possibly. Of course, if more artists try to skirt visa regulations, it’s very likely that CBP will scrutinize all musicians’ entries even more closely.\u003c/p>\n\u003cp>However, it’s already very challenging to obtain what’s called an O or P visa, which are two of the kinds of visas granted to musicians and other performers. In order to qualify, individual artists (who would apply for an O category visa) or bands (a P visa) have to \u003ca href=\"http://www.artistsfromabroad.org/immigration-procedures/choosing-the-right-visa-category/o-and-p-visa-classifications/%20t\" target=\"_blank\" rel=\"noopener\">qualify\u003c/a> as “aliens of extraordinary ability in the arts.”\u003c/p>\n\u003cp>Getting one of these O or P visas takes many months, thousands of dollars and piles of paperwork, reviews and letters of recommendation attesting that the applying musicians have already built a professionally significant and generally recognized career. As the United States Citizenship and Immigration Services [USCIS] website \u003ca href=\"https://www.uscis.gov/working-united-states/temporary-workers/o-1-visa-individuals-extraordinary-ability-or-achievement%20&%20https://www.uscis.gov/working-united-states/temporary-workers/p-1b-member-internationally-recognized-entertainment-group\" target=\"_blank\" rel=\"noopener\">explains\u003c/a>, the government will grant these visas only under very specific conditions:\u003c/p>\n\u003cblockquote>\n\u003cp>“Extraordinary ability in the field of arts means distinction. Distinction means a high level of achievement in the field of the arts evidenced by a degree of skill and recognition substantially above that ordinarily encountered to the extent that a person described as prominent is renowned, leading, or well-known in the field of arts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>That is to say, if you’re a young, independent artist or band only starting to make your mark on the music scene — and hoping that a performance at an event like SXSW is going to boost your visibility to American bookers, agents, record labels and the like — it’s pretty improbable that the U.S. government is going to deem you “renowned.”\u003c/p>\n\u003cp>And as lawyer Brian Taylor Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> in his article, even if an O or P visa is issued, it remains totally up to the discretion of an individual immigration officer at the border to allow — or refuse — someone’s entry into the U.S., regardless of what visa that person is carrying. “An Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason,” he wrote. “To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003cp>\u003cstrong>But will things be harder in the \u003cem>immediate\u003c/em> future, given the heavy emphasis the Trump administration has put on travel, border control and immigration?\u003c/strong>\u003c/p>\n\u003cp>The laws regarding visa work rules have existed for years — well before the Trump administration took office. But the process for obtaining permission to travel to the U.S., including petitioning for an O or P visa, is becoming potentially more onerous and time-consuming than it was even a few months ago. This is partly because of President Trump’s \u003ca href=\"http://www.npr.org/2017/03/06/518785814/full-text-trumps-new-executive-order-on-travel-annotated\" target=\"_blank\" rel=\"noopener\">most recent\u003c/a> executive order on immigration, which was issued on March 6.\u003c/p>\n\u003cp>In the past, officials at individual consulates could choose to waive in-person interview requirements if someone was seeking to renew an O or P visa within 12 months of a previous O or P visa expiring. The idea was that since such an applicant had already been interviewed and vetted fairly recently, and since that person would have a demonstrated professional history already on the books, it wasn’t necessary to have the applicant come back to the U.S. consulate for another interview.\u003c/p>\n\u003cp>According to Section 9 of this executive order, however, all individuals seeking a non-immigrant visa — including previous holders of O or P visas — must return to U.S. consulates for personal interviews.\u003c/p>\n\u003cp>As Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">noted\u003c/a>, “Until additional consular staff is hired, [the] Order will place enormous burdens on U.S. consulates and embassies — particularly high-volume consulates — by increasing already extended interview wait times and processing times, wasting limited resources and potentially decreasing the quality of consular interviews.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Was+That+Band+Deported%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Was the Italian group Soviet Soviet a security risk? Did it pose an economic threat to Americans? And how hard is it to get a performer's visa, anyway? We work through the details.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Friday afternoon, a controversy erupted about the Italian post-punk band Soviet Soviet, who were denied entrance to the United States on Wednesday and detained overnight before being \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/10/519707931/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported\" target=\"_blank\" rel=\"noopener\">deported\u003c/a> back to Italy.\u003c/p>\n\u003cp>In the wake of that news, there was a huge wellspring of reader commentary and questions about what had happened. To help clarify, we’re digging into the thickets of U.S. policy, specifically the regulations surrounding performing artists, as well as various interpretations of those regulations, to figure out what exactly happened — and what musicians, fans and industry professionals alike can learn from the Soviet Soviet situation.\u003c/p>\n\u003cp>It is also very likely that there will be other denials of entry for other performers trying to enter the U.S. in the coming days and weeks, especially as the South by Southwest [SXSW] festival, which begins today, continues. Just last night, the band Massive Scar Era, who were, like Soviet Soviet also hoping to perform at SXSW, posted a \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">video\u003c/a> claiming that they were denied entry as well, though under a different set of circumstances.\u003c/p>\n\u003cp>\u003cstrong>What exactly did Soviet Soviet do wrong?\u003c/strong>\u003c/p>\n\u003cp>The Italian trio \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\">has stated\u003c/a> it tried to come into the U.S. for a number of performances: a showcase at SXSW, a live performance at Member Station \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">KEXP\u003c/a> and at least two other shows. It’s those two other shows that seem to have formed the basis of the Custom and Border Protection [CBP] officials’ decision to deport the bands’ members. NPR is basing our interpretation of these events on statements made by Soviet Soviet and the Department of Homeland Security [DHS], as well as in articles by and interviews with several immigration lawyers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Soviet Soviet, its members told immigration officials that at two of the planned shows, the venues would be charging fans entry fees, but that the band itself would not get paid for those performances. The group seemed to believe that not receiving income from those shows would keep it on the right side of CBP — but this is exactly where Soviet Soviet’s case goes sideways.\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>As Italians, the band tried to entered the U.S. under the Visa Waiver Program (also known as ESTA), which permits citizens of nearly 40, mostly Western European countries to come into the U.S. for up to 90 days as non-working tourists.\u003c/p>\n\u003cp>However, under the Visa Waiver Program or as holders of tourist visas, travelers to the U.S. are theoretically allowed to solicit future business while in the U.S.\u003c/p>\n\u003cp>As immigration lawyer Leena Khandwala \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> to NPR earlier this month, this can mean doing things like attending a conference or convention, meeting with clients, or attending a meeting. Musicians often interpret this regulation as permitting them to perform at a showcase at a large industry event, such as SXSW.\u003c/p>\n\u003cp>\u003cstrong>Is the “showcase exception” a real thing?\u003c/strong>\u003c/p>\n\u003cp>That’s up for interpretation — and the “showcase exception” is not a universally accepted standard. One prominent immigration attorney who specializes in working with international performers, Brian Taylor Goldstein of GG Law, wrote an article last week \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">arguing\u003c/a> that there is no such exception:\u003c/p>\n\u003cblockquote>\n\u003cp>“Artists cannot perform on visitor visas (B-1/B-2) or through the Visa Waiver Program (‘ESTA’) regardless of whether or not they are being paid and regarding of whether or not tickets are sold. Except in the most narrowly defined circumstances, US immigration law has always defined ‘work’ as it pertains to artists, as any kind of performance. Artists denied entry on the basis of fraud, will have a denied entry on their record, impeding future visas and travel.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On the other hand, certain presenters and festivals — including SXSW — do encourage artists to utilize this theoretical exception, provided that they don’t try to do other performances or activities while in the U.S.\u003c/p>\n\u003cp>As Roland Swenson, SXSW’s co-founder and CEO, \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">argued\u003c/a> to NPR earlier this month, securing a work visa is beyond the reach of many musicians, especially younger or emerging acts. (More on those work visas below.) “If the artists had to qualify for other types of visas,” Swenson said, “they might not have the career credentials to gain those.”\u003c/p>\n\u003cp>In essence, what SXSW was saying was that \u003cem>if\u003c/em> bands choose to try to come into the U.S. under the so-called “showcase exception,” then they can only perform at an industry-focused event like SXSW. (Whether or not SXSW is solely an industry event at this point — considering the fact that \u003ca href=\"https://www.sxsw.com/wp-content/uploads/2016/05/2016-SXSW-Economic-Impact-Analysis.pdf\" target=\"_blank\" rel=\"noopener\">tens of thousands\u003c/a> of SXSW passes are sold to fans and not solely to music-business professionals — is a matter for another day.)\u003c/p>\n\u003cp>\u003cstrong>Did Soviet Soviet even use the “showcase exception” correctly? \u003c/strong>\u003c/p>\n\u003cp>Apparently not — the band seemed to believe that their planned non-paid appearances were equivalent to showcases, and CBP apparently disagreed. (KEXP reported on Friday that the Department of Homeland Security [DHS] “\u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">maintained the position\u003c/a> that the band lacked the proper visa for entry into the United States.”)\u003c/p>\n\u003cp>Two immigration attorneys who specialize in securing visas for performing artists — Matthew Covey and Will Spitz of the non-profit organization \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/06/513255643/even-with-travel-ban-blocked-artists-are-still-left-hanging\">Tamizdat\u003c/a> — posted a \u003ca href=\"https://www.facebook.com/matthew.covey.9/posts/10154227691171610\" target=\"_blank\" rel=\"noopener\">piece on Facebook\u003c/a> over the weekend that posited why Soviet Soviet were specifically wrong. They wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soviet Soviet was doing precisely what the much maligned SXSW invitation letter was attempting to caution them against doing. As monstrous as reports of CBP’s handling of Soviet Soviet sound, it is clear that these artists were entering the U.S. intending to violate U.S. law. They were scheduled to play non-showcase events, and even after all last week’s fuss, they still did not understand: not getting paid does not mean you don’t need a visa. That they did not understand the law is, of course, unfortunately ‘no defense.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Soviet Soviet says that its members were handcuffed and kept in jail overnight before being put on a flight back to Italy. Is that standard treatment?\u003c/strong>\u003c/p>\n\u003cp>According to the \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> that DHS gave to KEXP, the answer is yes, though the response referred to “restraints” rather than “handcuffs,” and described the place in which the three men were held as a “detention facility” rather than a jail.\u003c/p>\n\u003cblockquote>\n\u003cp>“When a traveler is deemed inadmissible, CBP makes every effort to return the traveler without delay. CBP does not have an overnight detention facility at the airport. Therefore, it is standard procedure for any traveler who is deemed inadmissible and is awaiting return travel to be taken to a detention center until return travel is available. According to CBP policy, it is standard procedure to restrain a traveler who is being transported to a detention facility. The use of restraints on detainees during transport is in a manner that is safe, secure, humane, and professional. It is the responsibility of officers to ensure that the need and level of restraints used is consistent with the operational office’s policies and procedures. At no time are restraints used in a punitive manner or in a manner that causes detainees undue pain.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>So the band was denied entry on security grounds, or for economic reasons?\u003c/strong>\u003c/p>\n\u003cp>Covey and Spitz argue that the CBP’s rationale in the Soviet Soviet case is entirely economic. They say that the reason that the current regulations exist in the way they do is a matter of protecting American labor:\u003c/p>\n\u003cblockquote>\n\u003cp>In this case, the U.S. artist visa laws were written for Congress by the artists’ labor unions in the late eighties with the intent of protecting the interests of U.S. labor — American performing artists. So let’s do a hypothetical: Imagine a group of lumberjacks in British Columbia wanted to enter the U.S. to log in Washington State; naturally the U.S. government would say ‘No way, not unless you can get a work visa first.’ But these loggers reply, ‘Well we like logging so much, how about we do it for free! That’s ok, right?’ No, it’s not, and in fact from a labor standpoint, the fact that they are working for free is WORSE than them getting paid: not only are they taking the jobs of individual American lumberjacks, they are generally depressing the value of the labor of U.S. lumberjacks! So from a labor standpoint, foreign musicians playing in the U.S. for free is anything but harmless. (Artists can get visas to perform in the U.S. of course; but they have to prove that they are eligible for an O or P visa, which is issued when the artist’s importance to American business or cultural interests is deemed to outweigh their threat to labor interests.)\u003c/p>\n\u003c/blockquote>\n\u003cp>But it also seems true that there are plenty of performance opportunities to go around: in 2016, \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> international acts from \u003ca href=\"https://www.sxsw.com/festivals/music/\" target=\"_blank\" rel=\"noopener\">more than 65\u003c/a> countries played SXSW showcases — but there were more than 2,200 official performers in total.\u003c/p>\n\u003cp>\u003cstrong>Is it going to be harder for international artists to come to the United States in the future?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>In a word: possibly. Of course, if more artists try to skirt visa regulations, it’s very likely that CBP will scrutinize all musicians’ entries even more closely.\u003c/p>\n\u003cp>However, it’s already very challenging to obtain what’s called an O or P visa, which are two of the kinds of visas granted to musicians and other performers. In order to qualify, individual artists (who would apply for an O category visa) or bands (a P visa) have to \u003ca href=\"http://www.artistsfromabroad.org/immigration-procedures/choosing-the-right-visa-category/o-and-p-visa-classifications/%20t\" target=\"_blank\" rel=\"noopener\">qualify\u003c/a> as “aliens of extraordinary ability in the arts.”\u003c/p>\n\u003cp>Getting one of these O or P visas takes many months, thousands of dollars and piles of paperwork, reviews and letters of recommendation attesting that the applying musicians have already built a professionally significant and generally recognized career. As the United States Citizenship and Immigration Services [USCIS] website \u003ca href=\"https://www.uscis.gov/working-united-states/temporary-workers/o-1-visa-individuals-extraordinary-ability-or-achievement%20&%20https://www.uscis.gov/working-united-states/temporary-workers/p-1b-member-internationally-recognized-entertainment-group\" target=\"_blank\" rel=\"noopener\">explains\u003c/a>, the government will grant these visas only under very specific conditions:\u003c/p>\n\u003cblockquote>\n\u003cp>“Extraordinary ability in the field of arts means distinction. Distinction means a high level of achievement in the field of the arts evidenced by a degree of skill and recognition substantially above that ordinarily encountered to the extent that a person described as prominent is renowned, leading, or well-known in the field of arts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>That is to say, if you’re a young, independent artist or band only starting to make your mark on the music scene — and hoping that a performance at an event like SXSW is going to boost your visibility to American bookers, agents, record labels and the like — it’s pretty improbable that the U.S. government is going to deem you “renowned.”\u003c/p>\n\u003cp>And as lawyer Brian Taylor Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> in his article, even if an O or P visa is issued, it remains totally up to the discretion of an individual immigration officer at the border to allow — or refuse — someone’s entry into the U.S., regardless of what visa that person is carrying. “An Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason,” he wrote. “To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003cp>\u003cstrong>But will things be harder in the \u003cem>immediate\u003c/em> future, given the heavy emphasis the Trump administration has put on travel, border control and immigration?\u003c/strong>\u003c/p>\n\u003cp>The laws regarding visa work rules have existed for years — well before the Trump administration took office. But the process for obtaining permission to travel to the U.S., including petitioning for an O or P visa, is becoming potentially more onerous and time-consuming than it was even a few months ago. This is partly because of President Trump’s \u003ca href=\"http://www.npr.org/2017/03/06/518785814/full-text-trumps-new-executive-order-on-travel-annotated\" target=\"_blank\" rel=\"noopener\">most recent\u003c/a> executive order on immigration, which was issued on March 6.\u003c/p>\n\u003cp>In the past, officials at individual consulates could choose to waive in-person interview requirements if someone was seeking to renew an O or P visa within 12 months of a previous O or P visa expiring. The idea was that since such an applicant had already been interviewed and vetted fairly recently, and since that person would have a demonstrated professional history already on the books, it wasn’t necessary to have the applicant come back to the U.S. consulate for another interview.\u003c/p>\n\u003cp>According to Section 9 of this executive order, however, all individuals seeking a non-immigrant visa — including previous holders of O or P visas — must return to U.S. consulates for personal interviews.\u003c/p>\n\u003cp>As Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">noted\u003c/a>, “Until additional consular staff is hired, [the] Order will place enormous burdens on U.S. consulates and embassies — particularly high-volume consulates — by increasing already extended interview wait times and processing times, wasting limited resources and potentially decreasing the quality of consular interviews.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Was+That+Band+Deported%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Italian Band Soviet Soviet Denied Entry to the U.S., Jailed and then Deported",
"headTitle": "Italian Band Soviet Soviet Denied Entry to the U.S., Jailed and then Deported | KQED",
"content": "\u003cp>This afternoon, the Italian trio Soviet Soviet posted a \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\" target=\"_blank\" rel=\"noopener\">lengthy statement\u003c/a> on Facebook explaining why they would not be keeping their U.S. tour dates this week and next: they had been deported.\u003c/p>\n\u003cp>https://www.facebook.com/sovietsovietband/posts/10155120054589810\u003c/p>\n\u003cp>The band, who are based in the city of Pesaro, landed in Seattle on Wednesday afternoon. They were traveling under ESTA (also known as the Visa Waiver Program), which allows citizens of nearly 40 countries to travel to the United States \u003ca href=\"https://travel.state.gov/content/visas/en/visit/visa-waiver-program.html\" target=\"_blank\" rel=\"noopener\">without\u003c/a> having to obtain a visa.\u003c/p>\n\u003cp>According to the group, its three members were carrying a letter from its American record label explaining that the musicians were scheduled to perform a number of “promotional,” non-paid performances in the U.S., including a live performance at Member Station KEXP, as well as a showcase at the South by Southwest (SXSW) festival in Austin, Texas.\u003c/p>\n\u003cp>The band says that its three musicians were questioned for several hours, and “agents” (presumably U.S. Customs and Border Protection officers) denied them entry into the country. From the airport, the band says, the three were taken to a jail and held overnight before being escorted to a plane and sent back to Italy. The trio says that they were treated “like criminals.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its statement, Soviet Soviet says that the agents’ refusal to permit the band’s entry seems to have stemmed from the fact that the agents believed that the group needed work visas to enter the U.S., because two of the venues at which Soviet Soviet was slated to perform were going to charge audiences entry fees — even though the band says that its musicians were not going to earn any money while in the U.S.\u003c/p>\n\u003cp>This afternoon, KEXP \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> a short statement about the situation, saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“Yesterday, Thursday, March 9th, Italian trio Soviet Soviet were scheduled to perform live on The Morning Show on KEXP. Their sophomore album \u003cem>Endless\u003c/em> was released on felte Records back in December, and with its dark, anthemic, post-punk sound, quickly became a favorite on the KEXP airwaves. Unfortunately, the in-studio — as well as their scheduled performances at Kremwerk, SXSW, and venues along the west coast — had to be canceled … KEXP sincerely hopes we’ll be able to reschedule a session with the band in the near future.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It remains to be seen if other musicians will face similar circumstances as they arrive at U.S. border points of entry in the coming days. This period is a particular pressure point as SXSW gets underway on March 13; \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> foreign acts showcased there during the 2016 edition of the festival. Just a week ago, the festival’s organizers faced \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">intense scrutiny\u003c/a> over their contractual statements regarding international artists coming into the U.S. to play in Austin, which led to an \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/07/519063694/after-public-battle-sxsw-apologizes-and-pledges-to-change-its-artist-contract\" target=\"_blank\" rel=\"noopener\">official apology\u003c/a> and a promise to revise SXSW’s language going forward.\u003c/p>\n\u003cp>On Tuesday, a prominent immigration attorney named Brian Taylor Goldstein, whose \u003ca href=\"http://www.ggartslaw.com/gg_home.html\" target=\"_blank\" rel=\"noopener\">practice\u003c/a> is centered around working with artists seeking to tour the U.S., published a lengthy article advising international musicians about the current — and shifting — challenges regarding immigration policy under the Trump administration. Goldstein wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Given that the new Order specifically requires heightened vetting and screening of those “who seek to enter the United States on a fraudulent basis”, there is going to be even more scrutiny and less forgiveness than ever before with regard to artists attempting to enter the US on visitor visas (B-1/B-2) or through the Visa Waiver Program (“ESTA”). We are already receiving reports of artists being held and detained for hours upon entering the US to determine whether or not they are performing. Even artists entering as visitors for the purpose of attending a conference or “performing a showcase” are being pulled aside and, in many cases, being refused entry. Artists entering with B- 1/B-2 visas or through the Visa Waiver Program (ESTA) are being pulled aside the moment they say that they are “entertainers”, “performers”, or “artists” … In short, an Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason. To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DuSlEofvjf0\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Italian+Band+Soviet+Soviet+Denied+Entry+To+The+U.S.%2C+Jailed+And+Then+Deported&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Italian post-punk group, who had tried to enter the U.S. to play at Member Station KEXP and then at SXSW, says that they were sent back to Italy by authorities after they spent the night in jail.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This afternoon, the Italian trio Soviet Soviet posted a \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\" target=\"_blank\" rel=\"noopener\">lengthy statement\u003c/a> on Facebook explaining why they would not be keeping their U.S. tour dates this week and next: they had been deported.\u003c/p>\n\u003cp>https://www.facebook.com/sovietsovietband/posts/10155120054589810\u003c/p>\n\u003cp>The band, who are based in the city of Pesaro, landed in Seattle on Wednesday afternoon. They were traveling under ESTA (also known as the Visa Waiver Program), which allows citizens of nearly 40 countries to travel to the United States \u003ca href=\"https://travel.state.gov/content/visas/en/visit/visa-waiver-program.html\" target=\"_blank\" rel=\"noopener\">without\u003c/a> having to obtain a visa.\u003c/p>\n\u003cp>According to the group, its three members were carrying a letter from its American record label explaining that the musicians were scheduled to perform a number of “promotional,” non-paid performances in the U.S., including a live performance at Member Station KEXP, as well as a showcase at the South by Southwest (SXSW) festival in Austin, Texas.\u003c/p>\n\u003cp>The band says that its three musicians were questioned for several hours, and “agents” (presumably U.S. Customs and Border Protection officers) denied them entry into the country. From the airport, the band says, the three were taken to a jail and held overnight before being escorted to a plane and sent back to Italy. The trio says that they were treated “like criminals.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its statement, Soviet Soviet says that the agents’ refusal to permit the band’s entry seems to have stemmed from the fact that the agents believed that the group needed work visas to enter the U.S., because two of the venues at which Soviet Soviet was slated to perform were going to charge audiences entry fees — even though the band says that its musicians were not going to earn any money while in the U.S.\u003c/p>\n\u003cp>This afternoon, KEXP \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> a short statement about the situation, saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“Yesterday, Thursday, March 9th, Italian trio Soviet Soviet were scheduled to perform live on The Morning Show on KEXP. Their sophomore album \u003cem>Endless\u003c/em> was released on felte Records back in December, and with its dark, anthemic, post-punk sound, quickly became a favorite on the KEXP airwaves. Unfortunately, the in-studio — as well as their scheduled performances at Kremwerk, SXSW, and venues along the west coast — had to be canceled … KEXP sincerely hopes we’ll be able to reschedule a session with the band in the near future.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It remains to be seen if other musicians will face similar circumstances as they arrive at U.S. border points of entry in the coming days. This period is a particular pressure point as SXSW gets underway on March 13; \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> foreign acts showcased there during the 2016 edition of the festival. Just a week ago, the festival’s organizers faced \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">intense scrutiny\u003c/a> over their contractual statements regarding international artists coming into the U.S. to play in Austin, which led to an \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/07/519063694/after-public-battle-sxsw-apologizes-and-pledges-to-change-its-artist-contract\" target=\"_blank\" rel=\"noopener\">official apology\u003c/a> and a promise to revise SXSW’s language going forward.\u003c/p>\n\u003cp>On Tuesday, a prominent immigration attorney named Brian Taylor Goldstein, whose \u003ca href=\"http://www.ggartslaw.com/gg_home.html\" target=\"_blank\" rel=\"noopener\">practice\u003c/a> is centered around working with artists seeking to tour the U.S., published a lengthy article advising international musicians about the current — and shifting — challenges regarding immigration policy under the Trump administration. Goldstein wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Given that the new Order specifically requires heightened vetting and screening of those “who seek to enter the United States on a fraudulent basis”, there is going to be even more scrutiny and less forgiveness than ever before with regard to artists attempting to enter the US on visitor visas (B-1/B-2) or through the Visa Waiver Program (“ESTA”). We are already receiving reports of artists being held and detained for hours upon entering the US to determine whether or not they are performing. Even artists entering as visitors for the purpose of attending a conference or “performing a showcase” are being pulled aside and, in many cases, being refused entry. Artists entering with B- 1/B-2 visas or through the Visa Waiver Program (ESTA) are being pulled aside the moment they say that they are “entertainers”, “performers”, or “artists” … In short, an Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason. To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DuSlEofvjf0'\n title='//www.youtube.com/embed/DuSlEofvjf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Italian+Band+Soviet+Soviet+Denied+Entry+To+The+U.S.%2C+Jailed+And+Then+Deported&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dave Valentin became one of the pre-eminent flutists in Latin jazz. He was known for his creative combination of fusion, pop and R&B.\u003c/p>\n\u003cp>He won a Grammy in 2003 for best Latin jazz album for “The Gathering,” by the Caribbean Jazz Project. Vibraphonist Dave Samuels was also featured on that record.\u003c/p>\n\u003cp>Manager Richie Bonilla told news agencies that Valentin, 64, who had suffered multiple strokes over the last several years, died Wednesday from stroke complications and Parkinson’s disease.\u003c/p>\n\u003cp>When he was five years old, Valentin started playing bongos and congas. His father, who was in the Merchant Marine, had brought them home from Brazil.\u003c/p>\n\u003cp>Valentin took piano lessons at 9 and was playing percussion for paying gigs when he was 10.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He recorded more than a dozen albums — either as a solo artist, band leader or playing on other artists’ recordings.\u003c/p>\n\u003cp>Valentin toured with his childhood idol, percussionist Tito Puente, and was music director of Puente’s Golden Latin Jazz All-Stars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/03/08/arts/music/dave-valentin-dead-latin-jazz-flutist.html\">The New York Times\u003c/a> reports Valentin delighted in recounting how he became a flutist:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘I started out as a percussionist in school. But I wanted to meet this girl, Irene, who was a flutist,’ he recalled in 2011.\u003c/p>\n\u003cp>” ‘She showed me a scale, and I played it immediately. Do-re-me-fa-so-la-ti-do. Without knowing nothing! So, I borrowed a flute, bought a Herbie Mann record and learned “Comin’ Home Baby.”\u003c/p>\n\u003cp>” ‘Three weeks later, I went to her and played it,’ he continued. ‘I knew I had her! She said, “I’ve been taking lessons for three years and you come in here in three weeks and play like that? Don’t ever talk to me again!”\u003c/p>\n\u003cp>” ‘I lost the girl, but kept the flute.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Grammy+Award-Winning+Latin+Jazz+Flutist+Dave+Valentin+Dies+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He recorded more than a dozen albums — either as a solo artist, band leader or playing on other artists’ recordings.\u003c/p>\n\u003cp>Valentin toured with his childhood idol, percussionist Tito Puente, and was music director of Puente’s Golden Latin Jazz All-Stars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/03/08/arts/music/dave-valentin-dead-latin-jazz-flutist.html\">The New York Times\u003c/a> reports Valentin delighted in recounting how he became a flutist:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘I started out as a percussionist in school. But I wanted to meet this girl, Irene, who was a flutist,’ he recalled in 2011.\u003c/p>\n\u003cp>” ‘She showed me a scale, and I played it immediately. Do-re-me-fa-so-la-ti-do. Without knowing nothing! So, I borrowed a flute, bought a Herbie Mann record and learned “Comin’ Home Baby.”\u003c/p>\n\u003cp>” ‘Three weeks later, I went to her and played it,’ he continued. ‘I knew I had her! She said, “I’ve been taking lessons for three years and you come in here in three weeks and play like that? Don’t ever talk to me again!”\u003c/p>\n\u003cp>” ‘I lost the girl, but kept the flute.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Grammy+Award-Winning+Latin+Jazz+Flutist+Dave+Valentin+Dies+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Fred Weintraub, Founder of the Bitter End and 'Enter The Dragon' Producer, Dies at 88",
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"content": "\u003cp>An impresario and producer who helped launch the careers of many marquee-name musicians, comedians and actors — including Bob Dylan, Woody Allen and Bruce Lee — has died. Fred Weintraub was 88 years old.\u003c/p>\n\u003cp>His wife, Jackie, confirmed his death to NPR. He died at their home in Pacific Palisades, Calif. on March 5, due to complications related to Parkinson’s disease.\u003c/p>\n\u003cp>Born in the Bronx on April 27, 1928, Weintraub studied for his bar mitzvah with famed cantor and Metropolitan Opera soloist \u003ca href=\"http://thevillager.com/2012/04/05/bitter-ends-weintraub-returns-to-where-it-began-on-bleecker/\" target=\"_blank\" rel=\"noopener\">Richard Tucker\u003c/a>. After graduating from the University of Pennsylvania’s Wharton School, he started his career as heir to his father’s baby-carriage and toy business.\u003c/p>\n\u003cp>But, despairing of that life at age 26, he \u003ca href=\"http://www.fredweintraub.com/index.php?page=the-bitter-end\" target=\"_blank\" rel=\"noopener\">abandoned\u003c/a> his two children and then-wife to travel the world and pick up odd jobs, including running a fishing boat in Cuba. (He married four times in total, but was married to his last wife, Jackie, for 30 years.)\u003c/p>\n\u003cp>Eventually, Weintraub returned to New York. In 1961, he opened a club called The Bitter End, serving ice cream and coffee drinks instead of alcohol, at 147 Bleecker St., in the heart of Greenwich Village.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s nearly impossible to overstate The Bitter End’s position as a fulcrum of New York’s music and comedy scenes. Among the many talents \u003ca href=\"http://www.bitterend.com/legends/\" target=\"_blank\" rel=\"noopener\">fostered\u003c/a> on that stage, against its famous bare-brick wall, were Bob Dylan, Joan Baez, Nina Simone, Carly Simon, Harry Chapin, Randy Newman, George Carlin, Woody Allen, Lily Tomlin, Joan Rivers and Bill Cosby.\u003c/p>\n\u003cp>A decade after the Bitter End opened, its manager, Paul Colby, opened another club next door called The Other End — and Weintraub fired him. By 1974, however, Weintraub had sold the Bitter End to Colby, who \u003ca href=\"https://www.nytimes.com/2014/02/20/nyregion/paul-colby-owner-of-club-that-helped-the-rise-of-greenwich-village-dies-at-96.html\" target=\"_blank\" rel=\"noopener\">died\u003c/a> in 2014 at 96.\u003c/p>\n\u003cp>In the late 1960s, Weintraub headed west to the Warner Bros. film studios as a production executive. One of his first tasks there was to finance a music documentary for the “hesitant … establishment” at the studio, as Jackie Weintraub wrote in a statement provided to NPR. It was the landmark, Oscar-winning \u003cem>Woodstock\u003c/em>, released in 1970. \u003cem>Woodstock\u003c/em> earned \u003ca href=\"http://www.latimes.com/entertainment/music/la-me-fred-weintraub-20170307-story.html\" target=\"_blank\" rel=\"noopener\">$32 million\u003c/a> in its theatrical release, an \u003ca href=\"http://www.boxofficemojo.com/genres/chart/?id=documentary.htm&sort=gross&order=DESC&p=.htm\">impressive return\u003c/a> for a documentary film both then and now.\u003c/p>\n\u003cp>Soon after that smash hit, Weintraub decided he wanted to replicate the success of Hong Kong’s martial arts movies in America. He went looking to make a star, and found one in an aspiring actor and martial arts teacher working in Oakland: Bruce Lee. Their resulting film, 1973’s \u003cem>Enter the Dragon\u003c/em>, made more than $100 million worldwide — and made Lee, who died a few days after the movie’s release, an instant legend.\u003c/p>\n\u003cp>Weintraub went on to have additional commercial successes in both film and TV, including producing the folk music program \u003ci>Hootenanny\u003c/i> and \u003ci>The Dukes of Hazzard.\u003c/i> After the collapse of the Soviet Union, Weintraub also helped develop the film industry in then-Yugoslavia and in Lithuania.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a 2012 event in Burbank promoting his autobiography \u003cem>\u003ca>Bruce Lee\u003c/a>, Woodstock and Me: From the Man Behind a Half-Century of Music, Movies and Martial Arts\u003c/em> (written with David Fields), Weintraub \u003ca href=\"http://www.latimes.com/tn-blr-0613-on-the-town-meeting-an-entertainment-legend-fred-weintraub-story.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the audience: “I’ve had a serendipitous life with more failures than you can imagine. I believe success and failure go hand-in-hand, and you can never go wrong in failing. You’ll always come out of a failure as a better person. I agree with Winston Churchill, who said, ‘Success consists of going from failure to failure without loss of enthusiasm.’ You have to be willing to stick your neck out. Always do new things. Try anything. You never know when something life-changing will come your way.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fred+Weintraub%2C+Founder+Of+The+Bitter+End+And+%27Enter+The+Dragon%27+Producer%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s nearly impossible to overstate The Bitter End’s position as a fulcrum of New York’s music and comedy scenes. Among the many talents \u003ca href=\"http://www.bitterend.com/legends/\" target=\"_blank\" rel=\"noopener\">fostered\u003c/a> on that stage, against its famous bare-brick wall, were Bob Dylan, Joan Baez, Nina Simone, Carly Simon, Harry Chapin, Randy Newman, George Carlin, Woody Allen, Lily Tomlin, Joan Rivers and Bill Cosby.\u003c/p>\n\u003cp>A decade after the Bitter End opened, its manager, Paul Colby, opened another club next door called The Other End — and Weintraub fired him. By 1974, however, Weintraub had sold the Bitter End to Colby, who \u003ca href=\"https://www.nytimes.com/2014/02/20/nyregion/paul-colby-owner-of-club-that-helped-the-rise-of-greenwich-village-dies-at-96.html\" target=\"_blank\" rel=\"noopener\">died\u003c/a> in 2014 at 96.\u003c/p>\n\u003cp>In the late 1960s, Weintraub headed west to the Warner Bros. film studios as a production executive. One of his first tasks there was to finance a music documentary for the “hesitant … establishment” at the studio, as Jackie Weintraub wrote in a statement provided to NPR. It was the landmark, Oscar-winning \u003cem>Woodstock\u003c/em>, released in 1970. \u003cem>Woodstock\u003c/em> earned \u003ca href=\"http://www.latimes.com/entertainment/music/la-me-fred-weintraub-20170307-story.html\" target=\"_blank\" rel=\"noopener\">$32 million\u003c/a> in its theatrical release, an \u003ca href=\"http://www.boxofficemojo.com/genres/chart/?id=documentary.htm&sort=gross&order=DESC&p=.htm\">impressive return\u003c/a> for a documentary film both then and now.\u003c/p>\n\u003cp>Soon after that smash hit, Weintraub decided he wanted to replicate the success of Hong Kong’s martial arts movies in America. He went looking to make a star, and found one in an aspiring actor and martial arts teacher working in Oakland: Bruce Lee. Their resulting film, 1973’s \u003cem>Enter the Dragon\u003c/em>, made more than $100 million worldwide — and made Lee, who died a few days after the movie’s release, an instant legend.\u003c/p>\n\u003cp>Weintraub went on to have additional commercial successes in both film and TV, including producing the folk music program \u003ci>Hootenanny\u003c/i> and \u003ci>The Dukes of Hazzard.\u003c/i> After the collapse of the Soviet Union, Weintraub also helped develop the film industry in then-Yugoslavia and in Lithuania.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a 2012 event in Burbank promoting his autobiography \u003cem>\u003ca>Bruce Lee\u003c/a>, Woodstock and Me: From the Man Behind a Half-Century of Music, Movies and Martial Arts\u003c/em> (written with David Fields), Weintraub \u003ca href=\"http://www.latimes.com/tn-blr-0613-on-the-town-meeting-an-entertainment-legend-fred-weintraub-story.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the audience: “I’ve had a serendipitous life with more failures than you can imagine. I believe success and failure go hand-in-hand, and you can never go wrong in failing. You’ll always come out of a failure as a better person. I agree with Winston Churchill, who said, ‘Success consists of going from failure to failure without loss of enthusiasm.’ You have to be willing to stick your neck out. Always do new things. Try anything. You never know when something life-changing will come your way.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fred+Weintraub%2C+Founder+Of+The+Bitter+End+And+%27Enter+The+Dragon%27+Producer%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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},
"baycurious": {
"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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}
},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
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