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"content": "\u003cp>Miko Marks has toured the United States as a country singer for over a decade. She started as an aspiring singer in Michigan, crossed paths with Erykah Badu while in college, and won awards for her singing as a young adult. But recently, through her time skating with the \u003ca href=\"https://www.instagram.com/oaklandrollers/?hl=en\" target=\"_blank\" rel=\"noopener\">Oakland Rollers\u003c/a>, she’s begun to explore other musical genres. Inspired by the group’s camaraderie, shared laughter, bright skates and fanny packs, Marks found inspiration for her latest song, “\u003ca href=\"http://smarturl.it/wq990a\" target=\"_blank\" rel=\"noopener\">Roll Out\u003c/a>.”\u003c/p>\n\u003cp>“Happiness is in the air / good vibes are floating ’round / and whenever I see the sun out shining bright / I throw on my wheels / I got to get out,” sings Marks over the groove-heavy track produced by \u003ca href=\"https://www.kqed.org/arts/13812001/behind-the-beats-julia-lewis\" rel=\"noopener\" target=\"_blank\">Julia Lewis\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13860033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/oakland-rollers-800x450.jpg\" alt=\"The Oakland Rollers meet up on Wednesdays at Lake Merritt, and everyone is welcome.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Rollers meet up on Wednesdays at Lake Merritt, and everyone is welcome. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marks’ summertime song served as an anthem for the lakeside skaters, and made me curious about what’s going on in her niche of the Bay Area. So I met her and her crew over at a cul-de-sac on the southeastern side of Lake Merritt, and got to know a little bit more about Miko, her musical history and the roller skaters who have made the lakeside their rink.\u003c/span>\u003c/p>\n\u003cp>Listen to this week’s episode to hear all about it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Lucinda Williams released \u003cem>Car Wheels on a Gravel Road\u003c/em> in 1998 to critical and popular acclaim, overdue recognition for a songwriter by then recording and performing in a style more and less country, but always achingly gorgeous, for more than two decades. Williams, born in Lake Charles, Louisiana, released her breakthrough album at the age of 45, and it seems to draw on a deep well of travel, loss and contemplation. With references to Southern geography, bathroom stall missives and characters sorely missed as well as better forgotten, Williams created a roadmap with emotional depth, leading to the ever-healing heart. On Saturday, Nov. 2 at Fox Theater in Oakland, Williams performs \u003cem>Car Wheels on a Gravel Road\u003c/em> in its entirety, plus a set drawing on the rest of her career, as part of a tour marking the album’s 20th anniversary. \u003cem>—Sam Lefebvre\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Nastia Voynovskaya and Sam Lefebvre, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Fire Relief\u003c/strong>: First things first, this has been a trying week for people who live up in the North Bay. The Kincade Fire has caused evacuations across Sonoma County and, for the rest of the Bay Area, air quality alerts. To help, the California Academy of Sciences is offering free admission through Nov. 1 to those in mandatory evacuation zones – and also, the SFMOMA is offering free admission to its permanent collection to the general public. If you need to get out of the smoke this weekend, remember that the de Young and Legion of Honor also offer free admission on Saturdays to San Francisco residents, too. \u003ca href=\"https://www.kqed.org/arts/13869039/sfmoma-california-academy-of-sciences-offer-free-admission-for-fire-relief\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>FKA Twigs\u003c/strong>: British art-pop singer FKA Twigs is one of the most groundbreaking artists of the past decade—not just a triple threat, but a \u003cem>quintuple\u003c/em> threat. Her voice is an angelic falsetto; she writes uncomfortable, probing lyrics that flip gender stereotypes; her CGI music videos are out of this world. And, after taking a couple years off from touring due to health issues, she came back stronger than ever with an incredible new skillset: pole dancing, which she uses as a form of theatrical storytelling. She’ll be at Oakland’s Fox Theater on Nov. 6 and 7. \u003ca href=\"http://thefoxoakland.com/events/fka-twigs-magdalene\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Día de los Muertos\u003c/strong>: If you’ve got a kid who loved the Pixar film \u003cem>Coco\u003c/em>, you’ll have some opportunities to show them a deeper look at the tradition of Día de los Muertos. At the Oakland Museum of California, there’s an exhibit called \u003cem>¡El Movimiento Vivo!: Chicano Roots of El Día de los Muertos\u003c/em>, all about the Chicano activists who brought Day of the Dead traditions to the United States. You’ll see ofrendas, and hear stories from elders in Oaxaca. That’s up now through Feb. 16 of next year. \u003ca href=\"https://museumca.org/exhibit/%C2%A1el-movimiento-vivo-chicano-roots-el-d%C3%ADa-de-los-muertos\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And another Día de Los Muertos tradition is brewing in the East Bay: the Oakland Ballet’s \u003cem>Luna Mexicana\u003c/em>. This is a dance performance in partnership with Ballet Folklórico México Danza with a Frida Kahlo theme, but it’s also a celebration of music, costumes, candles, and food. Tamales and Mexican hot chocolate will be served in the gorgeous art-deco lobby of the Paramount Theater, another great way to introduce kids to this tradition. That’s on Friday and Saturday, Nov. 1 and 2, at the Paramount Theatre in Oakland. \u003ca href=\"http://oaklandballet.org/wp/luna-mexicana/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams\u003c/strong>: Sam plays in a band, and while they were on tour recently, they spent a lot of time listening to Lucinda Williams. She’s had an unusual career, in part because her breakthrough album arrived about 20 years after her first album. It’s called \u003cem>Car Wheels on a Gravel Road\u003c/em>, and it’s an achingly beautiful record about longing, forgetting and escape with an atmosphere of road-weary realism. In the van, on repeat, it served as a soundtrack for many of the same cities and landmarks referenced on the album. Twenty years since its release, Lucinda Williams plays the album in its entirety—plus a second career-wide set—on Saturday, Nov. 2, at the Fox Theater in Oakland. \u003ca href=\"http://thefoxoakland.com/events/lucinda-williams-band-buick-6\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Blanket the Homeless’\u003c/strong>: So many of our neighbors have lost homes and been forced onto the streets during the Bay Area’s housing crisis, and the problem is only getting worse. A bunch of artists recently teamed up for a benefit compilation called \u003cem>Blanket the Homeless\u003c/em>, which raises money for an organization that passes out hygiene kits and supplies to unsheltered people in the Bay Area. The compilation features Fantastic Negrito, Rainbow Girls, the Stone Foxes and many more. The Stone Foxes’ Shannon Koehler and producer Scott Mickelson perform live for a benefit concert and record release show. That’s on Nov. 7, at the Independent in San Francisco. \u003ca href=\"http://blanketthehomeless.org/events/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Nastia Voynovskaya and Sam Lefebvre, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Fire Relief\u003c/strong>: First things first, this has been a trying week for people who live up in the North Bay. The Kincade Fire has caused evacuations across Sonoma County and, for the rest of the Bay Area, air quality alerts. To help, the California Academy of Sciences is offering free admission through Nov. 1 to those in mandatory evacuation zones – and also, the SFMOMA is offering free admission to its permanent collection to the general public. If you need to get out of the smoke this weekend, remember that the de Young and Legion of Honor also offer free admission on Saturdays to San Francisco residents, too. \u003ca href=\"https://www.kqed.org/arts/13869039/sfmoma-california-academy-of-sciences-offer-free-admission-for-fire-relief\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>FKA Twigs\u003c/strong>: British art-pop singer FKA Twigs is one of the most groundbreaking artists of the past decade—not just a triple threat, but a \u003cem>quintuple\u003c/em> threat. Her voice is an angelic falsetto; she writes uncomfortable, probing lyrics that flip gender stereotypes; her CGI music videos are out of this world. And, after taking a couple years off from touring due to health issues, she came back stronger than ever with an incredible new skillset: pole dancing, which she uses as a form of theatrical storytelling. She’ll be at Oakland’s Fox Theater on Nov. 6 and 7. \u003ca href=\"http://thefoxoakland.com/events/fka-twigs-magdalene\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Día de los Muertos\u003c/strong>: If you’ve got a kid who loved the Pixar film \u003cem>Coco\u003c/em>, you’ll have some opportunities to show them a deeper look at the tradition of Día de los Muertos. At the Oakland Museum of California, there’s an exhibit called \u003cem>¡El Movimiento Vivo!: Chicano Roots of El Día de los Muertos\u003c/em>, all about the Chicano activists who brought Day of the Dead traditions to the United States. You’ll see ofrendas, and hear stories from elders in Oaxaca. That’s up now through Feb. 16 of next year. \u003ca href=\"https://museumca.org/exhibit/%C2%A1el-movimiento-vivo-chicano-roots-el-d%C3%ADa-de-los-muertos\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And another Día de Los Muertos tradition is brewing in the East Bay: the Oakland Ballet’s \u003cem>Luna Mexicana\u003c/em>. This is a dance performance in partnership with Ballet Folklórico México Danza with a Frida Kahlo theme, but it’s also a celebration of music, costumes, candles, and food. Tamales and Mexican hot chocolate will be served in the gorgeous art-deco lobby of the Paramount Theater, another great way to introduce kids to this tradition. That’s on Friday and Saturday, Nov. 1 and 2, at the Paramount Theatre in Oakland. \u003ca href=\"http://oaklandballet.org/wp/luna-mexicana/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams\u003c/strong>: Sam plays in a band, and while they were on tour recently, they spent a lot of time listening to Lucinda Williams. She’s had an unusual career, in part because her breakthrough album arrived about 20 years after her first album. It’s called \u003cem>Car Wheels on a Gravel Road\u003c/em>, and it’s an achingly beautiful record about longing, forgetting and escape with an atmosphere of road-weary realism. In the van, on repeat, it served as a soundtrack for many of the same cities and landmarks referenced on the album. Twenty years since its release, Lucinda Williams plays the album in its entirety—plus a second career-wide set—on Saturday, Nov. 2, at the Fox Theater in Oakland. \u003ca href=\"http://thefoxoakland.com/events/lucinda-williams-band-buick-6\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Blanket the Homeless’\u003c/strong>: So many of our neighbors have lost homes and been forced onto the streets during the Bay Area’s housing crisis, and the problem is only getting worse. A bunch of artists recently teamed up for a benefit compilation called \u003cem>Blanket the Homeless\u003c/em>, which raises money for an organization that passes out hygiene kits and supplies to unsheltered people in the Bay Area. The compilation features Fantastic Negrito, Rainbow Girls, the Stone Foxes and many more. The Stone Foxes’ Shannon Koehler and producer Scott Mickelson perform live for a benefit concert and record release show. That’s on Nov. 7, at the Independent in San Francisco. \u003ca href=\"http://blanketthehomeless.org/events/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lizzo's 'Truth Hurts' Saga: Can You Sue Over a Copied Tweet?",
"headTitle": "Lizzo’s ‘Truth Hurts’ Saga: Can You Sue Over a Copied Tweet? | KQED",
"content": "\u003cp>Without a doubt, the most quoted line from Lizzo’s No. 1 hit “Truth Hurts” is its scorching opener: “Just took a DNA test, turns out I’m 100 percent that bitch.” Gina Rodriguez \u003ca href=\"https://www.youtube.com/watch?v=MIMLMXW1JdE\" target=\"_blank\" rel=\"noopener\">sings along to it\u003c/a> in her latest Netflix rom-com; it’s fueled a long-running \u003ca href=\"https://www.youtube.com/watch?v=TXvRCGrbRMw\" target=\"_blank\" rel=\"noopener\">TikTok meme\u003c/a>; fans put it in their Instagram captions and scream it back to Lizzo during \u003ca href=\"https://datebook.sfchronicle.com/music/lizzo-brings-a-little-love-and-a-whole-lot-of-ass-shaking-to-san-francisco\" target=\"_blank\" rel=\"noopener\">sold-out stops\u003c/a> of her current tour.\u003c/p>\n\u003cp>Here’s the thing: Lizzo didn’t write the line.\u003c/p>\n\u003cp>Instead, it traces back to a viral 2017 tweet by British singer Mina Lioness, whom Lizzo is now \u003ca href=\"https://www.thefader.com/2019/10/28/mina-lioness-lizzo-song-writer-truth-hurts-credit-interview\" target=\"_blank\" rel=\"noopener\">crediting as a co-writer\u003c/a> on the track. After first \u003ca href=\"https://twitter.com/lizzo/status/962053400337641473\" target=\"_blank\" rel=\"noopener\">denying\u003c/a> that Lioness’ tweet was the inspiration, Lizzo conceded that she’d seen a meme that used the phrase. As tweets go viral and continue to influence pop culture, the saga points to the misconceptions many people have about social media and intellectual property. [aside postid='arts_13863015']\u003c/p>\n\u003cp>Contrary to popular belief, tweets are subject to copyright, but only if they possess enough of a \u003cem>degree of originality\u003c/em>—which would be determined by a court if Lioness were to pursue legal action, which she \u003ca href=\"https://twitter.com/MinaLioness/status/1166701225657737217\" target=\"_blank\" rel=\"noopener\">threatened\u003c/a> before Lizzo gave her songwriting credit. (Currently, Lizzo is embattled in a \u003ca href=\"https://pitchfork.com/thepitch/who-wrote-lizzos-truth-hurts-who-knows/\" target=\"_blank\" rel=\"noopener\">separate lawsuit\u003c/a> against Jeremiah Raisen, Justin Raisen and Justin Rothman over “Truth Hurts” authorship.)\u003c/p>\n\u003cp>“The court would look at: what was the intent?” says Lisa Alter, a copyright lawyer \u003cspan style=\"font-weight: 400\">whose clients include numerous Grammy winners and Rock & Roll Hall of Fame inductees\u003c/span>. “Was it used in its entirety? Was it used in a transformative use, which is a subjective, case-by-case evaluation to determine whether it was fair use? Is Lizzo getting commercial benefit from it? … You can’t predict which way a court would come out on that question.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So is the “100 percent that bitch” line original enough to win a copyright suit? Experts aren’t so sure. Ben Depoorter, a copyright law professor from UC Hastings, points out a major barrier: short phrases are excluded from copyright protection as a way to ensure that intellectual property law isn’t used to stifle free speech. “\u003cspan style=\"font-weight: 400\">Even if it’s particularly novel, ingenious or interesting wordplay, a short sentence in and of itself does not entitle you to copyright protection,” he says. (Still, Lizzo recently filed an application\u003ca href=\"https://www.theguardian.com/lifeandstyle/2019/sep/04/lizzo-is-100-that-bitch-but-can-she-trademark-it\" target=\"_blank\" rel=\"noopener\"> to trademark\u003c/a> the phrase “100 percent that bitch” to use on merch.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alter says that Lizzo’s decision to give Lioness songwriting credit could have been a preemptive strike against a potential lawsuit—and from judgment in the court of public opinion. “Mina was saying in her statements that she didn’t have the resources, she’s a poor girl from London,” Alter says. “Lizzo [may have] wanted to ensure that in the public opinion she was doing an equitable thing.”\u003c/span>\u003c/p>\n\u003cp>As the barrier between pop culture and social media becomes more permeable, tweets and social media posts increasingly become fodder for commercial works. For instance, when Beyoncé credited Vampire Weekend’s Ezra Koenig as a songwriter on “Hold Up” from \u003cem>Lemonade\u003c/em>, she also gave a songwriting credit to the members of the Yeah Yeah Yeahs, whose lyrics from “Maps” Koenig interpolated in a tweet that later became the Beyoncé lyric.\u003c/p>\n\u003cp>“Songs become tweets, tweets become songs – it’s the way of the world,” Koenig tweeted in 2016.\u003c/p>\n\u003cp>https://twitter.com/arzE/status/724660731396808704?s=20\u003c/p>\n\u003cp>But as far as artists who believe they can take freely from social media posts? “There’s this perception of social media being free, so the rules of copyright don’t apply, and that’s just not the case,” Alter says.\u003c/p>\n\u003cp>Even though tweets are often shared as \u003ca href=\"https://www.vulture.com/2019/02/fuck-jerry-instagram-comedians-unfollow-campaign-elliot-tebele.html\" target=\"_blank\" rel=\"noopener\">decontextualized screen shots, often with the author’s name cropped out\u003c/a>, Alter advises artists and musicians to track down the source of their inspiration and give credit when possible. “[The ‘Truth Hurts’ lyric] clearly was something that was identified with someone who is a performer,” says Alter. “Mina is a performer in her own right, she is findable. And to the extent that there was any question on Lizzo’s part that this was a creation of Mina’s, she should have reached out to her before using it. But that’s to be on the safest side.”\u003c/p>\n\u003cp>Still, for many, attempting to recoup damages from a stolen tweet is a risky, costly and time-consuming endeavor. And as long as social media provides a platform for creators with few resources to grow followings, their content is at risk of being co-opted by brands or more successful artists.\u003c/p>\n\u003cp>There is a positive side to this, though, Depoorter points out: Though the law may not always work in social media users’ favor, the ability to shame someone on Twitter certainly does.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The law doesn’t do a lot of lifting,” he says. “But the social aspects of being called out for doing something unfair even though it’s not illegal are quite severe.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Without a doubt, the most quoted line from Lizzo’s No. 1 hit “Truth Hurts” is its scorching opener: “Just took a DNA test, turns out I’m 100 percent that bitch.” Gina Rodriguez \u003ca href=\"https://www.youtube.com/watch?v=MIMLMXW1JdE\" target=\"_blank\" rel=\"noopener\">sings along to it\u003c/a> in her latest Netflix rom-com; it’s fueled a long-running \u003ca href=\"https://www.youtube.com/watch?v=TXvRCGrbRMw\" target=\"_blank\" rel=\"noopener\">TikTok meme\u003c/a>; fans put it in their Instagram captions and scream it back to Lizzo during \u003ca href=\"https://datebook.sfchronicle.com/music/lizzo-brings-a-little-love-and-a-whole-lot-of-ass-shaking-to-san-francisco\" target=\"_blank\" rel=\"noopener\">sold-out stops\u003c/a> of her current tour.\u003c/p>\n\u003cp>Here’s the thing: Lizzo didn’t write the line.\u003c/p>\n\u003cp>Instead, it traces back to a viral 2017 tweet by British singer Mina Lioness, whom Lizzo is now \u003ca href=\"https://www.thefader.com/2019/10/28/mina-lioness-lizzo-song-writer-truth-hurts-credit-interview\" target=\"_blank\" rel=\"noopener\">crediting as a co-writer\u003c/a> on the track. After first \u003ca href=\"https://twitter.com/lizzo/status/962053400337641473\" target=\"_blank\" rel=\"noopener\">denying\u003c/a> that Lioness’ tweet was the inspiration, Lizzo conceded that she’d seen a meme that used the phrase. As tweets go viral and continue to influence pop culture, the saga points to the misconceptions many people have about social media and intellectual property. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Contrary to popular belief, tweets are subject to copyright, but only if they possess enough of a \u003cem>degree of originality\u003c/em>—which would be determined by a court if Lioness were to pursue legal action, which she \u003ca href=\"https://twitter.com/MinaLioness/status/1166701225657737217\" target=\"_blank\" rel=\"noopener\">threatened\u003c/a> before Lizzo gave her songwriting credit. (Currently, Lizzo is embattled in a \u003ca href=\"https://pitchfork.com/thepitch/who-wrote-lizzos-truth-hurts-who-knows/\" target=\"_blank\" rel=\"noopener\">separate lawsuit\u003c/a> against Jeremiah Raisen, Justin Raisen and Justin Rothman over “Truth Hurts” authorship.)\u003c/p>\n\u003cp>“The court would look at: what was the intent?” says Lisa Alter, a copyright lawyer \u003cspan style=\"font-weight: 400\">whose clients include numerous Grammy winners and Rock & Roll Hall of Fame inductees\u003c/span>. “Was it used in its entirety? Was it used in a transformative use, which is a subjective, case-by-case evaluation to determine whether it was fair use? Is Lizzo getting commercial benefit from it? … You can’t predict which way a court would come out on that question.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So is the “100 percent that bitch” line original enough to win a copyright suit? Experts aren’t so sure. Ben Depoorter, a copyright law professor from UC Hastings, points out a major barrier: short phrases are excluded from copyright protection as a way to ensure that intellectual property law isn’t used to stifle free speech. “\u003cspan style=\"font-weight: 400\">Even if it’s particularly novel, ingenious or interesting wordplay, a short sentence in and of itself does not entitle you to copyright protection,” he says. (Still, Lizzo recently filed an application\u003ca href=\"https://www.theguardian.com/lifeandstyle/2019/sep/04/lizzo-is-100-that-bitch-but-can-she-trademark-it\" target=\"_blank\" rel=\"noopener\"> to trademark\u003c/a> the phrase “100 percent that bitch” to use on merch.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alter says that Lizzo’s decision to give Lioness songwriting credit could have been a preemptive strike against a potential lawsuit—and from judgment in the court of public opinion. “Mina was saying in her statements that she didn’t have the resources, she’s a poor girl from London,” Alter says. “Lizzo [may have] wanted to ensure that in the public opinion she was doing an equitable thing.”\u003c/span>\u003c/p>\n\u003cp>As the barrier between pop culture and social media becomes more permeable, tweets and social media posts increasingly become fodder for commercial works. For instance, when Beyoncé credited Vampire Weekend’s Ezra Koenig as a songwriter on “Hold Up” from \u003cem>Lemonade\u003c/em>, she also gave a songwriting credit to the members of the Yeah Yeah Yeahs, whose lyrics from “Maps” Koenig interpolated in a tweet that later became the Beyoncé lyric.\u003c/p>\n\u003cp>“Songs become tweets, tweets become songs – it’s the way of the world,” Koenig tweeted in 2016.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But as far as artists who believe they can take freely from social media posts? “There’s this perception of social media being free, so the rules of copyright don’t apply, and that’s just not the case,” Alter says.\u003c/p>\n\u003cp>Even though tweets are often shared as \u003ca href=\"https://www.vulture.com/2019/02/fuck-jerry-instagram-comedians-unfollow-campaign-elliot-tebele.html\" target=\"_blank\" rel=\"noopener\">decontextualized screen shots, often with the author’s name cropped out\u003c/a>, Alter advises artists and musicians to track down the source of their inspiration and give credit when possible. “[The ‘Truth Hurts’ lyric] clearly was something that was identified with someone who is a performer,” says Alter. “Mina is a performer in her own right, she is findable. And to the extent that there was any question on Lizzo’s part that this was a creation of Mina’s, she should have reached out to her before using it. But that’s to be on the safest side.”\u003c/p>\n\u003cp>Still, for many, attempting to recoup damages from a stolen tweet is a risky, costly and time-consuming endeavor. And as long as social media provides a platform for creators with few resources to grow followings, their content is at risk of being co-opted by brands or more successful artists.\u003c/p>\n\u003cp>There is a positive side to this, though, Depoorter points out: Though the law may not always work in social media users’ favor, the ability to shame someone on Twitter certainly does.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The law doesn’t do a lot of lifting,” he says. “But the social aspects of being called out for doing something unfair even though it’s not illegal are quite severe.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shooting Victim in Lul G's Murder Trial Was Close Friend of SOB x RBE",
"headTitle": "Shooting Victim in Lul G’s Murder Trial Was Close Friend of SOB x RBE | KQED",
"content": "\u003cp>Last month, Lul G (George Harris), a former member of Vallejo rap group SOB x RBE, was arrested for murder. Through public records, KQED has discovered that the Def Jam signee is accused of shooting and killing 26-year-old Rashied Flowers, a Vallejo resident who knew Harris personally and was friends with his former SOB x RBE collaborators.\u003c/p>\n\u003cp>According to the Fairfield Police Department, the shooting took place on July 24 at a large, suburban house in the Vintage Green Valley neighborhood of Fairfield, a Solano County city 50 miles northeast of San Francisco. A Fairfield PD spokesperson told KQED that Flowers was suffering from a gunshot wound when three “uncooperative witnesses” brought him into a local hospital and reported to officers that the shooting took place at a park in the nearby town of Cordelia. An investigation by Fairfield police determined the incident actually occurred at a house in Fairfield, and, after obtaining a search warrant for the residence, officers found evidence they say points to Harris as the suspect.\u003c/p>\n\u003cp>Fairfield PD obtained an arrest warrant for Harris, and an FBI Criminal Apprehension Team located the 20-year-old rapper at a Holiday Inn Express in Las Vegas. He was arrested on Sept. 10 under the charge of “fugitive from another state,” a Las Vegas Metropolitan Police Department arrest report shows.\u003c/p>\n\u003cp>Harris’ lawyer, Claire White, told KQED that Harris was not fleeing from law enforcement, but traveling for work. “He’s all over the country all the time,” she said. “He was in Las Vegas in the normal course of business. To his knowledge, there were no warrants out for him.” She declined to comment further about the details of the case.\u003c/p>\n\u003cp>Once Harris entered police custody in Las Vegas, the Solano County Sheriff arrested him on murder charges on Sept. 21 and extradited him to the Stanton Correctional Facility in Fairfield, where he is being held without bail. He has pled not guilty to the charges.\u003c/p>\n\u003ch2>Who Was Rashied Flowers?\u003c/h2>\n\u003cp>Rashied Flowers appears to have been an acquaintance of Harris, and kept an active presence in the Vallejo rap scene. On Instagram, Flowers shared videos of himself backstage at SOB x RBE concerts when Harris was still part of the group, and they followed each other on the app. Flowers made regular appearances in \u003ca href=\"https://www.thizzler.com/blog/2017/11/17/davie1800-the-v-music-video.html\" target=\"_blank\" rel=\"noopener\">music videos\u003c/a> by Vallejo artists. \u003ca href=\"https://youtu.be/_dwhE2foywI\" target=\"_blank\" rel=\"noopener\">TYSG L.O.T.S.\u003c/a>, a rapper from his city, released a tribute song to Flowers called “RIP Sheed,” where he described him as funny, stylish, the life of the party and a loving dad.\u003c/p>\n\u003cp>In late September, weeks after Harris’ arrest, SOB x RBE performed at the rap festival Rolling Loud in Oakland, where group member Slimmy B wore a memorial T-shirt with\u003ca href=\"https://www.instagram.com/p/B2-ADw7nlVI/\" target=\"_blank\" rel=\"noopener\"> Flowers’ portrait\u003c/a>. (One of Flowers’ \u003ca href=\"https://www.instagram.com/p/Bx5W8TNgbMV/\" target=\"_blank\" rel=\"noopener\">last Instagram posts\u003c/a> showed him at the San Francisco International Airport with Slimmy B.) On stage, Slimmy B made pointed comments that seemed to allude to the killing. “A couple months ago, I lost one of my best friends to some gay a– s— from a gay a– n—-, right,” he said, asking for the audience to honor Flowers with a moment of silence. “Long live my n—- Shied, man,” added fellow group member Young T.O. as photos of Flowers flashed on the screen behind the performers.\u003c/p>\n\u003cp>When reached by KQED, SOB x RBE’s manager Stretch said Harris has been out of the group since 2018 and declined to comment further. Though Harris left SOB x RBE after signing a solo deal with Def Jam, he was part of the foursome when they rose to national prominence with the singles “Lane Changing” and “Anti,” and collaborated with Kendrick Lamar on “Paramedic!” for the \u003cem>Black Panther\u003c/em> soundtrack. It’s unclear whether Harris is still signed to Def Jam; his photo and name are no longer included in the \u003ca href=\"https://www.defjam.com/artists\" target=\"_blank\" rel=\"noopener\">label’s roster\u003c/a> on their website, and a Def Jam representative did not return KQED’s multiple requests for comment.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=oBwU2UY24oE?start=1430]\u003c/p>\n\u003ch2>Next Steps in Lul G’s Trial\u003c/h2>\n\u003cp>In a Solano County courtroom on Oct. 21, Harris wore a gray-and-white striped prison uniform and a stoic expression. Appearing briefly for a felony readiness conference—the final step before a case goes to trial—he faced Judge William Pendergast in handcuffs.\u003c/p>\n\u003cp>In the gallery, a handful of observers who appeared to be family and friends looked on, including two young women in tears. White requested the readiness hearing be postponed to Nov. 21 to allow the defense more time to gather evidence. If the Nov. 21 hearing goes forward as planned, the court will set dates for the jury trial.\u003c/p>\n\u003cp>“Mr. Harris is supported by his friends and family,” said White. “Obviously, these are incredibly difficult moments for him and those close to him, and he’s trying to stay strong. He’s really appreciative for the support his fans have shown, and he looks forward to his day in court.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, Lul G (George Harris), a former member of Vallejo rap group SOB x RBE, was arrested for murder. Through public records, KQED has discovered that the Def Jam signee is accused of shooting and killing 26-year-old Rashied Flowers, a Vallejo resident who knew Harris personally and was friends with his former SOB x RBE collaborators.\u003c/p>\n\u003cp>According to the Fairfield Police Department, the shooting took place on July 24 at a large, suburban house in the Vintage Green Valley neighborhood of Fairfield, a Solano County city 50 miles northeast of San Francisco. A Fairfield PD spokesperson told KQED that Flowers was suffering from a gunshot wound when three “uncooperative witnesses” brought him into a local hospital and reported to officers that the shooting took place at a park in the nearby town of Cordelia. An investigation by Fairfield police determined the incident actually occurred at a house in Fairfield, and, after obtaining a search warrant for the residence, officers found evidence they say points to Harris as the suspect.\u003c/p>\n\u003cp>Fairfield PD obtained an arrest warrant for Harris, and an FBI Criminal Apprehension Team located the 20-year-old rapper at a Holiday Inn Express in Las Vegas. He was arrested on Sept. 10 under the charge of “fugitive from another state,” a Las Vegas Metropolitan Police Department arrest report shows.\u003c/p>\n\u003cp>Harris’ lawyer, Claire White, told KQED that Harris was not fleeing from law enforcement, but traveling for work. “He’s all over the country all the time,” she said. “He was in Las Vegas in the normal course of business. To his knowledge, there were no warrants out for him.” She declined to comment further about the details of the case.\u003c/p>\n\u003cp>Once Harris entered police custody in Las Vegas, the Solano County Sheriff arrested him on murder charges on Sept. 21 and extradited him to the Stanton Correctional Facility in Fairfield, where he is being held without bail. He has pled not guilty to the charges.\u003c/p>\n\u003ch2>Who Was Rashied Flowers?\u003c/h2>\n\u003cp>Rashied Flowers appears to have been an acquaintance of Harris, and kept an active presence in the Vallejo rap scene. On Instagram, Flowers shared videos of himself backstage at SOB x RBE concerts when Harris was still part of the group, and they followed each other on the app. Flowers made regular appearances in \u003ca href=\"https://www.thizzler.com/blog/2017/11/17/davie1800-the-v-music-video.html\" target=\"_blank\" rel=\"noopener\">music videos\u003c/a> by Vallejo artists. \u003ca href=\"https://youtu.be/_dwhE2foywI\" target=\"_blank\" rel=\"noopener\">TYSG L.O.T.S.\u003c/a>, a rapper from his city, released a tribute song to Flowers called “RIP Sheed,” where he described him as funny, stylish, the life of the party and a loving dad.\u003c/p>\n\u003cp>In late September, weeks after Harris’ arrest, SOB x RBE performed at the rap festival Rolling Loud in Oakland, where group member Slimmy B wore a memorial T-shirt with\u003ca href=\"https://www.instagram.com/p/B2-ADw7nlVI/\" target=\"_blank\" rel=\"noopener\"> Flowers’ portrait\u003c/a>. (One of Flowers’ \u003ca href=\"https://www.instagram.com/p/Bx5W8TNgbMV/\" target=\"_blank\" rel=\"noopener\">last Instagram posts\u003c/a> showed him at the San Francisco International Airport with Slimmy B.) On stage, Slimmy B made pointed comments that seemed to allude to the killing. “A couple months ago, I lost one of my best friends to some gay a– s— from a gay a– n—-, right,” he said, asking for the audience to honor Flowers with a moment of silence. “Long live my n—- Shied, man,” added fellow group member Young T.O. as photos of Flowers flashed on the screen behind the performers.\u003c/p>\n\u003cp>When reached by KQED, SOB x RBE’s manager Stretch said Harris has been out of the group since 2018 and declined to comment further. Though Harris left SOB x RBE after signing a solo deal with Def Jam, he was part of the foursome when they rose to national prominence with the singles “Lane Changing” and “Anti,” and collaborated with Kendrick Lamar on “Paramedic!” for the \u003cem>Black Panther\u003c/em> soundtrack. It’s unclear whether Harris is still signed to Def Jam; his photo and name are no longer included in the \u003ca href=\"https://www.defjam.com/artists\" target=\"_blank\" rel=\"noopener\">label’s roster\u003c/a> on their website, and a Def Jam representative did not return KQED’s multiple requests for comment.\u003c/p>\n\u003cp>\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/oBwU2UY24oE?start=1430'\n title='//www.youtube.com/embed/oBwU2UY24oE?start=1430'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003ch2>Next Steps in Lul G’s Trial\u003c/h2>\n\u003cp>In a Solano County courtroom on Oct. 21, Harris wore a gray-and-white striped prison uniform and a stoic expression. Appearing briefly for a felony readiness conference—the final step before a case goes to trial—he faced Judge William Pendergast in handcuffs.\u003c/p>\n\u003cp>In the gallery, a handful of observers who appeared to be family and friends looked on, including two young women in tears. White requested the readiness hearing be postponed to Nov. 21 to allow the defense more time to gather evidence. If the Nov. 21 hearing goes forward as planned, the court will set dates for the jury trial.\u003c/p>\n\u003cp>“Mr. Harris is supported by his friends and family,” said White. “Obviously, these are incredibly difficult moments for him and those close to him, and he’s trying to stay strong. He’s really appreciative for the support his fans have shown, and he looks forward to his day in court.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.facebook.com/MADlinesmusic/\" target=\"_blank\" rel=\"noopener\">MADlines\u003c/a>, an MC and educator originally from Seattle, Washington, has called East Oakland home for almost a decade, working in the community as well as in San Francisco’s Juvenile Hall. Those experiences, as well as headlines about infant mortality rates and police brutality—especially the killing of \u003ca href=\"https://www.npr.org/tags/769902235/atatiana-jefferson\" target=\"_blank\" rel=\"noopener\">Atatiana Jefferson—\u003c/a>have inspired her latest video, “God Talk.”\u003c/p>\n\u003cp>“I’m a deity, the birds envy me. Lips is sweet, divinity,” MADlines raps on the chorus of the new track, which features the Bay Area’s own \u003ca href=\"https://xiomaramusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Xiomara\u003c/a>. She premieres the video, shot by Emmy-nominated producer \u003ca href=\"http://www.contessagayles.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Contessa Gayles\u003c/a>, in an event on Nov. 8 at Bandcamp’s headquarters in downtown Oakland.\u003c/p>\n\u003cp>“Black women do want to be vulnerable,” says MADlines. “But it’s hard to walk in the world without armor.”\u003c/p>\n\u003cp>This is the first feature off of an album MADlines plans to drop in the summer of 2020, made possible in part by the City of Oakland’s \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\" target=\"_blank\" rel=\"noopener\">Individual Artist Grant Program\u003c/a>.\u003c/p>\n\u003cp>MADlines says the driving concept behind her Nov. 8 performance is related to other arts projects in the Bay Area, such as \u003ca href=\"https://www.kqed.org/arts/12959678/a-house-full-of-black-women-a-week-of-rest\" target=\"_blank\" rel=\"noopener\">House/Full of BlackWomen\u003c/a>, \u003ca href=\"https://www.asharaekundayogallery.com/black-womxn-dreaming-divine-the-darkness-march-april-2019\" target=\"_blank\" rel=\"noopener\">Black Womxn Dreaming\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13806395/an-expanded-vision-of-healing-and-divine-black-femininity\" target=\"_blank\" rel=\"noopener\">The Black Woman is God\u003c/a>, which is curated by Karen Senefru, who makes a cameo in MADlines’ new video. “So, it’s not standing on its own,” says MADlines. “It’s a part of a larger push about the way we’re responding to society.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>MADlines says the evening will be a celebration of black women’s divinity, as Oakland’s own \u003ca href=\"https://www.melissajonesartist.com/\" target=\"_blank\" rel=\"noopener\">Melissa Jones\u003c/a> will perform, along with \u003ca href=\"http://www.indigomateo.com/\" target=\"_blank\" rel=\"noopener\">Indigo Mateo\u003c/a>. The event starts at 6:30pm and is free for all ages. \u003ca href=\"https://www.eventbrite.com/e/contagious-spirit-god-talk-tickets-75964494849\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/MADlinesmusic/\" target=\"_blank\" rel=\"noopener\">MADlines\u003c/a>, an MC and educator originally from Seattle, Washington, has called East Oakland home for almost a decade, working in the community as well as in San Francisco’s Juvenile Hall. Those experiences, as well as headlines about infant mortality rates and police brutality—especially the killing of \u003ca href=\"https://www.npr.org/tags/769902235/atatiana-jefferson\" target=\"_blank\" rel=\"noopener\">Atatiana Jefferson—\u003c/a>have inspired her latest video, “God Talk.”\u003c/p>\n\u003cp>“I’m a deity, the birds envy me. Lips is sweet, divinity,” MADlines raps on the chorus of the new track, which features the Bay Area’s own \u003ca href=\"https://xiomaramusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Xiomara\u003c/a>. She premieres the video, shot by Emmy-nominated producer \u003ca href=\"http://www.contessagayles.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Contessa Gayles\u003c/a>, in an event on Nov. 8 at Bandcamp’s headquarters in downtown Oakland.\u003c/p>\n\u003cp>“Black women do want to be vulnerable,” says MADlines. “But it’s hard to walk in the world without armor.”\u003c/p>\n\u003cp>This is the first feature off of an album MADlines plans to drop in the summer of 2020, made possible in part by the City of Oakland’s \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\" target=\"_blank\" rel=\"noopener\">Individual Artist Grant Program\u003c/a>.\u003c/p>\n\u003cp>MADlines says the driving concept behind her Nov. 8 performance is related to other arts projects in the Bay Area, such as \u003ca href=\"https://www.kqed.org/arts/12959678/a-house-full-of-black-women-a-week-of-rest\" target=\"_blank\" rel=\"noopener\">House/Full of BlackWomen\u003c/a>, \u003ca href=\"https://www.asharaekundayogallery.com/black-womxn-dreaming-divine-the-darkness-march-april-2019\" target=\"_blank\" rel=\"noopener\">Black Womxn Dreaming\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13806395/an-expanded-vision-of-healing-and-divine-black-femininity\" target=\"_blank\" rel=\"noopener\">The Black Woman is God\u003c/a>, which is curated by Karen Senefru, who makes a cameo in MADlines’ new video. “So, it’s not standing on its own,” says MADlines. “It’s a part of a larger push about the way we’re responding to society.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>MADlines says the evening will be a celebration of black women’s divinity, as Oakland’s own \u003ca href=\"https://www.melissajonesartist.com/\" target=\"_blank\" rel=\"noopener\">Melissa Jones\u003c/a> will perform, along with \u003ca href=\"http://www.indigomateo.com/\" target=\"_blank\" rel=\"noopener\">Indigo Mateo\u003c/a>. The event starts at 6:30pm and is free for all ages. \u003ca href=\"https://www.eventbrite.com/e/contagious-spirit-god-talk-tickets-75964494849\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Janis,' Joplin Shown to Be a Tangle of Talents, Contradictions and Mythology",
"headTitle": "In ‘Janis,’ Joplin Shown to Be a Tangle of Talents, Contradictions and Mythology | KQED",
"content": "\u003cp>In 1969, \u003cem>Newsweek\u003c/em> bestowed this honorific on Janis Joplin: “The first female superstar of rock music.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868998 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM.png\" alt=\"\" width=\"290\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM.png 290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM-160x241.png 160w\" sizes=\"(max-width: 290px) 100vw, 290px\">It’s also a claim that Holly George-Warren sets out to prove in \u003cem>Janis\u003c/em>, her new biography of the iconic Texan singer who rocketed to fame after becoming the frontwoman of the San Francisco blues-rock group Big Brother and the Holding Company—only to die four years later at the age of 27, a casualty of the freewheeling ’60s, the decade she came to embody.\u003c/p>\n\u003cp>Joplin was born in 1943 in Port Arthur, Texas, where she would spend much of her brief life. As a child, her tomboy brusqueness and outspoken charm complemented her complexity of mind and spirit; Port Arthur was a segregated “cultural backwater,” according to George-Warren, that only served to heighten Joplin’s independence and curiosity. After falling under the sway of blues and rock music as a teenager, she leapt eagerly into the beatnik scene. Beat author Jack Kerouac’s \u003cem>On the Road\u003c/em> floored her in 1957, and its exploration of freedom and countercultural notions set her soul ablaze. From there, sex and drugs became staples of her life, a progression that often feels formulaic in accounts of Boomer coming-of-age. But George-Warren’s deep research, eye for detail, illuminating contextualization, and clarity of delivery all make for a far more rounded and convincing image of Joplin’s precocity in the heady decades of post-World War II America.\u003c/p>\n\u003cp>But it was Joplin’s pilgrimage to San Francisco in 1966 to join the up-and-coming psychedelic band Big Brother and the Holding Company that catapulted her to the pop-culture pantheon. Her gritty, gutsy, godlike voice didn’t mesh well with the group at first; they had to bend their more progressive tendencies in order to accommodate their new singer’s far more direct and impactful sound. Big Brother’s searing appearance at the Monterey Pop Festival in the summer of 1967 cemented her stardom, and their hit single “Piece of My Heart,” an Erma Franklin cover, from their best-selling 1968 album \u003cem>Cheap Thrills \u003c/em>became an anthem for hippies and feminists everywhere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7uG2gYE5KOs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George-Warren traces this rise meticulously, citing contemporaneous interviews as well as fresh sources in order to paint Joplin’s ascendance far more fully than has ever been accomplished before. And her riotous anecdotes splash color on the canvas, from the time Joplin started a massive bar-brawl thanks to her sensuous dancing one night in Austin to the snapshot of her getting into a fistfight with one of her heroes, Jerry Lee Lewis.\u003c/p>\n\u003cp>George-Warren’s prior work includes biographies of other troubled rockers with cult followings, most recently Big Star’s Alex Chilton in her book \u003ca href=\"https://www.npr.org/2014/03/27/289062063/the-backwards-life-of-alex-chilton-in-destruction\">\u003cem>A Man Called Destruction\u003c/em>\u003c/a>. Her knack for capturing conflicted subjects is uncanny; in \u003cem>Janis\u003c/em>, she digs into Joplin’s layered emotions, fluid sexuality, unshakably low self-esteem, and unquenchable urge to transcend her racist, restricted Port Arthur upbringing. Joplin left Big Brother in early 1969 to strike out on her own, and her solo career accelerated everything in her life, good and bad, toward a terminal velocity.\u003c/p>\n\u003cp>\u003cem>Janis \u003c/em>captivatingly tells the story of her two solo albums, 1969’s \u003cem>I Got Dem Ol’ Kozmic Blues Again Mama!\u003c/em> and 1971’s posthumous \u003cem>Pearl\u003c/em>, as well as the latter’s chart-topping hit “Me and Bobby McGee,” rendering the backdrop and behind-the-scenes genesis of these recordings with crystalline insight. Joplin’s death on Oct. 4, 1970, of an accidental heroin overdose seems like a tragic inevitability, the byproduct of a life spent leaning into the boundaries of expression and art. At \u003cem>Janis\u003c/em>‘s heart is Joplin’s voice—a ragged, sensitive, elemental howl that the singer herself explained by saying, “I just opened my mouth and that’s what I sounded like.”\u003c/p>\n\u003cp>“Domestic earth mother” versus “tough biker chick”: By book’s end, George-Warren has boiled down Joplin’s complicated psyche into this simple, vivid dichotomy. But the author is far from reductive as she does so. In encapsulating Joplin’s dual nature so concisely, George-Warren delivers the definitive portrait of one of pop culture’s most misunderstood martyrs. Joplin was both a product and an architect of her times; in dwelling so sympathetically on her tangle of talents, contradictions, and mythology, \u003cem>Janis \u003c/em>brings one of rock’s most enduring legends down to earth while holding her justly up to the light.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jason Heller is a Hugo Award-winning editor and author of the new book \u003c/em>Strange Stars: David Bowie, Pop Music, and the Decade Sci-Fi Exploded. \u003cem>He’s on Twitter: \u003c/em>\u003ca href=\"https://twitter.com/jason_m_heller\">\u003cem>@jason_m_heller\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Janis%2C%27+Joplin+Shown+To+Be+A+Tangle+Of+Talents%2C+Contradictions+And+Mythology&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1969, \u003cem>Newsweek\u003c/em> bestowed this honorific on Janis Joplin: “The first female superstar of rock music.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868998 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM.png\" alt=\"\" width=\"290\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM.png 290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-28-at-12.11.17-PM-160x241.png 160w\" sizes=\"(max-width: 290px) 100vw, 290px\">It’s also a claim that Holly George-Warren sets out to prove in \u003cem>Janis\u003c/em>, her new biography of the iconic Texan singer who rocketed to fame after becoming the frontwoman of the San Francisco blues-rock group Big Brother and the Holding Company—only to die four years later at the age of 27, a casualty of the freewheeling ’60s, the decade she came to embody.\u003c/p>\n\u003cp>Joplin was born in 1943 in Port Arthur, Texas, where she would spend much of her brief life. As a child, her tomboy brusqueness and outspoken charm complemented her complexity of mind and spirit; Port Arthur was a segregated “cultural backwater,” according to George-Warren, that only served to heighten Joplin’s independence and curiosity. After falling under the sway of blues and rock music as a teenager, she leapt eagerly into the beatnik scene. Beat author Jack Kerouac’s \u003cem>On the Road\u003c/em> floored her in 1957, and its exploration of freedom and countercultural notions set her soul ablaze. From there, sex and drugs became staples of her life, a progression that often feels formulaic in accounts of Boomer coming-of-age. But George-Warren’s deep research, eye for detail, illuminating contextualization, and clarity of delivery all make for a far more rounded and convincing image of Joplin’s precocity in the heady decades of post-World War II America.\u003c/p>\n\u003cp>But it was Joplin’s pilgrimage to San Francisco in 1966 to join the up-and-coming psychedelic band Big Brother and the Holding Company that catapulted her to the pop-culture pantheon. Her gritty, gutsy, godlike voice didn’t mesh well with the group at first; they had to bend their more progressive tendencies in order to accommodate their new singer’s far more direct and impactful sound. Big Brother’s searing appearance at the Monterey Pop Festival in the summer of 1967 cemented her stardom, and their hit single “Piece of My Heart,” an Erma Franklin cover, from their best-selling 1968 album \u003cem>Cheap Thrills \u003c/em>became an anthem for hippies and feminists everywhere.\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/7uG2gYE5KOs'\n title='//www.youtube.com/embed/7uG2gYE5KOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George-Warren traces this rise meticulously, citing contemporaneous interviews as well as fresh sources in order to paint Joplin’s ascendance far more fully than has ever been accomplished before. And her riotous anecdotes splash color on the canvas, from the time Joplin started a massive bar-brawl thanks to her sensuous dancing one night in Austin to the snapshot of her getting into a fistfight with one of her heroes, Jerry Lee Lewis.\u003c/p>\n\u003cp>George-Warren’s prior work includes biographies of other troubled rockers with cult followings, most recently Big Star’s Alex Chilton in her book \u003ca href=\"https://www.npr.org/2014/03/27/289062063/the-backwards-life-of-alex-chilton-in-destruction\">\u003cem>A Man Called Destruction\u003c/em>\u003c/a>. Her knack for capturing conflicted subjects is uncanny; in \u003cem>Janis\u003c/em>, she digs into Joplin’s layered emotions, fluid sexuality, unshakably low self-esteem, and unquenchable urge to transcend her racist, restricted Port Arthur upbringing. Joplin left Big Brother in early 1969 to strike out on her own, and her solo career accelerated everything in her life, good and bad, toward a terminal velocity.\u003c/p>\n\u003cp>\u003cem>Janis \u003c/em>captivatingly tells the story of her two solo albums, 1969’s \u003cem>I Got Dem Ol’ Kozmic Blues Again Mama!\u003c/em> and 1971’s posthumous \u003cem>Pearl\u003c/em>, as well as the latter’s chart-topping hit “Me and Bobby McGee,” rendering the backdrop and behind-the-scenes genesis of these recordings with crystalline insight. Joplin’s death on Oct. 4, 1970, of an accidental heroin overdose seems like a tragic inevitability, the byproduct of a life spent leaning into the boundaries of expression and art. At \u003cem>Janis\u003c/em>‘s heart is Joplin’s voice—a ragged, sensitive, elemental howl that the singer herself explained by saying, “I just opened my mouth and that’s what I sounded like.”\u003c/p>\n\u003cp>“Domestic earth mother” versus “tough biker chick”: By book’s end, George-Warren has boiled down Joplin’s complicated psyche into this simple, vivid dichotomy. But the author is far from reductive as she does so. In encapsulating Joplin’s dual nature so concisely, George-Warren delivers the definitive portrait of one of pop culture’s most misunderstood martyrs. Joplin was both a product and an architect of her times; in dwelling so sympathetically on her tangle of talents, contradictions, and mythology, \u003cem>Janis \u003c/em>brings one of rock’s most enduring legends down to earth while holding her justly up to the light.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jason Heller is a Hugo Award-winning editor and author of the new book \u003c/em>Strange Stars: David Bowie, Pop Music, and the Decade Sci-Fi Exploded. \u003cem>He’s on Twitter: \u003c/em>\u003ca href=\"https://twitter.com/jason_m_heller\">\u003cem>@jason_m_heller\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Janis%2C%27+Joplin+Shown+To+Be+A+Tangle+Of+Talents%2C+Contradictions+And+Mythology&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tom DeLonge is UFO-Hunting With the Army Now Because This Timeline is Nuts",
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"content": "\u003cp>This month, in news confirming that we live on the most surreal timeline, Tom DeLonge (“the nasal one”) from Blink-182 joined forces with the U.S. Army to hunt for extraterrestrials.\u003c/p>\n\u003cp>It’s 2019, everyone!\u003c/p>\n\u003cp>The bizarro development came after DeLonge’s \u003ca href=\"https://dpo.tothestarsacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">UFO research organization\u003c/a> (why \u003cem>wouldn’t\u003c/em> he have one of those?) published footage which the Navy later confirmed contained at least one unidentified flying object. DeLonge also says that his research team is currently running tests on an “\u003ca href=\"https://www.vice.com/en_us/article/xwnezk/tom-delonges-ufo-organization-says-its-obtained-exotic-metals-unknown-to-science\" target=\"_blank\" rel=\"noopener noreferrer\">exotic material\u003c/a>” he believes came from a spacecraft.\u003c/p>\n\u003cp>That last part apparently proved too tempting for the Army. Now, their Combat Capabilities Development Command wants to spend the next five years helping DeLonge’s team of 12 researchers (including ex-government employees) to develop E.T.-hunting equipment, with the goal of using it to enhance Army “ground vehicles.” If you need proof, you can see the\u003ca href=\"https://docs.google.com/viewerng/viewer?url=https://documents2.theblackvault.com/documents/army/TTSA-ARMY-CRADA.pdf&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> contract\u003c/a> in full (signed by DeLonge’s sister, Kari) online.\u003c/p>\n\u003cp>When it comes to ideas about outer space, Tom DeLonge has lived on his own planet for many years now. His obsession with aliens, in particular, has been present for his entire career. In 1999, Blink’s breakthrough album \u003cem>Enema of the State\u003c/em> featured the track “\u003ca href=\"https://www.youtube.com/watch?v=Yda38oRlEfM\" target=\"_blank\" rel=\"noopener noreferrer\">Aliens Exist\u003c/a>,” on which DeLonge described being abducted. “What if people knew that these were real?” he sang, in no way indicating that he would one day set out to prove that himself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things ramped up further in 2005, when DeLonge put together the band Angels and Airwaves. In their very first video, for “The Adventure,” the quartet hurtled through the cosmos in a spaceship. The following year, he named his firstborn Jonas Rocket.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JMl8cQjBfqk\u003c/p>\n\u003cp>Since then, DeLonge has released a children’s book called \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/18877915-the-lonely-astronaut-on-christmas-eve\" target=\"_blank\" rel=\"noopener noreferrer\">The Lonely Astronaut on Christmas Eve\u003c/a>, \u003c/em>a paranormal graphic novel for teens called \u003ca href=\"https://www.google.com/books/edition/Strange_Times/pWCsDQAAQBAJ?hl=en&gbpv=1&printsec=frontcover\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Strange Times \u003c/em>\u003c/a>(that’s apparently being turned into a \u003ca href=\"https://www.rollingstone.com/music/music-news/tom-delonge-strange-times-tv-series-766982/\" target=\"_blank\" rel=\"noopener noreferrer\">series for TBS\u003c/a>) and \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/tom-delonge-may-have-had-an-alien-encounter-at-area-51-2015192/\" target=\"_blank\" rel=\"noopener noreferrer\">camped out\u003c/a> at Area 51.\u003c/p>\n\u003cp>In 2015, DeLonge told \u003ca href=\"https://www.papermag.com/tom-delonge-ufos-interview-1427513207.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paper\u003c/em> \u003c/a>that he was in touch with “sources from the government,” adding that his phone had been tapped and that he was aware of mind-control experiments being used against members of the public. “The same technology that we use to find oil underground,” he said, “can zap somebody at the same frequency that the brain operates on, and it can cause some really horrific things to happen.”\u003c/p>\n\u003cp>By 2016, DeLonge was fully immersed in the life of a UFOlogist, telling \u003ca href=\"https://www.mic.com/articles/140196/why-tom-de-longe-took-a-break-from-blink-182-to-expose-the-truth-about-aliens\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mic\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>When you’re an individual like me, dealing with something that’s a national security issue, and you’re being gifted with the opportunity to communicate something you’ve been passionate about your whole life—something that has the opportunity to change the world over time—being a small part of that is enormously important for my life path. But I can’t do everything. I can’t tour nine months out of the year with enough time to do the enormity of what I’m setting out to do.\u003c/p>\u003c/blockquote>\n\u003cp>Before the Army got involved, DeLonge received a major endorsement for his UFOlogy work earlier this year, when the History Channel paired with his organization for a series titled \u003ca href=\"https://www.history.com/shows/unidentified-inside-americas-ufo-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unidentified: Inside America’s UFO Investigation\u003c/em>\u003c/a>. The series shone a spotlight on experts and witnesses, one of whom noted, “If these things are hostile, we’re screwed.”\u003c/p>\n\u003cp>Truth be told, DeLonge and the Army getting together to try and save the planet is definitely not the worst thing that’s happened. If there’s even the vaguest of chances they’ll introduce us to extraterrestrial lifeforms in the next few years, let’s just roll with it and see what they come up with. Nothing to lose at this point, right?\u003c/p>\n\u003cp>We’ll leave you with words from DeLonge himself as he explains his mission. Buckle up, because apparently nothing less than “chang[ing] the path humanity is on” and “the world for my kids, and everyone else’s” will do:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=er1jVsxg3sc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month, in news confirming that we live on the most surreal timeline, Tom DeLonge (“the nasal one”) from Blink-182 joined forces with the U.S. Army to hunt for extraterrestrials.\u003c/p>\n\u003cp>It’s 2019, everyone!\u003c/p>\n\u003cp>The bizarro development came after DeLonge’s \u003ca href=\"https://dpo.tothestarsacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">UFO research organization\u003c/a> (why \u003cem>wouldn’t\u003c/em> he have one of those?) published footage which the Navy later confirmed contained at least one unidentified flying object. DeLonge also says that his research team is currently running tests on an “\u003ca href=\"https://www.vice.com/en_us/article/xwnezk/tom-delonges-ufo-organization-says-its-obtained-exotic-metals-unknown-to-science\" target=\"_blank\" rel=\"noopener noreferrer\">exotic material\u003c/a>” he believes came from a spacecraft.\u003c/p>\n\u003cp>That last part apparently proved too tempting for the Army. Now, their Combat Capabilities Development Command wants to spend the next five years helping DeLonge’s team of 12 researchers (including ex-government employees) to develop E.T.-hunting equipment, with the goal of using it to enhance Army “ground vehicles.” If you need proof, you can see the\u003ca href=\"https://docs.google.com/viewerng/viewer?url=https://documents2.theblackvault.com/documents/army/TTSA-ARMY-CRADA.pdf&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> contract\u003c/a> in full (signed by DeLonge’s sister, Kari) online.\u003c/p>\n\u003cp>When it comes to ideas about outer space, Tom DeLonge has lived on his own planet for many years now. His obsession with aliens, in particular, has been present for his entire career. In 1999, Blink’s breakthrough album \u003cem>Enema of the State\u003c/em> featured the track “\u003ca href=\"https://www.youtube.com/watch?v=Yda38oRlEfM\" target=\"_blank\" rel=\"noopener noreferrer\">Aliens Exist\u003c/a>,” on which DeLonge described being abducted. “What if people knew that these were real?” he sang, in no way indicating that he would one day set out to prove that himself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things ramped up further in 2005, when DeLonge put together the band Angels and Airwaves. In their very first video, for “The Adventure,” the quartet hurtled through the cosmos in a spaceship. The following year, he named his firstborn Jonas Rocket.\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/JMl8cQjBfqk'\n title='//www.youtube.com/embed/JMl8cQjBfqk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since then, DeLonge has released a children’s book called \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/18877915-the-lonely-astronaut-on-christmas-eve\" target=\"_blank\" rel=\"noopener noreferrer\">The Lonely Astronaut on Christmas Eve\u003c/a>, \u003c/em>a paranormal graphic novel for teens called \u003ca href=\"https://www.google.com/books/edition/Strange_Times/pWCsDQAAQBAJ?hl=en&gbpv=1&printsec=frontcover\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Strange Times \u003c/em>\u003c/a>(that’s apparently being turned into a \u003ca href=\"https://www.rollingstone.com/music/music-news/tom-delonge-strange-times-tv-series-766982/\" target=\"_blank\" rel=\"noopener noreferrer\">series for TBS\u003c/a>) and \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/tom-delonge-may-have-had-an-alien-encounter-at-area-51-2015192/\" target=\"_blank\" rel=\"noopener noreferrer\">camped out\u003c/a> at Area 51.\u003c/p>\n\u003cp>In 2015, DeLonge told \u003ca href=\"https://www.papermag.com/tom-delonge-ufos-interview-1427513207.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paper\u003c/em> \u003c/a>that he was in touch with “sources from the government,” adding that his phone had been tapped and that he was aware of mind-control experiments being used against members of the public. “The same technology that we use to find oil underground,” he said, “can zap somebody at the same frequency that the brain operates on, and it can cause some really horrific things to happen.”\u003c/p>\n\u003cp>By 2016, DeLonge was fully immersed in the life of a UFOlogist, telling \u003ca href=\"https://www.mic.com/articles/140196/why-tom-de-longe-took-a-break-from-blink-182-to-expose-the-truth-about-aliens\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mic\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>When you’re an individual like me, dealing with something that’s a national security issue, and you’re being gifted with the opportunity to communicate something you’ve been passionate about your whole life—something that has the opportunity to change the world over time—being a small part of that is enormously important for my life path. But I can’t do everything. I can’t tour nine months out of the year with enough time to do the enormity of what I’m setting out to do.\u003c/p>\u003c/blockquote>\n\u003cp>Before the Army got involved, DeLonge received a major endorsement for his UFOlogy work earlier this year, when the History Channel paired with his organization for a series titled \u003ca href=\"https://www.history.com/shows/unidentified-inside-americas-ufo-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unidentified: Inside America’s UFO Investigation\u003c/em>\u003c/a>. The series shone a spotlight on experts and witnesses, one of whom noted, “If these things are hostile, we’re screwed.”\u003c/p>\n\u003cp>Truth be told, DeLonge and the Army getting together to try and save the planet is definitely not the worst thing that’s happened. If there’s even the vaguest of chances they’ll introduce us to extraterrestrial lifeforms in the next few years, let’s just roll with it and see what they come up with. Nothing to lose at this point, right?\u003c/p>\n\u003cp>We’ll leave you with words from DeLonge himself as he explains his mission. Buckle up, because apparently nothing less than “chang[ing] the path humanity is on” and “the world for my kids, and everyone else’s” will do:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/er1jVsxg3sc'\n title='//www.youtube.com/embed/er1jVsxg3sc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Sam Lefebvre, Rae Alexandra and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>‘Get Out’ with Live Score\u003c/strong>: The San Francisco Symphony performs a live score alongside a screening of \u003cem>Get Out\u003c/em> on the night before Halloween, and it’s basically the perfect way to get through a movie that is so damn stressful. When Rae saw \u003cem>Get Out\u003c/em> in a movie theater, the crowd was literally screaming at the screen for half the film, so, if nothing else, it might be an interesting night for the musicians. That’s on Wednesday, Oct. 30, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Get-Out.aspx\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>‘SOFT POWER’\u003c/strong>: The phrase “soft power” appeared in the Reagan era; it’s the idea that if you’re a country, instead of exerting power through threats or payments, you can attract and co-opt people through “soft” assets like culture, values and policies. SFMOMA co-opts this phrase for an impressive group show—the first from their new contemporary curatorial department—gathering artists who examine their roles as citizens and social actors. There’s a whole bunch of new commissions, an exciting change of pace in a museum often faulted for its static presentations of more canonical modernist art. \u003cem>SOFT POWER\u003c/em> opens Saturday, Oct. 26, at SFMOMA in San Francisco. \u003ca href=\"https://www.kqed.org/arts/13868797/soft-power-sfmoma-review\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tompkins Square Anniversary\u003c/strong>: The San Francisco label Tompkins Square is known in part for acoustic guitar stylists of the past and present, many of them working in the generally fingerpicked, so-called American primitive guitar tradition of figures like John Fahey. On Friday, the label celebrates its 14th anniversary with a show featuring two guitarists, Kinloch Nelson and Kendra Amalie. Tompkins Square recently released a collection of Nelson’s late 1960s recordings, as well as a new volume of its \u003cem>Imaginational Anthem\u003c/em> compilation featuring Amalie, a contemporary singer-songwriter. This is a fittingly small, intimate setting for the music. That’s on Friday, Oct. 25, at the Lost Church in San Francisco. \u003ca href=\"https://www.facebook.com/events/the-lost-church-san-francisco/tompkins-square-label-14th-anniversary-concert/722440604847436/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>DogFest Bay Area\u003c/strong>: What do you get when you mix dogs and costumes? DogFest Bay Area, a Halloween-themed festival celebrating the adorable doggos around us. There’s plenty of treats for both humans and animals, and it raises money for Canine Companions for Independence. Family-friendly and with a costume contest, it’s a totally free event, and there’s also great places around Jack London to sit, eat and dog-watch if you want to make a whole day of it. That’s on Saturday, Oct. 26, at Jack London Square in Oakland. \u003ca href=\"https://secure.cci.org/site/TR;jsessionid=00000000.app334b?fr_id=1691&pg=entry&NONCE_TOKEN=FDAEED280A9B0342D111E7C91C273613\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Nosferatu’ With Live Organ\u003c/strong>: On Halloween night, Dorothy Papadakos sits at Grace Cathedral’s giant pipe organ to accompany two movies from the silent film era: \u003cem>Nosferatu\u003c/em> (10pm) and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (7pm). We’re talking two bonafide early horror movie classics—how can you not love Max Schreck as Nosferatu? But the setting here is the thing: there are 7,466 pipes in the Grace Cathedral organ, and combined with the cathedral’s famous high ceilings, causing a seven-second echo, it’s truly going to be a sight and sound to behold. That’s on Thursday, Oct. 31, at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dr-jekyll-mr-hyde-dorothy-papadakos/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Sam Lefebvre, Rae Alexandra and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>‘Get Out’ with Live Score\u003c/strong>: The San Francisco Symphony performs a live score alongside a screening of \u003cem>Get Out\u003c/em> on the night before Halloween, and it’s basically the perfect way to get through a movie that is so damn stressful. When Rae saw \u003cem>Get Out\u003c/em> in a movie theater, the crowd was literally screaming at the screen for half the film, so, if nothing else, it might be an interesting night for the musicians. That’s on Wednesday, Oct. 30, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Get-Out.aspx\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>‘SOFT POWER’\u003c/strong>: The phrase “soft power” appeared in the Reagan era; it’s the idea that if you’re a country, instead of exerting power through threats or payments, you can attract and co-opt people through “soft” assets like culture, values and policies. SFMOMA co-opts this phrase for an impressive group show—the first from their new contemporary curatorial department—gathering artists who examine their roles as citizens and social actors. There’s a whole bunch of new commissions, an exciting change of pace in a museum often faulted for its static presentations of more canonical modernist art. \u003cem>SOFT POWER\u003c/em> opens Saturday, Oct. 26, at SFMOMA in San Francisco. \u003ca href=\"https://www.kqed.org/arts/13868797/soft-power-sfmoma-review\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tompkins Square Anniversary\u003c/strong>: The San Francisco label Tompkins Square is known in part for acoustic guitar stylists of the past and present, many of them working in the generally fingerpicked, so-called American primitive guitar tradition of figures like John Fahey. On Friday, the label celebrates its 14th anniversary with a show featuring two guitarists, Kinloch Nelson and Kendra Amalie. Tompkins Square recently released a collection of Nelson’s late 1960s recordings, as well as a new volume of its \u003cem>Imaginational Anthem\u003c/em> compilation featuring Amalie, a contemporary singer-songwriter. This is a fittingly small, intimate setting for the music. That’s on Friday, Oct. 25, at the Lost Church in San Francisco. \u003ca href=\"https://www.facebook.com/events/the-lost-church-san-francisco/tompkins-square-label-14th-anniversary-concert/722440604847436/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>DogFest Bay Area\u003c/strong>: What do you get when you mix dogs and costumes? DogFest Bay Area, a Halloween-themed festival celebrating the adorable doggos around us. There’s plenty of treats for both humans and animals, and it raises money for Canine Companions for Independence. Family-friendly and with a costume contest, it’s a totally free event, and there’s also great places around Jack London to sit, eat and dog-watch if you want to make a whole day of it. That’s on Saturday, Oct. 26, at Jack London Square in Oakland. \u003ca href=\"https://secure.cci.org/site/TR;jsessionid=00000000.app334b?fr_id=1691&pg=entry&NONCE_TOKEN=FDAEED280A9B0342D111E7C91C273613\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Nosferatu’ With Live Organ\u003c/strong>: On Halloween night, Dorothy Papadakos sits at Grace Cathedral’s giant pipe organ to accompany two movies from the silent film era: \u003cem>Nosferatu\u003c/em> (10pm) and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (7pm). We’re talking two bonafide early horror movie classics—how can you not love Max Schreck as Nosferatu? But the setting here is the thing: there are 7,466 pipes in the Grace Cathedral organ, and combined with the cathedral’s famous high ceilings, causing a seven-second echo, it’s truly going to be a sight and sound to behold. That’s on Thursday, Oct. 31, at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dr-jekyll-mr-hyde-dorothy-papadakos/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>akland used to be the sort of city where two young, queer boys from Arizona and Alabama—incidentally also pen pals—could pack up and move. Once there, they’d make music, art and friends. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Artists Seth Bogart, raised in Arizona, and Brontez Purnell, Alabamian by birth, met on the message board of record label Kill Rock Stars and struck up a correspondence, mailing each other letters from their respective conservative home states. In the late 90s, Bogart moved to Oakland and in 2002, Purnell followed suit, soon joining Bogart’s electro-punk band \u003ca href=\"https://en.wikipedia.org/wiki/Gravy_Train!!!!\" rel=\"noopener\" target=\"_blank\">Gravy Train!!!!\u003c/a> About a decade later, Purnell met Jeff Cheung, who grew up in the East Bay, when Cheung performed with his own band Meat Market at the West Oakland warehouse where Purnell lived. (Purnell and Brontez were well known to Cheung; when the younger artist was in high school, he saw Gravy Train!!!! perform at San Francisco’s Bottom of the Hill.)\u003c/p>\n\u003cfigure id=\"attachment_13868820\" class=\"wp-caption alignright\" style=\"max-width: 748px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg\" alt=\"Brontez Purnell-made poster for 'Pansy Twist.'\" width=\"748\" height=\"960\" class=\"size-full wp-image-13868820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg 748w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press-160x205.jpg 160w\" sizes=\"(max-width: 748px) 100vw, 748px\">\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell-made poster for ‘Pansy Twist.’ \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This Friday all three multidisciplinary artists will show print, film and sculpture works at Oakland’s Johansson Projects under the banner \u003cem>\u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Pansy Twist: An Incomplete Survey/Mixtape of Contemporary Riot Boi Art\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>“I don’t know too many places that have this many [queer] rockers who also share in community and whose voices are distinctly in conversation with each other,” Purnell says of the city that brought the three of them together. \u003c/p>\n\u003cp>“It was kind of a different place back then,” Bogart tells me over the phone from Los Angeles, his home base since 2011. “It was a lot more affordable and you could have a $300 rent if you lived with people.” \u003c/p>\n\u003cp>Today, it’s hard to say if Oakland is the sort of place that offers the same possibilities of community and convergence it did even just five years ago. What connections have forged in the waves of new residents recently arrived to town? How much has been lost along with those who were priced out of their homes? When did this attrition start? Such questions loom large for those invested in Oakland’s cultural identity—but on Friday night, the focus will be on the lovingly entangled webs Bogart, Purnell and Cheung have spun. \u003c/p>\n\u003cp>Since their respective arrivals to Oakland, Bogart and Purnell have forged careers in music and art, making waves far beyond the Bay Area. Alongside his ongoing musical project, \u003ca href=\"https://www.facebook.com/hunxandhispunx/\" rel=\"noopener\" target=\"_blank\">Hunx and His Punx\u003c/a>, Bogart’s artwork and multimedia performances have been featured in solo and group shows at galleries and museums in New York, Chicago and Detroit. Through his label \u003ca href=\"https://wackywacko.com/\" rel=\"noopener\" target=\"_blank\">Wacky Wacko\u003c/a>, Bogart also releases bright, mischievous ceramics and clothes; he collaborated with Cheung in 2018 on a button-up shirt patterned with Cheung’s signature nudes. \u003c/p>\n\u003cfigure id=\"attachment_13868826\" class=\"wp-caption aligncenter\" style=\"max-width: 3718px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/bogart.jpeg\" alt=\"Ceramics by Seth Bogart, 2019.\" width=\"3718\" height=\"2569\" class=\"size-full wp-image-13868826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart.jpeg 3718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1200x829.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1920x1327.jpeg 1920w\" sizes=\"(max-width: 3718px) 100vw, 3718px\">\u003cfigcaption class=\"wp-caption-text\">Ceramics by Seth Bogart, 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hopping from one medium to the next came naturally to Bogart. “I started making clothes based on making merchandise for my band as a way to make extra money so I could quit my job,” he says. “I’m very thankful that I can move from one thing to another because sometimes, one of those things will really suck.” \u003c/p>\n\u003cp>Like Bogart, Purnell’s artistic expression crosses from one format to another. In 2017, he published his debut novel, \u003cem>\u003ca href=\"https://www.feministpress.org/books-n-z/since-i-laid-my-burden-down\" rel=\"noopener\" target=\"_blank\">Since I Laid My Burden Down\u003c/a>\u003c/em>, which went on to win the Whiting Prize for notable emerging writers. That same year his \u003ca href=\"http://www.brontezpurnelldancecompany.com/\" rel=\"noopener\" target=\"_blank\">eponymous dance company\u003c/a> debuted \u003cem>Chronic: A Dance about Marijuana\u003c/em> at a festival held by Bill T. Jones’s New York Live Arts. The show later played in Hamburg and made its Oakland debut earlier this month at \u003cem>Eternal Now\u003c/em>, a psychedelic variety show that, full disclaimer, this writer helped produce. (Shortly after that performance, Purnell declared “Oakland is back!” Though there’s an argument to whether the city is truly “back,” I won’t dispute the relative dormancy of its arts scene.)\u003c/p>\n\u003cp>These days, heightened safety measures and scarcity of space have shepherded in a new era in the Oakland underground scene. Meeting a kindred spirit at a warehouse venue is far less likely. Some gatherings have moved to formal spaces with security guards, lines and permits, while others are held outdoors, preserving the impermanence and fugitivity of the underground.\u003c/p>\n\u003cfigure id=\"attachment_13868827\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg\" alt=\"Jeffrey Cheung, 'Complete,' 2019.\" width=\"1200\" height=\"1490\" class=\"size-full wp-image-13868827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-966x1200.jpg 966w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung, ‘Complete,’ 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Rockridge BART parking lot, for example, you might now find Cheung and Gabriel Ramirez’s Unity Skate meetups which, along with \u003ca href=\"https://www.unityzines.com/\" rel=\"noopener\" target=\"_blank\">Unity Press\u003c/a>, center accessible learning and joy for queer and trans folks. Cheung credits a free printmaking class led by Katie Gilmartin at San Francisco’s SOMArts as an inspiration for the work he does now with Unity. \u003c/p>\n\u003cp>“There were a lot of different creative scenes and spaces that I think were really inspiring to me, and felt like I could really express myself how I wanted,” he says of growing up in Oakland and taking classes in San Francisco. “Being around other young queer folks and having the resources to learn printmaking for free was amazing. I feel like these types of resources and spaces are harder to find in the Bay and are even more important to have.”\u003c/p>\n\u003cp>In his solo work as an artist, Cheung paints canvases of nude figures, tender and impish and always finished with a wink. His paintings have been included in shows both nationally and internationally. For Cheung, even these moments of individual recognition are opportunities to build community: His exhibitions never seem to pass without a Unity Skate meetup and skateboard giveaway. \u003c/p>\n\u003cp>https://www.instagram.com/p/B35RmI7JMul/\u003c/p>\n\u003cp>\u003cem>Pansy Twist\u003c/em> is a name borrowed from the \u003ca href=\"https://www.youtube.com/watch?v=I_kGP-AlEuk\" rel=\"noopener\" target=\"_blank\">title of a song\u003c/a> by London riot grrrl band Huggy Bear. “I think it’s a call to queer action and a call to crime,” Purnell says of the song. “I used to listen to it when I was a teenager and I thought it was the coolest song ever.” At Johansson Projects, the exhibition version of \u003cem>Pansy Twist\u003c/em> offers its own compelling call to action in its offer of D.I.T., or “do it together” (compared to D.I.Y.’s plea to “do it yourself”)—a celebration of the possibilities of community. \u003c/p>\n\u003cp>As Purnell puts it: “We hope somebody sees it and has a \u003cem>Pansy Twist\u003c/em> in their town.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Pansy Twists’ is on view at Johansson Projects Oct. 25, 2019–Jan. 4, 2020 with a reception on Saturday, Nov. 1. \u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"startTimeString": "Oct. 25, 2019–Jan. 4, 2020",
"venueName": "Johansson Projects",
"venueAddress": "2300 Telegraph Ave., Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>akland used to be the sort of city where two young, queer boys from Arizona and Alabama—incidentally also pen pals—could pack up and move. Once there, they’d make music, art and friends. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Artists Seth Bogart, raised in Arizona, and Brontez Purnell, Alabamian by birth, met on the message board of record label Kill Rock Stars and struck up a correspondence, mailing each other letters from their respective conservative home states. In the late 90s, Bogart moved to Oakland and in 2002, Purnell followed suit, soon joining Bogart’s electro-punk band \u003ca href=\"https://en.wikipedia.org/wiki/Gravy_Train!!!!\" rel=\"noopener\" target=\"_blank\">Gravy Train!!!!\u003c/a> About a decade later, Purnell met Jeff Cheung, who grew up in the East Bay, when Cheung performed with his own band Meat Market at the West Oakland warehouse where Purnell lived. (Purnell and Brontez were well known to Cheung; when the younger artist was in high school, he saw Gravy Train!!!! perform at San Francisco’s Bottom of the Hill.)\u003c/p>\n\u003cfigure id=\"attachment_13868820\" class=\"wp-caption alignright\" style=\"max-width: 748px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg\" alt=\"Brontez Purnell-made poster for 'Pansy Twist.'\" width=\"748\" height=\"960\" class=\"size-full wp-image-13868820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg 748w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press-160x205.jpg 160w\" sizes=\"(max-width: 748px) 100vw, 748px\">\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell-made poster for ‘Pansy Twist.’ \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This Friday all three multidisciplinary artists will show print, film and sculpture works at Oakland’s Johansson Projects under the banner \u003cem>\u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Pansy Twist: An Incomplete Survey/Mixtape of Contemporary Riot Boi Art\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>“I don’t know too many places that have this many [queer] rockers who also share in community and whose voices are distinctly in conversation with each other,” Purnell says of the city that brought the three of them together. \u003c/p>\n\u003cp>“It was kind of a different place back then,” Bogart tells me over the phone from Los Angeles, his home base since 2011. “It was a lot more affordable and you could have a $300 rent if you lived with people.” \u003c/p>\n\u003cp>Today, it’s hard to say if Oakland is the sort of place that offers the same possibilities of community and convergence it did even just five years ago. What connections have forged in the waves of new residents recently arrived to town? How much has been lost along with those who were priced out of their homes? When did this attrition start? Such questions loom large for those invested in Oakland’s cultural identity—but on Friday night, the focus will be on the lovingly entangled webs Bogart, Purnell and Cheung have spun. \u003c/p>\n\u003cp>Since their respective arrivals to Oakland, Bogart and Purnell have forged careers in music and art, making waves far beyond the Bay Area. Alongside his ongoing musical project, \u003ca href=\"https://www.facebook.com/hunxandhispunx/\" rel=\"noopener\" target=\"_blank\">Hunx and His Punx\u003c/a>, Bogart’s artwork and multimedia performances have been featured in solo and group shows at galleries and museums in New York, Chicago and Detroit. Through his label \u003ca href=\"https://wackywacko.com/\" rel=\"noopener\" target=\"_blank\">Wacky Wacko\u003c/a>, Bogart also releases bright, mischievous ceramics and clothes; he collaborated with Cheung in 2018 on a button-up shirt patterned with Cheung’s signature nudes. \u003c/p>\n\u003cfigure id=\"attachment_13868826\" class=\"wp-caption aligncenter\" style=\"max-width: 3718px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/bogart.jpeg\" alt=\"Ceramics by Seth Bogart, 2019.\" width=\"3718\" height=\"2569\" class=\"size-full wp-image-13868826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart.jpeg 3718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1200x829.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1920x1327.jpeg 1920w\" sizes=\"(max-width: 3718px) 100vw, 3718px\">\u003cfigcaption class=\"wp-caption-text\">Ceramics by Seth Bogart, 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hopping from one medium to the next came naturally to Bogart. “I started making clothes based on making merchandise for my band as a way to make extra money so I could quit my job,” he says. “I’m very thankful that I can move from one thing to another because sometimes, one of those things will really suck.” \u003c/p>\n\u003cp>Like Bogart, Purnell’s artistic expression crosses from one format to another. In 2017, he published his debut novel, \u003cem>\u003ca href=\"https://www.feministpress.org/books-n-z/since-i-laid-my-burden-down\" rel=\"noopener\" target=\"_blank\">Since I Laid My Burden Down\u003c/a>\u003c/em>, which went on to win the Whiting Prize for notable emerging writers. That same year his \u003ca href=\"http://www.brontezpurnelldancecompany.com/\" rel=\"noopener\" target=\"_blank\">eponymous dance company\u003c/a> debuted \u003cem>Chronic: A Dance about Marijuana\u003c/em> at a festival held by Bill T. Jones’s New York Live Arts. The show later played in Hamburg and made its Oakland debut earlier this month at \u003cem>Eternal Now\u003c/em>, a psychedelic variety show that, full disclaimer, this writer helped produce. (Shortly after that performance, Purnell declared “Oakland is back!” Though there’s an argument to whether the city is truly “back,” I won’t dispute the relative dormancy of its arts scene.)\u003c/p>\n\u003cp>These days, heightened safety measures and scarcity of space have shepherded in a new era in the Oakland underground scene. Meeting a kindred spirit at a warehouse venue is far less likely. Some gatherings have moved to formal spaces with security guards, lines and permits, while others are held outdoors, preserving the impermanence and fugitivity of the underground.\u003c/p>\n\u003cfigure id=\"attachment_13868827\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg\" alt=\"Jeffrey Cheung, 'Complete,' 2019.\" width=\"1200\" height=\"1490\" class=\"size-full wp-image-13868827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-966x1200.jpg 966w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung, ‘Complete,’ 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Rockridge BART parking lot, for example, you might now find Cheung and Gabriel Ramirez’s Unity Skate meetups which, along with \u003ca href=\"https://www.unityzines.com/\" rel=\"noopener\" target=\"_blank\">Unity Press\u003c/a>, center accessible learning and joy for queer and trans folks. Cheung credits a free printmaking class led by Katie Gilmartin at San Francisco’s SOMArts as an inspiration for the work he does now with Unity. \u003c/p>\n\u003cp>“There were a lot of different creative scenes and spaces that I think were really inspiring to me, and felt like I could really express myself how I wanted,” he says of growing up in Oakland and taking classes in San Francisco. “Being around other young queer folks and having the resources to learn printmaking for free was amazing. I feel like these types of resources and spaces are harder to find in the Bay and are even more important to have.”\u003c/p>\n\u003cp>In his solo work as an artist, Cheung paints canvases of nude figures, tender and impish and always finished with a wink. His paintings have been included in shows both nationally and internationally. For Cheung, even these moments of individual recognition are opportunities to build community: His exhibitions never seem to pass without a Unity Skate meetup and skateboard giveaway. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Pansy Twist\u003c/em> is a name borrowed from the \u003ca href=\"https://www.youtube.com/watch?v=I_kGP-AlEuk\" rel=\"noopener\" target=\"_blank\">title of a song\u003c/a> by London riot grrrl band Huggy Bear. “I think it’s a call to queer action and a call to crime,” Purnell says of the song. “I used to listen to it when I was a teenager and I thought it was the coolest song ever.” At Johansson Projects, the exhibition version of \u003cem>Pansy Twist\u003c/em> offers its own compelling call to action in its offer of D.I.T., or “do it together” (compared to D.I.Y.’s plea to “do it yourself”)—a celebration of the possibilities of community. \u003c/p>\n\u003cp>As Purnell puts it: “We hope somebody sees it and has a \u003cem>Pansy Twist\u003c/em> in their town.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Pansy Twists’ is on view at Johansson Projects Oct. 25, 2019–Jan. 4, 2020 with a reception on Saturday, Nov. 1. \u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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