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"content": "\u003cp>In 2005, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/live-in-oakland\" target=\"_blank\" rel=\"noopener\">Dax Pierson\u003c/a> was on tour as keyboardist with \u003ca href=\"https://www.youtube.com/watch?v=67eos8awdaQ\" target=\"_blank\" rel=\"noopener\">Subtle\u003c/a>, an Anticon Records-affiliated dance-punk-meets-hip-hop sextet, when tragedy struck. The band’s tour van slipped on black ice on a freeway in Iowa. After the car flipped upside down, Pierson’s seatbelt gave out, and he fell on his head.\u003c/p>\n\u003cp>The resulting injuries rendered Pierson partially paralyzed in all four limbs—including in his fingertips.\u003c/p>\n\u003cp>Now, 14 years later, Pierson has released his solo debut under his real name, and his first album in 11 years. \u003cem>\u003ca href=\"https://ratskinrecords.bandcamp.com/album/live-in-oakland\" target=\"_blank\" rel=\"noopener\">Live in Oakland\u003c/a>\u003c/em>, out this month on Ratskin Records, introduces Pierson’s new style of freeform electronic compositions with a sprawling, ocean-like musical topography. With recordings of doctor’s visits and his wheelchair’s mechanical noise interspersed among droning synths and dramatic, reverb-heavy percussion, Pierson lets listeners into his recovery process, where the emotional challenges have sometimes been as heavy as the physical ones.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=328861811/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>On the opening track, Pierson repeats the warning like a mantra: “Don’t take your physical abilities for granted. For you could lose them—at the snap of a neck.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was something I was constantly thinking and saying to myself for a while,” Pierson says when I meet him at his sunny home studio in the Oakland hills, where warm, golden-hour light floods his nook of cables, controllers and towering shelves filled with vinyl records. “When I started getting those sets together, I wanted to incorporate my injury and my life into my work.”\u003c/p>\n\u003cp>[pullquote size=large citation='Dax Pierson']“When they introduced the iPad, that’s when I knew there was a real possibility to make serious music, because I had a way to interact by touch instead of having to press keys, play chords and turn knobs.”[/pullquote]\u003c/p>\n\u003cp>The compositions on \u003cem>Live in Oakland\u003c/em> were recorded during Pierson’s live shows from the last several years. At the now-defunct underground venue LCM, a West Oakland church-turned-noise music haven, and the art gallery ProArts, Pierson rediscovered himself as a performer before a supportive, tight-knit audience that had been awaiting his return since his Subtle days. [aside postid='arts_13861579']\u003c/p>\n\u003cp>Indeed, the underground music community was an essential support system when Pierson got back to Oakland after eight months in a Houston rehabilitation hospital following the accident. When he returned, his friends, peers in the music scene and coworkers at Amoeba Music (where the other members of Subtle also worked at the time) organized benefit shows and fundraisers to get him a caregiver. They also formed an apartment-hunting squad that helped him get set up at his own place.\u003c/p>\n\u003cp>“I was getting a lot of support from the Amoeba family,” says Pierson. “And thankfully the music community, like the way they have rallied around other types of events like Ghost Ship, they were able to rally together and have benefits. They helped me that first year.”\u003c/p>\n\u003cfigure id=\"attachment_13861811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861811\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-800x533.jpg\" alt=\"Dax Pierson.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dax Pierson. \u003ccite>(Mike Daddona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After getting back to Oakland, Pierson tried playing keyboard by hitting the keys with pointers, but found his physical abilities decreasing with time. Doctors offered little insight or emotional support, as heard on the track “Treading Water,” which mixes in a recording of Pierson’s doctor feebly attempting to reassure him about a situation that, realistically, looked bad from all angles. Amid woozy synths that lurch like pangs of nausea, Pierson’s doctor explains that his neck is fusing together, and even though he’ll lose mobility, “the good thing is if you have arthritis there and it fuses, you won’t have pain anymore.”\u003c/p>\n\u003cp>In the recording is a snippet of Pierson’s shellshocked “oh” in acknowledgement. Now he reflects, “That appointment really left me hurt and angry, and putting that piece together was a form of therapy—just a way for me to get the frustration out of what he was saying and how unbelievable it was.”\u003c/p>\n\u003cp>[ad=fullwidth]\u003c/p>\n\u003cp>As his recovery went on, Pierson helped co-write songs on Subtle’s 2006 and 2008 albums by singing bass lines, verbally giving his bandmates edits on compositions and teaching them Ableton. He wasn’t able to do much else musically until five years after the accident in 2010, when the advent of the iPad changed everything for him—and many other musicians with disabilities.\u003c/p>\n\u003cp>“When they introduced the iPad, that’s when I knew there was a real possibility to make serious music, because I had a way to interact by touch instead of having to press keys, play chords and turn knobs,” he says. Showing me an app he uses to control Ableton on his computer, and another one that functions more like a mixing board, controlling multiple iPad apps at once, he adds, “I can do it all virtually.” [aside postid='arts_13856737']\u003c/p>\n\u003cp>These days, Pierson shares his Oakland hills home with his longtime partner, Chuck, a visual artist. In fact, the two of them met on a social networking site, Tribe.Net (pre-Facebook, post-MySpace), and were starting up a long-distance relationship during the year before that fateful tour. While on the road, Pierson was supposed to see him in New York.\u003c/p>\n\u003cp>“I never made it, but we met and he came out to visit in Houston,” he says with a sweet smile. “And we’ve been together for 15 years.”\u003c/p>\n\u003cp>Visceral and stirring, \u003cem>Live in Oakland\u003c/em> is Pierson’s way of clearing his throat and letting people know that he’s still here—and why he’s been laying low. It doesn’t paint a falsely inspirational portrait of surviving a near-death experience or living with disabilities. Instead, the album allows listeners to course through the messy, uncomfortable and sometimes ugly emotions that have been part of his recovery process.\u003c/p>\n\u003cp>Pierson is already working on his next album—which he says could take a more poppy form, gesturing to an entire shelf of Prince vinyl he’s been collecting since the age of 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Music] has kept my head out of the shit. And there’s a \u003cem>lot\u003c/em> of shit,” says Pierson with a sarcastic laugh. “Music has been a real lifesaver.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, the underground music community was an essential support system when Pierson got back to Oakland after eight months in a Houston rehabilitation hospital following the accident. When he returned, his friends, peers in the music scene and coworkers at Amoeba Music (where the other members of Subtle also worked at the time) organized benefit shows and fundraisers to get him a caregiver. They also formed an apartment-hunting squad that helped him get set up at his own place.\u003c/p>\n\u003cp>“I was getting a lot of support from the Amoeba family,” says Pierson. “And thankfully the music community, like the way they have rallied around other types of events like Ghost Ship, they were able to rally together and have benefits. They helped me that first year.”\u003c/p>\n\u003cfigure id=\"attachment_13861811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861811\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-800x533.jpg\" alt=\"Dax Pierson.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dax Pierson. \u003ccite>(Mike Daddona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After getting back to Oakland, Pierson tried playing keyboard by hitting the keys with pointers, but found his physical abilities decreasing with time. Doctors offered little insight or emotional support, as heard on the track “Treading Water,” which mixes in a recording of Pierson’s doctor feebly attempting to reassure him about a situation that, realistically, looked bad from all angles. Amid woozy synths that lurch like pangs of nausea, Pierson’s doctor explains that his neck is fusing together, and even though he’ll lose mobility, “the good thing is if you have arthritis there and it fuses, you won’t have pain anymore.”\u003c/p>\n\u003cp>In the recording is a snippet of Pierson’s shellshocked “oh” in acknowledgement. Now he reflects, “That appointment really left me hurt and angry, and putting that piece together was a form of therapy—just a way for me to get the frustration out of what he was saying and how unbelievable it was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As his recovery went on, Pierson helped co-write songs on Subtle’s 2006 and 2008 albums by singing bass lines, verbally giving his bandmates edits on compositions and teaching them Ableton. He wasn’t able to do much else musically until five years after the accident in 2010, when the advent of the iPad changed everything for him—and many other musicians with disabilities.\u003c/p>\n\u003cp>“When they introduced the iPad, that’s when I knew there was a real possibility to make serious music, because I had a way to interact by touch instead of having to press keys, play chords and turn knobs,” he says. Showing me an app he uses to control Ableton on his computer, and another one that functions more like a mixing board, controlling multiple iPad apps at once, he adds, “I can do it all virtually.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These days, Pierson shares his Oakland hills home with his longtime partner, Chuck, a visual artist. In fact, the two of them met on a social networking site, Tribe.Net (pre-Facebook, post-MySpace), and were starting up a long-distance relationship during the year before that fateful tour. While on the road, Pierson was supposed to see him in New York.\u003c/p>\n\u003cp>“I never made it, but we met and he came out to visit in Houston,” he says with a sweet smile. “And we’ve been together for 15 years.”\u003c/p>\n\u003cp>Visceral and stirring, \u003cem>Live in Oakland\u003c/em> is Pierson’s way of clearing his throat and letting people know that he’s still here—and why he’s been laying low. It doesn’t paint a falsely inspirational portrait of surviving a near-death experience or living with disabilities. Instead, the album allows listeners to course through the messy, uncomfortable and sometimes ugly emotions that have been part of his recovery process.\u003c/p>\n\u003cp>Pierson is already working on his next album—which he says could take a more poppy form, gesturing to an entire shelf of Prince vinyl he’s been collecting since the age of 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Music] has kept my head out of the shit. And there’s a \u003cem>lot\u003c/em> of shit,” says Pierson with a sarcastic laugh. “Music has been a real lifesaver.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Metallica's Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets",
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"content": "\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Listen to Our Weekend Picks for July 19–21",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" 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>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As digital artist Tarik Barri astutely \u003ca href=\"http://tarikbarri.nl/why\" target=\"_blank\" rel=\"noopener\">observes\u003c/a> on his website, when we look at a bird we don’t think to ourselves, “Hey, the way these visuals and this audio go together is really nice and well constructed!” Our brains have no problem integrating information from multiple senses at once—in fact, that’s the fundamental way we experience the world around us.\u003c/p>\n\u003cp>Media, however, isn’t quite there yet—though many technology-forward artists say that multi-sensory, immersive experiences are where its future is headed. That’s what the \u003ca href=\"https://grayareafestival.io\" target=\"_blank\" rel=\"noopener\">Gray Area Festival\u003c/a>, running July 25–28 at the Gray Area Theater and Pier 70, seeks to explore with a weekend of workshops, performances and installations from artists eager to embrace the latest technological tools.\u003c/p>\n\u003cp>The festival’s biggest attraction is the U.S. premiere of the \u003ca href=\"https://grayareafestival.io/exhibition/\" target=\"_blank\" rel=\"noopener\">ISM Hexadome\u003c/a>, an installation by the Institute of Sound and Music in Berlin. Presented at Pier 70, it’s comprised of six 20-foot-tall screens and can fit about 200 people. Essentially, it’s a 360-degree theater for showing audiovisual works by a wide variety of artists, including Radiohead’s Thom Yorke, whose beat-driven, sci-fi new album \u003cem>Anima\u003c/em> explores the concept of a techno-dystopia. (Barri, who handles Yorke’s visuals for his tours, collaborated on the visual component of his Hexadome piece. )\u003c/p>\n\u003cp>https://youtu.be/r4sROgbaeOs\u003c/p>\n\u003cp>The Hexadome pairs nine forward-thinking electronic musicians with nine visual artists. Cult singer-producer Holly Herndon, who \u003ca href=\"https://www.kqed.org/arts/13857405/holly-herndons-remarkable-ai-assisted-new-music\" target=\"_blank\" rel=\"noopener\">recently released an album partially composed by artificial intelligence\u003c/a>, worked with digital artist Mathew Dryhurst, her frequent collaborator and husband. Local techno luminary Lara Sarkissian (also known as DJ Foozool of Club Chai) teamed up with Berlin’s Jemma Woolmore, whose dimly lit geometric abstractions complement Sarkissian’s percussive beats that sample traditional Armenian folk instruments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is a new, immersive format for how cinema and audiovisual collaborations can be experienced,” says Gray Area Festival curator Barry Threw.\u003c/p>\n\u003cp>One of the artists whose work is featured in the Hexadome, Suzanne Ciani, a pioneer of early synth-based experimental music, is slated to perform live inside of the installation on July 26, accompanied by visuals by AudeRrose. (After Gray Area Festival ends, the ISM Hexadome will be on view at Pier 70 through Aug. 3.)\u003c/p>\n\u003cp>The other major performance at the Gray Area Festival is Louis-Philippe Demers and Bill Vorn’s \u003cem>Inferno\u003c/em>, where audience members don “robot exoskeletons”—bulky mechanical suits that physically force their wearers to dance in time with the dark, industrial techno soundtrack.\u003c/p>\n\u003cp>“Everybody’s being controlled together by these robots, and there’s one special performer who is the person who leads the rest of the group in this movement along with the composition that they’ve made,” explains Threw. “I think it has a lot to say about our current condition in San Francisco right now: it’s a metaphor for this way technology and humanity are trying to wrestle with one another, and what does it mean to give a lot of your control over to a technology environment.”\u003c/p>\n\u003cp>https://youtu.be/JaUAVo8PBJ4\u003c/p>\n\u003cp>In addition to performances, festival-goers can attend talks and workshops about augmented reality, holograms and immersive storytelling. Threw says despite the novelty of these technological tools, the idea at the heart of the festival is that experiencing art in interactive environments is not new. In fact, it predates looking at art objects inside of four white walls by thousands of years.\u003c/p>\n\u003cp>“There’s definitely a trend in people wanting to have experiences in environments instead of objects. Really when you get down to it, this trend is more of a return,” says Threw. “Even from the dawn of when people started making art, you look at the caves of Chauvet and Lascaux—there was a whole site specific nature of how art was created. You have the cave paintings made in an environment of flickering fire, and there was a sound environment and a nonlinear cave surface. The art was made in conjunction with a surrounding sensorial experience.”\u003c/p>\n\u003cp>Now, Threw adds, after decades of viewing decontextualized art objects in bland gallery and museum settings, audiences have a hunger for multi-sensory, interactive works. The popularity of \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\" target=\"_blank\" rel=\"noopener\">Instagram-ready “museums”\u003c/a> like the Color Factory already has indicated this, but using tools like the Hexadome, VR and AR, artists have begun to explore more nuanced and less commercial forms of multi-sensory storytelling.\u003c/p>\n\u003cp>“It’s clear people realize the power of these immersive experiences,” says Threw. “The question is: how do you use them for more artistic and impactful content?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>\u003c/p>\n\u003cp>\u003cem>Gray Area Festival takes place July 25–28 at Gray Area and Pier 70. Details \u003ca href=\"https://grayareafestival.io\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As digital artist Tarik Barri astutely \u003ca href=\"http://tarikbarri.nl/why\" target=\"_blank\" rel=\"noopener\">observes\u003c/a> on his website, when we look at a bird we don’t think to ourselves, “Hey, the way these visuals and this audio go together is really nice and well constructed!” Our brains have no problem integrating information from multiple senses at once—in fact, that’s the fundamental way we experience the world around us.\u003c/p>\n\u003cp>Media, however, isn’t quite there yet—though many technology-forward artists say that multi-sensory, immersive experiences are where its future is headed. That’s what the \u003ca href=\"https://grayareafestival.io\" target=\"_blank\" rel=\"noopener\">Gray Area Festival\u003c/a>, running July 25–28 at the Gray Area Theater and Pier 70, seeks to explore with a weekend of workshops, performances and installations from artists eager to embrace the latest technological tools.\u003c/p>\n\u003cp>The festival’s biggest attraction is the U.S. premiere of the \u003ca href=\"https://grayareafestival.io/exhibition/\" target=\"_blank\" rel=\"noopener\">ISM Hexadome\u003c/a>, an installation by the Institute of Sound and Music in Berlin. Presented at Pier 70, it’s comprised of six 20-foot-tall screens and can fit about 200 people. Essentially, it’s a 360-degree theater for showing audiovisual works by a wide variety of artists, including Radiohead’s Thom Yorke, whose beat-driven, sci-fi new album \u003cem>Anima\u003c/em> explores the concept of a techno-dystopia. (Barri, who handles Yorke’s visuals for his tours, collaborated on the visual component of his Hexadome piece. )\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/r4sROgbaeOs'\n title='//www.youtube.com/embed/r4sROgbaeOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Hexadome pairs nine forward-thinking electronic musicians with nine visual artists. Cult singer-producer Holly Herndon, who \u003ca href=\"https://www.kqed.org/arts/13857405/holly-herndons-remarkable-ai-assisted-new-music\" target=\"_blank\" rel=\"noopener\">recently released an album partially composed by artificial intelligence\u003c/a>, worked with digital artist Mathew Dryhurst, her frequent collaborator and husband. Local techno luminary Lara Sarkissian (also known as DJ Foozool of Club Chai) teamed up with Berlin’s Jemma Woolmore, whose dimly lit geometric abstractions complement Sarkissian’s percussive beats that sample traditional Armenian folk instruments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is a new, immersive format for how cinema and audiovisual collaborations can be experienced,” says Gray Area Festival curator Barry Threw.\u003c/p>\n\u003cp>One of the artists whose work is featured in the Hexadome, Suzanne Ciani, a pioneer of early synth-based experimental music, is slated to perform live inside of the installation on July 26, accompanied by visuals by AudeRrose. (After Gray Area Festival ends, the ISM Hexadome will be on view at Pier 70 through Aug. 3.)\u003c/p>\n\u003cp>The other major performance at the Gray Area Festival is Louis-Philippe Demers and Bill Vorn’s \u003cem>Inferno\u003c/em>, where audience members don “robot exoskeletons”—bulky mechanical suits that physically force their wearers to dance in time with the dark, industrial techno soundtrack.\u003c/p>\n\u003cp>“Everybody’s being controlled together by these robots, and there’s one special performer who is the person who leads the rest of the group in this movement along with the composition that they’ve made,” explains Threw. “I think it has a lot to say about our current condition in San Francisco right now: it’s a metaphor for this way technology and humanity are trying to wrestle with one another, and what does it mean to give a lot of your control over to a technology environment.”\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/JaUAVo8PBJ4'\n title='//www.youtube.com/embed/JaUAVo8PBJ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In addition to performances, festival-goers can attend talks and workshops about augmented reality, holograms and immersive storytelling. Threw says despite the novelty of these technological tools, the idea at the heart of the festival is that experiencing art in interactive environments is not new. In fact, it predates looking at art objects inside of four white walls by thousands of years.\u003c/p>\n\u003cp>“There’s definitely a trend in people wanting to have experiences in environments instead of objects. Really when you get down to it, this trend is more of a return,” says Threw. “Even from the dawn of when people started making art, you look at the caves of Chauvet and Lascaux—there was a whole site specific nature of how art was created. You have the cave paintings made in an environment of flickering fire, and there was a sound environment and a nonlinear cave surface. The art was made in conjunction with a surrounding sensorial experience.”\u003c/p>\n\u003cp>Now, Threw adds, after decades of viewing decontextualized art objects in bland gallery and museum settings, audiences have a hunger for multi-sensory, interactive works. The popularity of \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\" target=\"_blank\" rel=\"noopener\">Instagram-ready “museums”\u003c/a> like the Color Factory already has indicated this, but using tools like the Hexadome, VR and AR, artists have begun to explore more nuanced and less commercial forms of multi-sensory storytelling.\u003c/p>\n\u003cp>“It’s clear people realize the power of these immersive experiences,” says Threw. “The question is: how do you use them for more artistic and impactful content?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>\u003c/p>\n\u003cp>\u003cem>Gray Area Festival takes place July 25–28 at Gray Area and Pier 70. Details \u003ca href=\"https://grayareafestival.io\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fired Over Too Much Tupac? A Rap-Loving Bureaucrat From Iowa Says He Hopes Not",
"headTitle": "Fired Over Too Much Tupac? A Rap-Loving Bureaucrat From Iowa Says He Hopes Not | KQED",
"content": "\u003cp>Keep ya head up, Jerry Foxhoven.\u003c/p>\n\u003cp>The public servant who led Iowa’s Department of Human Services was forced to resign\u003cstrong> \u003c/strong>in June, just one business day after he sent an email to more than 4,000 agency employees that included an inspirational quote from the rapper Tupac Shakur.\u003c/p>\n\u003cp>He used his love of rap from time to time to “reach out to our staff, tell them that I’m human, have a little levity,” he tells NPR.\u003c/p>\n\u003cp>Foxhoven regularly held “Tupac Fridays” in his office, where the rapper’s music was played — the lawyer said he liked breaking stereotypes about who listens to rap.\u003c/p>\n\u003cp>“I’m a 66-year-old white guy from the Midwest who likes rap music, who likes Tupac!” he says.\u003c/p>\n\u003cfigure id=\"attachment_13861660\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg\" alt=\"Jerry Foxhoven, the former head of Iowa's Department of Human Services, who was abruptly removed from that position in June.\" width=\"200\" height=\"242\" class=\"size-full wp-image-13861660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff-160x194.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Foxhoven, the former head of Iowa’s Department of Human Services, who was abruptly removed from that position in June. \u003ccite>(Courtesy of Jerry Foxhoven)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Foxhoven is a Tupac superfan. The civil servant is utterly dedicated to the slain rapper, celebrating his birthday with Tupac-themed baked goods; marking Tupac milestones (“I might seem a little down because today is the 22nd anniversary of 2Pac’s death,” he wrote once to a staff member); and assigning Tupac as mandatory reading for his ethics class at Drake University.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Foxhoven’s tenure at the Department of Human Services ended without warning — and without a chance for an orderly transition. After his email citing the rapper, Foxhoven was asked to resign. He says that he was not even granted a meeting with Iowa Gov. Kim Reynolds.\u003c/p>\n\u003cp>Instead, the governor’s chief of staff confiscated his cell phone and ID card on the spot and ordered him not to go back to his office. They did not cite a reason, and Foxhoven was not made aware of why he was let go after two years on the job.\u003c/p>\n\u003cp>Foxhoven was aware that at least one individual was not a fan of his Tupac quotations. In an email, one of his staff members alluded to the existence of a disgruntled employee, who then reported his Tupac references to state legislators. These emails indicate that action may have been taken due to his Tupac-related messages.\u003c/p>\n\u003cp>“I am going to hang in there on him — despite all the naysayers,” he wrote in one email, after a staff member said that there were “haters” who didn’t appreciate his Tupac quotes.\u003c/p>\n\u003cp>Although he knew one employee had complained about his frequent references to Tupac, Foxhoven says he hopes they were not the reason he was forced to resign.\u003c/p>\n\u003cp>He does wonder, however.\u003c/p>\n\u003cp>Foxhoven points out that Barry Manilow’s birthday is one day after Tupac’s, and wonders whether he have been dismissed if he had cited Manilow instead.\u003c/p>\n\u003cfigure id=\"attachment_13861661\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png\" alt=\"Email sent by Jerry Foxhoven to Iowa Department of Human Services staff.\" width=\"644\" height=\"721\" class=\"size-full wp-image-13861661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5-160x179.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Email sent by Jerry Foxhoven to Iowa Department of Human Services staff. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I always try to assume the best of everybody, and I can’t imagine that [the governor] would base her decision on the Tupac incident,” he says. “If this is the reason, I’m really disappointed.”\u003c/p>\n\u003cp>The governor’s office did not respond to a request for comment from NPR. But according to the Associated Press, the governor’s office would not confirm or deny that Foxhoven’s rap references were part of the reason for Foxhoven’s dismissal.\u003c/p>\n\u003cp>“She wanted to go in a new direction,” the governor’s spokesman previously said in a statement, according to \u003ca href=\"https://www.iowapublicradio.org/post/iowa-governor-pushes-human-services-director-resign\">Iowa Public Radio\u003c/a>. The spokesman provided no specifics.\u003c/p>\n\u003cp>NPR made a public records request in order to obtain emails involving Foxhoven and his references to Tupac. Foxhoven’s Tupac emails were first \u003ca href=\"https://www.apnews.com/c7ae931fae0f4bc1a0fe3386e4b5bc38\">reported by the AP\u003c/a>.\u003c/p>\n\u003cp>The email which preceded his ouster was a positive one, in which he recognized Father’s Day, Tupac’s Birthday and his own work anniversary. “Pay no mind to those who talk behind your back,” he wrote, citing Tupac. “It simply means that you are 2 steps ahead.”\u003c/p>\n\u003cp>In that same email, he praised his staff, writing that it was “absolute honor to lead such a dedicated and committed group of people.” In response, more than a dozen employees at the agency wrote back to praise him for the positive message.\u003c/p>\n\u003cp>“You are such a breath of fresh air, Jerry!” wrote one staff member in response, according to emails obtained by NPR.\u003c/p>\n\u003cp>The hundreds of pages of emails reviewed by NPR show that by all accounts Foxhoven was widely admired by his staff and regularly took time to mentor subordinates. In one email he dispensed career advice, noting that he was inspired at the agency by the well-known Tupac song “\u003ca href=\"https://open.spotify.com/track/3fLJfEJuyfZVYJ01BB9vnV\">Changes\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13861662\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png\" alt=\"Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven's birthday\" width=\"200\" height=\"170\" class=\"size-full wp-image-13861662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f-160x136.png 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven’s birthday. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, he regularly cited Tupac in staff and agency-wide emails — including a Valentine’s Day email in which he marveled, “isn’t it wonderful that we have a day to celebrate love?” This observation was followed by a quote from Tupac’s “Dear Mama.” The 66 year old’s inbox even included a meme that referenced Tupac’s famous collaboration with Dr. Dre, “California Love.”\u003c/p>\n\u003cp>Ultimately, Foxhoven tells NPR he’s glad that his emails about his favorite musical artist have now made national news, because it allows for a discussion about stereotypes and music. He said he was especially disturbed by a \u003ca href=\"https://www.nytimes.com/2019/07/09/us/elijah-al-amin-michael-paul-adams.html\">recent news story\u003c/a> which reported that a 17-year-old boy in Arizona was fatally stabbed by a man who said the victim’s rap music made him feel “unsafe.”\u003c/p>\n\u003cp>“It’s important for us to break down those stereotypes: if you listen to rap music, you’re a criminal or dangerous. It’s not true at all,” he says, adding that he hoped his situation could lead to “having open discussions about race and what we have in common, instead of what separates us.”\u003c/p>\n\u003cp>He first got into Tupac in the early ’90s when the rapper was still alive — “we’re going to have to get into this East Coast, West Coast thing,” he says apologetically, as he explained his preference for the Californian musician. “Part of the reason I like Tupac [is that] it’s good music — it’s not just rap with a bass in the background. It’s fun to listen to, and also I liked over his career, you could see him transform.”\u003c/p>\n\u003cp>Foxhoven turns 67 next week, and is still figuring out what to do next. He wouldn’t mind seeing the \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/17/150820261/how-that-tupac-hologram-at-coachella-worked\">Tupac hologram\u003c/a> in person, he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One thing is for sure: “I will be listening to some Tupac on my birthday. That’s totally true.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fired+Over+Too+Much+Tupac%3F+A+Rap-Loving+Bureaucrat+From+Iowa+Says+He+Hopes+Not&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Keep ya head up, Jerry Foxhoven.\u003c/p>\n\u003cp>The public servant who led Iowa’s Department of Human Services was forced to resign\u003cstrong> \u003c/strong>in June, just one business day after he sent an email to more than 4,000 agency employees that included an inspirational quote from the rapper Tupac Shakur.\u003c/p>\n\u003cp>He used his love of rap from time to time to “reach out to our staff, tell them that I’m human, have a little levity,” he tells NPR.\u003c/p>\n\u003cp>Foxhoven regularly held “Tupac Fridays” in his office, where the rapper’s music was played — the lawyer said he liked breaking stereotypes about who listens to rap.\u003c/p>\n\u003cp>“I’m a 66-year-old white guy from the Midwest who likes rap music, who likes Tupac!” he says.\u003c/p>\n\u003cfigure id=\"attachment_13861660\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg\" alt=\"Jerry Foxhoven, the former head of Iowa's Department of Human Services, who was abruptly removed from that position in June.\" width=\"200\" height=\"242\" class=\"size-full wp-image-13861660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff-160x194.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Foxhoven, the former head of Iowa’s Department of Human Services, who was abruptly removed from that position in June. \u003ccite>(Courtesy of Jerry Foxhoven)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Foxhoven is a Tupac superfan. The civil servant is utterly dedicated to the slain rapper, celebrating his birthday with Tupac-themed baked goods; marking Tupac milestones (“I might seem a little down because today is the 22nd anniversary of 2Pac’s death,” he wrote once to a staff member); and assigning Tupac as mandatory reading for his ethics class at Drake University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Foxhoven’s tenure at the Department of Human Services ended without warning — and without a chance for an orderly transition. After his email citing the rapper, Foxhoven was asked to resign. He says that he was not even granted a meeting with Iowa Gov. Kim Reynolds.\u003c/p>\n\u003cp>Instead, the governor’s chief of staff confiscated his cell phone and ID card on the spot and ordered him not to go back to his office. They did not cite a reason, and Foxhoven was not made aware of why he was let go after two years on the job.\u003c/p>\n\u003cp>Foxhoven was aware that at least one individual was not a fan of his Tupac quotations. In an email, one of his staff members alluded to the existence of a disgruntled employee, who then reported his Tupac references to state legislators. These emails indicate that action may have been taken due to his Tupac-related messages.\u003c/p>\n\u003cp>“I am going to hang in there on him — despite all the naysayers,” he wrote in one email, after a staff member said that there were “haters” who didn’t appreciate his Tupac quotes.\u003c/p>\n\u003cp>Although he knew one employee had complained about his frequent references to Tupac, Foxhoven says he hopes they were not the reason he was forced to resign.\u003c/p>\n\u003cp>He does wonder, however.\u003c/p>\n\u003cp>Foxhoven points out that Barry Manilow’s birthday is one day after Tupac’s, and wonders whether he have been dismissed if he had cited Manilow instead.\u003c/p>\n\u003cfigure id=\"attachment_13861661\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png\" alt=\"Email sent by Jerry Foxhoven to Iowa Department of Human Services staff.\" width=\"644\" height=\"721\" class=\"size-full wp-image-13861661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5-160x179.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Email sent by Jerry Foxhoven to Iowa Department of Human Services staff. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I always try to assume the best of everybody, and I can’t imagine that [the governor] would base her decision on the Tupac incident,” he says. “If this is the reason, I’m really disappointed.”\u003c/p>\n\u003cp>The governor’s office did not respond to a request for comment from NPR. But according to the Associated Press, the governor’s office would not confirm or deny that Foxhoven’s rap references were part of the reason for Foxhoven’s dismissal.\u003c/p>\n\u003cp>“She wanted to go in a new direction,” the governor’s spokesman previously said in a statement, according to \u003ca href=\"https://www.iowapublicradio.org/post/iowa-governor-pushes-human-services-director-resign\">Iowa Public Radio\u003c/a>. The spokesman provided no specifics.\u003c/p>\n\u003cp>NPR made a public records request in order to obtain emails involving Foxhoven and his references to Tupac. Foxhoven’s Tupac emails were first \u003ca href=\"https://www.apnews.com/c7ae931fae0f4bc1a0fe3386e4b5bc38\">reported by the AP\u003c/a>.\u003c/p>\n\u003cp>The email which preceded his ouster was a positive one, in which he recognized Father’s Day, Tupac’s Birthday and his own work anniversary. “Pay no mind to those who talk behind your back,” he wrote, citing Tupac. “It simply means that you are 2 steps ahead.”\u003c/p>\n\u003cp>In that same email, he praised his staff, writing that it was “absolute honor to lead such a dedicated and committed group of people.” In response, more than a dozen employees at the agency wrote back to praise him for the positive message.\u003c/p>\n\u003cp>“You are such a breath of fresh air, Jerry!” wrote one staff member in response, according to emails obtained by NPR.\u003c/p>\n\u003cp>The hundreds of pages of emails reviewed by NPR show that by all accounts Foxhoven was widely admired by his staff and regularly took time to mentor subordinates. In one email he dispensed career advice, noting that he was inspired at the agency by the well-known Tupac song “\u003ca href=\"https://open.spotify.com/track/3fLJfEJuyfZVYJ01BB9vnV\">Changes\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13861662\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png\" alt=\"Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven's birthday\" width=\"200\" height=\"170\" class=\"size-full wp-image-13861662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f-160x136.png 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven’s birthday. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, he regularly cited Tupac in staff and agency-wide emails — including a Valentine’s Day email in which he marveled, “isn’t it wonderful that we have a day to celebrate love?” This observation was followed by a quote from Tupac’s “Dear Mama.” The 66 year old’s inbox even included a meme that referenced Tupac’s famous collaboration with Dr. Dre, “California Love.”\u003c/p>\n\u003cp>Ultimately, Foxhoven tells NPR he’s glad that his emails about his favorite musical artist have now made national news, because it allows for a discussion about stereotypes and music. He said he was especially disturbed by a \u003ca href=\"https://www.nytimes.com/2019/07/09/us/elijah-al-amin-michael-paul-adams.html\">recent news story\u003c/a> which reported that a 17-year-old boy in Arizona was fatally stabbed by a man who said the victim’s rap music made him feel “unsafe.”\u003c/p>\n\u003cp>“It’s important for us to break down those stereotypes: if you listen to rap music, you’re a criminal or dangerous. It’s not true at all,” he says, adding that he hoped his situation could lead to “having open discussions about race and what we have in common, instead of what separates us.”\u003c/p>\n\u003cp>He first got into Tupac in the early ’90s when the rapper was still alive — “we’re going to have to get into this East Coast, West Coast thing,” he says apologetically, as he explained his preference for the Californian musician. “Part of the reason I like Tupac [is that] it’s good music — it’s not just rap with a bass in the background. It’s fun to listen to, and also I liked over his career, you could see him transform.”\u003c/p>\n\u003cp>Foxhoven turns 67 next week, and is still figuring out what to do next. He wouldn’t mind seeing the \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/17/150820261/how-that-tupac-hologram-at-coachella-worked\">Tupac hologram\u003c/a> in person, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One thing is for sure: “I will be listening to some Tupac on my birthday. That’s totally true.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fired+Over+Too+Much+Tupac%3F+A+Rap-Loving+Bureaucrat+From+Iowa+Says+He+Hopes+Not&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Linda Ronstadt, Michael Tilson Thomas Among Kennedy Center 2019 Honorees",
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"content": "\u003cp>The band Earth, Wind & Fire, actress Sally Field, singer Linda Ronstadt, television program \u003cem>Sesame Street\u003c/em> and conductor Michael Tilson Thomas are the next recipients of one of the most prestigious U.S. awards for lifetime artistic achievement: the Kennedy Center Honors. The John F. Kennedy Center for the Performing Arts made the announcement today.\u003c/p>\n\u003cp>The Bay Area is represented in two of the honorees: Michael Tilson Thomas, music director and conductor of the San Francisco Symphony, and Linda Ronstadt, longtime resident of Pacific Heights.\u003c/p>\n\u003cp>“The Kennedy Center Honors celebrates icons who, through their artistry, have left an indelible stamp on our collective cultural consciousness,” Kennedy Center Chairman David M. Rubenstein said in a prepared statement. Later in that statement, the institution stated that its Honors are not limited by art form or category of achievement: “The primary criterion in the selection process is excellence.”\u003c/p>\n\u003cp>This year’s class of honorees, the 42nd annual since 1978, is eclectic as usual. \u003c/p>\n\u003cp>Founded in 1969, the group \u003ca href=\"https://www.npr.org/artists/15402896/earth-wind-fire\">Earth, Wind & Fire\u003c/a> created a deeply grooving and horn-driven sound at the intersection of many strands of black-origin popular music: funk, R&B, soul, disco, rock, jazz and more. Known for an elaborate stage show, its major recorded hits still have currency on the dance floor — \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">“September,”\u003c/a> “Shining Star” and “Let’s Groove” among them. Following the 2016 death of founder Maurice White, the award will be presented to singer Philip Bailey, bassist Verdine White and percussionist Ralph Johnson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I remember when Verdine and Maurice came over to the house and asked me to be a part of the group,” Johnson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4944398\">said to NPR’s Ed Gordon\u003c/a> in 2005. “I did mention to them, I says, ‘You know what? There’s one thing. I want to have the best band in the whole world.’ And they looked at each other, smiled and said, ‘You’re in.’ We all had that same common goal, and it wasn’t about the bling — it was about the music.”\u003c/p>\n\u003cp>The vocalist \u003ca href=\"https://www.npr.org/artists/15335239/linda-ronstadt\">Linda Ronstadt\u003c/a> also worked across genres for decades, including country, rock, musical theater and traditional Mexican music. Also like EWF, she’s a member of the Rock and Roll Hall of Fame, and boasts a long list of hits such as “You’re No Good,” “Long Long Time,” “When Will I Be Loved,” “Don’t Know Much” (with Aaron Neville) and “Blue Bayou.” At one time among the biggest draws in popular music, Ronstadt has retired from performing due to what she later learned was Parkinson’s disease, but has written a memoir and toured a one-woman show.\u003c/p>\n\u003cp>“I had a long turn at the trough,” \u003ca href=\"https://www.npr.org/2013/09/17/223172521/in-memoir-linda-ronstadt-describes-her-simple-dreams\">she said to Terry Gross\u003c/a> on \u003cem>Fresh Air\u003c/em> in 2013. “You know, I’m grateful for the time I had. I got to live a lot of my dreams, and I feel lucky about it.”\u003c/p>\n\u003cfigure id=\"attachment_13861651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13861651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1920x1274.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The John F. Kennedy Center for the Performing Arts, pictured here in 2014, has announced this year’s class of Kennedy Center Honors recipients.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15806461/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> is best known as the music director of the San Francisco Symphony, where he has championed modern American composers alongside established European masters. Previously, he conducted several orchestras (including the London Symphony Orchestra, where he is conductor laureate), and he has composed work for orchestra and small ensembles.\u003c/p>\n\u003cp>He also co-founded and remains artistic director of the New World Symphony, a Miami-based fellowship program for up-and-coming classical performers. In 2004, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4176932\">he told NPR’s Ari Shapiro\u003c/a> that he was happy to pass on other prestigious opportunities in favor of guiding the next generation of musicians. “I used to, with great frustration, say, ‘Oh, well, it will have to be in the next lifetime,'” Thomas said. “Now it’s with great peace, resignation and relief that I say, ‘Oh, it’ll have to be the next lifetime.'”\u003c/p>\n\u003cp>Throughout a career that began in the 1960s, actress Sally Field has accumulated a long list of major roles. Once known for playing wholesome characters in sitcoms, she says she fought typecasting to break into film; she’s now remembered for complex titular roles on the miniseries \u003cem>Sybil \u003c/em>and the feature film \u003cem>Norma Rae\u003c/em>. Those are among the projects which won her two Oscars and three Emmys (and a Tony nomination to boot).\u003c/p>\n\u003cp>“Do I still have that gnawing, hair-on-fire feeling of needing more and wanting to reach out for something that’s just outside of my grasp?” \u003ca href=\"https://www.npr.org/2018/09/11/646723297/sally-field-wasnt-sure-shed-have-the-guts-to-publish-her-new-memoir\">she said to NPR’s Ari Shapiro\u003c/a> after publishing her memoir in 2018. “Yes, totally. Yes. But can I now look back and feel the length that I’ve traveled? Yes. And I couldn’t do that before.”\u003c/p>\n\u003cp>The children’s television program \u003cem>Sesame Street\u003c/em> was launched in 1969 to answer the question: Could children learn from television? After 50 years of Big Bird, Oscar the Grouch, Bert and Ernie, the answer seems to be yes. The co-founders of the show, Joan Ganz Cooney and Lloyd Morrisett, will accept the award on behalf of the program and the nonprofit organization behind it, Sesame Workshop. The cast recently visited NPR for a \u003ca href=\"https://www.npr.org/2019/06/10/730381700/sesame-street-tiny-desk-concert\">Tiny Desk Concert\u003c/a>.\u003c/p>\n\u003cp>All the recipients released statements thanking the Kennedy Center for the recognition. Cooney and Morrisett of Sesame Workshop said that the honor is a testament to all who help carry out their mission to make children “smarter, stronger and kinder.”\u003c/p>\n\u003cp>The awards are presented in a gala performance at the Kennedy Center on Sunday, Dec. 8, and filmed by CBS for a primetime special airing Sunday, Dec. 15 at 8 p.m. ET. Major stars of music, film, theater and other performing arts are often present to give tribute performances and speeches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Traditionally, the sitting U.S. president attends the gala, barring pressing international travel. However, President Trump has now \u003ca href=\"https://www.npr.org/2018/11/15/668207540/trumps-plan-to-skip-kennedy-center-honors-again\">declined to attend two years in a row\u003c/a>, making him the first president to have missed the event twice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Announces+2019+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Bay Area music legends join Earth Wind & Fire, Sally Field, and 'Sesame Street' as those recognized for their lifetime contributions to the performing arts.",
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"title": "Linda Ronstadt, Michael Tilson Thomas Among Kennedy Center 2019 Honorees | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The band Earth, Wind & Fire, actress Sally Field, singer Linda Ronstadt, television program \u003cem>Sesame Street\u003c/em> and conductor Michael Tilson Thomas are the next recipients of one of the most prestigious U.S. awards for lifetime artistic achievement: the Kennedy Center Honors. The John F. Kennedy Center for the Performing Arts made the announcement today.\u003c/p>\n\u003cp>The Bay Area is represented in two of the honorees: Michael Tilson Thomas, music director and conductor of the San Francisco Symphony, and Linda Ronstadt, longtime resident of Pacific Heights.\u003c/p>\n\u003cp>“The Kennedy Center Honors celebrates icons who, through their artistry, have left an indelible stamp on our collective cultural consciousness,” Kennedy Center Chairman David M. Rubenstein said in a prepared statement. Later in that statement, the institution stated that its Honors are not limited by art form or category of achievement: “The primary criterion in the selection process is excellence.”\u003c/p>\n\u003cp>This year’s class of honorees, the 42nd annual since 1978, is eclectic as usual. \u003c/p>\n\u003cp>Founded in 1969, the group \u003ca href=\"https://www.npr.org/artists/15402896/earth-wind-fire\">Earth, Wind & Fire\u003c/a> created a deeply grooving and horn-driven sound at the intersection of many strands of black-origin popular music: funk, R&B, soul, disco, rock, jazz and more. Known for an elaborate stage show, its major recorded hits still have currency on the dance floor — \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">“September,”\u003c/a> “Shining Star” and “Let’s Groove” among them. Following the 2016 death of founder Maurice White, the award will be presented to singer Philip Bailey, bassist Verdine White and percussionist Ralph Johnson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I remember when Verdine and Maurice came over to the house and asked me to be a part of the group,” Johnson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4944398\">said to NPR’s Ed Gordon\u003c/a> in 2005. “I did mention to them, I says, ‘You know what? There’s one thing. I want to have the best band in the whole world.’ And they looked at each other, smiled and said, ‘You’re in.’ We all had that same common goal, and it wasn’t about the bling — it was about the music.”\u003c/p>\n\u003cp>The vocalist \u003ca href=\"https://www.npr.org/artists/15335239/linda-ronstadt\">Linda Ronstadt\u003c/a> also worked across genres for decades, including country, rock, musical theater and traditional Mexican music. Also like EWF, she’s a member of the Rock and Roll Hall of Fame, and boasts a long list of hits such as “You’re No Good,” “Long Long Time,” “When Will I Be Loved,” “Don’t Know Much” (with Aaron Neville) and “Blue Bayou.” At one time among the biggest draws in popular music, Ronstadt has retired from performing due to what she later learned was Parkinson’s disease, but has written a memoir and toured a one-woman show.\u003c/p>\n\u003cp>“I had a long turn at the trough,” \u003ca href=\"https://www.npr.org/2013/09/17/223172521/in-memoir-linda-ronstadt-describes-her-simple-dreams\">she said to Terry Gross\u003c/a> on \u003cem>Fresh Air\u003c/em> in 2013. “You know, I’m grateful for the time I had. I got to live a lot of my dreams, and I feel lucky about it.”\u003c/p>\n\u003cfigure id=\"attachment_13861651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13861651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1920x1274.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The John F. Kennedy Center for the Performing Arts, pictured here in 2014, has announced this year’s class of Kennedy Center Honors recipients.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15806461/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> is best known as the music director of the San Francisco Symphony, where he has championed modern American composers alongside established European masters. Previously, he conducted several orchestras (including the London Symphony Orchestra, where he is conductor laureate), and he has composed work for orchestra and small ensembles.\u003c/p>\n\u003cp>He also co-founded and remains artistic director of the New World Symphony, a Miami-based fellowship program for up-and-coming classical performers. In 2004, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4176932\">he told NPR’s Ari Shapiro\u003c/a> that he was happy to pass on other prestigious opportunities in favor of guiding the next generation of musicians. “I used to, with great frustration, say, ‘Oh, well, it will have to be in the next lifetime,'” Thomas said. “Now it’s with great peace, resignation and relief that I say, ‘Oh, it’ll have to be the next lifetime.'”\u003c/p>\n\u003cp>Throughout a career that began in the 1960s, actress Sally Field has accumulated a long list of major roles. Once known for playing wholesome characters in sitcoms, she says she fought typecasting to break into film; she’s now remembered for complex titular roles on the miniseries \u003cem>Sybil \u003c/em>and the feature film \u003cem>Norma Rae\u003c/em>. Those are among the projects which won her two Oscars and three Emmys (and a Tony nomination to boot).\u003c/p>\n\u003cp>“Do I still have that gnawing, hair-on-fire feeling of needing more and wanting to reach out for something that’s just outside of my grasp?” \u003ca href=\"https://www.npr.org/2018/09/11/646723297/sally-field-wasnt-sure-shed-have-the-guts-to-publish-her-new-memoir\">she said to NPR’s Ari Shapiro\u003c/a> after publishing her memoir in 2018. “Yes, totally. Yes. But can I now look back and feel the length that I’ve traveled? Yes. And I couldn’t do that before.”\u003c/p>\n\u003cp>The children’s television program \u003cem>Sesame Street\u003c/em> was launched in 1969 to answer the question: Could children learn from television? After 50 years of Big Bird, Oscar the Grouch, Bert and Ernie, the answer seems to be yes. The co-founders of the show, Joan Ganz Cooney and Lloyd Morrisett, will accept the award on behalf of the program and the nonprofit organization behind it, Sesame Workshop. The cast recently visited NPR for a \u003ca href=\"https://www.npr.org/2019/06/10/730381700/sesame-street-tiny-desk-concert\">Tiny Desk Concert\u003c/a>.\u003c/p>\n\u003cp>All the recipients released statements thanking the Kennedy Center for the recognition. Cooney and Morrisett of Sesame Workshop said that the honor is a testament to all who help carry out their mission to make children “smarter, stronger and kinder.”\u003c/p>\n\u003cp>The awards are presented in a gala performance at the Kennedy Center on Sunday, Dec. 8, and filmed by CBS for a primetime special airing Sunday, Dec. 15 at 8 p.m. ET. Major stars of music, film, theater and other performing arts are often present to give tribute performances and speeches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Traditionally, the sitting U.S. president attends the gala, barring pressing international travel. However, President Trump has now \u003ca href=\"https://www.npr.org/2018/11/15/668207540/trumps-plan-to-skip-kennedy-center-honors-again\">declined to attend two years in a row\u003c/a>, making him the first president to have missed the event twice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Announces+2019+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Before Urbano Took Over the Airwaves, Oakland Had Los Rakas",
"headTitle": "Before Urbano Took Over the Airwaves, Oakland Had Los Rakas | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A Grammy-nominated album, numerous mixtapes, countless collaborations and frequent trips back to their home country of Panama. For Oakland duo \u003ca href=\"https://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a>, the past decade has been all about hustle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cousins Raka Rich and Raka Dun are currently promoting their sophomore album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Manes De Negocio\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (which loosely translates to “men of business”), via Delicious Vinyl Island and their own label, Raka Music. The 12-track project mixes dancehall, rap and reggaeton from Panama and the Bay—a style Los Rakas have been pioneering over the course of their 13 years in the music biz. With a map of Africa on the album cover, Los Rakas remind listeners of the Afro-Latinx roots of the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">urbano \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">genre currently taking over the airwaves\u003c/span>\u003cspan style=\"font-weight: 400\">, positioning themselves as the heirs of \u003ca href=\"https://remezcla.com/features/music/tu-pum-pum-2/\" target=\"_blank\" rel=\"noopener\">pioneering Black Panamanian reggaetoneros\u003c/a> such as El General and Renato. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It comes from Panama, from Oakland, it comes from poverty, from the ghetto, from the struggle,” Rich says of Los Rakas’ sound. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot has changed since Los Rakas came onto the scene with their bilingual back-and-forth and \u003ca href=\"https://youtu.be/iHsncI2j2fk\" target=\"_blank\" rel=\"noopener\">hyphy-meets-reggaeton\u003c/a> production—a style many deemed too hybridized to gain mainstream traction when they debuted in 2006. But following the international success of Luis Fonsi and Daddy Yankee’s “Despacito” in 2017, Latinx music that blends reggaeton flows and American hip-hop culture has grown to dominate global charts. Colombia’s J Balvin, Puerto Rico’s Bad Bunny and Ozuna, and Southern California’s Becky G emerged among a new generation of pop stars who, unlike their forebears Shakira and Ricky Martin, attract huge international audiences without translating their lyrics into English.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“What we started ten years ago is where it’s at [now],” says Rich. “Now it’s not taboo to experiment, to be a rap artist and hop on an EDM song, or mix different languages.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7aYqon53pXzXnM0RVQNjIK\" width=\"800\" height=\"500\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rich grew up between Oakland and Panama, and was the first person in his family born in the United States. Dun was born in Panama and was undocumented until a few years ago. When Los Rakas got their start, he wasn’t yet fluent in English. The same year the duo released their debut studio album, 2014’s \u003cem>El Negrito Dun Dun & Ricardo\u003c/em>, Dun adjusted his legal status, and was finally able to visit his immediate family back home. With tracks like “Sueño Americano,” “Chica De Mi Corazón” and “Mi País,” he reflects on his experiences as an immigrant. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I got here, I fell in love with hip-hop, R&B,” Dun says. “I would kick it with my Black homies and wouldn’t speak Spanish, kick it with the Mexican patnas. It wasn’t hard adjusting to the culture, but the obstacles [were] being an immigrant and not having papers.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Manes De Negocio\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, features from local and national artists reflect Rich and Dun’s diverse influences. “Otra Vez,” a track with a down-tempo trap beat, features Nicaraguan-American San Francisco rapper Youngin Floe. Dominican-American \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Love & Hip-Hop: Miami\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> star Amara La Negra seduces alongside Los Rakas on the sultry track “Devórame.” Their collaboration is an important show of solidarity, as \u003c/span>\u003ca href=\"https://fierce.wearemitu.com/identities/ilia-calderon-afro-latino-represenation-media/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Afro-Latinx artists \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">continue to lack representation in Spanish-language entertainment. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/S4MVqP-RjZI\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Manes de Negocio\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is Los Rakas first release since leaving behind a record deal with Universal Music Latino. As Rich and Dun tell it, the label didn’t give them the attention or resources they needed. “We were just done with the situation with our record label, wanting to start fresh,” says Rich. “We weren’t a priority for them [Universal]. If they’re not about the project, they are not gonna put their all into it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, at the 2017 Grammy Awards, Los Rakas got a nomination for Best Latin Rock, Urban or Alternative Album for their self-titled 2016 album\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Although they lost to Puerto Rican singer, and former Calle 13 member, Ileana Cabra, the nomination served as a “graduation certificate,” Rich recalls, implying the achievement gave them the confidence they needed to continue their career as independent artists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Manes de Negocio\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> out (and now that Rich and Dun get to travel together back to Panama), the guys have taken the opportunity to work with artists making a name for themselves in Latin America. The up-and-coming artists they’re praising? “\u003c/span>\u003ca href=\"https://www.youtube.com/channel/UCte53PewI8_jYpBYn071MqQ\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Sech\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is one of the biggest Latinx acts that just blew up, his music is tight,” Rich says. The guys also mention Chinese-Panamanian \u003c/span>\u003ca href=\"https://www.youtube.com/channel/UC2q_ZjAMT_Ppigjx3bU64gw\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Shyno Gatillo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=7h_FFFQ2ZiY\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Japanese PTY.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> “These are the cats that represent what Panama culture is.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“What we learn here in the Bay, we take it back to Panama, Colombia,” says Rich. “It feels the same way.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Los Rakas perform at the \u003c/span>\u003ca href=\"https://dothebay.com/events/2019/7/18/urbano-feat-los-rakas\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">URBANO party\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Temple on July 18, and open for Don Omar’s El Puro Party! at \u003c/span>\u003ca href=\"https://www.livenation.com/events/1067737-sep-1-2019-el-puro-party-feat-don-omar\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Shoreline Amphitheater \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">on Sep. 1.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Panamanian-American duo discusses the Black roots of reggaeton and Afro-Latinx representation. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A Grammy-nominated album, numerous mixtapes, countless collaborations and frequent trips back to their home country of Panama. For Oakland duo \u003ca href=\"https://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a>, the past decade has been all about hustle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cousins Raka Rich and Raka Dun are currently promoting their sophomore album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Manes De Negocio\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (which loosely translates to “men of business”), via Delicious Vinyl Island and their own label, Raka Music. The 12-track project mixes dancehall, rap and reggaeton from Panama and the Bay—a style Los Rakas have been pioneering over the course of their 13 years in the music biz. With a map of Africa on the album cover, Los Rakas remind listeners of the Afro-Latinx roots of the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">urbano \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">genre currently taking over the airwaves\u003c/span>\u003cspan style=\"font-weight: 400\">, positioning themselves as the heirs of \u003ca href=\"https://remezcla.com/features/music/tu-pum-pum-2/\" target=\"_blank\" rel=\"noopener\">pioneering Black Panamanian reggaetoneros\u003c/a> such as El General and Renato. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It comes from Panama, from Oakland, it comes from poverty, from the ghetto, from the struggle,” Rich says of Los Rakas’ sound. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot has changed since Los Rakas came onto the scene with their bilingual back-and-forth and \u003ca href=\"https://youtu.be/iHsncI2j2fk\" target=\"_blank\" rel=\"noopener\">hyphy-meets-reggaeton\u003c/a> production—a style many deemed too hybridized to gain mainstream traction when they debuted in 2006. But following the international success of Luis Fonsi and Daddy Yankee’s “Despacito” in 2017, Latinx music that blends reggaeton flows and American hip-hop culture has grown to dominate global charts. Colombia’s J Balvin, Puerto Rico’s Bad Bunny and Ozuna, and Southern California’s Becky G emerged among a new generation of pop stars who, unlike their forebears Shakira and Ricky Martin, attract huge international audiences without translating their lyrics into English.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“What we started ten years ago is where it’s at [now],” says Rich. “Now it’s not taboo to experiment, to be a rap artist and hop on an EDM song, or mix different languages.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7aYqon53pXzXnM0RVQNjIK\" width=\"800\" height=\"500\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rich grew up between Oakland and Panama, and was the first person in his family born in the United States. Dun was born in Panama and was undocumented until a few years ago. When Los Rakas got their start, he wasn’t yet fluent in English. The same year the duo released their debut studio album, 2014’s \u003cem>El Negrito Dun Dun & Ricardo\u003c/em>, Dun adjusted his legal status, and was finally able to visit his immediate family back home. With tracks like “Sueño Americano,” “Chica De Mi Corazón” and “Mi País,” he reflects on his experiences as an immigrant. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I got here, I fell in love with hip-hop, R&B,” Dun says. “I would kick it with my Black homies and wouldn’t speak Spanish, kick it with the Mexican patnas. It wasn’t hard adjusting to the culture, but the obstacles [were] being an immigrant and not having papers.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Manes De Negocio\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, features from local and national artists reflect Rich and Dun’s diverse influences. “Otra Vez,” a track with a down-tempo trap beat, features Nicaraguan-American San Francisco rapper Youngin Floe. Dominican-American \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Love & Hip-Hop: Miami\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> star Amara La Negra seduces alongside Los Rakas on the sultry track “Devórame.” Their collaboration is an important show of solidarity, as \u003c/span>\u003ca href=\"https://fierce.wearemitu.com/identities/ilia-calderon-afro-latino-represenation-media/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Afro-Latinx artists \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">continue to lack representation in Spanish-language entertainment. \u003c/span>\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/S4MVqP-RjZI'\n title='//www.youtube.com/embed/S4MVqP-RjZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Manes de Negocio\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is Los Rakas first release since leaving behind a record deal with Universal Music Latino. As Rich and Dun tell it, the label didn’t give them the attention or resources they needed. “We were just done with the situation with our record label, wanting to start fresh,” says Rich. “We weren’t a priority for them [Universal]. If they’re not about the project, they are not gonna put their all into it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, at the 2017 Grammy Awards, Los Rakas got a nomination for Best Latin Rock, Urban or Alternative Album for their self-titled 2016 album\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Although they lost to Puerto Rican singer, and former Calle 13 member, Ileana Cabra, the nomination served as a “graduation certificate,” Rich recalls, implying the achievement gave them the confidence they needed to continue their career as independent artists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Manes de Negocio\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> out (and now that Rich and Dun get to travel together back to Panama), the guys have taken the opportunity to work with artists making a name for themselves in Latin America. The up-and-coming artists they’re praising? “\u003c/span>\u003ca href=\"https://www.youtube.com/channel/UCte53PewI8_jYpBYn071MqQ\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Sech\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is one of the biggest Latinx acts that just blew up, his music is tight,” Rich says. The guys also mention Chinese-Panamanian \u003c/span>\u003ca href=\"https://www.youtube.com/channel/UC2q_ZjAMT_Ppigjx3bU64gw\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Shyno Gatillo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=7h_FFFQ2ZiY\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Japanese PTY.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> “These are the cats that represent what Panama culture is.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“What we learn here in the Bay, we take it back to Panama, Colombia,” says Rich. “It feels the same way.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Los Rakas perform at the \u003c/span>\u003ca href=\"https://dothebay.com/events/2019/7/18/urbano-feat-los-rakas\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">URBANO party\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Temple on July 18, and open for Don Omar’s El Puro Party! at \u003c/span>\u003ca href=\"https://www.livenation.com/events/1067737-sep-1-2019-el-puro-party-feat-don-omar\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Shoreline Amphitheater \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">on Sep. 1.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades",
"headTitle": "A Cup Of Ambition And Endurance: ‘9 To 5’ Unites Workers Across Decades | KQED",
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\u003c/p>\n\u003cp>https://youtu.be/UbxUSsFXYo4\u003c/p>\n\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\u003c/p>\n\u003cp>https://youtu.be/AqUKOV27tAM\u003c/p>\n\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\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/UbxUSsFXYo4'\n title='//www.youtube.com/embed/UbxUSsFXYo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\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/AqUKOV27tAM'\n title='//www.youtube.com/embed/AqUKOV27tAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "R. Kelly Arrested On Federal Charges, Including Child Pornography And Kidnapping",
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"content": "\u003cp>\u003cstrong>Updated at 12:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Federal prosecutors in New York and Chicago unsealed sweeping charges against R&B singer R. Kelly on Friday, accusing him of abusing women and girls for nearly two decades, including kidnapping, forced labor and sending child pornography across state lines.\u003c/p>\n\u003cp>The bombshell charges, the first federal criminal charges Kelly has faced, come a day after he was arrested while walking his dog outside his home in Chicago’s Trump Tower. He faces a total of 18 federal counts.\u003c/p>\n\u003cp>Prosecutors have requested that Kelly be held in detention while he awaits trial, saying he is a danger to the community and a significant flight risk.\u003c/p>\n\u003cp>“The defendant is charged as the leader of a racketeering enterprise engaged in a pattern of racketeering activity spanning two decades involving the sexual exploitation of children, coercing and transporting women and girls to engage in illegal sexual activity, kidnapping and forced labor,” wrote Richard Donoghue, U.S. attorney for the Eastern District of New York.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The indictment in the Northern District of Illinois contains allegations of child pornography and obstruction of justice.\u003c/p>\n\u003cp>Those charges involve five minors. Prosecutors say that beginning in about 1998, Kelly made sexual videos with several of the victims. Also named in the Illinois indictment are two of Kelly’s associates, Derrell McDavid, a manager of Kelly; and Milton “June” Brown, another Kelly employee.\u003c/p>\n\u003cp>[aside postid='arts_13848980']\u003c/p>\n\u003cp>Prosecutors allege Kelly and his associates paid out “hundreds of thousands” of dollars to collect copies of those videos, which had begun circulating, and that Kelly and others paid alleged victims, their parents, other family members and other witnesses to prevent them from testifying in court or otherwise coming forward. Those payoffs were said to include gifts and foreign travel as well as cash, and that Kelly also “used physical abuse, violence, threats of violence, blackmail, and other controlling behaviors” to silence his alleged victims.\u003c/p>\n\u003cp>In the indictment unsealed Friday morning in New York, federal prosecutors charged Kelly with one count of racketeering related to kidnapping and four violations of the Mann Act, which relate to allegations of trafficking victims across state lines for sexual purposes. Kelly abused five victims, including three minors, in incidents as far back as 1999 and as recently as 2018, according to the court document.\u003c/p>\n\u003cp>Prosecutors say Kelly worked with his bodyguards, drivers and personal assistants to form an illegal conspiracy to find and abuse women and girls “to engage in illegal sexual activity with Kelly,” prosecutors wrote. “By promoting R. Kelly’s music and the R. Kelly brand, the members of the Enterprise expected to receive financial opportunities and personal benefits and increased power.”\u003c/p>\n\u003cp>Kelly and his entourage allegedly recruited and groomed women and girls, enticing them with access to the singer and promises of money. Authorities say he confined the victims against their will, forcing them to engage in sex acts and sometimes filming the sexual activity.\u003c/p>\n\u003cp>These incidents are alleged to have taken place in locations including Chicago, Connecticut, California and in Brooklyn, where prosecutors filed the sealed charges on June 20.\u003c/p>\n\u003cp>[aside postid='pop_109568']\u003c/p>\n\u003cp>A law enforcement official tells NPR that Kelly is expected to be arraigned in Illinois on Friday, and that he likely will be arraigned in Brooklyn on the New York charges sometime next week.\u003c/p>\n\u003cp>Kelly, who already faces separate sexual assault charges in Illinois state court as well as activity in multiple ongoing civil cases, is now facing three possible criminal trials following his Thursday night arrest.\u003c/p>\n\u003cp>For decades, Kelly \u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\">has been dogged by\u003c/a> accusations of child pornography and sexual contact with minors. He had previously been prosecuted by Illinois authorities in a child pornography case, but in June 2008 Kelly was acquitted of all charges.\u003c/p>\n\u003cp>Kelly’s attorney, Steve Greenberg, released a statement Friday morning saying his client was arrested while out walking his dog and that Kelly “was aware of the investigations and the charges were not a surprise.” In his statement, Greenberg repeated assertions that he has made previously in connection to the Cook County indictments: namely, that they involve decades-old allegations.\u003c/p>\n\u003cp>https://twitter.com/SGcrimlaw/status/1149672781027540992\u003c/p>\n\u003cp>In recent months, fresh interest has been generated around the longtime accusations against Kelly.\u003c/p>\n\u003cp>An interview Kelly \u003ca href=\"https://www.npr.org/2019/03/06/700657516/r-kelly-gives-first-post-arrest-interview\">did with Gayle King in March\u003c/a> in which he emotionally denied sexual misconduct prompted widespread attention.\u003c/p>\n\u003cp>And Lifetime’s\u003ca href=\"https://www.npr.org/2019/01/03/681851521/lifetimes-series-about-r-kelly-depicts-a-darker-side-to-the-singer\"> recent six-episode\u003c/a> \u003cem>Surviving R. Kelly\u003c/em> documentary included accounts from several women who accused the singer of misconduct, drawing a new focus to the longstanding accusations lodged at him. More accusers began publicly telling their stories about alleged abuse and sexual misconduct perpetrated by him.\u003c/p>\n\u003cp>State prosecutors in Chicago this year have filed sexual assault and abuse charges against him, the latest of which were filed six weeks ago. Kelly, 52, whose real name is Robert Sylvester Kelly, has pleaded not guilty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>WBEZ’s Patrick Smith and NPR’s Colin Dwyer contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+Arrested+On+Federal+Charges%2C+Including+Child+Pornography+And+Kidnapping&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 12:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Federal prosecutors in New York and Chicago unsealed sweeping charges against R&B singer R. Kelly on Friday, accusing him of abusing women and girls for nearly two decades, including kidnapping, forced labor and sending child pornography across state lines.\u003c/p>\n\u003cp>The bombshell charges, the first federal criminal charges Kelly has faced, come a day after he was arrested while walking his dog outside his home in Chicago’s Trump Tower. He faces a total of 18 federal counts.\u003c/p>\n\u003cp>Prosecutors have requested that Kelly be held in detention while he awaits trial, saying he is a danger to the community and a significant flight risk.\u003c/p>\n\u003cp>“The defendant is charged as the leader of a racketeering enterprise engaged in a pattern of racketeering activity spanning two decades involving the sexual exploitation of children, coercing and transporting women and girls to engage in illegal sexual activity, kidnapping and forced labor,” wrote Richard Donoghue, U.S. attorney for the Eastern District of New York.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prosecutors allege Kelly and his associates paid out “hundreds of thousands” of dollars to collect copies of those videos, which had begun circulating, and that Kelly and others paid alleged victims, their parents, other family members and other witnesses to prevent them from testifying in court or otherwise coming forward. Those payoffs were said to include gifts and foreign travel as well as cash, and that Kelly also “used physical abuse, violence, threats of violence, blackmail, and other controlling behaviors” to silence his alleged victims.\u003c/p>\n\u003cp>In the indictment unsealed Friday morning in New York, federal prosecutors charged Kelly with one count of racketeering related to kidnapping and four violations of the Mann Act, which relate to allegations of trafficking victims across state lines for sexual purposes. Kelly abused five victims, including three minors, in incidents as far back as 1999 and as recently as 2018, according to the court document.\u003c/p>\n\u003cp>Prosecutors say Kelly worked with his bodyguards, drivers and personal assistants to form an illegal conspiracy to find and abuse women and girls “to engage in illegal sexual activity with Kelly,” prosecutors wrote. “By promoting R. Kelly’s music and the R. Kelly brand, the members of the Enterprise expected to receive financial opportunities and personal benefits and increased power.”\u003c/p>\n\u003cp>Kelly and his entourage allegedly recruited and groomed women and girls, enticing them with access to the singer and promises of money. Authorities say he confined the victims against their will, forcing them to engage in sex acts and sometimes filming the sexual activity.\u003c/p>\n\u003cp>These incidents are alleged to have taken place in locations including Chicago, Connecticut, California and in Brooklyn, where prosecutors filed the sealed charges on June 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A law enforcement official tells NPR that Kelly is expected to be arraigned in Illinois on Friday, and that he likely will be arraigned in Brooklyn on the New York charges sometime next week.\u003c/p>\n\u003cp>Kelly, who already faces separate sexual assault charges in Illinois state court as well as activity in multiple ongoing civil cases, is now facing three possible criminal trials following his Thursday night arrest.\u003c/p>\n\u003cp>For decades, Kelly \u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\">has been dogged by\u003c/a> accusations of child pornography and sexual contact with minors. He had previously been prosecuted by Illinois authorities in a child pornography case, but in June 2008 Kelly was acquitted of all charges.\u003c/p>\n\u003cp>Kelly’s attorney, Steve Greenberg, released a statement Friday morning saying his client was arrested while out walking his dog and that Kelly “was aware of the investigations and the charges were not a surprise.” In his statement, Greenberg repeated assertions that he has made previously in connection to the Cook County indictments: namely, that they involve decades-old allegations.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In recent months, fresh interest has been generated around the longtime accusations against Kelly.\u003c/p>\n\u003cp>An interview Kelly \u003ca href=\"https://www.npr.org/2019/03/06/700657516/r-kelly-gives-first-post-arrest-interview\">did with Gayle King in March\u003c/a> in which he emotionally denied sexual misconduct prompted widespread attention.\u003c/p>\n\u003cp>And Lifetime’s\u003ca href=\"https://www.npr.org/2019/01/03/681851521/lifetimes-series-about-r-kelly-depicts-a-darker-side-to-the-singer\"> recent six-episode\u003c/a> \u003cem>Surviving R. Kelly\u003c/em> documentary included accounts from several women who accused the singer of misconduct, drawing a new focus to the longstanding accusations lodged at him. More accusers began publicly telling their stories about alleged abuse and sexual misconduct perpetrated by him.\u003c/p>\n\u003cp>State prosecutors in Chicago this year have filed sexual assault and abuse charges against him, the latest of which were filed six weeks ago. Kelly, 52, whose real name is Robert Sylvester Kelly, has pleaded not guilty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>WBEZ’s Patrick Smith and NPR’s Colin Dwyer contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+Arrested+On+Federal+Charges%2C+Including+Child+Pornography+And+Kidnapping&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By all counts, \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">Saint John Coltrane AOC\u003c/a> tops the list of San Francisco’s coolest churches.\u003c/p>\n\u003cp>It began as a music appreciation club after its founders, Archbishop Franzo King and Reverend Mother Marina King, experienced what they call a “sound baptism” at a Coltrane concert in 1965. After a stint as an after-hours club where touring musicians experimented, their space eventually turned into a house of worship.\u003c/p>\n\u003cp>These days, the church’s congregants attend musical sermons where anyone can bring their own instrument, meditate to Coltrane’s \u003cem>A Love Supreme\u003c/em>, and spread their spiritual teachings on a weekly KPOO 89.5-FM show, \u003ca href=\"http://www.kpoo.com/program-guide\" target=\"_blank\" rel=\"noopener\">\u003cem>Uplift\u003c/em>\u003c/a>. How many people can say their minister is also a bassist and a DJ, like Pastor Wanika K. Stephens?\u003c/p>\n\u003cp>Saint John Coltrane AOC celebrates its 50th anniversary with an evening vespers concert on July 20 at Grace Cathedral. It features Oakland composer and bassist \u003ca href=\"https://marcusshelby.com/\" target=\"_blank\" rel=\"noopener\">Marcus Shelby\u003c/a>, whose work interprets powerful stories from African-American history; saxophonist \u003ca href=\"https://www.teodrossavery.com/\" target=\"_blank\" rel=\"noopener\">Teodross Avery\u003c/a>, who recently released a Coltrane tribute album called \u003cem>After the Rain\u003c/em>; saxophonist, composer and educator \u003ca href=\"https://richardhowellandsuddenchanges.com\" target=\"_blank\" rel=\"noopener\">Richard Howell\u003c/a>; harpist \u003ca href=\"https://destinymuhammad.net\" target=\"_blank\" rel=\"noopener\">Destiny Muhammad\u003c/a>; drummer, pianist and composer \u003ca href=\"https://elehowell.com/bio\" target=\"_blank\" rel=\"noopener\">Ele Howell\u003c/a>; and composer and guitarist \u003ca href=\"https://pascalbokarthiam.com/\" target=\"_blank\" rel=\"noopener\">Pascal Bokar\u003c/a>, accompanied by African dancers. In addition to the performances, guests will hear from Saint John Coltrane AOC’s clergy, including co-founder Archbishop King.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Fam 1st Family Foundation isn’t your usual nonprofit—it’s led by famed professional football players Marshawn Lynch, Marcus Peters and Josh Johnson. And this week, they’re throwing a week’s worth of events for kids and families.\u003c/p>\n\u003cp>I recently talked to the foundation’s Executive Director, Brije Gammage, who says that Fam 1st’s \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">Family Celebrity Week\u003c/a> has been going on for about a dozen years. After its inaugural year as a football camp and barbecue, it’s evolved to be much more. \u003c/p>\n\u003cp>But even with its growth and success, it hasn’t lost its purpose. “It’s about having a week of community coming together,” says Gammage. “And it’s also a chance to have the people who are a part of the foundation give back, and also bring out celebrities and players, and have them give something back.”\u003c/p>\n\u003cp>Looking at the schedule, it seems like the stars and the community will be aligned.\u003c/p>\n\u003cp>On Monday and Tuesday, July 8 and 9, the foundation gives away free tickets to Six Flags Hurricane Harbor in Concord for folks under 18. The passes can be claimed at the \u003ca href=\"https://www.beastmodeonline.com/pages/locations\" rel=\"noopener\" target=\"_blank\">Beast Mode store in downtown Oakland\u003c/a>, or at the front desk of the \u003ca href=\"http://www.westoaklandyouthcenter.org/\" rel=\"noopener\" target=\"_blank\">West Oakland Youth Center\u003c/a>. Tickets are good for admission to the park on Wednesday, July 10, and are limited to the first 2,000 kids to claim them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Tuesday, July 9, Los Angeles Rams star cornerback Marcus Peters hosts his 4th annual “It Take A Village” carnival at his alma mater, \u003ca href=\"https://www.ousd.org/mcclymonds\" rel=\"noopener\" target=\"_blank\">McClymonds High School\u003c/a> in West Oakland, from 2pm-8pm. There’ll be food, games and music; everything is free.\u003c/p>\n\u003cp>On Thursday, July 11, a talent show gets underway at \u003ca href=\"https://oaklandtech.com/staff/about/overview/\" rel=\"noopener\" target=\"_blank\">Oakland Tech\u003c/a> for ages 4-18. The event runs 5pm-9pm, and costs $5 to attend. This first-place winner of the talent show pockets $1,500, with second- and third-place cash prizes as well.\u003c/p>\n\u003cp>Friday night, July 12, is bowling night at \u003ca href=\"http://www.thealbanybowl.com/\" rel=\"noopener\" target=\"_blank\">Albany Bowl\u003c/a>. General tickets are $10–$35, with presale tickets available \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">online\u003c/a>.\u003c/p>\n\u003cp>On Saturday, July 13, a dance camp for youth runs from 8am–noon for youth ages 6-12, and 1pm–4pm for ages 13-18. The free event is held at the Oakland Raiders Headquarters at \u003ca href=\"https://www.google.com/maps/place/1220+Harbor+Bay+Pkwy,+Alameda,+CA+94502/@37.7658055,-122.3061658,13z/data=!4m5!3m4!1s0x808f84453943be59:0x975160d8992a8afe!8m2!3d37.7250838!4d-122.2330381\" rel=\"noopener\" target=\"_blank\">1220 Harbor Bay Parkway in Alameda\u003c/a>.\u003c/p>\n\u003cp>At the same time and in the same place as the dance event, there’s a free youth football camp. For young people ages 6–12, the event runs from 8am–noon. And for folks ages 13–18, the event goes from 1pm–4pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information on the week’s events, check the \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" target=\"_blank\" rel=\"noopener\">Fam 1st Foundation’s website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fam 1st Family Foundation isn’t your usual nonprofit—it’s led by famed professional football players Marshawn Lynch, Marcus Peters and Josh Johnson. And this week, they’re throwing a week’s worth of events for kids and families.\u003c/p>\n\u003cp>I recently talked to the foundation’s Executive Director, Brije Gammage, who says that Fam 1st’s \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">Family Celebrity Week\u003c/a> has been going on for about a dozen years. After its inaugural year as a football camp and barbecue, it’s evolved to be much more. \u003c/p>\n\u003cp>But even with its growth and success, it hasn’t lost its purpose. “It’s about having a week of community coming together,” says Gammage. “And it’s also a chance to have the people who are a part of the foundation give back, and also bring out celebrities and players, and have them give something back.”\u003c/p>\n\u003cp>Looking at the schedule, it seems like the stars and the community will be aligned.\u003c/p>\n\u003cp>On Monday and Tuesday, July 8 and 9, the foundation gives away free tickets to Six Flags Hurricane Harbor in Concord for folks under 18. The passes can be claimed at the \u003ca href=\"https://www.beastmodeonline.com/pages/locations\" rel=\"noopener\" target=\"_blank\">Beast Mode store in downtown Oakland\u003c/a>, or at the front desk of the \u003ca href=\"http://www.westoaklandyouthcenter.org/\" rel=\"noopener\" target=\"_blank\">West Oakland Youth Center\u003c/a>. Tickets are good for admission to the park on Wednesday, July 10, and are limited to the first 2,000 kids to claim them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Tuesday, July 9, Los Angeles Rams star cornerback Marcus Peters hosts his 4th annual “It Take A Village” carnival at his alma mater, \u003ca href=\"https://www.ousd.org/mcclymonds\" rel=\"noopener\" target=\"_blank\">McClymonds High School\u003c/a> in West Oakland, from 2pm-8pm. There’ll be food, games and music; everything is free.\u003c/p>\n\u003cp>On Thursday, July 11, a talent show gets underway at \u003ca href=\"https://oaklandtech.com/staff/about/overview/\" rel=\"noopener\" target=\"_blank\">Oakland Tech\u003c/a> for ages 4-18. The event runs 5pm-9pm, and costs $5 to attend. This first-place winner of the talent show pockets $1,500, with second- and third-place cash prizes as well.\u003c/p>\n\u003cp>Friday night, July 12, is bowling night at \u003ca href=\"http://www.thealbanybowl.com/\" rel=\"noopener\" target=\"_blank\">Albany Bowl\u003c/a>. General tickets are $10–$35, with presale tickets available \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">online\u003c/a>.\u003c/p>\n\u003cp>On Saturday, July 13, a dance camp for youth runs from 8am–noon for youth ages 6-12, and 1pm–4pm for ages 13-18. The free event is held at the Oakland Raiders Headquarters at \u003ca href=\"https://www.google.com/maps/place/1220+Harbor+Bay+Pkwy,+Alameda,+CA+94502/@37.7658055,-122.3061658,13z/data=!4m5!3m4!1s0x808f84453943be59:0x975160d8992a8afe!8m2!3d37.7250838!4d-122.2330381\" rel=\"noopener\" target=\"_blank\">1220 Harbor Bay Parkway in Alameda\u003c/a>.\u003c/p>\n\u003cp>At the same time and in the same place as the dance event, there’s a free youth football camp. For young people ages 6–12, the event runs from 8am–noon. And for folks ages 13–18, the event goes from 1pm–4pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information on the week’s events, check the \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" target=\"_blank\" rel=\"noopener\">Fam 1st Foundation’s website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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