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"content": "\u003cp>It’s easy to miss the poems carved into the walls of the immigration station on \u003ca href=\"https://www.parks.ca.gov/?page_id=468\">Angel Island\u003c/a> in the middle of the San Francisco Bay. But if you look carefully, thousands of Chinese characters start to emerge from the dingy layers of green and yellow paint. The roughly hundred-year-old verses tell a little-known story of what happened to many Chinese immigrants when they tried to get into the country at a time when they were not welcome here. \u003c/p>\n\u003cp>Now a California state park, Angel Island has a history as an immigration hub far less familiar than that of New York’s Ellis Island. It’s also much darker: U.S. authorities detained hundreds of thousands of Chinese immigrants there between 1910 and 1940, under harsh conditions.\u003c/p>\n\u003cp>Now, a Chinese-American composer based in New York has teamed up with a string quartet and vocal ensemble from San Francisco to bring to life, through music, the struggles of those immigrants. \u003c/p>\n\u003cp>\u003cstrong>Poems that shock\u003c/strong>\u003c/p>\n\u003cp>“Seeing these poems here in this context is pretty shocking,” says Charlton Lee, a violist with the \u003ca href=\"https://www.delsolquartet.com/\">Del Sol Quartet\u003c/a>, the San Francisco-based group that commissioned \u003ca href=\"https://www.delsolquartet.com/angelisland\">\u003cem>Angel Island\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The quartet will perform the work with the vocal ensemble \u003ca href=\"http://voltisf.org/\">Volti \u003c/a>on the island on Oct. 23—weather permitting. The world-premiere performance takes place tonight, at San Francisco’s Presidio Theatre.\u003c/p>\n\u003cp>Lee, a second-generation Chinese immigrant, is from the San Francisco Bay Area. But, he says, he only found out about Angel Island’s immigration history as a college student at the University of California, Berkeley.\u003c/p>\n\u003cp>“In other parts of the country — and probably even here, to some degree — it’s like you don’t learn anything about this history at all,” Lee says. \u003c/p>\n\u003cp>Even today, the subject isn’t widely taught in schools. “There are pockets of places and teachers who seek out this sort of content and are teaching it,” says Tuyen Tran, assistant director of the \u003ca href=\"https://chssp.ucdavis.edu/\">California History-Social Science Project\u003c/a>, a University of California Davis group that monitors history teaching and curricula in California K-12 schools. “But is it mandated? No.”\u003c/p>\n\u003cp>Indeed, many people interviewed for this story, including Chinese-Americans with family members who experienced Angel Island firsthand, talk about the suppression of this history. “When we were interviewing people about their days on Angel Island, my father was adamant that my mother not speak to us,” says \u003ca href=\"https://www.poetryfoundation.org/poets/genny-lim\">Genny Lim\u003c/a>, a San Francisco-based Chinese-American poet, educator, playwright and activist, whose mother immigrated via the island. Lim was part of a group of people who first translated the wall poems of Angel Island in the late 1970s and conducted research with people who’d been detained there. They published these poems in the 1980 book, \u003ca href=\"https://www.amazon.com/Island-History-Immigrants-1910-1940-Endowment/dp/029599407X\">\u003cem>Island: Poetry and History of Chinese Immigrants on Angel Island\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“I’ve been an educator for 20 years — it’s really, really difficult to find people who know much about Angel Island,” says Andi Wong, whose own grandparents came through it.\u003c/p>\n\u003cp>\u003cstrong>A bleak history\u003c/strong>\u003c/p>\n\u003cp>The bleakness of Angel Island’s history partly explains why many people don’t like to talk about it.\u003c/p>\n\u003cp>“For the 30 years of operation, this facility, while nicknamed the ‘Ellis Island of the West,’ was called by the people that worked here the ‘Guardian of the Western Gate,’ ” says California State Parks interpreter Casey Dexter-Lee. “And their job was to keep people out.”\u003c/p>\n\u003cp>Dexter-Lee says the majority of the immigrants who traveled through Angel Island were from places like China, Japan and India. As a result of racist immigration laws, including the 1882 \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\">Chinese Exclusion Act\u003c/a>, Chinese newcomers faced particularly grueling interrogations and average stays of weeks or even months. Other applicants typically stayed just a couple of days. Dexter-Lee says deportation and appeal rates for Chinese people were also higher. “About 50 percent of Chinese immigrants failed their initial entry hearing,” she says.\u003c/p>\n\u003cp>After the Second World War, the station was decommissioned and eventually fell into neglect; it was nearly torn down in the 1960s. But in 1970, a visiting park ranger noticed poems carved into the walls which, Dexter-Lee says, sparked interest in preserving the grimy building. Today, it’s a national historic landmark.\u003c/p>\n\u003cp>“The poems on the walls are what saved this building from destruction,” Dexter-Lee says.\u003c/p>\n\u003cp>The composer \u003ca href=\"https://huangruo.com/\">Huang Ruo\u003c/a>, who came to the U.S. from China in the 1990s to study music, fell under the spell of Angel Island’s poems after learning about them. That interest eventually led, in 2018, to Ruo and the Del Sol Quartet staging a performance on Angel Island, comprised of music improvised around one of the wall poems.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FySqi5Xq7-Y\u003c/p>\n\u003cp>\u003cstrong>A musical journey\u003c/strong>\u003c/p>\n\u003cp>In a recent interview, Ruo said that the research trip was a visceral journey — he went from regaling in the beautiful outdoor scenery to understanding something of the horror of being confined indoors. \u003c/p>\n\u003cp>“I feel I could relate being there, looking out from inside,” he says. The music Ruo went on to compose takes the listener on a similar journey. \u003c/p>\n\u003cp>In addition to calling for musicians to read aloud several historic texts relating to attitudes towards Chinese immigrants — including a list of people killed in the Chinese Massacre of 1871 in Los Angeles and the anti-Chinese \u003ca href=\"https://en.wikipedia.org/wiki/Page_Act_of_1875\">Page Act\u003c/a> of 1875 — the work sets three of the Angel Island wall poems. \u003c/p>\n\u003cp>The arc of the piece follows a hopeful immigrant’s experience of traveling to America, through the shattering of hope as a detainee stuck for months on Angel Island, to a prisoner’s final, hopeless death on the island. \u003c/p>\n\u003cp>“The third poem is a funeral poem,” Ruo says. “Someone died, and this person’s friend carved a poem on the wall to mourn his friend: how his will was not fulfilled by coming this far, how he lays under the cold clay and mud.”\u003c/p>\n\u003cp>\u003cstrong>Connecting the past with the present\u003c/strong>\u003c/p>\n\u003cp>Though \u003cem>Angel Island\u003c/em> is steeped in historical material, the work carries resonance today. \u003c/p>\n\u003cp>“There’s nothing new about this treatment of immigrants,” says Wong, who in addition to being an “Angel Island descendant” herself, is managing the \u003ca href=\"https://www.delsolquartet.com/angelislandinsight\">community outreach effort\u003c/a> around the new musical work, such as public discussions and a community photography exhibition aimed at connecting Angel Island’s past with our own times. “It comes in waves.” \u003c/p>\n\u003cp>Wong’s grandmother came through Angel Island in 1929. Wong says her grandfather, who had already immigrated, was forced to pay a fee of $1,000 (around $16,000 in today’s money) for his wife’s release. \u003c/p>\n\u003cp>“She would have been sent back,” says Wong in response to the question of what would have happened to her grandmother, then pregnant with her father, if that fee hadn’t been paid. “So I wouldn’t be standing here, talking to you.” \u003c/p>\n\u003cp>Wong says this country’s attitude towards many immigrants hasn’t improved much since then — what with the ongoing issues at the U.S.-Mexico border, and the lack of leniency towards Haitian asylum seekers today. Plus, the waves of attacks against Asian immigrants and their descendants haven’t gone away since the earliest days of Chinese immigration here.\u003c/p>\n\u003cp>And that’s where art comes in: Wong says works like \u003cem>Angel Island\u003c/em> can help us reconnect with the past in a new way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The key thing is engendering empathy through hearing these stories,” Wong says. “If you know that all of us are here because somebody in our past made that journey, you’re more likely to care and be empathetic.” \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Composer+Huang+Ruo+gives+voice+to+the+dark+history+of+Angel+Island&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s easy to miss the poems carved into the walls of the immigration station on \u003ca href=\"https://www.parks.ca.gov/?page_id=468\">Angel Island\u003c/a> in the middle of the San Francisco Bay. But if you look carefully, thousands of Chinese characters start to emerge from the dingy layers of green and yellow paint. The roughly hundred-year-old verses tell a little-known story of what happened to many Chinese immigrants when they tried to get into the country at a time when they were not welcome here. \u003c/p>\n\u003cp>Now a California state park, Angel Island has a history as an immigration hub far less familiar than that of New York’s Ellis Island. It’s also much darker: U.S. authorities detained hundreds of thousands of Chinese immigrants there between 1910 and 1940, under harsh conditions.\u003c/p>\n\u003cp>Now, a Chinese-American composer based in New York has teamed up with a string quartet and vocal ensemble from San Francisco to bring to life, through music, the struggles of those immigrants. \u003c/p>\n\u003cp>\u003cstrong>Poems that shock\u003c/strong>\u003c/p>\n\u003cp>“Seeing these poems here in this context is pretty shocking,” says Charlton Lee, a violist with the \u003ca href=\"https://www.delsolquartet.com/\">Del Sol Quartet\u003c/a>, the San Francisco-based group that commissioned \u003ca href=\"https://www.delsolquartet.com/angelisland\">\u003cem>Angel Island\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The quartet will perform the work with the vocal ensemble \u003ca href=\"http://voltisf.org/\">Volti \u003c/a>on the island on Oct. 23—weather permitting. The world-premiere performance takes place tonight, at San Francisco’s Presidio Theatre.\u003c/p>\n\u003cp>Lee, a second-generation Chinese immigrant, is from the San Francisco Bay Area. But, he says, he only found out about Angel Island’s immigration history as a college student at the University of California, Berkeley.\u003c/p>\n\u003cp>“In other parts of the country — and probably even here, to some degree — it’s like you don’t learn anything about this history at all,” Lee says. \u003c/p>\n\u003cp>Even today, the subject isn’t widely taught in schools. “There are pockets of places and teachers who seek out this sort of content and are teaching it,” says Tuyen Tran, assistant director of the \u003ca href=\"https://chssp.ucdavis.edu/\">California History-Social Science Project\u003c/a>, a University of California Davis group that monitors history teaching and curricula in California K-12 schools. “But is it mandated? No.”\u003c/p>\n\u003cp>Indeed, many people interviewed for this story, including Chinese-Americans with family members who experienced Angel Island firsthand, talk about the suppression of this history. “When we were interviewing people about their days on Angel Island, my father was adamant that my mother not speak to us,” says \u003ca href=\"https://www.poetryfoundation.org/poets/genny-lim\">Genny Lim\u003c/a>, a San Francisco-based Chinese-American poet, educator, playwright and activist, whose mother immigrated via the island. Lim was part of a group of people who first translated the wall poems of Angel Island in the late 1970s and conducted research with people who’d been detained there. They published these poems in the 1980 book, \u003ca href=\"https://www.amazon.com/Island-History-Immigrants-1910-1940-Endowment/dp/029599407X\">\u003cem>Island: Poetry and History of Chinese Immigrants on Angel Island\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“I’ve been an educator for 20 years — it’s really, really difficult to find people who know much about Angel Island,” says Andi Wong, whose own grandparents came through it.\u003c/p>\n\u003cp>\u003cstrong>A bleak history\u003c/strong>\u003c/p>\n\u003cp>The bleakness of Angel Island’s history partly explains why many people don’t like to talk about it.\u003c/p>\n\u003cp>“For the 30 years of operation, this facility, while nicknamed the ‘Ellis Island of the West,’ was called by the people that worked here the ‘Guardian of the Western Gate,’ ” says California State Parks interpreter Casey Dexter-Lee. “And their job was to keep people out.”\u003c/p>\n\u003cp>Dexter-Lee says the majority of the immigrants who traveled through Angel Island were from places like China, Japan and India. As a result of racist immigration laws, including the 1882 \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\">Chinese Exclusion Act\u003c/a>, Chinese newcomers faced particularly grueling interrogations and average stays of weeks or even months. Other applicants typically stayed just a couple of days. Dexter-Lee says deportation and appeal rates for Chinese people were also higher. “About 50 percent of Chinese immigrants failed their initial entry hearing,” she says.\u003c/p>\n\u003cp>After the Second World War, the station was decommissioned and eventually fell into neglect; it was nearly torn down in the 1960s. But in 1970, a visiting park ranger noticed poems carved into the walls which, Dexter-Lee says, sparked interest in preserving the grimy building. Today, it’s a national historic landmark.\u003c/p>\n\u003cp>“The poems on the walls are what saved this building from destruction,” Dexter-Lee says.\u003c/p>\n\u003cp>The composer \u003ca href=\"https://huangruo.com/\">Huang Ruo\u003c/a>, who came to the U.S. from China in the 1990s to study music, fell under the spell of Angel Island’s poems after learning about them. That interest eventually led, in 2018, to Ruo and the Del Sol Quartet staging a performance on Angel Island, comprised of music improvised around one of the wall poems.\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/FySqi5Xq7-Y'\n title='//www.youtube.com/embed/FySqi5Xq7-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>A musical journey\u003c/strong>\u003c/p>\n\u003cp>In a recent interview, Ruo said that the research trip was a visceral journey — he went from regaling in the beautiful outdoor scenery to understanding something of the horror of being confined indoors. \u003c/p>\n\u003cp>“I feel I could relate being there, looking out from inside,” he says. 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Wong says her grandfather, who had already immigrated, was forced to pay a fee of $1,000 (around $16,000 in today’s money) for his wife’s release. \u003c/p>\n\u003cp>“She would have been sent back,” says Wong in response to the question of what would have happened to her grandmother, then pregnant with her father, if that fee hadn’t been paid. “So I wouldn’t be standing here, talking to you.” \u003c/p>\n\u003cp>Wong says this country’s attitude towards many immigrants hasn’t improved much since then — what with the ongoing issues at the U.S.-Mexico border, and the lack of leniency towards Haitian asylum seekers today. Plus, the waves of attacks against Asian immigrants and their descendants haven’t gone away since the earliest days of Chinese immigration here.\u003c/p>\n\u003cp>And that’s where art comes in: Wong says works like \u003cem>Angel Island\u003c/em> can help us reconnect with the past in a new way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The key thing is engendering empathy through hearing these stories,” Wong says. “If you know that all of us are here because somebody in our past made that journey, you’re more likely to care and be empathetic.” \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Composer+Huang+Ruo+gives+voice+to+the+dark+history+of+Angel+Island&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Ghostwriter Behind Hip-Hop's Biggest Names Takes Center Stage",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6949430749\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/msjanehandcock/\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock\u003c/a> has written for some of the top names in music, and now it’s her turn to step into the limelight.\u003c/p>\n\u003cp>She’s an R&B vocalist from Richmond, who has penned songs for the likes of Kelly Rowland, Rick Ross, \u003cspan style=\"font-weight: 400\">Teddy Riley and Tyrese. A few years ago she was working closely with \u003ca href=\"https://soundcloud.com/jane-handcock/sets/raphael-saadiq-presents-jane\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a>. And lately, she’s been rocking the stage more, dropping songs as part of the \u003ca href=\"https://bio.site/grandnationxl\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Nationxl\u003c/a> collective, and producing solo projects. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While Jane got her start singing in East Bay churches, she’s since relocated to Los Angeles where she’s on the verge of releasing new work under the guidance of the legendary Snoop Dogg. \u003c/span>\u003c/p>\n\u003cp>This week, we discuss how Jane is handling the pivot from being “the most known unknown” ghostwriter out here, to being a star in her own right.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Jane Handcock - Nina's Blues | GC Presents: The Box\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Mwza9j0xqmg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>Update, Oct. 21, 1pm: \u003c/strong>A Department of Building Inspection spokesperson tells KQED that two inspectors visited the Chase Center and found it to be code compliant.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>The Phish concert at the Chase Center on Sunday, Oct. 17, ended in tragedy when \u003ca href=\"https://www.kqed.org/arts/13904786/man-falls-to-death-at-phish-concert-at-chase-center-2-others-injured\" target=\"_blank\" rel=\"noopener noreferrer\">one audience member died in a fall from a balcony\u003c/a>, and two others were injured in a separate fall less than an hour later.\u003c/p>\n\u003cp>The San Francisco Police Department tells KQED that it believes the first man, 47-year-old Ryan Prosser, leapt from an upper level of the arena. Police say they don’t believe the second man jumped intentionally, and multiple witnesses have described the incident as an accident. [aside postid='arts_13904786']\u003c/p>\n\u003cp>Now, some concertgoers are questioning whether the building is safe, and the city is investigating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to public records, a person filed a complaint to the Department of Building Inspection on Oct. 18, describing steep staircases leading into low guardrails in the arena’s balcony sections, calling the layout “unsafe.” The name of the complainant was redacted in the report. As required for every complaint, the Department of Building Inspection will inspect the arena.\u003c/p>\n\u003cp>The Chase Center’s layout alarmed San Francisco physician Sara Sani, who was in the audience at the Oct. 17 concert and, before EMTs arrived, provided first aid to the man who survived his fall at 9:45pm.\u003c/p>\n\u003cp>“I went to the head of the person who had fallen and asked him some questions to see how he was doing and where he had injuries, and [I] stabilized his neck,” Sani tells KQED. “He was totally lucid and said his back hurt and that he couldn’t move his left leg.”\u003c/p>\n\u003cp>On stage \u003ca href=\"https://youtu.be/6mlyPUYE-bQ\" target=\"_blank\" rel=\"noopener noreferrer\">in Eugene, Oregon on Tuesday\u003c/a>, Phish’s Trey Anastasio identified the man as Keith Thompson, the husband of Carrie Thompson, the event manager for the band’s Sacramento concert last week. “We’re sending our love to everybody involved,” he said.\u003c/p>\n\u003cp>https://youtu.be/6mlyPUYE-bQ\u003c/p>\n\u003cp>Sani says Thompson’s brother had witnessed the fall and told her the fallen man slipped, tried to avoid some people and tumbled down.\u003c/p>\n\u003cp>“The rows are so steep that when he began to fall, there was no stopping,” a witness, Dan Fitzsimmons, told the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/S-F-s-Chase-Center-assures-fans-arena-is-safe-16546252.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Evan Reeves, who suffered a broken leg after Thompson landed on him, \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/10/20/phish-fan-fall-upper-deck-chase-center-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">told KPIX\u003c/a> that he had moved down to a lower section before the incident because he didn’t feel safe dancing in the upper seats.\u003c/p>\n\u003cp>“To me, that’s a real structural concern,” Sani says. “It’s a public venue. People are going to have accidents whether they’re drinking or not. I’m worried people are going to fall and get injured and possibly die again if they don’t do something about that structural setup.”\u003c/p>\n\u003cp>Sani says she waited with the man for 5–10 minutes until EMTs arrived. “There wasn’t official medical personnel for quite a while, and you would hope and expect that they’d show up quickly at a big venue like that,” she says. “People can definitely have life-threatening injuries that can kill them quickly in any kind of fall.”\u003c/p>\n\u003cp>Sani says she was so rattled by the incident that she contacted the San Francisco Department of Public Health.\u003c/p>\n\u003cp>[pullquote citation='San Francisco physician Sara Sani' size='large']“I’m worried people are going to fall and get injured and possibly die again if they don’t do something about that structural setup.”[/pullquote]\u003c/p>\n\u003cp>KQED asked the Chase Center’s representatives whether the venue would make any kind of safety modifications in the wake of the two tragedies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Chase Center is a safe, state-of-the-art arena that was built and is operated in accordance with all applicable safety requirements governing facilities of its kind,” wrote spokesperson Kimberly Veale in an email. “We went through a rigorous process with the Department of Building Inspection to obtain our requisite permits to open Chase Center. Further, DBI is conducting (and we are looking forward to) an additional inspection similar to the one the venue previously passed.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Oct. 21, 1pm: \u003c/strong>A Department of Building Inspection spokesperson tells KQED that two inspectors visited the Chase Center and found it to be code compliant.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>The Phish concert at the Chase Center on Sunday, Oct. 17, ended in tragedy when \u003ca href=\"https://www.kqed.org/arts/13904786/man-falls-to-death-at-phish-concert-at-chase-center-2-others-injured\" target=\"_blank\" rel=\"noopener noreferrer\">one audience member died in a fall from a balcony\u003c/a>, and two others were injured in a separate fall less than an hour later.\u003c/p>\n\u003cp>The San Francisco Police Department tells KQED that it believes the first man, 47-year-old Ryan Prosser, leapt from an upper level of the arena. Police say they don’t believe the second man jumped intentionally, and multiple witnesses have described the incident as an accident. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to public records, a person filed a complaint to the Department of Building Inspection on Oct. 18, describing steep staircases leading into low guardrails in the arena’s balcony sections, calling the layout “unsafe.” The name of the complainant was redacted in the report. As required for every complaint, the Department of Building Inspection will inspect the arena.\u003c/p>\n\u003cp>The Chase Center’s layout alarmed San Francisco physician Sara Sani, who was in the audience at the Oct. 17 concert and, before EMTs arrived, provided first aid to the man who survived his fall at 9:45pm.\u003c/p>\n\u003cp>“I went to the head of the person who had fallen and asked him some questions to see how he was doing and where he had injuries, and [I] stabilized his neck,” Sani tells KQED. “He was totally lucid and said his back hurt and that he couldn’t move his left leg.”\u003c/p>\n\u003cp>On stage \u003ca href=\"https://youtu.be/6mlyPUYE-bQ\" target=\"_blank\" rel=\"noopener noreferrer\">in Eugene, Oregon on Tuesday\u003c/a>, Phish’s Trey Anastasio identified the man as Keith Thompson, the husband of Carrie Thompson, the event manager for the band’s Sacramento concert last week. “We’re sending our love to everybody involved,” he said.\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/6mlyPUYE-bQ'\n title='//www.youtube.com/embed/6mlyPUYE-bQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sani says Thompson’s brother had witnessed the fall and told her the fallen man slipped, tried to avoid some people and tumbled down.\u003c/p>\n\u003cp>“The rows are so steep that when he began to fall, there was no stopping,” a witness, Dan Fitzsimmons, told the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/S-F-s-Chase-Center-assures-fans-arena-is-safe-16546252.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Evan Reeves, who suffered a broken leg after Thompson landed on him, \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/10/20/phish-fan-fall-upper-deck-chase-center-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">told KPIX\u003c/a> that he had moved down to a lower section before the incident because he didn’t feel safe dancing in the upper seats.\u003c/p>\n\u003cp>“To me, that’s a real structural concern,” Sani says. “It’s a public venue. People are going to have accidents whether they’re drinking or not. I’m worried people are going to fall and get injured and possibly die again if they don’t do something about that structural setup.”\u003c/p>\n\u003cp>Sani says she waited with the man for 5–10 minutes until EMTs arrived. “There wasn’t official medical personnel for quite a while, and you would hope and expect that they’d show up quickly at a big venue like that,” she says. “People can definitely have life-threatening injuries that can kill them quickly in any kind of fall.”\u003c/p>\n\u003cp>Sani says she was so rattled by the incident that she contacted the San Francisco Department of Public Health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED asked the Chase Center’s representatives whether the venue would make any kind of safety modifications in the wake of the two tragedies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Chase Center is a safe, state-of-the-art arena that was built and is operated in accordance with all applicable safety requirements governing facilities of its kind,” wrote spokesperson Kimberly Veale in an email. “We went through a rigorous process with the Department of Building Inspection to obtain our requisite permits to open Chase Center. Further, DBI is conducting (and we are looking forward to) an additional inspection similar to the one the venue previously passed.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "French Cassettes’ ‘Good For It’ Is a Happy Song Full of Sad Feelings",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Happy sad songs have a special status purely happy songs can’t quite achieve. Sometimes a happy song is just too upbeat to bear when you’re upset. But a happy sad song coats its inner anguish in catchy hooks, group vocals and twangy guitars. It Trojan-horses its way into your brain, giving permission to either wallow in its company or move your feet to its beat. The happy sad song doesn’t judge you for feeling whichever way you’re feeling. The happy sad song takes its cue from you.\u003c/p>\n\u003cp>“Good For It” is the happiest sad song I’ve heard in a long while. Released Oct. 1, almost a year after French Cassettes’ late 2020 album \u003ci>Rolodex\u003c/i> came out, the single follows in the footsteps of that excellent power-pop record, but its sound is sparer and rawer. Clocking in at 2:09 minutes, “Good For It” nourishes the soul like a complimentary shot of wheatgrass, full of all the delightful harmonies, warm swells of sound and jangling keyboards one could want from something so short and sweet.\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=1739032840/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>French Cassettes guitarist and vocalist Scott Huerta describes the process of writing “Good For It” as a semi-accident, the result of spontaneously singing “I thought you said you were feeling better” while testing out a new mic at home. The rest of the song flowed from there, fueled by the knowledge that a loved one was going through a hard time. “Worked on the demo all night,” Huerta wrote of the song, “and when I finished it at 5am I messaged my brother that I wrote a new song that I think is good and I’ll never forget his response. ‘It’s kinda early.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rush of emotion that propelled “Good For It” into being isn’t lost in the re-recorded single. Huerta’s vocals cascade from high to low, with Mackenzie Bunch on guitar and keyboards (adding a light, bouncing staccato), Thomas Huerta on bass and Rob Mills on drums. Brief call-and-response moments add a bit of Greek chorus to the mix. “Could you ever see yourself without me?” Huerta sings. “I hope you don’t.” “No!” the chorus replies.\u003c/p>\n\u003cp>In true happy sad song fashion, “Good For It” doesn’t offer just melancholy words to a peppy beat, but a jumble of conflicting feels at every turn. What are we supposed to do with the lyrics “So come back, come back” and their proximity to “Oh, dude / That’s good news”? In this respect, the song is remarkably like real life (imagine that!): a place where joy is laced with sorrow, relationships are complicated and music can momentarily turn even the most solitary experiences into shared ones. [aside postid='arts_13904524']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who hear “Good For It” and want more where that came from, French Cassettes are about to embark on a \u003ca href=\"https://www.instagram.com/p/CUV8f5BJT9B/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">mini-tour up the coast of California\u003c/a>, starting Oct. 13 in Los Angeles and ending Oct. 16 at the \u003ca href=\"https://www.eventbrite.com/e/noise-pops-20th-street-block-party-free-tickets-157093694469\" target=\"_blank\" rel=\"noopener noreferrer\">20th Street Block Party\u003c/a>, a Noise Pop concert headlined by Portland’s Y La Bamba and San Francisco’s Con Brio.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Happy sad songs have a special status purely happy songs can’t quite achieve. Sometimes a happy song is just too upbeat to bear when you’re upset. But a happy sad song coats its inner anguish in catchy hooks, group vocals and twangy guitars. It Trojan-horses its way into your brain, giving permission to either wallow in its company or move your feet to its beat. The happy sad song doesn’t judge you for feeling whichever way you’re feeling. The happy sad song takes its cue from you.\u003c/p>\n\u003cp>“Good For It” is the happiest sad song I’ve heard in a long while. Released Oct. 1, almost a year after French Cassettes’ late 2020 album \u003ci>Rolodex\u003c/i> came out, the single follows in the footsteps of that excellent power-pop record, but its sound is sparer and rawer. Clocking in at 2:09 minutes, “Good For It” nourishes the soul like a complimentary shot of wheatgrass, full of all the delightful harmonies, warm swells of sound and jangling keyboards one could want from something so short and sweet.\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=1739032840/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>French Cassettes guitarist and vocalist Scott Huerta describes the process of writing “Good For It” as a semi-accident, the result of spontaneously singing “I thought you said you were feeling better” while testing out a new mic at home. The rest of the song flowed from there, fueled by the knowledge that a loved one was going through a hard time. “Worked on the demo all night,” Huerta wrote of the song, “and when I finished it at 5am I messaged my brother that I wrote a new song that I think is good and I’ll never forget his response. ‘It’s kinda early.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rush of emotion that propelled “Good For It” into being isn’t lost in the re-recorded single. Huerta’s vocals cascade from high to low, with Mackenzie Bunch on guitar and keyboards (adding a light, bouncing staccato), Thomas Huerta on bass and Rob Mills on drums. Brief call-and-response moments add a bit of Greek chorus to the mix. “Could you ever see yourself without me?” Huerta sings. “I hope you don’t.” “No!” the chorus replies.\u003c/p>\n\u003cp>In true happy sad song fashion, “Good For It” doesn’t offer just melancholy words to a peppy beat, but a jumble of conflicting feels at every turn. What are we supposed to do with the lyrics “So come back, come back” and their proximity to “Oh, dude / That’s good news”? In this respect, the song is remarkably like real life (imagine that!): a place where joy is laced with sorrow, relationships are complicated and music can momentarily turn even the most solitary experiences into shared ones. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who hear “Good For It” and want more where that came from, French Cassettes are about to embark on a \u003ca href=\"https://www.instagram.com/p/CUV8f5BJT9B/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">mini-tour up the coast of California\u003c/a>, starting Oct. 13 in Los Angeles and ending Oct. 16 at the \u003ca href=\"https://www.eventbrite.com/e/noise-pops-20th-street-block-party-free-tickets-157093694469\" target=\"_blank\" rel=\"noopener noreferrer\">20th Street Block Party\u003c/a>, a Noise Pop concert headlined by Portland’s Y La Bamba and San Francisco’s Con Brio.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://clarionmusic.com/showgirl-magic-museum/\" target=\"_blank\" rel=\"noopener noreferrer\">Showgirl Magic Museum\u003c/a> occupies the basement of the \u003ca href=\"https://clarionmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Clarion Performing Arts Center\u003c/a>, located down a back alley in San Francisco’s Chinatown. In the corner of the unassuming space, crammed with costumes, hats, jewelry and other memorabilia dedicated to the neighborhood’s nightclub history, there’s a photo of Pat Chin posing with Frank Sinatra.\u003c/p>\n\u003cp>“That picture was taken after he filmed \u003cem>Pal Joey\u003c/em> here in San Francisco,” says Chin, who worked as a chorus girl at Chinese Sky Room, one of around eight local nightspots, in the 1950s. “Sinatra rushed over to help me off the stage, lit my cigarette and did a lot of small talk. He was a complete gentleman.”\u003c/p>\n\u003cp>\u003cstrong>A Nightlife Destination\u003c/strong>\u003c/p>\n\u003cp>From the 1930s to the 1960s, San Francisco’s Chinatown was a nightlife destination, where celebrity sightings, if not full-on flirting opportunities, were commonplace.\u003c/p>\n\u003cp>The sidewalks bustled at 3 a.m. Busloads of tourists came through, and the neighborhood thrived with an array of glitzy supper clubs like \u003ca href=\"https://en.wikipedia.org/wiki/Forbidden_City_(nightclub)\" target=\"_blank\" rel=\"noopener noreferrer\">Forbidden City\u003c/a>, Chinese Sky Room and Club Mandalay, where you might run into the likes of Sinatra, Bing Crosby, Humphrey Bogart and Lauren Bacall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The recently opened Showgirl Magic Museum aims to memorialize this glamorous past, with the support and from the viewpoint of the Asian American entertainers who put Chinatown on the international nightlife map.\u003c/p>\n\u003cp>“I was a dancer during the ’60s,” says museum founder and Clarion Performing Arts Center vice president Cynthia Yee. “And so it only made sense to me that I would try to bring back the history of Chinatown.”\u003c/p>\n\u003cfigure id=\"attachment_13904476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Showgirl Magic Museum in San Francisco’s Chinatown. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Asian Discrimination Abounds\u003c/strong>\u003c/p>\n\u003cp>Yee says discrimination against Asian residents in San Francisco was rampant during the days when the clubs flourished. Remnants of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Exclusion Act\u003c/a>, which barred many Chinese people from living and working in the U.S., were still in effect. Even the bands that played the Chinese nightclubs were predominantly white.\u003c/p>\n\u003cp>“In those days, the musicians union was very strong,” Yee says. “Chinese musicians were not allowed to join the union.”\u003c/p>\n\u003cp>There were especially few professional opportunities for women, Yee adds. The burgeoning Chinatown club scene gave some measure of financial independence to the young Asian American women who worked in these nightspots.\u003c/p>\n\u003cfigure id=\"attachment_13904480\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51844_cynthia-yee-ms-chinatown-1967-qut-800x1067.jpg\" alt=\"\" width=\"600\" height=\"772\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Yee as ‘Miss Chinatown,’ in 1967. \u003ccite>(Courtesy of Cynthia Yee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yee found herself hitting the road with famous dancer \u003ca href=\"https://www.washingtonpost.com/local/obituaries/dorothy-toy-dazzling-dancer-known-as-the-asian-ginger-rogers-dies-at-102/2019/07/27/73722096-b08b-11e9-bc5c-e73b603e7f38_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Toy\u003c/a> (a.k.a “The Asian Ginger Rogers”) as a teenager, after Toy—whose family owned the building in Chinatown where Yee lived as a child—needed to hire a replacement dancer for her troupe at short notice. Yee had been inspired by Toy to take dancing classes as a girl, and jumped at the tantalizing offer.\u003c/p>\n\u003cp>“We traveled throughout the United States, to the Caribbean, and Europe,” Yee says. “We used to run around in a checker limousine and it would hold 12 of us with all of our luggage and all of our wardrobe.”\u003c/p>\n\u003cp>Meanwhile, Chin got her start as a dancer after quitting a low-rung job at the stock exchange and facing few prospects except cafe or restaurant work. Chin says the clubs were clamoring for talent, and soon found herself treading the boards at Chinese Sky Room after responding to an ad she saw one day in a local paper.\u003c/p>\n\u003cp>“They hired me immediately because they couldn’t find too many Chinese girls who would be willing to reveal their legs in public,” Chin says.\u003c/p>\n\u003cfigure id=\"attachment_13904474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-800x568.jpg\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-1536x1090.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Advertising for ‘Toy and Wing’s Oriental Playgirl Revue’ at Chinese Sky Room, circa 1960s. Dorothy Toy and Paul Wing were famous dancers on San Francisco’s Chinese nightclub scene, which flourished from the 1930s to 60s. \u003ccite>(Courtesy Showgirl Magic Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many other Chinatown chorus girls, who performed three shows a night in skimpy sequined outfits before predominantly white audiences, Chin didn’t tell her family about her line of work.\u003c/p>\n\u003cp>“I kept it a secret for a long time,” she says.\u003c/p>\n\u003cp>Chin says her parents eventually found out when they saw her picture in the paper, by which time they didn’t have the will to do anything about it.\u003c/p>\n\u003cp>“By then it’s too late,” Chin says. “Because here I am earning a living and sending money home. And there’s no complaints there.”\u003c/p>\n\u003cp>Yee’s family, meanwhile, took a more benign view.\u003c/p>\n\u003cp>“Most families would shun at the idea of joining the show,” she says. “But I was lucky because Dorothy Toy had promised my mom that she would take care of me. And she did.”\u003c/p>\n\u003cp>\u003cstrong>A Scene in Decline\u003c/strong>\u003c/p>\n\u003cp>In the late 1960s, the elegant showgirls and big bands of Chinatown’s nightclubs started to fall out of fashion.\u003c/p>\n\u003cp>Chin and Yee blame the topless venues that started to proliferate in nearby North Beach, like the \u003ca href=\"https://en.wikipedia.org/wiki/Condor_Club\" target=\"_blank\" rel=\"noopener noreferrer\">Condor Club\u003c/a>, which became notorious after a cocktail waitress named \u003ca href=\"https://en.wikipedia.org/wiki/Carol_Doda\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Doda\u003c/a> first danced in a topless swimsuit in 1964.\u003c/p>\n\u003cfigure id=\"attachment_13904481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51838_pat-chin-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pat Chin chats with KQED at the Showgirl Magic Museum. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I guess people would rather go see the topless performers and go-go dancers who danced inside of cages on Broadway,” says Chin.\u003c/p>\n\u003cp>“It killed a lot of the business,” adds Yee.\u003c/p>\n\u003cp>Toughening zoning laws in the neighborhood also played a role in the dwindling of the scene.\u003c/p>\n\u003cp>[aside postid='arts_13914487']“The community leaders changed the zoning to protect Chinatown,” says \u003ca href=\"https://sfgov.org/entertainment/entertainment-representative-steven-lee\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Lee\u003c/a>, a member of \u003ca href=\"https://sf.gov/departments/city-administrator/entertainment-commission\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco’s Entertainment Commission\u003c/a> and the owner of \u003ca href=\"https://www.lionsdenbarandlounge.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lion’s Den Bar and Lounge\u003c/a>, one of very few new nightclubs to have opened in Chinatown in the last few years. “There was a lot of bars in Chinatown at the time and they didn’t want them to become strip clubs. They wanted to keep Chinatown historic. So after a while, the entertainment scene in Chinatown was near nothing.”\u003c/p>\n\u003cp>For decades, according to the San Francisco Entertainment Commission, entertainment could only be offered in the neighborhood in conjunction with an existing restaurant permit. That requirement was lifted as part of Chinatown’s zoning reorganization legislation in 2019, and Lee says he’s eager to see Chinatown’s nightlife scene spring back to life. Lion’s Den, which offers food as well as live music and DJs, opened its doors in March of this year.\u003c/p>\n\u003cp>“And that’s why I wanted to open Lion’s Den,” Lee says. “It’s trying to show that we can maybe help Chinatown a different way than just having a store selling back scratchers.”\u003c/p>\n\u003cfigure id=\"attachment_13904482\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13904482 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51845_lions-den-qut-e1633997514794-800x1067.jpg\" alt=\"\" width=\"600\" height=\"772\">\u003cfigcaption class=\"wp-caption-text\">Outside the Lion’s Den Bar and Lounge, one of very few new nightspots to have opened in Chinatown in recent years. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Chinatown’s Nightlife Prospects\u003c/strong>\u003c/p>\n\u003cp>Running a nightclub today is different than it was in the 1950s. There are parking issues, and car break-ins are on the rise. The yo-yoing COVID-19 restrictions of the past 18 months have added a further layer of challenges.\u003c/p>\n\u003cp>“People were starting to come out,” Lee says. But as soon as the Delta variant caused new restrictions, “tables were canceling and bands were canceling, because we’re requiring vaccine cards now.”\u003c/p>\n\u003cp>Then there’s the recent spate of racially motivated attacks against the local Asian population to contend with.\u003c/p>\n\u003cp>Former showgirl Chin, who’s now in her 80s and lives in the Richmond but spends a lot of time in her old neighborhood, says she misses the Chinatown of her youth—not just because of the bustle, but also because of its safety.\u003c/p>\n\u003cp>“It was so lovely then. I would go out at midnight just to pick up the \u003cem>Examiner\u003c/em> for my mother. So here I am, a little girl, about 9 or 10 years old, still walking the streets and it’s safe.” Chin says. “We didn’t have to worry about people hitting us over the head or robbing us.”\u003c/p>\n\u003cp>Not that this former chorus girl plans to stay home anytime soon.\u003c/p>\n\u003cp>Since 2004, Chin and Yee have been members of the \u003ca href=\"http://grantavenuefollies.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grant Avenue Follies\u003c/a>, a performance group that focuses on vintage tap dance routines. It’s a way of bringing back the glory days of the Chinatown nightclub scene, along with preserving its artifacts at the Showgirl Magic Museum.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_gzk0fQhV9I\u003c/p>\n\u003cp>Earlier this year the group made an artistic departure. They got political, creating a rap in response to racist attacks against Asian elders with impassioned lyrics like, \u003cem>“The elders are your teachers, the elders are your guides / When you mess with them, you’re committing suicide.”\u003c/em>\u003c/p>\n\u003cp>The high-energy video for the “Gai Mou Sou Rap” racked up over 80,000 views on YouTube and made the evening news.\u003c/p>\n\u003cp>“We want to show people that you can’t bully us,” Chin says. “Because we will fight back.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Learn \u003ca href=\"https://clarionmusic.com/showgirl-magic-museum/\" target=\"_blank\" rel=\"noopener noreferrer\">more about the Showgirl Magic Museum here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://clarionmusic.com/showgirl-magic-museum/\" target=\"_blank\" rel=\"noopener noreferrer\">Showgirl Magic Museum\u003c/a> occupies the basement of the \u003ca href=\"https://clarionmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Clarion Performing Arts Center\u003c/a>, located down a back alley in San Francisco’s Chinatown. In the corner of the unassuming space, crammed with costumes, hats, jewelry and other memorabilia dedicated to the neighborhood’s nightclub history, there’s a photo of Pat Chin posing with Frank Sinatra.\u003c/p>\n\u003cp>“That picture was taken after he filmed \u003cem>Pal Joey\u003c/em> here in San Francisco,” says Chin, who worked as a chorus girl at Chinese Sky Room, one of around eight local nightspots, in the 1950s. “Sinatra rushed over to help me off the stage, lit my cigarette and did a lot of small talk. He was a complete gentleman.”\u003c/p>\n\u003cp>\u003cstrong>A Nightlife Destination\u003c/strong>\u003c/p>\n\u003cp>From the 1930s to the 1960s, San Francisco’s Chinatown was a nightlife destination, where celebrity sightings, if not full-on flirting opportunities, were commonplace.\u003c/p>\n\u003cp>The sidewalks bustled at 3 a.m. Busloads of tourists came through, and the neighborhood thrived with an array of glitzy supper clubs like \u003ca href=\"https://en.wikipedia.org/wiki/Forbidden_City_(nightclub)\" target=\"_blank\" rel=\"noopener noreferrer\">Forbidden City\u003c/a>, Chinese Sky Room and Club Mandalay, where you might run into the likes of Sinatra, Bing Crosby, Humphrey Bogart and Lauren Bacall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The recently opened Showgirl Magic Museum aims to memorialize this glamorous past, with the support and from the viewpoint of the Asian American entertainers who put Chinatown on the international nightlife map.\u003c/p>\n\u003cp>“I was a dancer during the ’60s,” says museum founder and Clarion Performing Arts Center vice president Cynthia Yee. “And so it only made sense to me that I would try to bring back the history of Chinatown.”\u003c/p>\n\u003cfigure id=\"attachment_13904476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Showgirl Magic Museum in San Francisco’s Chinatown. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Asian Discrimination Abounds\u003c/strong>\u003c/p>\n\u003cp>Yee says discrimination against Asian residents in San Francisco was rampant during the days when the clubs flourished. Remnants of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Exclusion Act\u003c/a>, which barred many Chinese people from living and working in the U.S., were still in effect. Even the bands that played the Chinese nightclubs were predominantly white.\u003c/p>\n\u003cp>“In those days, the musicians union was very strong,” Yee says. “Chinese musicians were not allowed to join the union.”\u003c/p>\n\u003cp>There were especially few professional opportunities for women, Yee adds. The burgeoning Chinatown club scene gave some measure of financial independence to the young Asian American women who worked in these nightspots.\u003c/p>\n\u003cfigure id=\"attachment_13904480\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51844_cynthia-yee-ms-chinatown-1967-qut-800x1067.jpg\" alt=\"\" width=\"600\" height=\"772\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Yee as ‘Miss Chinatown,’ in 1967. \u003ccite>(Courtesy of Cynthia Yee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yee found herself hitting the road with famous dancer \u003ca href=\"https://www.washingtonpost.com/local/obituaries/dorothy-toy-dazzling-dancer-known-as-the-asian-ginger-rogers-dies-at-102/2019/07/27/73722096-b08b-11e9-bc5c-e73b603e7f38_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Toy\u003c/a> (a.k.a “The Asian Ginger Rogers”) as a teenager, after Toy—whose family owned the building in Chinatown where Yee lived as a child—needed to hire a replacement dancer for her troupe at short notice. Yee had been inspired by Toy to take dancing classes as a girl, and jumped at the tantalizing offer.\u003c/p>\n\u003cp>“We traveled throughout the United States, to the Caribbean, and Europe,” Yee says. “We used to run around in a checker limousine and it would hold 12 of us with all of our luggage and all of our wardrobe.”\u003c/p>\n\u003cp>Meanwhile, Chin got her start as a dancer after quitting a low-rung job at the stock exchange and facing few prospects except cafe or restaurant work. Chin says the clubs were clamoring for talent, and soon found herself treading the boards at Chinese Sky Room after responding to an ad she saw one day in a local paper.\u003c/p>\n\u003cp>“They hired me immediately because they couldn’t find too many Chinese girls who would be willing to reveal their legs in public,” Chin says.\u003c/p>\n\u003cfigure id=\"attachment_13904474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-800x568.jpg\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-1536x1090.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Advertising for ‘Toy and Wing’s Oriental Playgirl Revue’ at Chinese Sky Room, circa 1960s. Dorothy Toy and Paul Wing were famous dancers on San Francisco’s Chinese nightclub scene, which flourished from the 1930s to 60s. \u003ccite>(Courtesy Showgirl Magic Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many other Chinatown chorus girls, who performed three shows a night in skimpy sequined outfits before predominantly white audiences, Chin didn’t tell her family about her line of work.\u003c/p>\n\u003cp>“I kept it a secret for a long time,” she says.\u003c/p>\n\u003cp>Chin says her parents eventually found out when they saw her picture in the paper, by which time they didn’t have the will to do anything about it.\u003c/p>\n\u003cp>“By then it’s too late,” Chin says. “Because here I am earning a living and sending money home. And there’s no complaints there.”\u003c/p>\n\u003cp>Yee’s family, meanwhile, took a more benign view.\u003c/p>\n\u003cp>“Most families would shun at the idea of joining the show,” she says. “But I was lucky because Dorothy Toy had promised my mom that she would take care of me. And she did.”\u003c/p>\n\u003cp>\u003cstrong>A Scene in Decline\u003c/strong>\u003c/p>\n\u003cp>In the late 1960s, the elegant showgirls and big bands of Chinatown’s nightclubs started to fall out of fashion.\u003c/p>\n\u003cp>Chin and Yee blame the topless venues that started to proliferate in nearby North Beach, like the \u003ca href=\"https://en.wikipedia.org/wiki/Condor_Club\" target=\"_blank\" rel=\"noopener noreferrer\">Condor Club\u003c/a>, which became notorious after a cocktail waitress named \u003ca href=\"https://en.wikipedia.org/wiki/Carol_Doda\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Doda\u003c/a> first danced in a topless swimsuit in 1964.\u003c/p>\n\u003cfigure id=\"attachment_13904481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51838_pat-chin-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pat Chin chats with KQED at the Showgirl Magic Museum. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I guess people would rather go see the topless performers and go-go dancers who danced inside of cages on Broadway,” says Chin.\u003c/p>\n\u003cp>“It killed a lot of the business,” adds Yee.\u003c/p>\n\u003cp>Toughening zoning laws in the neighborhood also played a role in the dwindling of the scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The community leaders changed the zoning to protect Chinatown,” says \u003ca href=\"https://sfgov.org/entertainment/entertainment-representative-steven-lee\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Lee\u003c/a>, a member of \u003ca href=\"https://sf.gov/departments/city-administrator/entertainment-commission\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco’s Entertainment Commission\u003c/a> and the owner of \u003ca href=\"https://www.lionsdenbarandlounge.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lion’s Den Bar and Lounge\u003c/a>, one of very few new nightclubs to have opened in Chinatown in the last few years. “There was a lot of bars in Chinatown at the time and they didn’t want them to become strip clubs. They wanted to keep Chinatown historic. So after a while, the entertainment scene in Chinatown was near nothing.”\u003c/p>\n\u003cp>For decades, according to the San Francisco Entertainment Commission, entertainment could only be offered in the neighborhood in conjunction with an existing restaurant permit. That requirement was lifted as part of Chinatown’s zoning reorganization legislation in 2019, and Lee says he’s eager to see Chinatown’s nightlife scene spring back to life. Lion’s Den, which offers food as well as live music and DJs, opened its doors in March of this year.\u003c/p>\n\u003cp>“And that’s why I wanted to open Lion’s Den,” Lee says. “It’s trying to show that we can maybe help Chinatown a different way than just having a store selling back scratchers.”\u003c/p>\n\u003cfigure id=\"attachment_13904482\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13904482 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51845_lions-den-qut-e1633997514794-800x1067.jpg\" alt=\"\" width=\"600\" height=\"772\">\u003cfigcaption class=\"wp-caption-text\">Outside the Lion’s Den Bar and Lounge, one of very few new nightspots to have opened in Chinatown in recent years. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Chinatown’s Nightlife Prospects\u003c/strong>\u003c/p>\n\u003cp>Running a nightclub today is different than it was in the 1950s. There are parking issues, and car break-ins are on the rise. The yo-yoing COVID-19 restrictions of the past 18 months have added a further layer of challenges.\u003c/p>\n\u003cp>“People were starting to come out,” Lee says. But as soon as the Delta variant caused new restrictions, “tables were canceling and bands were canceling, because we’re requiring vaccine cards now.”\u003c/p>\n\u003cp>Then there’s the recent spate of racially motivated attacks against the local Asian population to contend with.\u003c/p>\n\u003cp>Former showgirl Chin, who’s now in her 80s and lives in the Richmond but spends a lot of time in her old neighborhood, says she misses the Chinatown of her youth—not just because of the bustle, but also because of its safety.\u003c/p>\n\u003cp>“It was so lovely then. I would go out at midnight just to pick up the \u003cem>Examiner\u003c/em> for my mother. So here I am, a little girl, about 9 or 10 years old, still walking the streets and it’s safe.” Chin says. “We didn’t have to worry about people hitting us over the head or robbing us.”\u003c/p>\n\u003cp>Not that this former chorus girl plans to stay home anytime soon.\u003c/p>\n\u003cp>Since 2004, Chin and Yee have been members of the \u003ca href=\"http://grantavenuefollies.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grant Avenue Follies\u003c/a>, a performance group that focuses on vintage tap dance routines. It’s a way of bringing back the glory days of the Chinatown nightclub scene, along with preserving its artifacts at the Showgirl Magic Museum.\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/_gzk0fQhV9I'\n title='//www.youtube.com/embed/_gzk0fQhV9I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Earlier this year the group made an artistic departure. They got political, creating a rap in response to racist attacks against Asian elders with impassioned lyrics like, \u003cem>“The elders are your teachers, the elders are your guides / When you mess with them, you’re committing suicide.”\u003c/em>\u003c/p>\n\u003cp>The high-energy video for the “Gai Mou Sou Rap” racked up over 80,000 views on YouTube and made the evening news.\u003c/p>\n\u003cp>“We want to show people that you can’t bully us,” Chin says. “Because we will fight back.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn \u003ca href=\"https://clarionmusic.com/showgirl-magic-museum/\" target=\"_blank\" rel=\"noopener noreferrer\">more about the Showgirl Magic Museum here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Judge Suspends Britney Spears' Dad From Her Conservatorship",
"headTitle": "A Judge Suspends Britney Spears’ Dad From Her Conservatorship | KQED",
"content": "\u003cp>Pop star Britney Spears has been living under a legal conservatorship that has controlled every aspect of her life since 2008. For much of that time, all decisions about her personal, medical and financial situation have been completely controlled by her father, Jamie Spears, who initiated the conservatorship 13 years ago—and whom the singer has accused of exploiting her.\u003c/p>\n\u003cp>At Los Angeles Superior Court Wednesday afternoon, Judge Brenda J. Penny decided to suspend Mr. Spears as the conservator of his daughter’s estate. John Zabel, a certified public accountant, will step into that role for now.\u003c/p>\n\u003cp>With this ruling, Judge Penny granted Britney Spears’ most adamant request: to remove her father immediately. According to AP, the judge said during the hearing, “The current arrangement is untenable. It reflects a toxic environment which requires the suspension of James Spears.”\u003c/p>\n\u003cp>[aside postid='arts_13899317']Since 2019, the conservator of Ms. Spears’ person—that is, the individual looking after her personal decisions and day-to-day life—has been a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a>. (In her own court filings, Montgomery has argued that her decisions are ultimately controlled by Jamie Spears, since he is responsible for paying his daughter’s bills and expenses.)\u003c/p>\n\u003cp>In July, Spears herself spoke to the court by telephone at a hearing, asking for the conservatorship to be terminated without having to undergo any further medical evaluation. In those comments, which went viral instantly, Spears accused her father of abusing her, saying she was being exploited and “bullied” by the conservatorship—and particularly by her father.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Less than a week after Spears gave her emotional statement in court, Judge Penny \u003ca href=\"https://www.npr.org/2021/06/30/1012027100/judge-denies-britney-spears-request-father-removed-conservator\" target=\"_blank\" rel=\"noopener noreferrer\">denied\u003c/a> the singer’s request to have Jamie Spears removed as conservator of her finances. Since 2019, Jamie Spears has retained control of her estate, while a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a> has been responsible for the singer’s “person”—that is, her day-to-day life and personal decisions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13902687/britney-spears-father-has-filed-a-petition-to-end-her-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">Last month\u003c/a>, Spears’ father said in a court filing that he was willing to step down. However, he did not provide a timeline, instead stating only he would do so “when the time is right.”\u003c/p>\n\u003cp>Britney Spears’ current attorney, Mathew Rosengart, has been pushing vociferously for her father to be removed immediately, and for the conservatorship to be \u003ca href=\"https://www.npr.org/2021/09/22/1039850881/britney-spears-jamie-spears-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">terminated completely\u003c/a>. Rosengart has argued in court filings that his position has been bolstered by a raft of investigative reporting in recent months, including in two \u003cem>New York Times\u003c/em> documentaries available on Hulu: \u003cem>Framing Britney Spears\u003c/em> and \u003cem>Controlling Britney Spears\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_13903795,pop_111253']The second \u003cem>Times \u003c/em>documentary premiered last Friday, just days before Wednesday’s hearing. It featured a former cybersecurity specialist on Spears’ security team \u003ca href=\"https://www.kqed.org/arts/13903795/britney-spears-conservatorship-documentaries\" target=\"_blank\" rel=\"noopener noreferrer\">alleging\u003c/a> that the security company for which he worked surveilled the pop star at her father’s request by installing listening devices in her bedroom at her California home and mirroring all her text and phone communications. According to the \u003ca href=\"https://www.nytimes.com/2021/09/24/arts/music/britney-spears-conservatorship-documentary.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Times\u003c/em>\u003c/a>, that surveillance captured conversations Spears had with her former attorney as well as with her children, boyfriend and mother.\u003c/p>\n\u003cp>In a court filing Monday, Rosengart wrote: “Mr. Spears has crossed unfathomable lines. While they are not evidence, the allegations warrant serious investigation, certainly by Ms. Spears as, among other things, California is a ‘two-party’ consent state.”\u003c/p>\n\u003cp>In an earlier filing, Rosengart said that over the past 13 years, the elder Spears appears to have “profited handsomely” from being his daughter’s conservator. Rosengart has also asserted that “serious questions abound concerning Mr. Spears’s potential misconduct, including conflicts of interest, conservatorship abuse and the evident dissipation of Ms. Spears’s fortune.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jamie Spears has repeatedly defended his decisions regarding his daughter and her estate. In a filing earlier this month, his lawyer, Vivian L. Thoreen wrote: “As Mr. Spears has said again and again, all he wants is what’s best for his daughter. If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Judge+Suspends+Britney+Spears%27+Dad+From+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Judge Brenda Penny just suspended Jamie Spears from controlling Britney's financial affairs. The #FreeBritney folks are elated.",
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"description": "Judge Brenda Penny just suspended Jamie Spears from controlling Britney's financial affairs. The #FreeBritney folks are elated.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pop star Britney Spears has been living under a legal conservatorship that has controlled every aspect of her life since 2008. For much of that time, all decisions about her personal, medical and financial situation have been completely controlled by her father, Jamie Spears, who initiated the conservatorship 13 years ago—and whom the singer has accused of exploiting her.\u003c/p>\n\u003cp>At Los Angeles Superior Court Wednesday afternoon, Judge Brenda J. Penny decided to suspend Mr. Spears as the conservator of his daughter’s estate. John Zabel, a certified public accountant, will step into that role for now.\u003c/p>\n\u003cp>With this ruling, Judge Penny granted Britney Spears’ most adamant request: to remove her father immediately. According to AP, the judge said during the hearing, “The current arrangement is untenable. It reflects a toxic environment which requires the suspension of James Spears.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since 2019, the conservator of Ms. Spears’ person—that is, the individual looking after her personal decisions and day-to-day life—has been a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a>. (In her own court filings, Montgomery has argued that her decisions are ultimately controlled by Jamie Spears, since he is responsible for paying his daughter’s bills and expenses.)\u003c/p>\n\u003cp>In July, Spears herself spoke to the court by telephone at a hearing, asking for the conservatorship to be terminated without having to undergo any further medical evaluation. In those comments, which went viral instantly, Spears accused her father of abusing her, saying she was being exploited and “bullied” by the conservatorship—and particularly by her father.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Less than a week after Spears gave her emotional statement in court, Judge Penny \u003ca href=\"https://www.npr.org/2021/06/30/1012027100/judge-denies-britney-spears-request-father-removed-conservator\" target=\"_blank\" rel=\"noopener noreferrer\">denied\u003c/a> the singer’s request to have Jamie Spears removed as conservator of her finances. Since 2019, Jamie Spears has retained control of her estate, while a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a> has been responsible for the singer’s “person”—that is, her day-to-day life and personal decisions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13902687/britney-spears-father-has-filed-a-petition-to-end-her-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">Last month\u003c/a>, Spears’ father said in a court filing that he was willing to step down. However, he did not provide a timeline, instead stating only he would do so “when the time is right.”\u003c/p>\n\u003cp>Britney Spears’ current attorney, Mathew Rosengart, has been pushing vociferously for her father to be removed immediately, and for the conservatorship to be \u003ca href=\"https://www.npr.org/2021/09/22/1039850881/britney-spears-jamie-spears-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">terminated completely\u003c/a>. Rosengart has argued in court filings that his position has been bolstered by a raft of investigative reporting in recent months, including in two \u003cem>New York Times\u003c/em> documentaries available on Hulu: \u003cem>Framing Britney Spears\u003c/em> and \u003cem>Controlling Britney Spears\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The second \u003cem>Times \u003c/em>documentary premiered last Friday, just days before Wednesday’s hearing. It featured a former cybersecurity specialist on Spears’ security team \u003ca href=\"https://www.kqed.org/arts/13903795/britney-spears-conservatorship-documentaries\" target=\"_blank\" rel=\"noopener noreferrer\">alleging\u003c/a> that the security company for which he worked surveilled the pop star at her father’s request by installing listening devices in her bedroom at her California home and mirroring all her text and phone communications. According to the \u003ca href=\"https://www.nytimes.com/2021/09/24/arts/music/britney-spears-conservatorship-documentary.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Times\u003c/em>\u003c/a>, that surveillance captured conversations Spears had with her former attorney as well as with her children, boyfriend and mother.\u003c/p>\n\u003cp>In a court filing Monday, Rosengart wrote: “Mr. Spears has crossed unfathomable lines. While they are not evidence, the allegations warrant serious investigation, certainly by Ms. Spears as, among other things, California is a ‘two-party’ consent state.”\u003c/p>\n\u003cp>In an earlier filing, Rosengart said that over the past 13 years, the elder Spears appears to have “profited handsomely” from being his daughter’s conservator. Rosengart has also asserted that “serious questions abound concerning Mr. Spears’s potential misconduct, including conflicts of interest, conservatorship abuse and the evident dissipation of Ms. Spears’s fortune.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jamie Spears has repeatedly defended his decisions regarding his daughter and her estate. In a filing earlier this month, his lawyer, Vivian L. Thoreen wrote: “As Mr. Spears has said again and again, all he wants is what’s best for his daughter. If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Judge+Suspends+Britney+Spears%27+Dad+From+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Everything We Just Learned From ‘Controlling Britney Spears’ and ‘Britney vs Spears’",
"headTitle": "Everything We Just Learned From ‘Controlling Britney Spears’ and ‘Britney vs Spears’ | KQED",
"content": "\u003cp>Not since her high profile breakdown in 2008 has Britney Spears received so much media attention. Last Friday, \u003cem>Controlling Britney Spears\u003c/em>—the follow-up to the \u003cem>New York Times\u003c/em>’ bombshell \u003cem>Framing Britney Spears\u003c/em> investigative film—premiered on Hulu. And on Tuesday morning, a 93-minute documentary titled \u003cem>Britney vs Spears\u003c/em> emerged on Netflix.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z920uNiv1Eg\u003c/p>\n\u003cp>Between the two films—in addition to Britney’s recent statements in court—the public now has a fairly exhaustive view of what Britney’s life has been like since her initially temporary conservatorship was put in place on Feb. 1, 2008. It was made permanent in 2009, leaving her father Jamie in control of Britney’s career and assets. What is now clear is that the conservatorship was a great deal more restrictive than previously thought, Britney has been unhappy living under it from the very beginning, and her trust was violated on innumerable occasions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SgFDWK_sf9c\u003c/p>\n\u003cp>Here are the key revelations from both \u003cem>Controlling Britney Spears\u003c/em>, and \u003cem>Britney vs Spears\u003c/em>. While both documentaries contain shocking assertions, they also serve on many levels to back each other up.\u003c/p>\n\u003ch2>Accounts of surveillance\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Alex Vlasov is a former employee of Black Box, the company Jamie Spears hired to provide security to Britney. Vlasov says that Britney had to ask permission to get an iPhone and when she did, Jamie put parental controls on it. In addition, Vlasov says an iPad was set up and linked to Britney’s iPhone in order to monitor her private texts, calls and internet use. Vlasov says even conversations between Britney and her mom and lawyer were monitored.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It didn’t feel like she was being treated like a human being,” Vlasov says. “Ethically, it was one big mess.”\u003c/p>\n\u003cp>Most shocking of all, Vlasov claims that the head of the star’s security team, Edan Yemini, put a recording device into Britney’s bedroom and recorded 180 hours of audio. Vlasov says he was later asked to erase the audio, but made a copy because he didn’t want to be complicit in anything illegal.\u003c/p>\n\u003cp>[aside postid='arts_13902687']Tish Yates was Britney’s head of wardrobe for seven years, 2008–10 and 2013–18. She says the person she saw exert the most control over Britney was Robin Greenhill from Tri Star Sports and Entertainment Group—the business management company Jamie also put in place to handle Britney’s affairs. This extended to the food she ate. “I had to have Robin’s approval before I spoke with Britney about a question Britney had,” Yates notes.\u003c/p>\n\u003cp>The film claims that, at one point, Britney attempted to get a new attorney to come to her house disguised as a plumber, so she could get him past the gates. That conversation was monitored, so she was ultimately unable to meet with him.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery, a cinematographer and friend to Britney, says that Britney asked him for help repeatedly, and that this often involved using his phone. At one point, after Kevin Federline did an interview with \u003cem>People\u003c/em> magazine, Britney wanted to tell her side of the story but was forbidden to do so. Instead, Gallery explains, she wrote a letter and asked him to read it publicly. Jamie got wind of this and put a stop to it, but Gallery had already taken photos of the letter.\u003c/p>\n\u003cp>It read, in part: “[Britney] would love for new eyes to see her situation, but if she brings it up, she’s constantly threatened that the conservators will take her kids away.”\u003c/p>\n\u003cp>“I always felt bad for her,” Gallery says during \u003cem>Britney vs Spears\u003c/em>. “That this was her reality and her world. All she wanted to do was respond to an article.”\u003c/p>\n\u003ch2>Like ‘someone who was in prison’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Vlasov claims that Britney’s medication was doled out to her on a schedule and she was not allowed to leave the room until she had taken it in front of someone. “It really reminded me of someone who was in prison,” Vlasov said. “Security was put in place to be the prison guards, essentially.”\u003c/p>\n\u003cp>Yates details an occasion when she used her wardrobe budget to buy Britney a pair of Sketchers she liked. The star’s management wouldn’t allow Britney to spend her own money on the sneakers.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> In documents obtained by the filmmakers, Jason Trawick—Britney’s former agent turned fiancé—details having to ask permission every time the couple wanted to go out to eat or go for a drive. He talked about Britney having to wait for days even to obtain permission to buy books for her kids.\u003c/p>\n\u003cp>[aside postid='pop_111253']The Netflix documentary also details that, when the conservatorship was made permanent in 2009, Jamie was granted the power to cancel Britney’s credit cards. He was also given absolute power over Britney’s career choices, once they had been “approved by her medical team.” Despite this, Britney would later become a judge on the \u003cem>X Factor\u003c/em> TV show, despite serious objections by her medical team. A compromise was eventually met between her doctors and management.\u003c/p>\n\u003ch2>‘She was kept very isolated’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates says she was so concerned about Britney being repeatedly cut off from those closest to her that at one point she gave the pop star a Tiffany’s necklace that had Yates’ phone number engraved on the back.\u003c/p>\n\u003cp>Felicia Culotta acted as Britney’s assistant for 16 years (1998–2007 and 2009–2016). She says that towards the end of her time touring with Britney, she was told in no uncertain terms that Britney no longer wanted her around. Culotta actively stayed out of the singer’s way on the road as a result. When they finally found themselves in the same room together, Culotta explains, Britney was elated to see her and completely baffled as to why they hadn’t been spending time together.\u003c/p>\n\u003cp>Dan George, Britney’s 2008 tour manager, notes: “She was kept very isolated.”\u003c/p>\n\u003cp>Claims are made by multiple sources that all of Britney’s boyfriends since the conservatorship started have been forced to sign NDAs. Britney is also seen admitting in an interview that Jamie ran a background check on at least one of them.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery says that once it was clear that he and Britney had developed a close relationship, he was cut off by those around her.\u003c/p>\n\u003cp>Adnan Ghalib, the paparazzi photographer who dated Britney during her divorce from Kevin Federline, explains how pushing her loved ones out of the picture became the norm. He also paints a frightening picture of the start of the conservatorship.\u003c/p>\n\u003cp>“It was always so extreme,” he says. “Let me explain to you how fucking devastating it was for me to pull up at the gates and there’s her father standing there, four of the security, and two officers… And she freaks out… And she looks at me. I’m supposed to be the one that protects her. And I’m trying to calm her down. I cannot. I’m trying to explain to her, ‘He is your conservator. Without his permission… [essentially] I’ve kidnapped you.’”\u003c/p>\n\u003cp>Culotta is less forthright in the Netflix doc, but when asked about Jamie, she wrinkles up her nose and says, “I don’t wanna talk about her daddy.”\u003c/p>\n\u003ch2>‘My father has threatened me’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The filmmakers unearthed a 2009 voicemail to an attorney in which Britney makes her position clear. “During the process of eliminating the conservatorship,” she says, “my father has threatened me several times that he will take my children away. I just wanted to guarantee that everything will be fine.”\u003c/p>\n\u003cp>[aside postid='arts_13899317']That same year, Ghalib and Britney’s former manager Sam Lutfi, aware that Britney wanted to hire her own lawyer and was being prevented from doing so, hatched a plan. They contacted Jenny Eliscu—a \u003cem>Rolling Stone\u003c/em> reporter and one of the producers on \u003cem>Britney vs Spears\u003c/em>—to get paperwork to Britney. Eliscu met Britney in the bathroom of the Montage Hotel in Beverly Hills, so Britney could sign documents requesting the right to hire her own attorney.\u003c/p>\n\u003cp>“She definitely seemed scared,” Eliscu says. “It was hard to tell because I was so scared, but she was appreciative. Which is so classic her… in that moment to be scared, but also grateful.”\u003c/p>\n\u003cp>The signed document expressed Britney’s lack of confidence in her court-appointed attorney Sam Ingham, and stated: “Certainly, this woman who can complete two new CDs and be set to go on a national tour has sufficient capacity, after nearly one year of a protective conservatorship, to retain counsel of her choice, and in whom she has confidence.”\u003c/p>\n\u003cp>Despite this, the court decided that Britney did not have the capacity to choose her own attorney. This was the second time the court decided Britney did not have capacity to choose her own attorney. San Ingham was installed as her representative in place of Britney’s chosen attorney, Adam Streisand.\u003c/p>\n\u003ch2>‘Jamie wasn’t with us’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Britney vs. Spears\u003c/em>:\u003c/strong> Culotta says, “Jamie wasn’t with us very often. Hardly ever.”\u003c/p>\n\u003cp>Ghalib says during his relationship with her in 2008, Britney didn’t trust anyone in her family, “and that [was] a very scary, dark place to be.”\u003c/p>\n\u003cp>Lutfi says that Jamie was involved “not at all.” Lufti was also under the impression that father and daughter were estranged “for years.”\u003c/p>\n\u003ch2>Stories of drugs as crutches and weapons\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates talks of an incident when Britney smelled weed in the audience as she was about to go on stage one night. Yates says Britney ran in a blind panic back to her dressing room, in tears, and told Yates she was terrified that if the smoke got into her system, her children would be taken away.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Ghalib says that during the time of her divorce from Kevin Federline, Britney was taking Adderall. “I’m sure X-amount of millions of people are taking Adderall,” he says, “but these are the things that become volatile and deadly weapons when you’re going through a child custody case.” He also said he was scared for both Britney and himself during that period. “It’s hard to stay up for three days,” he says, “but you have that fear—and it’s a very real fear—that if anything happens to her, they’re just gonna blame you.”\u003c/p>\n\u003cp>[aside postid='arts_13901695']An inside source leaked thousands of documents to the filmmakers. One, a report by a doctor who resigned from Britney’s case in 2013, suggests the amount of medication Britney took was increased on the days she was working. One section says: “Jamie and others on the team valued the benefits of stimulants for Britney’s performance. This has been the case for both of her tours, and for her participation on \u003cem>X Factor\u003c/em>. By the same token, Jamie wanted Britney not to take stimulants. This contradiction has not been resolved.”\u003c/p>\n\u003cp>Lutfi, who was accused years ago of drugging Britney without her knowledge says, “You have 100 blood tests and drug tests the entire time I was with her and she passed every single one of them.”\u003c/p>\n\u003ch2>Who ‘stands to make a cut’?\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Tish Yates describes a pattern of tours being extended and shows being added at a relentless pace. She says breaks were basically nonexistent. Yates also says Britney’s concerns and needs were ignored. “Whenever she brought up something that was disturbing her, she’d always be dismissed.” Yates says Britney was consistently told, “‘You don’t need to ask these questions because it’s none of your business.’”\u003c/p>\n\u003cp>\u003cem>New York Times\u003c/em> journalist Liz Day points out that the standard in California for conservatorship is someone who is unable to feed, clothe or shelter themselves. “But,” she says, “Britney began working again almost immediately after the conservatorship starts.”\u003c/p>\n\u003cp>Day subsequently reports: “According to court records, Tri Star was getting five percent of Britney’s gross income. And Jamie is making $16,000 a month plus a percent of Britney’s multi-million-dollar deals. So, if her father Jamie as conservator enters into a deal for her, is that because it’s in Britney’s best interest? Or because everyone involved stands to make a cut?”\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The Netflix documentary goes even further, getting into specifics about how much Jamie has profited off his daughter since the conservatorship started. According to the film, the 2009 conservatorship terms included buying him a car. Jamie has since earned $2.1 million from tour revenues alone. The documentary says Jamie grants Britney an $8,000-per-month allowance—half of what he pays himself. Her \u003cem>Piece of Me\u003c/em> residency in Las Vegas and accompanying 2018 tour brought in $192 million in box office sales.\u003c/p>\n\u003cp>On Monday, a post on Britney’s Instagram page appeared to make objections to \u003cem>Controlling Britney Spears\u003c/em>. (\u003cem>Britney vs. Spears\u003c/em> had not yet premiered.)\u003c/p>\n\u003cp>https://www.instagram.com/p/CUWBw4TM6Np/\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Many of the 8,000-plus comments underneath the post openly questioned whether Britney made the post herself. Several stated: “Free Britney! This isn’t her.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not since her high profile breakdown in 2008 has Britney Spears received so much media attention. Last Friday, \u003cem>Controlling Britney Spears\u003c/em>—the follow-up to the \u003cem>New York Times\u003c/em>’ bombshell \u003cem>Framing Britney Spears\u003c/em> investigative film—premiered on Hulu. And on Tuesday morning, a 93-minute documentary titled \u003cem>Britney vs Spears\u003c/em> emerged on Netflix.\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/Z920uNiv1Eg'\n title='//www.youtube.com/embed/Z920uNiv1Eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Between the two films—in addition to Britney’s recent statements in court—the public now has a fairly exhaustive view of what Britney’s life has been like since her initially temporary conservatorship was put in place on Feb. 1, 2008. It was made permanent in 2009, leaving her father Jamie in control of Britney’s career and assets. What is now clear is that the conservatorship was a great deal more restrictive than previously thought, Britney has been unhappy living under it from the very beginning, and her trust was violated on innumerable occasions.\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/SgFDWK_sf9c'\n title='//www.youtube.com/embed/SgFDWK_sf9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here are the key revelations from both \u003cem>Controlling Britney Spears\u003c/em>, and \u003cem>Britney vs Spears\u003c/em>. While both documentaries contain shocking assertions, they also serve on many levels to back each other up.\u003c/p>\n\u003ch2>Accounts of surveillance\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Alex Vlasov is a former employee of Black Box, the company Jamie Spears hired to provide security to Britney. Vlasov says that Britney had to ask permission to get an iPhone and when she did, Jamie put parental controls on it. In addition, Vlasov says an iPad was set up and linked to Britney’s iPhone in order to monitor her private texts, calls and internet use. Vlasov says even conversations between Britney and her mom and lawyer were monitored.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It didn’t feel like she was being treated like a human being,” Vlasov says. “Ethically, it was one big mess.”\u003c/p>\n\u003cp>Most shocking of all, Vlasov claims that the head of the star’s security team, Edan Yemini, put a recording device into Britney’s bedroom and recorded 180 hours of audio. Vlasov says he was later asked to erase the audio, but made a copy because he didn’t want to be complicit in anything illegal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tish Yates was Britney’s head of wardrobe for seven years, 2008–10 and 2013–18. She says the person she saw exert the most control over Britney was Robin Greenhill from Tri Star Sports and Entertainment Group—the business management company Jamie also put in place to handle Britney’s affairs. This extended to the food she ate. “I had to have Robin’s approval before I spoke with Britney about a question Britney had,” Yates notes.\u003c/p>\n\u003cp>The film claims that, at one point, Britney attempted to get a new attorney to come to her house disguised as a plumber, so she could get him past the gates. That conversation was monitored, so she was ultimately unable to meet with him.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery, a cinematographer and friend to Britney, says that Britney asked him for help repeatedly, and that this often involved using his phone. At one point, after Kevin Federline did an interview with \u003cem>People\u003c/em> magazine, Britney wanted to tell her side of the story but was forbidden to do so. Instead, Gallery explains, she wrote a letter and asked him to read it publicly. Jamie got wind of this and put a stop to it, but Gallery had already taken photos of the letter.\u003c/p>\n\u003cp>It read, in part: “[Britney] would love for new eyes to see her situation, but if she brings it up, she’s constantly threatened that the conservators will take her kids away.”\u003c/p>\n\u003cp>“I always felt bad for her,” Gallery says during \u003cem>Britney vs Spears\u003c/em>. “That this was her reality and her world. All she wanted to do was respond to an article.”\u003c/p>\n\u003ch2>Like ‘someone who was in prison’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Vlasov claims that Britney’s medication was doled out to her on a schedule and she was not allowed to leave the room until she had taken it in front of someone. “It really reminded me of someone who was in prison,” Vlasov said. “Security was put in place to be the prison guards, essentially.”\u003c/p>\n\u003cp>Yates details an occasion when she used her wardrobe budget to buy Britney a pair of Sketchers she liked. The star’s management wouldn’t allow Britney to spend her own money on the sneakers.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> In documents obtained by the filmmakers, Jason Trawick—Britney’s former agent turned fiancé—details having to ask permission every time the couple wanted to go out to eat or go for a drive. He talked about Britney having to wait for days even to obtain permission to buy books for her kids.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Netflix documentary also details that, when the conservatorship was made permanent in 2009, Jamie was granted the power to cancel Britney’s credit cards. He was also given absolute power over Britney’s career choices, once they had been “approved by her medical team.” Despite this, Britney would later become a judge on the \u003cem>X Factor\u003c/em> TV show, despite serious objections by her medical team. A compromise was eventually met between her doctors and management.\u003c/p>\n\u003ch2>‘She was kept very isolated’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates says she was so concerned about Britney being repeatedly cut off from those closest to her that at one point she gave the pop star a Tiffany’s necklace that had Yates’ phone number engraved on the back.\u003c/p>\n\u003cp>Felicia Culotta acted as Britney’s assistant for 16 years (1998–2007 and 2009–2016). She says that towards the end of her time touring with Britney, she was told in no uncertain terms that Britney no longer wanted her around. Culotta actively stayed out of the singer’s way on the road as a result. When they finally found themselves in the same room together, Culotta explains, Britney was elated to see her and completely baffled as to why they hadn’t been spending time together.\u003c/p>\n\u003cp>Dan George, Britney’s 2008 tour manager, notes: “She was kept very isolated.”\u003c/p>\n\u003cp>Claims are made by multiple sources that all of Britney’s boyfriends since the conservatorship started have been forced to sign NDAs. Britney is also seen admitting in an interview that Jamie ran a background check on at least one of them.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery says that once it was clear that he and Britney had developed a close relationship, he was cut off by those around her.\u003c/p>\n\u003cp>Adnan Ghalib, the paparazzi photographer who dated Britney during her divorce from Kevin Federline, explains how pushing her loved ones out of the picture became the norm. He also paints a frightening picture of the start of the conservatorship.\u003c/p>\n\u003cp>“It was always so extreme,” he says. “Let me explain to you how fucking devastating it was for me to pull up at the gates and there’s her father standing there, four of the security, and two officers… And she freaks out… And she looks at me. I’m supposed to be the one that protects her. And I’m trying to calm her down. I cannot. I’m trying to explain to her, ‘He is your conservator. Without his permission… [essentially] I’ve kidnapped you.’”\u003c/p>\n\u003cp>Culotta is less forthright in the Netflix doc, but when asked about Jamie, she wrinkles up her nose and says, “I don’t wanna talk about her daddy.”\u003c/p>\n\u003ch2>‘My father has threatened me’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The filmmakers unearthed a 2009 voicemail to an attorney in which Britney makes her position clear. “During the process of eliminating the conservatorship,” she says, “my father has threatened me several times that he will take my children away. I just wanted to guarantee that everything will be fine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That same year, Ghalib and Britney’s former manager Sam Lutfi, aware that Britney wanted to hire her own lawyer and was being prevented from doing so, hatched a plan. They contacted Jenny Eliscu—a \u003cem>Rolling Stone\u003c/em> reporter and one of the producers on \u003cem>Britney vs Spears\u003c/em>—to get paperwork to Britney. Eliscu met Britney in the bathroom of the Montage Hotel in Beverly Hills, so Britney could sign documents requesting the right to hire her own attorney.\u003c/p>\n\u003cp>“She definitely seemed scared,” Eliscu says. “It was hard to tell because I was so scared, but she was appreciative. Which is so classic her… in that moment to be scared, but also grateful.”\u003c/p>\n\u003cp>The signed document expressed Britney’s lack of confidence in her court-appointed attorney Sam Ingham, and stated: “Certainly, this woman who can complete two new CDs and be set to go on a national tour has sufficient capacity, after nearly one year of a protective conservatorship, to retain counsel of her choice, and in whom she has confidence.”\u003c/p>\n\u003cp>Despite this, the court decided that Britney did not have the capacity to choose her own attorney. This was the second time the court decided Britney did not have capacity to choose her own attorney. San Ingham was installed as her representative in place of Britney’s chosen attorney, Adam Streisand.\u003c/p>\n\u003ch2>‘Jamie wasn’t with us’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Britney vs. Spears\u003c/em>:\u003c/strong> Culotta says, “Jamie wasn’t with us very often. Hardly ever.”\u003c/p>\n\u003cp>Ghalib says during his relationship with her in 2008, Britney didn’t trust anyone in her family, “and that [was] a very scary, dark place to be.”\u003c/p>\n\u003cp>Lutfi says that Jamie was involved “not at all.” Lufti was also under the impression that father and daughter were estranged “for years.”\u003c/p>\n\u003ch2>Stories of drugs as crutches and weapons\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates talks of an incident when Britney smelled weed in the audience as she was about to go on stage one night. Yates says Britney ran in a blind panic back to her dressing room, in tears, and told Yates she was terrified that if the smoke got into her system, her children would be taken away.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Ghalib says that during the time of her divorce from Kevin Federline, Britney was taking Adderall. “I’m sure X-amount of millions of people are taking Adderall,” he says, “but these are the things that become volatile and deadly weapons when you’re going through a child custody case.” He also said he was scared for both Britney and himself during that period. “It’s hard to stay up for three days,” he says, “but you have that fear—and it’s a very real fear—that if anything happens to her, they’re just gonna blame you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>An inside source leaked thousands of documents to the filmmakers. One, a report by a doctor who resigned from Britney’s case in 2013, suggests the amount of medication Britney took was increased on the days she was working. One section says: “Jamie and others on the team valued the benefits of stimulants for Britney’s performance. This has been the case for both of her tours, and for her participation on \u003cem>X Factor\u003c/em>. By the same token, Jamie wanted Britney not to take stimulants. This contradiction has not been resolved.”\u003c/p>\n\u003cp>Lutfi, who was accused years ago of drugging Britney without her knowledge says, “You have 100 blood tests and drug tests the entire time I was with her and she passed every single one of them.”\u003c/p>\n\u003ch2>Who ‘stands to make a cut’?\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Tish Yates describes a pattern of tours being extended and shows being added at a relentless pace. She says breaks were basically nonexistent. Yates also says Britney’s concerns and needs were ignored. “Whenever she brought up something that was disturbing her, she’d always be dismissed.” Yates says Britney was consistently told, “‘You don’t need to ask these questions because it’s none of your business.’”\u003c/p>\n\u003cp>\u003cem>New York Times\u003c/em> journalist Liz Day points out that the standard in California for conservatorship is someone who is unable to feed, clothe or shelter themselves. “But,” she says, “Britney began working again almost immediately after the conservatorship starts.”\u003c/p>\n\u003cp>Day subsequently reports: “According to court records, Tri Star was getting five percent of Britney’s gross income. And Jamie is making $16,000 a month plus a percent of Britney’s multi-million-dollar deals. So, if her father Jamie as conservator enters into a deal for her, is that because it’s in Britney’s best interest? Or because everyone involved stands to make a cut?”\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The Netflix documentary goes even further, getting into specifics about how much Jamie has profited off his daughter since the conservatorship started. According to the film, the 2009 conservatorship terms included buying him a car. Jamie has since earned $2.1 million from tour revenues alone. The documentary says Jamie grants Britney an $8,000-per-month allowance—half of what he pays himself. Her \u003cem>Piece of Me\u003c/em> residency in Las Vegas and accompanying 2018 tour brought in $192 million in box office sales.\u003c/p>\n\u003cp>On Monday, a post on Britney’s Instagram page appeared to make objections to \u003cem>Controlling Britney Spears\u003c/em>. (\u003cem>Britney vs. Spears\u003c/em> had not yet premiered.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the 8,000-plus comments underneath the post openly questioned whether Britney made the post herself. Several stated: “Free Britney! This isn’t her.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "R. Kelly Found Guilty of Racketeering and Sex Trafficking",
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"content": "\u003cp>After more than\u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\"> 25 years of accusations\u003c/a> and a New York federal court trial that lasted seven weeks, R&B singer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> has been found guilty of charges including sexual exploitation of a child, bribery, kidnapping, racketeering and sex trafficking involving six victims. Kelly faces a possible sentence of 10 years to life in prison.\u003c/p>\n\u003cp>Kelly sat absolutely still as the foreperson gave the jury’s verdict to Judge Ann Donnelly.\u003c/p>\n\u003cp>[aside postid='arts_13901400']Federal prosecutors in the Eastern District of New York successfully proved to a jury of seven men and five women that Kelly had been the head of a criminal enterprise, whose purpose was to lure girls, boys and women to the R&B singer for his sexual gratification.\u003c/p>\n\u003cp>On top of awaiting sentencing in this New York case, Kelly will face a second federal trial on charges of child pornography and obstruction of justice in Illinois. Some of those accusations are related to a 2008 child pornography trial in Chicago, in which he was \u003ca href=\"https://www.npr.org/transcripts/91480976\" target=\"_blank\" rel=\"noopener noreferrer\">acquitted of all charges\u003c/a>.\u003c/p>\n\u003cp>Additionally, Kelly faces outstanding criminal charges in both Cook County, Ill., where he was indicted by the state attorney in\u003ca href=\"https://www.npr.org/2019/08/05/748370799/r-kelly-charged-with-two-criminal-counts-in-minnesota\" target=\"_blank\" rel=\"noopener noreferrer\"> Feb. 2019\u003c/a> for aggravated criminal sexual abuse involving four victims (three of them minors), and in Minnesota, where Mr. Kelly was charged in Aug. 2019 with engaging in prostitution with a minor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sentencing in New York is scheduled for May 4.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+Found+Guilty+Of+Racketeering+And+Sex+Trafficking&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After more than\u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\"> 25 years of accusations\u003c/a> and a New York federal court trial that lasted seven weeks, R&B singer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> has been found guilty of charges including sexual exploitation of a child, bribery, kidnapping, racketeering and sex trafficking involving six victims. Kelly faces a possible sentence of 10 years to life in prison.\u003c/p>\n\u003cp>Kelly sat absolutely still as the foreperson gave the jury’s verdict to Judge Ann Donnelly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Federal prosecutors in the Eastern District of New York successfully proved to a jury of seven men and five women that Kelly had been the head of a criminal enterprise, whose purpose was to lure girls, boys and women to the R&B singer for his sexual gratification.\u003c/p>\n\u003cp>On top of awaiting sentencing in this New York case, Kelly will face a second federal trial on charges of child pornography and obstruction of justice in Illinois. Some of those accusations are related to a 2008 child pornography trial in Chicago, in which he was \u003ca href=\"https://www.npr.org/transcripts/91480976\" target=\"_blank\" rel=\"noopener noreferrer\">acquitted of all charges\u003c/a>.\u003c/p>\n\u003cp>Additionally, Kelly faces outstanding criminal charges in both Cook County, Ill., where he was indicted by the state attorney in\u003ca href=\"https://www.npr.org/2019/08/05/748370799/r-kelly-charged-with-two-criminal-counts-in-minnesota\" target=\"_blank\" rel=\"noopener noreferrer\"> Feb. 2019\u003c/a> for aggravated criminal sexual abuse involving four victims (three of them minors), and in Minnesota, where Mr. Kelly was charged in Aug. 2019 with engaging in prostitution with a minor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sentencing in New York is scheduled for May 4.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+Found+Guilty+Of+Racketeering+And+Sex+Trafficking&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The economy may have reopened, but musicians and cultural institutions are still struggling from 18 months of COVID-19 shutdowns and the lingering presence of the delta variant. The latter is the reason why Hardly Strictly Bluegrass decided to host its Oct. 1–3 festival online this year, with a lineup that stars Mavis Staples, Ani DiFranco, \u003ca href=\"https://www.kqed.org/arts/13817300/the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too\" target=\"_blank\" rel=\"noopener noreferrer\">Meklit\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13887363/ambrose-akinmusire-soundtracks-black-resistance-from-oakland-to-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">Ambrose Akinmusire\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894963/pass-the-aux-new-tracks-from-caleborate-bachelor-miko-marks-ruby-mountain-and-more\" target=\"_blank\" rel=\"noopener noreferrer\">Bachelor\u003c/a>.\u003c/p>\n\u003cp>Today, in its ongoing efforts to give back to the musicians and venues that keep roots music going, Hardly Strictly announced a new round of philanthropic funding. The foundation behind the festival will disburse $1 million among three groups: the \u003ca href=\"https://www.sweetrelief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Relief Musicians Fund\u003c/a>, which has been distributing emergency funding to artists and workers during the pandemic; East Bay Permanent Real Estate Cooperative’s \u003ca href=\"https://ebprec.org/esthers\" target=\"_blank\" rel=\"noopener noreferrer\">Esther’s Orbit Room Cultural Revival Project\u003c/a>, which seeks to restore the historic West Oakland blues venue; and the Tenderloin Museum’s “Sounds of the Tenderloin” project.\u003c/p>\n\u003cp>With Hardly Strictly’s funding, Sweet Relief will be able to provide hundreds of grants to musicians and music workers. Residents of the Bay Area and New Orleans are eligible to apply for \u003ca href=\"https://www.sweetrelief.org/covid-19-fund.html\" target=\"_blank\" rel=\"noopener noreferrer\">up to $1,000 in assistance\u003c/a> with rent, bills, medication and other life essentials. The organization suggests submitting by Oct. 31.\u003c/p>\n\u003cp>The Esther’s Orbit Room grant will help fund East Bay Permanent Real Estate Cooperative’s efforts to revitalize the renowned venue into a performance space with a cafe and artist housing. And the grant for the Tenderloin Museum’s “Sounds of the Tenderloin” will book small-scale live performances throughout the San Francisco neighborhood, which once had thriving jazz, swing, rock and folk scenes.\u003c/p>\n\u003cp>This latest philanthropic effort follows \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly’s $3 million dollar investment\u003c/a> in local music venues and artist relief efforts in 2020.\u003c/p>\n\u003cp>The Hardly Strictly Bluegrass festival on Oct. 1–3 will be \u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">available for streaming on the festival’s website\u003c/a>, \u003ca href=\"https://facebook.com/hardlystrictlybluegrass/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://youtube.com/user/hsbfest\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a> pages, as well as on Xfinity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The economy may have reopened, but musicians and cultural institutions are still struggling from 18 months of COVID-19 shutdowns and the lingering presence of the delta variant. The latter is the reason why Hardly Strictly Bluegrass decided to host its Oct. 1–3 festival online this year, with a lineup that stars Mavis Staples, Ani DiFranco, \u003ca href=\"https://www.kqed.org/arts/13817300/the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too\" target=\"_blank\" rel=\"noopener noreferrer\">Meklit\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13887363/ambrose-akinmusire-soundtracks-black-resistance-from-oakland-to-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">Ambrose Akinmusire\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894963/pass-the-aux-new-tracks-from-caleborate-bachelor-miko-marks-ruby-mountain-and-more\" target=\"_blank\" rel=\"noopener noreferrer\">Bachelor\u003c/a>.\u003c/p>\n\u003cp>Today, in its ongoing efforts to give back to the musicians and venues that keep roots music going, Hardly Strictly announced a new round of philanthropic funding. The foundation behind the festival will disburse $1 million among three groups: the \u003ca href=\"https://www.sweetrelief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Relief Musicians Fund\u003c/a>, which has been distributing emergency funding to artists and workers during the pandemic; East Bay Permanent Real Estate Cooperative’s \u003ca href=\"https://ebprec.org/esthers\" target=\"_blank\" rel=\"noopener noreferrer\">Esther’s Orbit Room Cultural Revival Project\u003c/a>, which seeks to restore the historic West Oakland blues venue; and the Tenderloin Museum’s “Sounds of the Tenderloin” project.\u003c/p>\n\u003cp>With Hardly Strictly’s funding, Sweet Relief will be able to provide hundreds of grants to musicians and music workers. Residents of the Bay Area and New Orleans are eligible to apply for \u003ca href=\"https://www.sweetrelief.org/covid-19-fund.html\" target=\"_blank\" rel=\"noopener noreferrer\">up to $1,000 in assistance\u003c/a> with rent, bills, medication and other life essentials. The organization suggests submitting by Oct. 31.\u003c/p>\n\u003cp>The Esther’s Orbit Room grant will help fund East Bay Permanent Real Estate Cooperative’s efforts to revitalize the renowned venue into a performance space with a cafe and artist housing. And the grant for the Tenderloin Museum’s “Sounds of the Tenderloin” will book small-scale live performances throughout the San Francisco neighborhood, which once had thriving jazz, swing, rock and folk scenes.\u003c/p>\n\u003cp>This latest philanthropic effort follows \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly’s $3 million dollar investment\u003c/a> in local music venues and artist relief efforts in 2020.\u003c/p>\n\u003cp>The Hardly Strictly Bluegrass festival on Oct. 1–3 will be \u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">available for streaming on the festival’s website\u003c/a>, \u003ca href=\"https://facebook.com/hardlystrictlybluegrass/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://youtube.com/user/hsbfest\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a> pages, as well as on Xfinity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jennifer Hough’s Harassment Lawsuit Against Nicki Minaj and Her Husband, Explained",
"headTitle": "Jennifer Hough’s Harassment Lawsuit Against Nicki Minaj and Her Husband, Explained | KQED",
"content": "\u003cp>If you’ve been having some trouble keeping up with all of the Nicki Minaj drama circulating on the internet these last few weeks, you are not alone. Chances are, most of what you’ve heard has revolved around Nicki’s assertion that one of her cousin’s friends got swollen testicles from the COVID vaccine, which apparently made him impotent, which apparently made his girlfriend leave him.\u003c/p>\n\u003cp>https://twitter.com/nickiminaj/status/1437532566945341441\u003c/p>\n\u003cp>Truly, a tweet this preposterous is impossible for the internet to ignore, which is why \u003ca href=\"https://twitter.com/KevzPolitics/status/1438183898358366208?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Trinidad and Tobago’s health minister debunked Minaj’s claims\u003c/a>. \u003ca href=\"https://twitter.com/gaybonez/status/1440709750182670343\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter is still roasting her for it\u003c/a> almost two weeks later. For some observers, however, the testicular Minaj tweet looks an awful lot like a deflection; a distraction from the very real legal trouble she and her husband, Kenneth “Zoo” Petty, are currently embroiled in. Legal trouble that could do Minaj’s reputation a lot more damage than asking people to “pray on it“ before they get vaccinated. And yesterday, that legal trouble hit daytime TV when Jennifer Hough made a heart-rending appearance on \u003cem>The Real\u003c/em>.\u003c/p>\n\u003cp>Hough’s interview follows a civil lawsuit she filed on Aug. 13 against Minaj and Petty. According to legal \u003ca href=\"https://www.eonline.com/news/1298910/nicki-minaj-and-husband-kenneth-petty-sued-by-his-sexual-assault-accuser\" target=\"_blank\" rel=\"noopener noreferrer\">documents obtained by E! News\u003c/a> last month, Hough’s suit accuses the couple of a litany of serious offenses. These include: harassment, assault, battery, sexual assault and sexual harassment, witness intimidation and intentional and negligent infliction of emotional distress. The suit also accuses Minaj of threatening and attempting to bribe Hough. At one point, E! reports, the suit states:\u003c/p>\n\u003cblockquote>\u003cp>As a direct result of the actions of Defendant Minaj and Defendant Petty, [Hough] has been traumatized her entire life. Plaintiff has moved to multiple states to avoid intimidation and harassment by Defendant Minaj, Defendant, and their allies, legal teams, and fans.\u003c/p>\u003c/blockquote>\n\u003cp>If you haven’t been following along in real time, you might be wondering where all of this stems from. To explain, we have to go way back to 1994. Specifically, Sept. 16, 1994—the day a 16-year-old Hough accused a 16-year-old Petty of rape. Hough reported that Petty approached her while she waited at a Jamaica, Queens bus stop, pressed an object to her back, forced her into a nearby house, fought against her objections, and raped her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Petty was subsequently charged with first degree rape, but on April 5, 1995, he pleaded guilty to—and was convicted of—attempted rape in the first degree. (The \u003ca href=\"https://www.criminaljustice.ny.gov/SomsSUBDirectory/ReCaptchaServlet?offenderId=7370&g-recaptcha-response=03AGdBq24_X-gC_S78M_WKF0HaXwprUMZF07B0VeGUImVtZ_zP2DF0VkiBGy6kgbpM3Jcx1Gj3AZYgqNI0A_VNZHWQfaDbr1halHa3bZyK-O1KA917OUOqk1CW5RwIAS3RZG-9m-Z3X0KAVrGG1VVEoMdRIhq2z3yqCaK3nkOQzNsw1Zq-TRC1W9USrFXA4pglgwZDjknoKGzaGzIPTlvhvrqUQSf9MG51xuL2JcZO2BBMDeE2QBp9g0LBkZdZEDabs2a9XMkEq2Vsg65He2gxVCOXXCopmBxIByMnVZwsg0DG3QamQCVGKFgtpJ-9Am9Bak0PPLhuMd8NfAO0XVmt34APkTDozwMBQpLOTHGf5s2SMHimbHW1WBl8GEMhikDqOofhd7VKcyVmVanSBY82Q7LdlvLyDflkAkamEiPSYHSUhxn6kj_oBi4iWxeU7ToUKlyXQdL8Nfpch7ghtRSTPnkG2A36-_1uDA&Submit=Search\" target=\"_blank\" rel=\"noopener noreferrer\">offense listed on his conviction\u003c/a>, however, states that “Actual, Sexual Intercourse” took place. It also states that he was in possession of a “Knife/cutting instrument” at the time of the attack.) Two days before his 17th birthday, Petty was sentenced to “18 to 54 months” in a state penitentiary. He served nearly four years for the attack on Hough.\u003c/p>\n\u003cp>[aside postid='futureofyou_438664']On his release, Petty returned to Queens and promptly began a relationship with a 17-year-old Nicki Minaj—then known by her real name, Onika Tanya Maraj. But Petty didn’t stay out of trouble for long. By 2006—just one year before Minaj would release her first mixtape, \u003cem>Playtime is Over\u003c/em>—Petty pleaded guilty to manslaughter charges, following a 2002 incident in which he shot and killed a man named Lamont Robinson.\u003c/p>\n\u003cp>According to \u003cem>Billboard\u003c/em>, \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8533743/who-did-nicki-minaj-marry-kenneth-petty\" target=\"_blank\" rel=\"noopener noreferrer\">Petty served seven years\u003c/a> before entering a supervised release program in 2013. He stayed in the program until 2018—the year he reunited with Minaj.\u003c/p>\n\u003cp>At that time, the couple’s reunion prompted the internet and tabloid media to begin reporting on Petty’s prior convictions in earnest. One \u003ca href=\"https://www.tmz.com/2018/12/22/nicki-minaj-boyfriend-kenneth-petty-manslaughter-shot-three-times-stomach/\" target=\"_blank\" rel=\"noopener noreferrer\">report from TMZ\u003c/a> that year, titled “Nicki Minaj’s BF Manslaughter Case Was Cold-Blooded,” stated:\u003c/p>\n\u003cblockquote>\u003cp>We’re told Petty drove to the crime scene with a group of cohorts, hopped out of the car, walked across the street where Robinson was hanging out, pulled out a gun … and shot him in the stomach three times. Our sources say he then fled in the vehicle with the group.\u003c/p>\u003c/blockquote>\n\u003cp>This kind of media attention quickly put Minaj on the offensive. In June 2019, she included Petty in her video for “\u003ca href=\"https://www.youtube.com/watch?v=C3a1sz2Bp_E\" target=\"_blank\" rel=\"noopener noreferrer\">Megatron\u003c/a>.” The track includes the lyrics, “I fuck him like I miss him / He just got out of prison / Bitches be talking shit / But they ain’t got a pot to piss in.” The following month, during a featured spot on Chance the Rapper’s “Zanies and Fools,” Minaj rapped: “I met my husband when I was 17 out in Queens / If you love it, let it go, now I know what that means / While he was up North for a body, I bodied everybody and got known for my body.”\u003c/p>\n\u003cp>Also in 2019, during an episode of her Apple Music show, \u003cem>Queen Radio\u003c/em>, Minaj claimed that Petty was “wrongfully accused … when he was 15 years old.” (Petty’s arrest record clearly states he was 16 at the time of Hough’s assault.) Minaj went on to claim that Hough had attempted to recant her accusation, but didn’t after she was threatened with legal penalties for doing so. (\u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Hough has denied this\u003c/a>.) Minaj also used the phrase, “White is right,” implying that Hough was a white woman. She is not.\u003c/p>\n\u003cp>https://twitter.com/britneyxmariah/status/1440695471572283411\u003c/p>\n\u003cp>On another occasion, while defending Petty on Instagram in relation to the Hough case, Minaj claimed: “He was 15, she was 16 … in a relationship. But go awf Internet. y’all can’t run my life. Y’all can’t even run y’all own life.” In \u003cem>The Real\u003c/em> interview, Hough also denied that she and Petty dated.\u003c/p>\n\u003cp>[aside postid='pop_109382']Undeterred by Petty’s criminal history, or the negative publicity it was attracting, Minaj married him in October 2019. After moving from New York to Minaj’s home in L.A., Petty was pulled over by Beverly Hills police. The police discovered that Petty had failed to register as a sex offender when he moved to California—a condition left over from his 1995 conviction. On Sept. 9, Petty pleaded guilty during a virtual court hearing on the matter. He is expected to be sentenced in January 2022 and faces up to 10 years in prison.\u003c/p>\n\u003cp>Which brings us back to Hough’s appearance on \u003cem>The Real\u003c/em> yesterday. Hough, visibly nervous and frequently tearful, cut a sympathetic figure. “I’m tired of being afraid,” she said. “I feel like the actions that were taken in regards to this whole situation have put me in a different type of fear.”\u003c/p>\n\u003cp>Hough went on to claim that, over the last couple of years, Minaj and Petty had “sent people” repeatedly to try and negotiate a financial sum with her, in an attempt to buy her silence. She said that after consistently refusing to cooperate with the couple, threats on her life were made. “The last message I received,” Hough said, “was that I should’ve taken the money ’cause they’re gonna use that money to put on my head.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SPugv3HtrqA\u003c/p>\n\u003cp>A \u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Daily Beast\u003c/a> article from March confirms that Hough had moved three times in 2020 alone, out of concern for her personal safety.\u003c/p>\n\u003cp>Hough’s appearance on \u003cem>The Real\u003c/em> is bound to raise her public profile to a degree that might get uncomfortable for her. But it also caused something of a Minaj backlash on social media last night, even as the rapper attempted to boost the voices of her defenders by \u003ca href=\"https://twitter.com/ritaeatspitas/status/1440832709236981769\" target=\"_blank\" rel=\"noopener noreferrer\">“liking” their positive posts\u003c/a> about her.\u003c/p>\n\u003cp>\u003cem>The Real\u003c/em> was a means for Hough to take back a narrative Minaj has used her considerable platform to try and control for the last three years. It was a means for Hough to show her humanity beyond salacious tabloid headlines. And it was a chance to explain the emotional and mental scars wrought by what happened to her in her teens, and how the fallout of that case continues to affect her now.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2018, on the track “Nip Tuck,” Minaj compared herself to Teflon. She may have spoken too soon.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been having some trouble keeping up with all of the Nicki Minaj drama circulating on the internet these last few weeks, you are not alone. Chances are, most of what you’ve heard has revolved around Nicki’s assertion that one of her cousin’s friends got swollen testicles from the COVID vaccine, which apparently made him impotent, which apparently made his girlfriend leave him.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Truly, a tweet this preposterous is impossible for the internet to ignore, which is why \u003ca href=\"https://twitter.com/KevzPolitics/status/1438183898358366208?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Trinidad and Tobago’s health minister debunked Minaj’s claims\u003c/a>. \u003ca href=\"https://twitter.com/gaybonez/status/1440709750182670343\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter is still roasting her for it\u003c/a> almost two weeks later. For some observers, however, the testicular Minaj tweet looks an awful lot like a deflection; a distraction from the very real legal trouble she and her husband, Kenneth “Zoo” Petty, are currently embroiled in. Legal trouble that could do Minaj’s reputation a lot more damage than asking people to “pray on it“ before they get vaccinated. And yesterday, that legal trouble hit daytime TV when Jennifer Hough made a heart-rending appearance on \u003cem>The Real\u003c/em>.\u003c/p>\n\u003cp>Hough’s interview follows a civil lawsuit she filed on Aug. 13 against Minaj and Petty. According to legal \u003ca href=\"https://www.eonline.com/news/1298910/nicki-minaj-and-husband-kenneth-petty-sued-by-his-sexual-assault-accuser\" target=\"_blank\" rel=\"noopener noreferrer\">documents obtained by E! News\u003c/a> last month, Hough’s suit accuses the couple of a litany of serious offenses. These include: harassment, assault, battery, sexual assault and sexual harassment, witness intimidation and intentional and negligent infliction of emotional distress. The suit also accuses Minaj of threatening and attempting to bribe Hough. At one point, E! reports, the suit states:\u003c/p>\n\u003cblockquote>\u003cp>As a direct result of the actions of Defendant Minaj and Defendant Petty, [Hough] has been traumatized her entire life. Plaintiff has moved to multiple states to avoid intimidation and harassment by Defendant Minaj, Defendant, and their allies, legal teams, and fans.\u003c/p>\u003c/blockquote>\n\u003cp>If you haven’t been following along in real time, you might be wondering where all of this stems from. To explain, we have to go way back to 1994. Specifically, Sept. 16, 1994—the day a 16-year-old Hough accused a 16-year-old Petty of rape. Hough reported that Petty approached her while she waited at a Jamaica, Queens bus stop, pressed an object to her back, forced her into a nearby house, fought against her objections, and raped her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Petty was subsequently charged with first degree rape, but on April 5, 1995, he pleaded guilty to—and was convicted of—attempted rape in the first degree. (The \u003ca href=\"https://www.criminaljustice.ny.gov/SomsSUBDirectory/ReCaptchaServlet?offenderId=7370&g-recaptcha-response=03AGdBq24_X-gC_S78M_WKF0HaXwprUMZF07B0VeGUImVtZ_zP2DF0VkiBGy6kgbpM3Jcx1Gj3AZYgqNI0A_VNZHWQfaDbr1halHa3bZyK-O1KA917OUOqk1CW5RwIAS3RZG-9m-Z3X0KAVrGG1VVEoMdRIhq2z3yqCaK3nkOQzNsw1Zq-TRC1W9USrFXA4pglgwZDjknoKGzaGzIPTlvhvrqUQSf9MG51xuL2JcZO2BBMDeE2QBp9g0LBkZdZEDabs2a9XMkEq2Vsg65He2gxVCOXXCopmBxIByMnVZwsg0DG3QamQCVGKFgtpJ-9Am9Bak0PPLhuMd8NfAO0XVmt34APkTDozwMBQpLOTHGf5s2SMHimbHW1WBl8GEMhikDqOofhd7VKcyVmVanSBY82Q7LdlvLyDflkAkamEiPSYHSUhxn6kj_oBi4iWxeU7ToUKlyXQdL8Nfpch7ghtRSTPnkG2A36-_1uDA&Submit=Search\" target=\"_blank\" rel=\"noopener noreferrer\">offense listed on his conviction\u003c/a>, however, states that “Actual, Sexual Intercourse” took place. It also states that he was in possession of a “Knife/cutting instrument” at the time of the attack.) Two days before his 17th birthday, Petty was sentenced to “18 to 54 months” in a state penitentiary. He served nearly four years for the attack on Hough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On his release, Petty returned to Queens and promptly began a relationship with a 17-year-old Nicki Minaj—then known by her real name, Onika Tanya Maraj. But Petty didn’t stay out of trouble for long. By 2006—just one year before Minaj would release her first mixtape, \u003cem>Playtime is Over\u003c/em>—Petty pleaded guilty to manslaughter charges, following a 2002 incident in which he shot and killed a man named Lamont Robinson.\u003c/p>\n\u003cp>According to \u003cem>Billboard\u003c/em>, \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8533743/who-did-nicki-minaj-marry-kenneth-petty\" target=\"_blank\" rel=\"noopener noreferrer\">Petty served seven years\u003c/a> before entering a supervised release program in 2013. He stayed in the program until 2018—the year he reunited with Minaj.\u003c/p>\n\u003cp>At that time, the couple’s reunion prompted the internet and tabloid media to begin reporting on Petty’s prior convictions in earnest. One \u003ca href=\"https://www.tmz.com/2018/12/22/nicki-minaj-boyfriend-kenneth-petty-manslaughter-shot-three-times-stomach/\" target=\"_blank\" rel=\"noopener noreferrer\">report from TMZ\u003c/a> that year, titled “Nicki Minaj’s BF Manslaughter Case Was Cold-Blooded,” stated:\u003c/p>\n\u003cblockquote>\u003cp>We’re told Petty drove to the crime scene with a group of cohorts, hopped out of the car, walked across the street where Robinson was hanging out, pulled out a gun … and shot him in the stomach three times. Our sources say he then fled in the vehicle with the group.\u003c/p>\u003c/blockquote>\n\u003cp>This kind of media attention quickly put Minaj on the offensive. In June 2019, she included Petty in her video for “\u003ca href=\"https://www.youtube.com/watch?v=C3a1sz2Bp_E\" target=\"_blank\" rel=\"noopener noreferrer\">Megatron\u003c/a>.” The track includes the lyrics, “I fuck him like I miss him / He just got out of prison / Bitches be talking shit / But they ain’t got a pot to piss in.” The following month, during a featured spot on Chance the Rapper’s “Zanies and Fools,” Minaj rapped: “I met my husband when I was 17 out in Queens / If you love it, let it go, now I know what that means / While he was up North for a body, I bodied everybody and got known for my body.”\u003c/p>\n\u003cp>Also in 2019, during an episode of her Apple Music show, \u003cem>Queen Radio\u003c/em>, Minaj claimed that Petty was “wrongfully accused … when he was 15 years old.” (Petty’s arrest record clearly states he was 16 at the time of Hough’s assault.) Minaj went on to claim that Hough had attempted to recant her accusation, but didn’t after she was threatened with legal penalties for doing so. (\u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Hough has denied this\u003c/a>.) Minaj also used the phrase, “White is right,” implying that Hough was a white woman. She is not.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On another occasion, while defending Petty on Instagram in relation to the Hough case, Minaj claimed: “He was 15, she was 16 … in a relationship. But go awf Internet. y’all can’t run my life. Y’all can’t even run y’all own life.” In \u003cem>The Real\u003c/em> interview, Hough also denied that she and Petty dated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Undeterred by Petty’s criminal history, or the negative publicity it was attracting, Minaj married him in October 2019. After moving from New York to Minaj’s home in L.A., Petty was pulled over by Beverly Hills police. The police discovered that Petty had failed to register as a sex offender when he moved to California—a condition left over from his 1995 conviction. On Sept. 9, Petty pleaded guilty during a virtual court hearing on the matter. He is expected to be sentenced in January 2022 and faces up to 10 years in prison.\u003c/p>\n\u003cp>Which brings us back to Hough’s appearance on \u003cem>The Real\u003c/em> yesterday. Hough, visibly nervous and frequently tearful, cut a sympathetic figure. “I’m tired of being afraid,” she said. “I feel like the actions that were taken in regards to this whole situation have put me in a different type of fear.”\u003c/p>\n\u003cp>Hough went on to claim that, over the last couple of years, Minaj and Petty had “sent people” repeatedly to try and negotiate a financial sum with her, in an attempt to buy her silence. She said that after consistently refusing to cooperate with the couple, threats on her life were made. “The last message I received,” Hough said, “was that I should’ve taken the money ’cause they’re gonna use that money to put on my head.”\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/SPugv3HtrqA'\n title='//www.youtube.com/embed/SPugv3HtrqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A \u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Daily Beast\u003c/a> article from March confirms that Hough had moved three times in 2020 alone, out of concern for her personal safety.\u003c/p>\n\u003cp>Hough’s appearance on \u003cem>The Real\u003c/em> is bound to raise her public profile to a degree that might get uncomfortable for her. But it also caused something of a Minaj backlash on social media last night, even as the rapper attempted to boost the voices of her defenders by \u003ca href=\"https://twitter.com/ritaeatspitas/status/1440832709236981769\" target=\"_blank\" rel=\"noopener noreferrer\">“liking” their positive posts\u003c/a> about her.\u003c/p>\n\u003cp>\u003cem>The Real\u003c/em> was a means for Hough to take back a narrative Minaj has used her considerable platform to try and control for the last three years. It was a means for Hough to show her humanity beyond salacious tabloid headlines. And it was a chance to explain the emotional and mental scars wrought by what happened to her in her teens, and how the fallout of that case continues to affect her now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sarah Dash, Singer and Co-Founder of Labelle, Dies at Age 76",
"headTitle": "Sarah Dash, Singer and Co-Founder of Labelle, Dies at Age 76 | KQED",
"content": "\u003cp>Sarah Dash, the singer and co-founder of the all-female singing group Labelle, best known for their 1974 hit “Lady Marmalade,” died Monday at the age of 76.\u003c/p>\n\u003cp>Dash’s bandmate Patti LaBelle announced her longtime friend’s death on social media.\u003c/p>\n\u003cp>“We were just onstage together on Saturday and it was such a powerful and special moment!” LaBelle said on Twitter. “Sarah Dash was an awesomely talented, beautiful and loving soul who blessed my life and the lives of so many others in more ways than I can say. And I could always count on her to have my back! That’s who Sarah was … a loyal friend and a voice for those who didn’t have one.”\u003c/p>\n\u003cp>https://twitter.com/MsPattiPatti/status/1440066002209759232\u003c/p>\n\u003cp>Nona Hendryx rounded out the Labelle trio. Hendryx shared on Instagram of the passing of her former bandmate, “Words are inadequate so I will use few. We spoke a musical language, music says it best. Singing brought us together…”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She added that the two had just talked and texted on Saturday. “Now you’re gone, I can’t believe it,” Hendryx said.\u003c/p>\n\u003cp>https://www.instagram.com/p/CUEEeUQgpJd/\u003c/p>\n\u003cp>Labelle \u003ca href=\"https://www.npr.org/2021/02/10/962840768/the-hidden-legacy-of-the-pointer-sisters-genre-busting-pioneers-of-message-music\" target=\"_blank\" rel=\"noopener noreferrer\">started out as the conventional girl group \u003c/a>called Patti LaBelle and the Bluebelles and changed into an Afro-futuristic glam rock group (even changing the name to Labelle to complete the transformation) in 1971.\u003c/p>\n\u003cp>Unlike other girl groups of the time, each member of the group sang both lead and background voices.\u003c/p>\n\u003cp>They also embraced a futuristic look—complete with spacesuits and feathers. With their biggest hit, “Lady Marmalade,” the group also embraced a sexually suggestive and empowering message.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tn0-6n_dng4\u003c/p>\n\u003cp>After the group disbanded in 1976, Dash continued performing as a solo singer, releasing several albums over the years. She \u003ca href=\"https://www.sarahdash.net/about\" target=\"_blank\" rel=\"noopener noreferrer\">became well-established\u003c/a> as a session singer, recording and performing with Keith Richards and the Rolling Stones.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LaBelle went on to say on Twitter of her friend: “She was a true giver, always serving and sharing her talent and time. I am heartbroken, as I know all of her loved ones and fans are. But I know that Sarah’s spirit and all that she has given to the world live on. And I pray that her precious memory brings us peace and comfort. Rest in power my dear sister. I love you always!”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Dash%2C+Singer+And+Co-Founder+Of+Labelle%2C+Dies+At+Age+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Nona Hendryx rounded out the Labelle trio. Hendryx shared on Instagram of the passing of her former bandmate, “Words are inadequate so I will use few. We spoke a musical language, music says it best. Singing brought us together…”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She added that the two had just talked and texted on Saturday. “Now you’re gone, I can’t believe it,” Hendryx said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Labelle \u003ca href=\"https://www.npr.org/2021/02/10/962840768/the-hidden-legacy-of-the-pointer-sisters-genre-busting-pioneers-of-message-music\" target=\"_blank\" rel=\"noopener noreferrer\">started out as the conventional girl group \u003c/a>called Patti LaBelle and the Bluebelles and changed into an Afro-futuristic glam rock group (even changing the name to Labelle to complete the transformation) in 1971.\u003c/p>\n\u003cp>Unlike other girl groups of the time, each member of the group sang both lead and background voices.\u003c/p>\n\u003cp>They also embraced a futuristic look—complete with spacesuits and feathers. With their biggest hit, “Lady Marmalade,” the group also embraced a sexually suggestive and empowering message.\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/Tn0-6n_dng4'\n title='//www.youtube.com/embed/Tn0-6n_dng4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the group disbanded in 1976, Dash continued performing as a solo singer, releasing several albums over the years. She \u003ca href=\"https://www.sarahdash.net/about\" target=\"_blank\" rel=\"noopener noreferrer\">became well-established\u003c/a> as a session singer, recording and performing with Keith Richards and the Rolling Stones.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LaBelle went on to say on Twitter of her friend: “She was a true giver, always serving and sharing her talent and time. I am heartbroken, as I know all of her loved ones and fans are. But I know that Sarah’s spirit and all that she has given to the world live on. And I pray that her precious memory brings us peace and comfort. Rest in power my dear sister. I love you always!”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Dash%2C+Singer+And+Co-Founder+Of+Labelle%2C+Dies+At+Age+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Coming Out Changed Her Life. Now, Lalin St. Juste Is Ready to Sing About It",
"headTitle": "Coming Out Changed Her Life. Now, Lalin St. Juste Is Ready to Sing About It | KQED",
"content": "\u003cp>In the \u003ca href=\"https://www.youtube.com/watch?v=lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> that accompanies \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a>‘s 2020 album, \u003cem>CYAN\u003c/em>, you can tell that singer Lalin St. Juste is not at peace. The dreamlike music video sequence shows her crashing through a ceiling, her body subsumed by rubble; later, she fretfully yanks a door open and runs through a series of empty rooms. When she collapses from exhaustion, a group of friends revive her with their healing touch—a visualization of the spiritual nourishment sisterhood and community can offer.\u003c/p>\n\u003cp>Looking back on that project, St. Juste admits that it overlapped with a time of turmoil in her life. After years of identifying as queer and bisexual, she suddenly awakened to the realization that “lesbian” more accurately describes how she feels inside. The epiphany forced a reckoning, and presented a set of daunting complications, both personally and creatively. For the past 10 years, her work with The Seshen revolved around her artistic partnership with her now-ex-husband, bassist and producer Aki Ehara. Suddenly, the way she had arranged her life no longer aligned with her truth.\u003c/p>\n\u003cp>“The origin story of The Seshen is our love—we would talk about the fact that we met [while studying abroad] in Ghana, and fell in love and started this band. That’s been part of the identity and the narrative of The Seshen,” says St. Juste. “Then this thing happened, and it’s so painful. It’s like, how do you publicly share this? Our love is really public, but here’s a moment that things have changed.”\u003c/p>\n\u003cfigure id=\"attachment_13903246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903246\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman gazes pensively into the distance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year of grieving and healing while concerts were canceled during pandemic restrictions, St. Juste is ready to write her next chapter. On Sept. 17, she released her self-produced first single, “scar,” from her forthcoming EP, \u003cem>behind my eyes\u003c/em>. She began writing the EP’s four tracks during a residency at the Oakland music incubator Zoo Labs, which gave her the resources and space to process this huge life shift through music.\u003c/p>\n\u003cp>“I want to practice sharing who I am in a bigger way,” she says. “Now is that time. All the pieces are falling into place. And I think I needed this big transformation to actually kick me into gear so that I could develop myself as a songwriter and producer.”\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=603708048/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>In “scar,” a quiet hum grounds the downtempo track in a self-reflective mood that stands apart from The Seshen’s big, propulsive electropop. Snappy snares and soaring synths underscore St. Juste’s optimism about the terrifying, yet ultimately gratifying, process of self-discovery. After a cathartic crescendo of layered vocals, a moment of calm acceptance arrives: “It’s OK, let your heart break,” she repeats to herself in a half-whisper, like a mantra.\u003c/p>\n\u003cfigure id=\"attachment_13903247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste from The Seshen poses for a portrait at her home in Oakland on Sept. 15, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s accepting the realities of it, and the pain of it, and the beauty of it,” she says. “This is what it means to love, this is what it means to exist, this is what it means to grow: it’s to feel the growing pains of it all, to feel the discomfort of it all. But what you find in your own scar tissue is a beautiful world of all those experiences, and it’s what makes us who we are.”\u003c/p>\n\u003cp>St. Juste and Ehara are still close, and they haven’t slowed down on songwriting or performing with The Seshen. “As difficult as everything has been, we’re both really committed to the friendship because that’s been the basis of our relationship from the beginning,” Ehara says.\u003c/p>\n\u003cp>The expansive band, which also includes drummer Chris Thalmann, keyboard and synth player Mahesh Rao, percussionist Mirza Kopelman and sequencer Kumar Butler, is getting ready to embark on a Northwestern tour next week that concludes with a \u003ca href=\"https://www.ticketweb.com/event/the-seshen-the-new-parish-tickets/11206455?camefrom=CFC_ANOTHERPLANET_web&brand=anotherplanet\" target=\"_blank\" rel=\"noopener noreferrer\">hometown show at the New Parish\u003c/a> in Oakland on Nov. 19.\u003c/p>\n\u003cp>https://youtu.be/lR7AmjLCnWk\u003c/p>\n\u003cp>And St. Juste is pursuing other creative endeavors. She’s releasing \u003cem>behind my eyes \u003c/em>on \u003ca href=\"https://7000coils.com/Info\" target=\"_blank\" rel=\"noopener noreferrer\">7000COILS\u003c/a>, the new, queer- and Black-focused label she co-founded with her new partner, the DJ \u003ca href=\"https://soundcloud.com/privateselecta\" target=\"_blank\" rel=\"noopener noreferrer\">KKINGBOO\u003c/a>. She’s also creating a sound art piece for the experimental music festival \u003ca href=\"https://soundwavesf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soundwave NEXT: Translocality\u003c/a>, which commissioned a variety of artists to compose location-specific works. Listeners will be able to hear the pieces at different Bay Area landmarks in late October via an app.\u003c/p>\n\u003cp>St. Juste takes a lot of solo walks near bodies of water to gather her thoughts. “I have this really deep connection to the power of water, the stories water holds, the way it moves in our lives. It’s a place I go to grieve and to celebrate,” she says, noting water’s role in her ancestors’ passage from West Africa to Haiti, where her parents are from.\u003c/p>\n\u003cp>Her piece for Translocality explores the history of the one of the places she frequents: Sutro Baths, the ruins near San Francisco’s Ocean Beach. In her research, she learned about an unsung civil rights hero, a Black man named \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\" target=\"_blank\" rel=\"noopener noreferrer\">John Harris\u003c/a>, who in 1897 sued Adolph Sutro for discrimination when he was denied access to the baths. Harris’ lawsuit helped reinforce a new California law that granted equal access to public spaces, and set a precedent for desegregation.\u003c/p>\n\u003cfigure id=\"attachment_13903245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman smiles in a garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping to create some discomfort and some sense of dissonance. I think that’s what we need in order to confront these memories—not even just memories. These are current things that are happening,” St. Juste says of the piece. “Black lives are at threat every single day. … You’re fighting for your space, fighting for your voice, fighting for a right to exist. And in a place like San Francisco, where the demographics have changed so much, and the Black population is so little, I have to explore these things.”\u003c/p>\n\u003cp>Taking an unflinching look at those hard truths, and finding a way to create beauty from them, is key to not only St. Juste’s creative practice, but her way of living. As she says, “All these are steps in the direction of me fulfilling more of my destiny in terms of being more out in every possible way, loud in every possible way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the \u003ca href=\"https://www.youtube.com/watch?v=lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> that accompanies \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a>‘s 2020 album, \u003cem>CYAN\u003c/em>, you can tell that singer Lalin St. Juste is not at peace. The dreamlike music video sequence shows her crashing through a ceiling, her body subsumed by rubble; later, she fretfully yanks a door open and runs through a series of empty rooms. When she collapses from exhaustion, a group of friends revive her with their healing touch—a visualization of the spiritual nourishment sisterhood and community can offer.\u003c/p>\n\u003cp>Looking back on that project, St. Juste admits that it overlapped with a time of turmoil in her life. After years of identifying as queer and bisexual, she suddenly awakened to the realization that “lesbian” more accurately describes how she feels inside. The epiphany forced a reckoning, and presented a set of daunting complications, both personally and creatively. For the past 10 years, her work with The Seshen revolved around her artistic partnership with her now-ex-husband, bassist and producer Aki Ehara. Suddenly, the way she had arranged her life no longer aligned with her truth.\u003c/p>\n\u003cp>“The origin story of The Seshen is our love—we would talk about the fact that we met [while studying abroad] in Ghana, and fell in love and started this band. That’s been part of the identity and the narrative of The Seshen,” says St. Juste. “Then this thing happened, and it’s so painful. It’s like, how do you publicly share this? Our love is really public, but here’s a moment that things have changed.”\u003c/p>\n\u003cfigure id=\"attachment_13903246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903246\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman gazes pensively into the distance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year of grieving and healing while concerts were canceled during pandemic restrictions, St. Juste is ready to write her next chapter. On Sept. 17, she released her self-produced first single, “scar,” from her forthcoming EP, \u003cem>behind my eyes\u003c/em>. She began writing the EP’s four tracks during a residency at the Oakland music incubator Zoo Labs, which gave her the resources and space to process this huge life shift through music.\u003c/p>\n\u003cp>“I want to practice sharing who I am in a bigger way,” she says. “Now is that time. All the pieces are falling into place. And I think I needed this big transformation to actually kick me into gear so that I could develop myself as a songwriter and producer.”\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=603708048/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>In “scar,” a quiet hum grounds the downtempo track in a self-reflective mood that stands apart from The Seshen’s big, propulsive electropop. Snappy snares and soaring synths underscore St. Juste’s optimism about the terrifying, yet ultimately gratifying, process of self-discovery. After a cathartic crescendo of layered vocals, a moment of calm acceptance arrives: “It’s OK, let your heart break,” she repeats to herself in a half-whisper, like a mantra.\u003c/p>\n\u003cfigure id=\"attachment_13903247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste from The Seshen poses for a portrait at her home in Oakland on Sept. 15, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s accepting the realities of it, and the pain of it, and the beauty of it,” she says. “This is what it means to love, this is what it means to exist, this is what it means to grow: it’s to feel the growing pains of it all, to feel the discomfort of it all. But what you find in your own scar tissue is a beautiful world of all those experiences, and it’s what makes us who we are.”\u003c/p>\n\u003cp>St. Juste and Ehara are still close, and they haven’t slowed down on songwriting or performing with The Seshen. “As difficult as everything has been, we’re both really committed to the friendship because that’s been the basis of our relationship from the beginning,” Ehara says.\u003c/p>\n\u003cp>The expansive band, which also includes drummer Chris Thalmann, keyboard and synth player Mahesh Rao, percussionist Mirza Kopelman and sequencer Kumar Butler, is getting ready to embark on a Northwestern tour next week that concludes with a \u003ca href=\"https://www.ticketweb.com/event/the-seshen-the-new-parish-tickets/11206455?camefrom=CFC_ANOTHERPLANET_web&brand=anotherplanet\" target=\"_blank\" rel=\"noopener noreferrer\">hometown show at the New Parish\u003c/a> in Oakland on Nov. 19.\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/lR7AmjLCnWk'\n title='//www.youtube.com/embed/lR7AmjLCnWk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And St. Juste is pursuing other creative endeavors. She’s releasing \u003cem>behind my eyes \u003c/em>on \u003ca href=\"https://7000coils.com/Info\" target=\"_blank\" rel=\"noopener noreferrer\">7000COILS\u003c/a>, the new, queer- and Black-focused label she co-founded with her new partner, the DJ \u003ca href=\"https://soundcloud.com/privateselecta\" target=\"_blank\" rel=\"noopener noreferrer\">KKINGBOO\u003c/a>. She’s also creating a sound art piece for the experimental music festival \u003ca href=\"https://soundwavesf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soundwave NEXT: Translocality\u003c/a>, which commissioned a variety of artists to compose location-specific works. Listeners will be able to hear the pieces at different Bay Area landmarks in late October via an app.\u003c/p>\n\u003cp>St. Juste takes a lot of solo walks near bodies of water to gather her thoughts. “I have this really deep connection to the power of water, the stories water holds, the way it moves in our lives. It’s a place I go to grieve and to celebrate,” she says, noting water’s role in her ancestors’ passage from West Africa to Haiti, where her parents are from.\u003c/p>\n\u003cp>Her piece for Translocality explores the history of the one of the places she frequents: Sutro Baths, the ruins near San Francisco’s Ocean Beach. In her research, she learned about an unsung civil rights hero, a Black man named \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\" target=\"_blank\" rel=\"noopener noreferrer\">John Harris\u003c/a>, who in 1897 sued Adolph Sutro for discrimination when he was denied access to the baths. Harris’ lawsuit helped reinforce a new California law that granted equal access to public spaces, and set a precedent for desegregation.\u003c/p>\n\u003cfigure id=\"attachment_13903245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman smiles in a garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping to create some discomfort and some sense of dissonance. I think that’s what we need in order to confront these memories—not even just memories. These are current things that are happening,” St. Juste says of the piece. “Black lives are at threat every single day. … You’re fighting for your space, fighting for your voice, fighting for a right to exist. And in a place like San Francisco, where the demographics have changed so much, and the Black population is so little, I have to explore these things.”\u003c/p>\n\u003cp>Taking an unflinching look at those hard truths, and finding a way to create beauty from them, is key to not only St. Juste’s creative practice, but her way of living. As she says, “All these are steps in the direction of me fulfilling more of my destiny in terms of being more out in every possible way, loud in every possible way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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