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"content": "\u003cp>Sometimes, when you ask, you receive. So it was for Rolland Janairo, the new executive director of the \u003ca href=\"https://www.svudl.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Urban Debate League\u003c/a>. A few months ago, he attended a performance of \u003ca href=\"https://hamiltonmusical.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> in San Francisco, went back stage to meet the actors, pitched Christopher Henry Young on coaching a gaggle of high school debate students, and “his eyes just lit up.” \u003c/p>\n\u003cp>So it was, with an assist from the \u003ca href=\"http://www.sfbatco.org\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Theatre Company\u003c/a>, that Young showed up with at Yerba Buena High School in San Jose last week with three fellow cast members (in an unofficial capacity, as far as the musical is concerned). Unofficial or not, it was the headlining highlight of this year’s SVUDL summer debate institute.\u003c/p>\n\u003cp>“Little secret,” Young confided before the group gathered in the cafeteria. “We’re all much shyer than we appear. It’s all smoke and mirrors. So I’m able to be up here, and look you in the eye, not because it’s natural to me, but because I’ve had to learn tools and tricks,” said the \u003cem>Hamilton\u003c/em> ensemble member, who’s also been in \u003cem>The Wiz\u003c/em> and \u003cem>Guys and Dolls\u003c/em> on Broadway.\u003c/p>\n\u003cp>Frankly, they could have recited the \u003cem>U.S. Constitution\u003c/em> and this crowd of 35 students would have paid rapt attention, but it turns out debate and public speaking are legitimately a lot like theatre, because performers have to be prepared to respond to the unexpected while performing on stage.\u003c/p>\n\u003cp>“A lot of the exercises that we’re going to have you do today are things like we’ve done in theatre classes. They all help with concentration, flexibility, being able to think on your feet, focus, empathizing and sharing experiences with each other,” said Marja Harmon, who is the standby for all the Schuyler sisters in the local tour of \u003cem>Hamilton, \u003c/em>after stints in \u003cem>Book of Mormon \u003c/em>and\u003cem> Cat on a Hot Tin Roof\u003c/em> on Broadway\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13862370\" class=\"wp-caption aligncenter\" style=\"max-width: 2013px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862370\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg\" alt=\"\" width=\"2013\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg 2013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-800x528.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-768x507.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1020x673.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1200x792.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1920x1267.jpeg 1920w\" sizes=\"(max-width: 2013px) 100vw, 2013px\">\u003cfigcaption class=\"wp-caption-text\">Broadway actors Christopher Henry Young, Marja Harmon and Morgan Wood pay rapt attention as students with Silicon Valley Urban Debate League perform an improv exercise. \u003ccite>(Photo: Courtesy of SF BATCO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were powerful moments of poignancy as a few students were called up on stage and asked to describe themselves in 90 seconds. Think you can do it on the spot? Not so easy, regardless of your age. Most of us shy away from the most compelling thing you can be in front of others: confidently genuine. It’s what a lot of people describe as “owning your own truth,” and if it were easy, we’d all be doing it, all the time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, everybody, students and debate coaches alike, were waiting for Q&A time, when they got to ask the actors about their careers and advice on life generally.\u003c/p>\n\u003cp>Morgan Anita Wood (a \u003cem>Hamilton\u003c/em> ensemble member and understudy for the the Schuyler sisters) admitted she’s a natural extrovert. When students asked what she likes best about acting, she professed she loves to play characters completely unlike her. “Everyone has their truth and their story. You could be playing a murderer, and there’s a reason they did what they did. Getting to play people who are completely outside of my personal realm of understanding makes me a more empathetic human being.”\u003c/p>\n\u003cp>The actors are not too far from high school themselves, and Young made a point of urging students to accept themselves in all their awkward, teenage glory. “When I was younger, if I would have saw me, I would not have been afraid to be me then. Be it, so others can see it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That, really, was the point of the program, said Janairo, noting that SVUDL is focused on low-income students in East Palo Alto and San Jose. “I hope they’re taking some nuggets home about how to present themselves, how to speak their truth, and find their joy.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, when you ask, you receive. So it was for Rolland Janairo, the new executive director of the \u003ca href=\"https://www.svudl.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Urban Debate League\u003c/a>. A few months ago, he attended a performance of \u003ca href=\"https://hamiltonmusical.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> in San Francisco, went back stage to meet the actors, pitched Christopher Henry Young on coaching a gaggle of high school debate students, and “his eyes just lit up.” \u003c/p>\n\u003cp>So it was, with an assist from the \u003ca href=\"http://www.sfbatco.org\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Theatre Company\u003c/a>, that Young showed up with at Yerba Buena High School in San Jose last week with three fellow cast members (in an unofficial capacity, as far as the musical is concerned). Unofficial or not, it was the headlining highlight of this year’s SVUDL summer debate institute.\u003c/p>\n\u003cp>“Little secret,” Young confided before the group gathered in the cafeteria. “We’re all much shyer than we appear. It’s all smoke and mirrors. So I’m able to be up here, and look you in the eye, not because it’s natural to me, but because I’ve had to learn tools and tricks,” said the \u003cem>Hamilton\u003c/em> ensemble member, who’s also been in \u003cem>The Wiz\u003c/em> and \u003cem>Guys and Dolls\u003c/em> on Broadway.\u003c/p>\n\u003cp>Frankly, they could have recited the \u003cem>U.S. Constitution\u003c/em> and this crowd of 35 students would have paid rapt attention, but it turns out debate and public speaking are legitimately a lot like theatre, because performers have to be prepared to respond to the unexpected while performing on stage.\u003c/p>\n\u003cp>“A lot of the exercises that we’re going to have you do today are things like we’ve done in theatre classes. They all help with concentration, flexibility, being able to think on your feet, focus, empathizing and sharing experiences with each other,” said Marja Harmon, who is the standby for all the Schuyler sisters in the local tour of \u003cem>Hamilton, \u003c/em>after stints in \u003cem>Book of Mormon \u003c/em>and\u003cem> Cat on a Hot Tin Roof\u003c/em> on Broadway\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13862370\" class=\"wp-caption aligncenter\" style=\"max-width: 2013px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862370\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg\" alt=\"\" width=\"2013\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg 2013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-800x528.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-768x507.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1020x673.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1200x792.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1920x1267.jpeg 1920w\" sizes=\"(max-width: 2013px) 100vw, 2013px\">\u003cfigcaption class=\"wp-caption-text\">Broadway actors Christopher Henry Young, Marja Harmon and Morgan Wood pay rapt attention as students with Silicon Valley Urban Debate League perform an improv exercise. \u003ccite>(Photo: Courtesy of SF BATCO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were powerful moments of poignancy as a few students were called up on stage and asked to describe themselves in 90 seconds. Think you can do it on the spot? Not so easy, regardless of your age. Most of us shy away from the most compelling thing you can be in front of others: confidently genuine. It’s what a lot of people describe as “owning your own truth,” and if it were easy, we’d all be doing it, all the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, everybody, students and debate coaches alike, were waiting for Q&A time, when they got to ask the actors about their careers and advice on life generally.\u003c/p>\n\u003cp>Morgan Anita Wood (a \u003cem>Hamilton\u003c/em> ensemble member and understudy for the the Schuyler sisters) admitted she’s a natural extrovert. When students asked what she likes best about acting, she professed she loves to play characters completely unlike her. “Everyone has their truth and their story. You could be playing a murderer, and there’s a reason they did what they did. Getting to play people who are completely outside of my personal realm of understanding makes me a more empathetic human being.”\u003c/p>\n\u003cp>The actors are not too far from high school themselves, and Young made a point of urging students to accept themselves in all their awkward, teenage glory. “When I was younger, if I would have saw me, I would not have been afraid to be me then. Be it, so others can see it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That, really, was the point of the program, said Janairo, noting that SVUDL is focused on low-income students in East Palo Alto and San Jose. “I hope they’re taking some nuggets home about how to present themselves, how to speak their truth, and find their joy.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sale of the photo archive of Ebony and Jet magazines chronicling African American history is generating relief among some who worried the historic images may be lost.\u003c/p>\n\u003cp>But it’s also causing some to mourn since the images, including photos of Emmett Till in 1955 after he was killed and ones documenting the rise of the Rev. Martin Luther King Jr., won’t fully be in the hands an African American-owned entity. Ebony and Jet, for more than half a century, stood as the epitome of black-owned business.\u003c/p>\n\u003cp>“You have to do what you have to do,” Roy Douglas Malonson, publisher of the Houston-based \u003ca href=\"https://aframnews.com/\">African American News & Issues\u003c/a> newspaper, said. “But it’s sad because we lose control forever.”\u003c/p>\n\u003cp>The Ford Foundation, the John D. and Catherine T. McArthur Foundation, The J. Paul Getty Trust and the Andrew W. Mellon Foundation are buying the archive for $30 million as part of an auction to pay off secured creditors of Johnson Publishing Company.\u003c/p>\n\u003cp>[aside postID='arts_13854692' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x573.png' target='_blank']\u003c/p>\n\u003cp>Chicago-based Johnson Publishing, the owner of the archives and former publisher of the magazines, filed for Chapter 7 bankruptcy protection in April.\u003c/p>\n\u003cp>The foundations plan to donate the more than 4 million prints and negatives to the Smithsonian National Museum of African American History and Culture and the Getty Research Institute.\u003c/p>\n\u003cp>The Smithsonian is expected to be the public steward of what is considered one of the most significant collections of photographs cataloging African American life. Getty will be tasked with digitally preserving the trove, some of which remains a mystery.\u003c/p>\n\u003cp>The deal was shepherded by the presidents of the Ford and Mellon foundations. The two are among the nonprofit sector’s most prominent black leaders and are themselves a rarity in the near exclusively white world of big-money philanthropy.\u003c/p>\n\u003cp>Both Darren Walker and Elizabeth Alexander said the sale was important to them personally as African Americans.\u003c/p>\n\u003cp>“What it means to be in a position to be able to be helpful in safeguarding this treasure and our shared history overwhelms me with joy,” Alexander said. “It is very significant.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Adrienne Samuels Gibbs, a former staff of \u003cem>Ebony\u003c/em> magazine'] “It wasn’t about all poverty and suffering. It was about joy.”[/pullquote]\u003c/p>\n\u003cp>Besides black newspapers in cities across the nation, few media outlets dedicated resources to cover events and people connected to African American lifestyle and news as Ebony and Jet magazines. Ebony began publishing regularly just after the end of World War II while the smaller-sized Jet began in 1951 when African Americans in many regions still lived under racial segregation.\u003c/p>\n\u003cp>Adrienne Samuels Gibbs, a former Ebony magazine staffer, said Ebony and Jet dutifully captured the environment that African Americans were forced to endure over the years.\u003c/p>\n\u003cp>The collection of 4 million images chronicles the civil rights movement and the lives of prominent figures such as Miles Davis, Muhammad Ali, Nina Simone, and Coretta Scott King at her husband’s funeral. It was Jet in 1955 that published a photo of the open coffin of Emmett Till, showing the effects of the fatal beating the 14-year-old Chicago boy suffered at the hands of white men in Mississippi for allegedly whistling at a white woman.\u003c/p>\n\u003cp>Gibbs said the photos also show everyday black life — from children playing in city parks to elders praying at rural churches.\u003c/p>\n\u003cp>“It wasn’t about all poverty and suffering. It was about joy,” Gibbs said.\u003c/p>\n\u003cp>[aside postID='arts_13862274' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Jet_GettyImages-450349680-1020x680.jpg' target='_blank']\u003c/p>\n\u003cp>Ivey McClelland, 57, a musician in Albuquerque, New Mexico, said Ebony and Jet were found in every black home she knew while growing up in Los Angeles. “My uncle, bless his heart, had around 30 to 40 years’ worth of Jet magazines,” she said. “He got them for ‘The Beauty of the Week’.”\u003c/p>\n\u003cp>But McClelland said the magazines remained dear to her heart for their images connected to key moments in black history. She and her grandmother were in Michigan and Canada when the Watts Riots of 1965 erupted. The first still images she saw of her community in Los Angeles damaged by fires were in Jet, she said.\u003c/p>\n\u003cp>“My mother kept the special issues of Martin Luther King’s assassination,” McClelland said. “That’s why I hope these foundations save these archives and don’t do anything to appropriate the images.”\u003c/p>\n\u003cp>Yalanda Lattimore, the host of \u003ca href=\"https://podcasts.apple.com/us/podcast/buzz-it-or-bash-it-with-dryerbuzz/id1455650111\">“Buzz it or Bash It with DryerBuzz,”\u003c/a> an Atlanta-based podcast on black issues, said she has been warning listeners and readers of her blog that the archive was in trouble.\u003c/p>\n\u003cp>“It hurts my heart that Ebony had to sell these archives,” said Lattimore, 53. “But I’m glad foundations are involved. Foundations are the ones who help save archives connected to black history, so I’m hopeful.”\u003c/p>\n\u003cp>The foundations said whatever the future holds for the Ebony and Jet titles, they are thrilled to have helped secure the magazines’ legacy forever.\u003c/p>\n\u003cp>“The good news here is that this archive — regardless of the future success of the Johnson publications — will be successful. This archive will be the legacy of the Johnson Publishing Company,” Walker said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chicago-based Johnson Publishing, the owner of the archives and former publisher of the magazines, filed for Chapter 7 bankruptcy protection in April.\u003c/p>\n\u003cp>The foundations plan to donate the more than 4 million prints and negatives to the Smithsonian National Museum of African American History and Culture and the Getty Research Institute.\u003c/p>\n\u003cp>The Smithsonian is expected to be the public steward of what is considered one of the most significant collections of photographs cataloging African American life. Getty will be tasked with digitally preserving the trove, some of which remains a mystery.\u003c/p>\n\u003cp>The deal was shepherded by the presidents of the Ford and Mellon foundations. The two are among the nonprofit sector’s most prominent black leaders and are themselves a rarity in the near exclusively white world of big-money philanthropy.\u003c/p>\n\u003cp>Both Darren Walker and Elizabeth Alexander said the sale was important to them personally as African Americans.\u003c/p>\n\u003cp>“What it means to be in a position to be able to be helpful in safeguarding this treasure and our shared history overwhelms me with joy,” Alexander said. “It is very significant.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Besides black newspapers in cities across the nation, few media outlets dedicated resources to cover events and people connected to African American lifestyle and news as Ebony and Jet magazines. Ebony began publishing regularly just after the end of World War II while the smaller-sized Jet began in 1951 when African Americans in many regions still lived under racial segregation.\u003c/p>\n\u003cp>Adrienne Samuels Gibbs, a former Ebony magazine staffer, said Ebony and Jet dutifully captured the environment that African Americans were forced to endure over the years.\u003c/p>\n\u003cp>The collection of 4 million images chronicles the civil rights movement and the lives of prominent figures such as Miles Davis, Muhammad Ali, Nina Simone, and Coretta Scott King at her husband’s funeral. It was Jet in 1955 that published a photo of the open coffin of Emmett Till, showing the effects of the fatal beating the 14-year-old Chicago boy suffered at the hands of white men in Mississippi for allegedly whistling at a white woman.\u003c/p>\n\u003cp>Gibbs said the photos also show everyday black life — from children playing in city parks to elders praying at rural churches.\u003c/p>\n\u003cp>“It wasn’t about all poverty and suffering. It was about joy,” Gibbs said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ivey McClelland, 57, a musician in Albuquerque, New Mexico, said Ebony and Jet were found in every black home she knew while growing up in Los Angeles. “My uncle, bless his heart, had around 30 to 40 years’ worth of Jet magazines,” she said. “He got them for ‘The Beauty of the Week’.”\u003c/p>\n\u003cp>But McClelland said the magazines remained dear to her heart for their images connected to key moments in black history. She and her grandmother were in Michigan and Canada when the Watts Riots of 1965 erupted. The first still images she saw of her community in Los Angeles damaged by fires were in Jet, she said.\u003c/p>\n\u003cp>“My mother kept the special issues of Martin Luther King’s assassination,” McClelland said. “That’s why I hope these foundations save these archives and don’t do anything to appropriate the images.”\u003c/p>\n\u003cp>Yalanda Lattimore, the host of \u003ca href=\"https://podcasts.apple.com/us/podcast/buzz-it-or-bash-it-with-dryerbuzz/id1455650111\">“Buzz it or Bash It with DryerBuzz,”\u003c/a> an Atlanta-based podcast on black issues, said she has been warning listeners and readers of her blog that the archive was in trouble.\u003c/p>\n\u003cp>“It hurts my heart that Ebony had to sell these archives,” said Lattimore, 53. “But I’m glad foundations are involved. Foundations are the ones who help save archives connected to black history, so I’m hopeful.”\u003c/p>\n\u003cp>The foundations said whatever the future holds for the Ebony and Jet titles, they are thrilled to have helped secure the magazines’ legacy forever.\u003c/p>\n\u003cp>“The good news here is that this archive — regardless of the future success of the Johnson publications — will be successful. This archive will be the legacy of the Johnson Publishing Company,” Walker said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The first time Darren Walker was featured in The New York Times two decades ago, his grandmother asked when he would appear in “The Jet.”\u003c/p>\n\u003cp>“Until you made it in The Jet, you haven’t made it in the African American community,” Walker said. “That story is a metaphor for the reverence and credibility that Ebony and Jet magazines held for decades.”\u003c/p>\n\u003cp>On Thursday, Walker as president of the Ford Foundation and Elizabeth Alexander, president of the Andrew W. Mellon Foundation, shepherded a $30 million deal to buy the photo archive of America’s most iconic black magazines. A judge in Chicago approved the sale as part of an auction to pay off secured creditors of the Johnson Publishing Company, which sold the magazines three years ago.\u003c/p>\n\u003cp>Now the owners promise to donate the more than 4 million prints and negatives from Ebony and Jet magazines chronicling African American history to the Smithsonian National Museum of African American History and Culture and the Getty Research Institute.\u003c/p>\n\u003cp>The Smithsonian is expected to be the public steward of what is considered one of the most significant collections of photographs cataloging African American life. Getty will be tasked with digitally preserving the trove, some of which remains a mystery.\u003c/p>\n\u003cfigure id=\"attachment_13862285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Jet-GettyImages-450349682-800x533.jpg\" alt='The final print edition of JET magazine with a cover declaring it \"An American Icon\" is displayed with vintage copies of the magazine at the offices of Johnson Publishing Company, which publishes the magazine, on June 9, 2014 in Chicago, Illinois.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Jet-GettyImages-450349682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Jet-GettyImages-450349682-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Jet-GettyImages-450349682-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The final print edition of JET magazine with a cover declaring it “An American Icon” is displayed with vintage copies of the magazine. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are some treasures of images that could be used in all kinds of ways if not governed by principles of historical preservation,” Alexander said, citing concerns about misrepresentation and even erasure of black history.\u003c/p>\n\u003cp>The deal was an unusually swift and surprisingly successful endeavor for the nonprofit sector out competing with corporate bidders. The purchase was coordinated between multiple major donors in a matter of days, a decisive move championed by two of philanthropy’s most prominent black leaders, themselves a rarity in the near exclusively white world of big-money philanthropy.\u003c/p>\n\u003cp>Both Walker and Alexander said the sale was important to them personally as African Americans. They said their roles in preserving the archive through philanthropy shows progress for the field.\u003c/p>\n\u003cp>“Even if the founders of these foundations might not have imagined these funds being put to this use, what’s important and exciting is these African American images are central to understanding America and I think that’s what the diversified support for this purchase underscores as well,” Alexander said.\u003c/p>\n\u003cp>Walker and Alexander also recruited the John D. and Catherine T. McArthur Foundation and The J. Paul Getty Trust to join them as funders in the sale. Walker got the Ford Foundation to contribute the largest sum — $12.5 million — and put up the deposit money to extend an already pending auction so that the foundations could compete. They won Wednesday.\u003c/p>\n\u003cp>Alexander said she’s not concerned about a possible conflict of interest given that the Getty group is a purchaser and will be a recipient of the achieve because few organizations have the expertise and capacity to take on such an expansive collection.\u003c/p>\n\u003cp>“There is no greater repository of the history of the modern African American experience than this archive,” said James Cuno, president of The J. Paul Getty Trust. “Saving it and making it available to the public is a great honor and a grave responsibility.”\u003c/p>\n\u003cp>Chicago-based Johnson Publishing filed for Chapter 7 bankruptcy protection in April. The former magazine publisher has tried since 2015 to sell its photo archive. It was once appraised at $46 million.\u003c/p>\n\u003cp>The auction recovers money owed secured creditors filmmaker George Lucas and Mellody Hobson, whose Capital V Holdings loaned $12 million to Johnson Publishing. Hobson, who couldn’t be reached for comment Thursday, was once rumored to be interested in buying the archive.\u003c/p>\n\u003cp>The sale was bittersweet for some who mourned the fact that the prints won’t fully be in the hands of an African American-owned entity. The buyers insist they saved it from potential commercial harm.\u003c/p>\n\u003cp>“No matter what happens with the business, my goodness, imagine what it means to have your legacy rescued,” Alexander said of Johnson Publishing.\u003c/p>\n\u003cp>The collection of 4 million images chronicles the civil rights movement and the lives of prominent figures such as Billie Holiday, Muhammad Ali and Coretta Scott King at her husband’s funeral. It was Jet in 1955 that published a photograph of the open coffin of Emmett Till. The photo showed the effects of the fatal beating the 14-year-old Chicago boy suffered at the hands of white men in Mississippi for allegedly whistling at a white woman.\u003c/p>\n\u003cp>“The story of (and) the narrative of African Americans won’t be for sale. You won’t have to pay to have access to that history,” Walker said. “That history belongs to the public.”\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 first time Darren Walker was featured in The New York Times two decades ago, his grandmother asked when he would appear in “The Jet.”\u003c/p>\n\u003cp>“Until you made it in The Jet, you haven’t made it in the African American community,” Walker said. “That story is a metaphor for the reverence and credibility that Ebony and Jet magazines held for decades.”\u003c/p>\n\u003cp>On Thursday, Walker as president of the Ford Foundation and Elizabeth Alexander, president of the Andrew W. Mellon Foundation, shepherded a $30 million deal to buy the photo archive of America’s most iconic black magazines. A judge in Chicago approved the sale as part of an auction to pay off secured creditors of the Johnson Publishing Company, which sold the magazines three years ago.\u003c/p>\n\u003cp>Now the owners promise to donate the more than 4 million prints and negatives from Ebony and Jet magazines chronicling African American history to the Smithsonian National Museum of African American History and Culture and the Getty Research Institute.\u003c/p>\n\u003cp>The Smithsonian is expected to be the public steward of what is considered one of the most significant collections of photographs cataloging African American life. Getty will be tasked with digitally preserving the trove, some of which remains a mystery.\u003c/p>\n\u003cfigure id=\"attachment_13862285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Jet-GettyImages-450349682-800x533.jpg\" alt='The final print edition of JET magazine with a cover declaring it \"An American Icon\" is displayed with vintage copies of the magazine at the offices of Johnson Publishing Company, which publishes the magazine, on June 9, 2014 in Chicago, Illinois.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Jet-GettyImages-450349682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Jet-GettyImages-450349682-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Jet-GettyImages-450349682-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The final print edition of JET magazine with a cover declaring it “An American Icon” is displayed with vintage copies of the magazine. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are some treasures of images that could be used in all kinds of ways if not governed by principles of historical preservation,” Alexander said, citing concerns about misrepresentation and even erasure of black history.\u003c/p>\n\u003cp>The deal was an unusually swift and surprisingly successful endeavor for the nonprofit sector out competing with corporate bidders. The purchase was coordinated between multiple major donors in a matter of days, a decisive move championed by two of philanthropy’s most prominent black leaders, themselves a rarity in the near exclusively white world of big-money philanthropy.\u003c/p>\n\u003cp>Both Walker and Alexander said the sale was important to them personally as African Americans. They said their roles in preserving the archive through philanthropy shows progress for the field.\u003c/p>\n\u003cp>“Even if the founders of these foundations might not have imagined these funds being put to this use, what’s important and exciting is these African American images are central to understanding America and I think that’s what the diversified support for this purchase underscores as well,” Alexander said.\u003c/p>\n\u003cp>Walker and Alexander also recruited the John D. and Catherine T. McArthur Foundation and The J. Paul Getty Trust to join them as funders in the sale. Walker got the Ford Foundation to contribute the largest sum — $12.5 million — and put up the deposit money to extend an already pending auction so that the foundations could compete. They won Wednesday.\u003c/p>\n\u003cp>Alexander said she’s not concerned about a possible conflict of interest given that the Getty group is a purchaser and will be a recipient of the achieve because few organizations have the expertise and capacity to take on such an expansive collection.\u003c/p>\n\u003cp>“There is no greater repository of the history of the modern African American experience than this archive,” said James Cuno, president of The J. Paul Getty Trust. “Saving it and making it available to the public is a great honor and a grave responsibility.”\u003c/p>\n\u003cp>Chicago-based Johnson Publishing filed for Chapter 7 bankruptcy protection in April. The former magazine publisher has tried since 2015 to sell its photo archive. It was once appraised at $46 million.\u003c/p>\n\u003cp>The auction recovers money owed secured creditors filmmaker George Lucas and Mellody Hobson, whose Capital V Holdings loaned $12 million to Johnson Publishing. Hobson, who couldn’t be reached for comment Thursday, was once rumored to be interested in buying the archive.\u003c/p>\n\u003cp>The sale was bittersweet for some who mourned the fact that the prints won’t fully be in the hands of an African American-owned entity. The buyers insist they saved it from potential commercial harm.\u003c/p>\n\u003cp>“No matter what happens with the business, my goodness, imagine what it means to have your legacy rescued,” Alexander said of Johnson Publishing.\u003c/p>\n\u003cp>The collection of 4 million images chronicles the civil rights movement and the lives of prominent figures such as Billie Holiday, Muhammad Ali and Coretta Scott King at her husband’s funeral. It was Jet in 1955 that published a photograph of the open coffin of Emmett Till. The photo showed the effects of the fatal beating the 14-year-old Chicago boy suffered at the hands of white men in Mississippi for allegedly whistling at a white woman.\u003c/p>\n\u003cp>“The story of (and) the narrative of African Americans won’t be for sale. You won’t have to pay to have access to that history,” Walker said. “That history belongs to the public.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\u003c/p>\n\u003cp>https://youtu.be/dDSq2fF9flk\u003c/p>\n\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\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/dDSq2fF9flk'\n title='//www.youtube.com/embed/dDSq2fF9flk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How the Bay Area's Sudanese Community Mobilized for the Revolution",
"headTitle": "How the Bay Area’s Sudanese Community Mobilized for the Revolution | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“H\u003c/span>arrowing” doesn’t come close to describing the scene in the Sudanese capital of \u003ca href=\"https://www.nytimes.com/interactive/2019/07/15/world/africa/sudan-revolution.html\" target=\"_blank\" rel=\"noopener\">Khartoum\u003c/a> last month. After \u003ca href=\"https://www.nytimes.com/2019/04/11/world/africa/sudan-omar-hassan-al-bashir.html\" target=\"_blank\" rel=\"noopener\">Omar al-Bashir\u003c/a>‘s 30-year rule came to an end in April following four months of protest, reigning security forces slaughtered and raped dozens of pro-democracy demonstrators, dumpling their bodies into the Nile on June 3.\u003c/p>\n\u003cp>Because the government ordered an internet blackout on the day of the massacre, the world may not have heard about it without the efforts of Sudanese expats around the world. Gleaning whatever updates they could from family members with landlines and VPNs, they flooded Instagram and Facebook with information, organized marches and called on their elected officials to speak out.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Not only in the U.S., but in Australia, New Zealand, Iceland—wherever there’s a Sudanese person, there was activism to support the revolution,” says Fremont organizer Gamila Abdelhalim, who credits the Sudanese diaspora for drumming up international pressure that led to a recent \u003ca href=\"https://www.npr.org/2019/07/17/742880454/civilians-and-military-leaders-sign-power-sharing-deal-in-sudan\" target=\"_blank\" rel=\"noopener\">power-sharing agreement\u003c/a> between the country’s military and civilian leaders. With \u003ca href=\"https://www.aljazeera.com/news/2019/07/sudan-paramilitary-forces-shoot-protesters-kill-man-190714140954754.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> of paramilitary forces killing protesters as recently as last week, the fight for justice is far from over. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13862178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/000069900019-800x1207.jpeg\" alt=\"The Bay Area's Sudanese immigrant community was crucial to amplifying the voices of pro-democracy protesters during June's internet blackout in Sudan.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-800x1207.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-160x241.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-768x1159.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-1020x1539.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-795x1200.jpeg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area’s Sudanese immigrant community was crucial to amplifying the voices of pro-democracy protesters during June’s internet blackout in Sudan. \u003ccite>(shah noor hussein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abdelhalim protested in Khartoum while visiting for her daughter’s wedding in December, when gas and bread prices exploded and the first sit-ins began. She returned again in April to bring protesters food and art supplies, and to stock the sit-in pharmacy with medical necessities. Back at home in the United States, where she’s lived since 1996, she helped organize solidarity marches and rallies in San Francisco, Sacramento and Oakland. Her schedule hasn’t slowed down since.\u003c/p>\n\u003cp>“I’m not doing my laundry on time anymore,” she jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[pullquote size='large' citation='Gamila Abdelhalim']“Women are not only fighting the oppression of the government, they’re fighting the restrictions that are in place from culture, society and religion.”[/pullquote]\u003c/p>\n\u003cp>Much like the on-the-ground efforts in Sudan, it’s everyday people rather than career organizers who helm the ongoing protest movement in the Bay Area. Abdelhalim, by day a daycare and preschool owner and an immigration consultant, is the founder of a traditional Sudanese dance troupe called \u003ca href=\"https://www.facebook.com/shabbaldance/\" target=\"_blank\" rel=\"noopener\">Shabbal\u003c/a>, the members of which sprang into action alongside her. This Sunday, July 28, she facilitates an \u003ca href=\"https://www.facebook.com/events/352859038742349/\" target=\"_blank\" rel=\"noopener\">art bazaar and volleyball tournament\u003c/a> at Lake Merritt to raise money for the Ahfad Trauma Center in Omdurman, Sudan, which has been treating survivors of the massacre.\u003c/p>\n\u003cp>“Seeing my own parents and Gamila, my aunt, being so passionate brings me back to the reason they came here,” says Lina Salam, a recent UC Santa Cruz grad and Abdelhalim’s niece. “No one wants to leave their country, but they had to leave in a time of political and economic turmoil.”\u003c/p>\n\u003cfigure id=\"attachment_13862179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_3225-800x450.jpg\" alt=\"Gamila Abdelhalim (far right) and Lina Salam (second from left) listen at a teach-in about the Sudanese revolution at Oakland's Cafe Sama.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gamila Abdelhalim (far right) and Lina Salam (second from left) listen at a teach-in about the Sudanese revolution at Oakland’s Cafe Sama. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n a recent Sunday, Abdelhalim and Salam exchange warm greetings with friends and family members at Oakland’s Cafe Sama, where Sudanese-American artist and educator \u003ca href=\"https://www.shahnoorhussein.com/home\" target=\"_blank\" rel=\"noopener\">shah noor hussein\u003c/a> is hosting a free seminar about the revolution. hussein, who teaches at Laney College and UC Berkeley’s pre-college academy, is a member of House of Malico, an influential Oakland collective that throws events to uplift women and LGBTQ+ people of the African diaspora. (hussein spells their name in lowercase and uses they/them pronouns.)\u003c/p>\n\u003cp>“A big part of my personal call to action is calling in as many allies as possible to not just listen, but take their role in sharing the information, self-teaching and staying active,” hussein says.\u003c/p>\n\u003cp>The activists tell me that student protests kicked off the Sudanese revolution, and that there’s a spirit of intergenerational solidarity among citizens eager to see a civilian-led government. The same camaraderie is true, they say, of first- and second-generation Sudanese immigrants in the U.S. It’s certainly observable at the teach-in at Cafe Sama, where Salam arrives in a “Justice for Sudan” T-shirt and the millennial uniform of hoop earrings, checkered vans and black skinny jeans. Her aunt wears a flowing, aqua-blue \u003cem>thobe\u003c/em>, the traditional dress of Sudanese professional women and a symbol of the revolution.\u003c/p>\n\u003cp>In Khartoum and all over Sudan, an unprecedented number of women took to the streets, calling themselves \u003cem>kandakas\u003c/em>, a term for the Ancient Nubian queens who once ruled the Nile River region. \u003ca href=\"https://www.news18.com/news/buzz/kandaka-sudan-viral-symbol-womens-rights-protests-in-sudan-2095535.html\" target=\"_blank\" rel=\"noopener\">A photo\u003c/a> of a 22-year-old modern-day \u003cem>kandaka\u003c/em> in a white \u003cem>thobe\u003c/em>, standing on top of a car and leading protesters in a chant, went viral and became a symbol of the people’s power.\u003c/p>\n\u003cp>“Women are not only fighting the oppression of the government, they’re fighting the restrictions that are in place from culture, society and religion,” says Abdelhalim, adding that she defended her daughters against disapproving whispers while the family attended sit-ins in Khartoum.\u003c/p>\n\u003cfigure id=\"attachment_13862190\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862190\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_3222-800x533.jpg\" alt=\"Artist and educator shah noor hussein facilitates a teach-in about the Sudan revolution at Oakland's Cafe Sama on July 14.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and educator shah noor hussein facilitates a teach-in about the Sudan revolution at Oakland’s Cafe Sama on July 14. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t Cafe Sama, about a dozen people of different ethnicities, most of them women in their 20s, gather around to listen to hussein’s talk as a playlist of Sudanese music wafts in over the sound of the espresso machine. Most of the non-Sudanese members of the group heard about the event through activist networks on Instagram; those of the diaspora planned it through a WhatsApp group chat, where the local Sudanese community has done much of its organizing.\u003c/p>\n\u003cp>During Sudan’s internet blackout, activists from the diaspora became the vital link between Sudanese demonstrators and international media. “It was six weeks of silence, I couldn’t talk to most of my cousins,” says hussein. “All of our information was coming through those few people who could get access to internet, mostly through VPNs.”\u003c/p>\n\u003cfigure id=\"attachment_13862191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/000069900013-800x530.jpeg\" alt=\"Young protesters gather at a San Francisco rally to support the Sudanese revolution. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-800x530.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-768x509.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-1020x676.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-1200x795.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013.jpeg 1545w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young protesters gather at a San Francisco rally to support the Sudanese revolution. \u003ccite>(shah noor hussein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Activism has also brought the local community closer. hussein was raised mostly in Los Angeles and moved to the Bay Area in 2014 for a masters program in anthropology. “I’m kind of part of this middle generation, late 20s and early 30s, that doesn’t live with our parents,” they say. Though they didn’t grow up in the East Bay’s Sudanese enclave, based mostly in inland suburbs like Fremont, Hayward and Union City, their connections to it deepened as they’ve been in almost constant contact planning teach-ins and rallies.\u003c/p>\n\u003cp>“People have asked me a couple times, ‘What’s the group that’s organizing this?'” says hussein. “I’m like, ‘It’s the diaspora, bruh. All of us who live here.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>shah noor hussein and Gamila Abdelhalim’s photos and other artwork from the Sudanese diaspora are on view at \u003ca href=\"https://alenamuseum.com/\" target=\"_blank\" rel=\"noopener\">Alena Musuem’s\u003c/a> pop-up at \u003ca href=\"http://swansmarket.com/\" target=\"_blank\" rel=\"noopener\">Swan’s Market\u003c/a> in Oakland through Aug. 20.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Sudanese dance troupe Shabbal performs at Oakland’s Umoja Festival on Aug. 17, where they will also have an informational booth and opportunities to donate to massacre survivors in Sudan. Details \u003ca href=\"http://www.theumojafestival.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Gamila Abdelhalim speaks at the African Advocacy Network’s annual picnic in Golden Gate Park on July 27. Details \u003ca href=\"https://www.facebook.com/photo.php?fbid=10102815280946225&set=gm.10156996248755568&type=3&theater&ifg=1\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“H\u003c/span>arrowing” doesn’t come close to describing the scene in the Sudanese capital of \u003ca href=\"https://www.nytimes.com/interactive/2019/07/15/world/africa/sudan-revolution.html\" target=\"_blank\" rel=\"noopener\">Khartoum\u003c/a> last month. After \u003ca href=\"https://www.nytimes.com/2019/04/11/world/africa/sudan-omar-hassan-al-bashir.html\" target=\"_blank\" rel=\"noopener\">Omar al-Bashir\u003c/a>‘s 30-year rule came to an end in April following four months of protest, reigning security forces slaughtered and raped dozens of pro-democracy demonstrators, dumpling their bodies into the Nile on June 3.\u003c/p>\n\u003cp>Because the government ordered an internet blackout on the day of the massacre, the world may not have heard about it without the efforts of Sudanese expats around the world. Gleaning whatever updates they could from family members with landlines and VPNs, they flooded Instagram and Facebook with information, organized marches and called on their elected officials to speak out.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Not only in the U.S., but in Australia, New Zealand, Iceland—wherever there’s a Sudanese person, there was activism to support the revolution,” says Fremont organizer Gamila Abdelhalim, who credits the Sudanese diaspora for drumming up international pressure that led to a recent \u003ca href=\"https://www.npr.org/2019/07/17/742880454/civilians-and-military-leaders-sign-power-sharing-deal-in-sudan\" target=\"_blank\" rel=\"noopener\">power-sharing agreement\u003c/a> between the country’s military and civilian leaders. With \u003ca href=\"https://www.aljazeera.com/news/2019/07/sudan-paramilitary-forces-shoot-protesters-kill-man-190714140954754.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> of paramilitary forces killing protesters as recently as last week, the fight for justice is far from over. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13862178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/000069900019-800x1207.jpeg\" alt=\"The Bay Area's Sudanese immigrant community was crucial to amplifying the voices of pro-democracy protesters during June's internet blackout in Sudan.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-800x1207.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-160x241.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-768x1159.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-1020x1539.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-795x1200.jpeg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area’s Sudanese immigrant community was crucial to amplifying the voices of pro-democracy protesters during June’s internet blackout in Sudan. \u003ccite>(shah noor hussein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abdelhalim protested in Khartoum while visiting for her daughter’s wedding in December, when gas and bread prices exploded and the first sit-ins began. She returned again in April to bring protesters food and art supplies, and to stock the sit-in pharmacy with medical necessities. Back at home in the United States, where she’s lived since 1996, she helped organize solidarity marches and rallies in San Francisco, Sacramento and Oakland. Her schedule hasn’t slowed down since.\u003c/p>\n\u003cp>“I’m not doing my laundry on time anymore,” she jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much like the on-the-ground efforts in Sudan, it’s everyday people rather than career organizers who helm the ongoing protest movement in the Bay Area. Abdelhalim, by day a daycare and preschool owner and an immigration consultant, is the founder of a traditional Sudanese dance troupe called \u003ca href=\"https://www.facebook.com/shabbaldance/\" target=\"_blank\" rel=\"noopener\">Shabbal\u003c/a>, the members of which sprang into action alongside her. This Sunday, July 28, she facilitates an \u003ca href=\"https://www.facebook.com/events/352859038742349/\" target=\"_blank\" rel=\"noopener\">art bazaar and volleyball tournament\u003c/a> at Lake Merritt to raise money for the Ahfad Trauma Center in Omdurman, Sudan, which has been treating survivors of the massacre.\u003c/p>\n\u003cp>“Seeing my own parents and Gamila, my aunt, being so passionate brings me back to the reason they came here,” says Lina Salam, a recent UC Santa Cruz grad and Abdelhalim’s niece. “No one wants to leave their country, but they had to leave in a time of political and economic turmoil.”\u003c/p>\n\u003cfigure id=\"attachment_13862179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_3225-800x450.jpg\" alt=\"Gamila Abdelhalim (far right) and Lina Salam (second from left) listen at a teach-in about the Sudanese revolution at Oakland's Cafe Sama.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gamila Abdelhalim (far right) and Lina Salam (second from left) listen at a teach-in about the Sudanese revolution at Oakland’s Cafe Sama. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n a recent Sunday, Abdelhalim and Salam exchange warm greetings with friends and family members at Oakland’s Cafe Sama, where Sudanese-American artist and educator \u003ca href=\"https://www.shahnoorhussein.com/home\" target=\"_blank\" rel=\"noopener\">shah noor hussein\u003c/a> is hosting a free seminar about the revolution. hussein, who teaches at Laney College and UC Berkeley’s pre-college academy, is a member of House of Malico, an influential Oakland collective that throws events to uplift women and LGBTQ+ people of the African diaspora. (hussein spells their name in lowercase and uses they/them pronouns.)\u003c/p>\n\u003cp>“A big part of my personal call to action is calling in as many allies as possible to not just listen, but take their role in sharing the information, self-teaching and staying active,” hussein says.\u003c/p>\n\u003cp>The activists tell me that student protests kicked off the Sudanese revolution, and that there’s a spirit of intergenerational solidarity among citizens eager to see a civilian-led government. The same camaraderie is true, they say, of first- and second-generation Sudanese immigrants in the U.S. It’s certainly observable at the teach-in at Cafe Sama, where Salam arrives in a “Justice for Sudan” T-shirt and the millennial uniform of hoop earrings, checkered vans and black skinny jeans. Her aunt wears a flowing, aqua-blue \u003cem>thobe\u003c/em>, the traditional dress of Sudanese professional women and a symbol of the revolution.\u003c/p>\n\u003cp>In Khartoum and all over Sudan, an unprecedented number of women took to the streets, calling themselves \u003cem>kandakas\u003c/em>, a term for the Ancient Nubian queens who once ruled the Nile River region. \u003ca href=\"https://www.news18.com/news/buzz/kandaka-sudan-viral-symbol-womens-rights-protests-in-sudan-2095535.html\" target=\"_blank\" rel=\"noopener\">A photo\u003c/a> of a 22-year-old modern-day \u003cem>kandaka\u003c/em> in a white \u003cem>thobe\u003c/em>, standing on top of a car and leading protesters in a chant, went viral and became a symbol of the people’s power.\u003c/p>\n\u003cp>“Women are not only fighting the oppression of the government, they’re fighting the restrictions that are in place from culture, society and religion,” says Abdelhalim, adding that she defended her daughters against disapproving whispers while the family attended sit-ins in Khartoum.\u003c/p>\n\u003cfigure id=\"attachment_13862190\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862190\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_3222-800x533.jpg\" alt=\"Artist and educator shah noor hussein facilitates a teach-in about the Sudan revolution at Oakland's Cafe Sama on July 14.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and educator shah noor hussein facilitates a teach-in about the Sudan revolution at Oakland’s Cafe Sama on July 14. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t Cafe Sama, about a dozen people of different ethnicities, most of them women in their 20s, gather around to listen to hussein’s talk as a playlist of Sudanese music wafts in over the sound of the espresso machine. Most of the non-Sudanese members of the group heard about the event through activist networks on Instagram; those of the diaspora planned it through a WhatsApp group chat, where the local Sudanese community has done much of its organizing.\u003c/p>\n\u003cp>During Sudan’s internet blackout, activists from the diaspora became the vital link between Sudanese demonstrators and international media. “It was six weeks of silence, I couldn’t talk to most of my cousins,” says hussein. “All of our information was coming through those few people who could get access to internet, mostly through VPNs.”\u003c/p>\n\u003cfigure id=\"attachment_13862191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/000069900013-800x530.jpeg\" alt=\"Young protesters gather at a San Francisco rally to support the Sudanese revolution. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-800x530.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-768x509.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-1020x676.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-1200x795.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013.jpeg 1545w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young protesters gather at a San Francisco rally to support the Sudanese revolution. \u003ccite>(shah noor hussein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Activism has also brought the local community closer. hussein was raised mostly in Los Angeles and moved to the Bay Area in 2014 for a masters program in anthropology. “I’m kind of part of this middle generation, late 20s and early 30s, that doesn’t live with our parents,” they say. Though they didn’t grow up in the East Bay’s Sudanese enclave, based mostly in inland suburbs like Fremont, Hayward and Union City, their connections to it deepened as they’ve been in almost constant contact planning teach-ins and rallies.\u003c/p>\n\u003cp>“People have asked me a couple times, ‘What’s the group that’s organizing this?'” says hussein. “I’m like, ‘It’s the diaspora, bruh. All of us who live here.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>shah noor hussein and Gamila Abdelhalim’s photos and other artwork from the Sudanese diaspora are on view at \u003ca href=\"https://alenamuseum.com/\" target=\"_blank\" rel=\"noopener\">Alena Musuem’s\u003c/a> pop-up at \u003ca href=\"http://swansmarket.com/\" target=\"_blank\" rel=\"noopener\">Swan’s Market\u003c/a> in Oakland through Aug. 20.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Sudanese dance troupe Shabbal performs at Oakland’s Umoja Festival on Aug. 17, where they will also have an informational booth and opportunities to donate to massacre survivors in Sudan. Details \u003ca href=\"http://www.theumojafestival.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Gamila Abdelhalim speaks at the African Advocacy Network’s annual picnic in Golden Gate Park on July 27. Details \u003ca href=\"https://www.facebook.com/photo.php?fbid=10102815280946225&set=gm.10156996248755568&type=3&theater&ifg=1\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Justice Ginsburg: 'I Am Very Much Alive'",
"headTitle": "Justice Ginsburg: ‘I Am Very Much Alive’ | KQED",
"content": "\u003cp>Justice Ruth Bader Ginsburg said in an interview Tuesday that she does not favor proposals put forth by some Democratic presidential candidates who have advocated changing the number of Supreme Court justices if the Democrats win the presidency.\u003c/p>\n\u003cp>Ginsburg, who got herself in trouble criticizing candidate Donald Trump in 2016, this time was critical not of any particular Democratic contender, but of their proposals to offset President Trump’s two conservative appointments to the court.\u003c/p>\n\u003cp>“Nine seems to be a good number. It’s been that way for a long time,” she said, adding, “I think it was a bad idea when President Franklin Roosevelt tried to pack the court.”\u003c/p>\n\u003cp>Several Democratic candidates have indicated an openness, if they were to win the presidency, to adding to the number of justices on the Supreme Court to reduce the power of the current conservative majority. Some would also like to enact term limits for Supreme Court justices.\u003c/p>\n\u003cp>The term-limits proposal doesn’t worry Ginsburg because she sees it as unrealistic, given that the Constitution specifies life terms for federal judges and because, as she puts it, “Our Constitution is powerfully hard to amend.”\u003c/p>\n\u003cp>https://twitter.com/NPR/status/1154017100186443776\u003c/p>\n\u003cp>Indeed, it takes the votes of two-thirds of the Senate and the House, and three-quarters of the state legislatures.\u003c/p>\n\u003cp>But, in contrast, as Ginsburg notes, there is no fixed number of justices specified by the Constitution, and the court over the course of history has had as few as five justices and as many as 10.\u003c/p>\n\u003cp>Roosevelt’s proposal would have given him six additional Supreme Court appointments, expanding the court to 15 members. And Ginsburg sees any similar plan as very damaging to the court and the country.\u003c/p>\n\u003cp>“If anything would make the court look partisan,” she said, “it would be that — one side saying, ‘When we’re in power, we’re going to enlarge the number of judges, so we would have more people who would vote the way we want them to.’ ”\u003c/p>\n\u003cp>That impairs the idea of an independent judiciary, she said.\u003c/p>\n\u003cp>“We are blessed in the way no other judiciary in the world is,” she noted. “We have life tenure. The only way to get rid of a federal judge is by impeachment. Congress can’t retaliate by reducing our salary, so the safeguards for judicial independence in this country, I think, are as great or greater than anyplace else in the world.”\u003c/p>\n\u003cp>But the whole notion of the country’s independent judiciary hinges on public trust, she noted.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Justice Ruth Bader Ginsburg on coping with her latest bout with cancer'] “The work is really what saved me.” [/pullquote]\u003c/p>\n\u003cp>“The court has no troops at its command,” Ginsburg pointed out, “doesn’t have the power of the purse, and yet time and again, when the courts say something, people accept it.”\u003c/p>\n\u003cp>She recalled \u003cem>Bush v. Gore\u003c/em>, the controversial case in which the Supreme Court stopped a Florida recount in the 2000 presidential election.\u003c/p>\n\u003cp>“I dissented from that decision,” Ginsburg said. “I thought it was unwise. A lot of people disagreed with it. And yet the day after the court rendered its decision, there were no riots in the streets. People adjusted to it. And life went on.”\u003c/p>\n\u003cp>Ginsburg’s interview with NPR was wide-ranging, discussing, among other things, her health. She has had three major bouts with cancer over the past 20 years. In 1999, she underwent surgery for colorectal cancer, followed by nine months of chemotherapy and radiation. In 2009, she underwent surgery for pancreatic cancer, and late last year, for lung cancer.\u003c/p>\n\u003cp>\u003cstrong>Outlasting the naysayers\u003c/strong>\u003c/p>\n\u003cp>Ginsburg’s iconic status with women, in particular, and her leadership of the liberal wing of the Supreme Court mean any health news involving the tiny, 86-year-old justice can cause something of a panic in certain quarters.\u003c/p>\n\u003cp>Ginsburg is not oblivious to health concerns, but she waves away worries about her future.\u003c/p>\n\u003cp>“There was a senator, I think it was after my pancreatic cancer, who announced with great glee that I was going to be dead within six months,” she recalled. “That senator, whose name I have forgotten, is now himself dead, and I,” she added with a smile, “am very much alive.”\u003c/p>\n\u003cp>That said, most cancer patients do worry. Some view one cancer, never mind three, as a sword of Damocles over their heads. So how does Ginsburg manage? She said she has followed the advice of the opera singer Marilyn Horne, who was asked about her pancreatic cancer diagnosis in 2005.\u003c/p>\n\u003cp>“And she said, ‘I will live,’ not that ‘I hope I live,’ or ‘I want to live,’ but ‘I will live.’ ”\u003c/p>\n\u003cp>But fighting cancer is wearing and hard. How does she manage her work?\u003c/p>\n\u003cp>“The work is really what saved me,” she said, “because I had to concentrate on reading the briefs, doing a draft of an opinion, and I knew it had to get done. So I had to get past whatever my aches and pains were just to do the job.”\u003c/p>\n\u003cp>\u003cstrong>Missing Marty\u003c/strong>\u003c/p>\n\u003cp>Her lung cancer last year, however, was the first time she did not have her beloved husband, Marty, with her. He died in 2010, and she said she misses him every day, maybe especially now.\u003c/p>\n\u003cp>Her children have visited frequently to lift her spirits, but her husband, she said, always was there before, taking care of her, sleeping next to her on some uncomfortable cot or couch in the hospital, despite his bad back.\u003c/p>\n\u003cp>He looked after her so completely that at one point, when she was getting a blood transfusion, he ripped out the IV because he noticed that one of the antigens did not match.\u003c/p>\n\u003cp>“I might not have lived if he hadn’t been there,” she said.\u003c/p>\n\u003cp>And then there were the more subtle ways that he buoyed her spirits and goaded her to do the physical therapy that she needed to get stronger again. Famous for his culinary skills, he would make meals for her. He would entertain her, reading her short stories, and he served as her news clipping service, she said.\u003c/p>\n\u003cp>He would find the articles in the newspaper that would interest and amuse her. With a wistful smile, she said, “I miss him every morning.”\u003c/p>\n\u003cp>She added, “I have no one to go through the papers and pick out what I should read.”\u003c/p>\n\u003cp>\u003cstrong>The late-Justice Stevens to Ginsburg: “Stay longer” than he did\u003c/strong>\u003c/p>\n\u003cp>The interview followed Ginsburg’s speech earlier in the day at the private funeral for Justice John Paul Stevens, who died July 16 at the age of 99.\u003c/p>\n\u003cp>Just days before, Ginsburg had been with him at a conference in Portugal.\u003c/p>\n\u003cp>Stevens retired from the court in 2010 at age 90, and, as the two traveled in a car together less than two weeks ago, Ginsburg told him her dream.\u003c/p>\n\u003cp>“I said that my dream is that I will stay at the court as long as he did,” she said. “And his immediate response was, ‘Stay longer!’ ”\u003c/p>\n\u003cp>\u003cstrong>Rebutting the partisan label for the Supreme Court\u003c/strong>\u003c/p>\n\u003cp>Like other members of the current Supreme Court, liberal and conservative alike, Ginsburg rebuts the notion that the court is a partisan institution.\u003c/p>\n\u003cp>Yes, it is definitely more conservative than she would like, and, yes, she has strong disagreements with some of her colleagues on some issues. But overall, she maintains that the justices are working well together.\u003c/p>\n\u003cp>She notes with a grin that President Trump’s two appointees to the court — Neil Gorsuch and Brett Kavanaugh — were law clerks in her early years as a justice. And she points out that this term she assigned each of them important opinions to write in cases where she was the senior justice in the majority and the chief justice was in dissent.\u003c/p>\n\u003cp>\u003cstrong>No “going back to old ways”\u003c/strong>\u003c/p>\n\u003cp>Interestingly, when the justice was asked to name her greatest accomplishments, she cited not her work on the court, but her work as a lawyer in the 1960s and ’70s, leading the legal fight for gender equality in the law.\u003c/p>\n\u003cp>Asked whether she worries that the current conservative court majority will retrench on questions of gender equality, she replied, “I don’t think there’s going to be any going back to old ways.”\u003c/p>\n\u003cp>And she noted that the late Justice Byron White, who was one of the two dissenters in \u003cem>Roe v. Wade\u003c/em>, the landmark case that made abortion legal in the United States, voted on her side in all the gender parity cases.\u003c/p>\n\u003cp>“The world has changed really in what women are doing,” she said, and there’s no going back.\u003c/p>\n\u003cp>\u003cstrong>Does she have any regrets? \u003c/strong>\u003c/p>\n\u003cp>Regrets? she asked, in amazement.\u003c/p>\n\u003cp>“I do think I was born under a very bright star,” she said. “I get out of law schools with top grades; no law firm in the city of New York will hire me; I end up with a teaching job and time to devote to evening out the rights of women and men.”\u003c/p>\n\u003cp>And on and on, Ginsburg thinks she has led a very lucky life.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>The author interviewed Ginsburg in connection with a speech she will be giving before the American College of Surgeons. At that event, Ginsburg’s surgeon will be sworn in as the organization’s new president.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Justice Ruth Bader Ginsburg said in an interview Tuesday that she does not favor proposals put forth by some Democratic presidential candidates who have advocated changing the number of Supreme Court justices if the Democrats win the presidency.\u003c/p>\n\u003cp>Ginsburg, who got herself in trouble criticizing candidate Donald Trump in 2016, this time was critical not of any particular Democratic contender, but of their proposals to offset President Trump’s two conservative appointments to the court.\u003c/p>\n\u003cp>“Nine seems to be a good number. It’s been that way for a long time,” she said, adding, “I think it was a bad idea when President Franklin Roosevelt tried to pack the court.”\u003c/p>\n\u003cp>Several Democratic candidates have indicated an openness, if they were to win the presidency, to adding to the number of justices on the Supreme Court to reduce the power of the current conservative majority. Some would also like to enact term limits for Supreme Court justices.\u003c/p>\n\u003cp>The term-limits proposal doesn’t worry Ginsburg because she sees it as unrealistic, given that the Constitution specifies life terms for federal judges and because, as she puts it, “Our Constitution is powerfully hard to amend.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Indeed, it takes the votes of two-thirds of the Senate and the House, and three-quarters of the state legislatures.\u003c/p>\n\u003cp>But, in contrast, as Ginsburg notes, there is no fixed number of justices specified by the Constitution, and the court over the course of history has had as few as five justices and as many as 10.\u003c/p>\n\u003cp>Roosevelt’s proposal would have given him six additional Supreme Court appointments, expanding the court to 15 members. And Ginsburg sees any similar plan as very damaging to the court and the country.\u003c/p>\n\u003cp>“If anything would make the court look partisan,” she said, “it would be that — one side saying, ‘When we’re in power, we’re going to enlarge the number of judges, so we would have more people who would vote the way we want them to.’ ”\u003c/p>\n\u003cp>That impairs the idea of an independent judiciary, she said.\u003c/p>\n\u003cp>“We are blessed in the way no other judiciary in the world is,” she noted. “We have life tenure. The only way to get rid of a federal judge is by impeachment. Congress can’t retaliate by reducing our salary, so the safeguards for judicial independence in this country, I think, are as great or greater than anyplace else in the world.”\u003c/p>\n\u003cp>But the whole notion of the country’s independent judiciary hinges on public trust, she noted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": " “The work is really what saved me.” ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The court has no troops at its command,” Ginsburg pointed out, “doesn’t have the power of the purse, and yet time and again, when the courts say something, people accept it.”\u003c/p>\n\u003cp>She recalled \u003cem>Bush v. Gore\u003c/em>, the controversial case in which the Supreme Court stopped a Florida recount in the 2000 presidential election.\u003c/p>\n\u003cp>“I dissented from that decision,” Ginsburg said. “I thought it was unwise. A lot of people disagreed with it. And yet the day after the court rendered its decision, there were no riots in the streets. People adjusted to it. And life went on.”\u003c/p>\n\u003cp>Ginsburg’s interview with NPR was wide-ranging, discussing, among other things, her health. She has had three major bouts with cancer over the past 20 years. In 1999, she underwent surgery for colorectal cancer, followed by nine months of chemotherapy and radiation. In 2009, she underwent surgery for pancreatic cancer, and late last year, for lung cancer.\u003c/p>\n\u003cp>\u003cstrong>Outlasting the naysayers\u003c/strong>\u003c/p>\n\u003cp>Ginsburg’s iconic status with women, in particular, and her leadership of the liberal wing of the Supreme Court mean any health news involving the tiny, 86-year-old justice can cause something of a panic in certain quarters.\u003c/p>\n\u003cp>Ginsburg is not oblivious to health concerns, but she waves away worries about her future.\u003c/p>\n\u003cp>“There was a senator, I think it was after my pancreatic cancer, who announced with great glee that I was going to be dead within six months,” she recalled. “That senator, whose name I have forgotten, is now himself dead, and I,” she added with a smile, “am very much alive.”\u003c/p>\n\u003cp>That said, most cancer patients do worry. Some view one cancer, never mind three, as a sword of Damocles over their heads. So how does Ginsburg manage? She said she has followed the advice of the opera singer Marilyn Horne, who was asked about her pancreatic cancer diagnosis in 2005.\u003c/p>\n\u003cp>“And she said, ‘I will live,’ not that ‘I hope I live,’ or ‘I want to live,’ but ‘I will live.’ ”\u003c/p>\n\u003cp>But fighting cancer is wearing and hard. How does she manage her work?\u003c/p>\n\u003cp>“The work is really what saved me,” she said, “because I had to concentrate on reading the briefs, doing a draft of an opinion, and I knew it had to get done. So I had to get past whatever my aches and pains were just to do the job.”\u003c/p>\n\u003cp>\u003cstrong>Missing Marty\u003c/strong>\u003c/p>\n\u003cp>Her lung cancer last year, however, was the first time she did not have her beloved husband, Marty, with her. He died in 2010, and she said she misses him every day, maybe especially now.\u003c/p>\n\u003cp>Her children have visited frequently to lift her spirits, but her husband, she said, always was there before, taking care of her, sleeping next to her on some uncomfortable cot or couch in the hospital, despite his bad back.\u003c/p>\n\u003cp>He looked after her so completely that at one point, when she was getting a blood transfusion, he ripped out the IV because he noticed that one of the antigens did not match.\u003c/p>\n\u003cp>“I might not have lived if he hadn’t been there,” she said.\u003c/p>\n\u003cp>And then there were the more subtle ways that he buoyed her spirits and goaded her to do the physical therapy that she needed to get stronger again. Famous for his culinary skills, he would make meals for her. He would entertain her, reading her short stories, and he served as her news clipping service, she said.\u003c/p>\n\u003cp>He would find the articles in the newspaper that would interest and amuse her. With a wistful smile, she said, “I miss him every morning.”\u003c/p>\n\u003cp>She added, “I have no one to go through the papers and pick out what I should read.”\u003c/p>\n\u003cp>\u003cstrong>The late-Justice Stevens to Ginsburg: “Stay longer” than he did\u003c/strong>\u003c/p>\n\u003cp>The interview followed Ginsburg’s speech earlier in the day at the private funeral for Justice John Paul Stevens, who died July 16 at the age of 99.\u003c/p>\n\u003cp>Just days before, Ginsburg had been with him at a conference in Portugal.\u003c/p>\n\u003cp>Stevens retired from the court in 2010 at age 90, and, as the two traveled in a car together less than two weeks ago, Ginsburg told him her dream.\u003c/p>\n\u003cp>“I said that my dream is that I will stay at the court as long as he did,” she said. “And his immediate response was, ‘Stay longer!’ ”\u003c/p>\n\u003cp>\u003cstrong>Rebutting the partisan label for the Supreme Court\u003c/strong>\u003c/p>\n\u003cp>Like other members of the current Supreme Court, liberal and conservative alike, Ginsburg rebuts the notion that the court is a partisan institution.\u003c/p>\n\u003cp>Yes, it is definitely more conservative than she would like, and, yes, she has strong disagreements with some of her colleagues on some issues. But overall, she maintains that the justices are working well together.\u003c/p>\n\u003cp>She notes with a grin that President Trump’s two appointees to the court — Neil Gorsuch and Brett Kavanaugh — were law clerks in her early years as a justice. And she points out that this term she assigned each of them important opinions to write in cases where she was the senior justice in the majority and the chief justice was in dissent.\u003c/p>\n\u003cp>\u003cstrong>No “going back to old ways”\u003c/strong>\u003c/p>\n\u003cp>Interestingly, when the justice was asked to name her greatest accomplishments, she cited not her work on the court, but her work as a lawyer in the 1960s and ’70s, leading the legal fight for gender equality in the law.\u003c/p>\n\u003cp>Asked whether she worries that the current conservative court majority will retrench on questions of gender equality, she replied, “I don’t think there’s going to be any going back to old ways.”\u003c/p>\n\u003cp>And she noted that the late Justice Byron White, who was one of the two dissenters in \u003cem>Roe v. Wade\u003c/em>, the landmark case that made abortion legal in the United States, voted on her side in all the gender parity cases.\u003c/p>\n\u003cp>“The world has changed really in what women are doing,” she said, and there’s no going back.\u003c/p>\n\u003cp>\u003cstrong>Does she have any regrets? \u003c/strong>\u003c/p>\n\u003cp>Regrets? she asked, in amazement.\u003c/p>\n\u003cp>“I do think I was born under a very bright star,” she said. “I get out of law schools with top grades; no law firm in the city of New York will hire me; I end up with a teaching job and time to devote to evening out the rights of women and men.”\u003c/p>\n\u003cp>And on and on, Ginsburg thinks she has led a very lucky life.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>The author interviewed Ginsburg in connection with a speech she will be giving before the American College of Surgeons. At that event, Ginsburg’s surgeon will be sworn in as the organization’s new president.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Green New Deal: Where Spotify Stands, And Where Artists Wish It Would",
"headTitle": "The Green New Deal: Where Spotify Stands, And Where Artists Wish It Would | KQED",
"content": "\u003cp>If it weren’t for the signs reading “Spotify,” “Amazon,” “Google” and “Pandora” sitting atop four empty chairs on a warm Wednesday in April, the scene onstage at 3rd & Lindsley in Nashville would have looked like \u003ca href=\"http://431245457784103878.weebly.com/what-is-a-writers-round.html\">any\u003c/a> writer’s round. But this day wasn’t about creating and sharing music, as is custom at these events, reveling in each other’s catchy licks and smart lyrics — no one was happily drinking whiskey out of anything other than frustration. Instead, songwriters like Kenny Chesney producer Buddy Cannon and “Girl Crush” co-writer Liz Rose were gathered to hear about what they could do to push against these tech companies, whom they feel are aggressively lobbying in search of profit over songwriters’ financial well being. In that room in Nashville, Spotify seemed to be the biggest offender — after all, it’s the largest player in the streaming game, valued at over $26 billion dollars and \u003ca href=\"https://newsroom.spotify.com/company-info/\">with\u003c/a> 217 million monthly users. But Spotify didn’t show, leaving only an empty chair and a sign bearing its logo.\u003c/p>\n\u003cp>Assembled by the National Music Publishers Association (NMPA), with the Nashville Songwriters Association International (NSAI), that April town hall was in response to \u003ca href=\"https://www.billboard.com/articles/business/8502823/spotify-town-hall-royalty-board-rate-appeal-mark-beaven\">an unfulfilled promise\u003c/a> from Spotify itself to host a meeting intended to explain its motivations for appealing a 2018 ruling (\u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">finalized\u003c/a> earlier this year) mandating a sharp increase in royalty rates for songwriters’ compositions that would be phased in from 2018 to 2022. For many artists and creators, Spotify’s appeal felt particularly egregious, coming from a company that has consistently labeled itself as “artist-friendly” through programs like Secret Genius, which was meant to “celebrate” those same songwriters with awards and workshops.\u003c/p>\n\u003cp>[aside postID='arts_13857471' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/A-non-binary-person-using-a-laptop-at-work-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>A few months after that tech-free town hall, during CMA Fest, a much different version of Spotify hit Nashville, in the form of the now-annual Spotify House, which takes over Blake Shelton’s Ole Red bar downtown for the duration of the June festival, which showcases both new, superstar and legacy country acts. Artists — from Tanya Tucker to Lil Nas X and Billy Ray Cyrus to up-and-comers like Rachel Wammack, Tenille Townes and Dillon Charmichael — took the stage to a captive audience, and many gave ample shout-outs to Spotify and the role the company has played in their career thus far. Traditionalist country trio Midland hosted a brunch session to tout their podcast – an important new space for Spotify – while others chatted about the importance of making their way onto a coveted playlist, and how it has let them reach vast new audiences. The contempt that lingered over the songwriter town hall was nowhere to be found. This was a celebration of all that Spotify could offer to both fledgling and established country careers.\u003c/p>\n\u003cp>Spotify in 2019 is very much of this dual identity, a company (still) struggling with its reputation amongst artists, but also one immensely useful to both those artists and their fans. Since its launch in 2008, especially following its U.S. launch three years later, Spotify has tried to balance ideas of what constitutes being artist-friendly while simultaneously functioning as a global digital brand, an unprecedented and as-yet-unparalleled platform to share their music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spotify is growing at a rapid pace, putting muscle into its podcasting business and betting big that this market will prove to be a major source of revenue down the line. The company seems to have realized that, in order to have a self-determined path, its future lies in audio it controls the rights to, or that it can secure for cheap. Podcasting is one of these vehicles; in February, Spotify announced the acquisition of two podcasting companies, Gimlet and Anchor, which Spotify Founder and CEO Daniel Ek wrote about in the company’s blog, \u003cem>For the Record\u003c/em>.\u003c/p>\n\u003cp>“Based on radio industry data, we believe it is a safe assumption that, over time, more than 20% of all Spotify listening will be non-music content,” \u003ca href=\"https://newsroom.spotify.com/2019-02-06/audio-first/\">he wrote\u003c/a> of the purchases, which were reported to have cost $340 million. “This means the potential to grow much faster with more original programming — and to differentiate Spotify by playing to what makes us unique — all with the goal of becoming the world’s number one audio platform.”\u003c/p>\n\u003cp>Shrewd business moves like this aren’t the only reasons for Spotify’s leading position — though, of course, they’ve been a major part of the equation. Equity deals with the major labels instilled confidence in Spotify early on (remember, these are companies that at the time had spent a decade watching their revenues recede, at least in part because of their deals with another notable tech company). Spotify has also managed to make itself an ally in almost every album cycle, providing a highly valued platform, \u003ca href=\"https://www.npr.org/2019/07/23/744224851/khalid-is-the-shooting-star-of-the-playlist-era\">shaping entire careers\u003c/a> and providing an infrastructure smaller labels or artists might not have access to otherwise.\u003c/p>\n\u003cp>“Programs like fan first campaigns, Spotify singles, spotlights, emails to followers, release radar playlists, canvas vids, and in particular ticket presales would be financially prohibitive for small labels, if not provided by Spotify,” says Jody Whelan, of John Prine’s Oh Boy Records. Those are capabilities that services like SoundCloud just haven’t been able to match.\u003c/p>\n\u003cp>Spotify is often the center of discussions around streaming (frequently synonymous with it, in fact) and takes the bulk of the heat both because it is distinctly a music product — unlike with Amazon and Google, where you can both listen to a record but also buy some antifreeze or find movie times — and because of its high number of users compared to other streaming companies. For artists-rights activists, it gets the most attention simply because it’s the most recognizable brand in the space. The visible target is the easiest one to hit.\u003c/p>\n\u003cp>But many of the company’s biggest stumbles are of its own making. This year has brought a mess of public relations missteps for the company (which, frankly, is no stranger to public relations nightmares) – including its \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\">battle\u003c/a> with songwriters, to a much-hyped launch in India that was fraught with roadblocks and delays, along with allegations of gender discrimination (which it has \u003ca href=\"https://www.theguardian.com/music/2018/sep/19/spotify-sued-gender-discrimination-equal-pay-violation\">denied\u003c/a>), not to mention the \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\">“hateful conduct”\u003c/a> policy of 2018 and accusations that the company \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\">created fake artists\u003c/a> to boost streams in 2017. In early April, songwriters from Secret Genius filed an \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">open letter\u003c/a> to Spotify to drop their appeal, a move that conjured up the day when Taylor Swift pulled her own music from the service (“Music is art, and art is important and rare,” she \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">wrote\u003c/a> in a \u003cem>Wall Street Journal\u003c/em> op-ed. “Valuable things should be paid for” — Swift’s music is now back on Spotify, however).\u003c/p>\n\u003cp>“We know that you are not the only DSP appealing the Copyright Royalty Board (CRB) rate determination,” read the Secret Genius letter, signed by such top-tier writers as Shane McAnally, Teddy Geiger and Lori McKenna. “You are, however, the only provider that made us feel we were working to build a modern music industry together”\u003c/p>\n\u003cp>Earlier this month, Spotify encountered yet another misstep, with the release of an ad campaign that featured the slogan “Dance like no one is paying.” From a company paying out fractions of a cent per stream, it felt like a major sting.\u003c/p>\n\u003cp>[aside postID='arts_13852882' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-5.jpeg' target='_blank']\u003c/p>\n\u003cp>“When a company makes a lot of noise about championing artists, and those claims are rarely if ever reflected in the company’s policies or practices, it’s disappointing,” says Kasey Anderson, an independent artist based in Portland, Ore. In the Spotify world, the artist – and particularly the songwriter – often finds themselves as the lowest rung on a very long and complicated pole. But as Dr. Joshua Shepperd, assistant professor of Media and Communication at The Catholic University of America argues, that’s always been the point. It’s a company in the music space, doing the business of music, but is, as he puts it, a cloud service, more similar to Dropbox than Sub Pop. They are “aggregating the aggregating,” he says.\u003c/p>\n\u003cp>Indeed, Spotify was never really so much a music company as an Internet brand. “Spotify’s business model never benefited all musicians in the same manner but rather appeared — and still appears — highly skewed toward major stars and record labels, establishing a winner-takes-all market familiar from the traditional media industries,” goes an excerpt from the book \u003cem>Spotify Teardown, \u003c/em>an investigation into the mechanisms of Spotify by a Swedish research team comprising Maria Eriksson, Anna Johansson, Rasmus Fleischer, Pelle Snickars and Patrick Vonderau. The book argues that Spotify isn’t a media company per se – and, like Dr. Shepperd, asserts that it’s structurally much closer to a Facebook or Google, particularly in its digital business model. And looking around an event like the Spotify House, that assertion holds up.\u003c/p>\n\u003cp>“A distinction needs to be made between a digital music business and recorded music business,” says Dr. Shepperd. “Spotify happens to be focused on music. But it’s a digital business first, and not a studio or concert hall, and it brings in other limits and pressures and forces that have different policy influence. That’s part of the disconnect between what they claim to be doing, and what they are actually doing. How do you qualify what Spotify actually has to deal with? Well, in their minds, they are responding to digital law [in cases like the CRB appeal].” Like any company, record labels included, Spotify is trying to turn a profit and minimize overhead.\u003c/p>\n\u003cp>Spotify has, however, been taking some steps to improve their standing with artists. This year they \u003ca href=\"https://www.billboard.com/articles/business/8505197/chaku-zulu-spotify-head-of-artist-talent-relations-ludacris\">hired\u003c/a> former Disturbing Tha Peace Records founder Chaku Zulu to head Artist and Talent Relations, who touted “growth, representation and support” when he signed on to the company back in April. But many artists and songwriters feel like it’s a case of too little, too late.\u003c/p>\n\u003cp>“With so many things Spotify does, just because it ‘seems’ like a step in the right direction doesn’t mean it is,” says Anderson. “Theoretically, streaming platforms are a more democratic delivery service for listeners and artists alike, but we’re not seeing that reflected in playlist placement, and we’re certainly not seeing it reflected financially.”\u003c/p>\n\u003cp>It \u003cem>has\u003c/em> been a successful business plan for some of music’s biggest names and companies, if no one else. For the Swifts, the Ed Sheerans and the Florida Georgia Line/Bebe Rexha’s of this world, Spotify can mean career magic – if you are streaming songs by the hundreds of millions, there is good money to be made. For mainstream artists like Swift, that’s pressure to be more global than ever. For those somewhere in between indie and mainstream, it can mean feeling like the music needs to be created with those specific playlists in mind. “The promise of a huge global audience only works if you are making art that works for a huge global audience,” says Kevin Erickson of Future of Music.\u003c/p>\n\u003cp>It also leads to an almost existential question of what happens to music itself when it needs to appeal to as many people as possible. “The platform operates best for ‘hit songs’ in the major genres,” says Wheelan. “Artists are rewarded for creating inoffensive music that can be added to playlists they are targeting. And while that may not be a huge departure from how the music business always worked, in an environment where there is no room for differential pricing, non-commercial or experimental artists suffer more.”\u003c/p>\n\u003cp>In the land of Spotify playlists, it’s all about working well in the mix — and, as with radio, familiar and generic songs are often key, as are atmospheric ones suitable for “background listening.”\u003c/p>\n\u003cp>“I hear a lot of talk about what kind of songs work well for playlists, therefore what kind of songs to focus on writing,” says singer-songwriter Michaela Anne. “And/or making acoustic versions of album songs with the intent to capitalize on playlist placement. At the end of the day, everyone is trying to survive and playlists seem to be the latest way to make the most money. But does that always translate to fans and building a whole career?”\u003c/p>\n\u003cp>For artists like Anne, Spotify does have some benefits — but most come with caveats. “It feels like as an indie artist, we don’t have much choice but to embrace Spotify,” says Anne. “As a tool for listeners to discover new music, it is really awesome that people can happen upon new artists through playlists and discover pages. At the same time, it’s fascinating to watch how the changing technology affects not only how we listen and consume music but how and why artists create music.”\u003c/p>\n\u003cp>Those benefits are strong and distinct for independent labels like Oh Boy or Rounder Records. “The artist dashboard they’ve built could be improved, but as it stands now it offers incredible feedback on what songs are being consumed, where and by what demographic,” says Wheelan. “For younger artists, that definitely helps with touring, and for an artist like John [Prine], it could point to what song we need to make a video for or send to radio. Basically creates a focus group for us.”\u003c/p>\n\u003cp>[aside postID='arts_13855172' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1066489488_wide-61db819e4bcc6427baa4a059bc65430dc162ed9a-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>For managers like Charlie Pierce, who handles country artist and Pistol Annie Angaleena Presley and British-born Americana singer-songwriter Yola, it’s about seeing the bigger picture. “I think treating anybody in the business as a foe misses the opportunity to try and influence change in a positive way,” she says. “They provide a platform for many artists that they otherwise might not have. Independent artists do see an income stream that benefits the development of their work. There are challenges with the platform including recognition for writers, and diversity in playlists, [but] we can’t overcome those challenges by dismissing the weight of Spotify’s position in the new world of streaming we find ourselves in.”\u003c/p>\n\u003cp>Spotify doubled down on this position with Spotify for Artists, an analytics dashboard for artists and their teams to access real data from the service. It’s been a useful means for many, but also stirred its own controversy when it shut down its upload program, which let indie artists upload their own music instead of needing to hire a digital distributor. Still, the metrics it provides are generally valued as a prized commodity, even with imperfections.\u003c/p>\n\u003cp>For most labels – and even artists – that usefulness ends up keeping them squarely in the “friends” category. “Friend, but a slightly dysfunctional friendship,” says John Strohm, president of Rounder Records. “I was an early, full-throated advocate for subscription streaming as the way forward for the recorded music business, and it made a lot of people mad. So I feel vindicated, and my opinions haven’t changed much, but are more nuanced, and there are new challenges that have come from the head-spinning growth. I’m glad as f*** Spotify has real competition in that space.”\u003c/p>\n\u003cp>Competition – from Apple, Google, Amazon and other streaming platforms – is a good thing, argues Strohm, to help ensure innovation, especially as they “keep making tone-deaf moves that piss off artists and writers.” Ek seems to welcome this competition himself. “Spotify has done well defining the landscape in their favor,” says Dr. Shepperd. “Without trying to palpably own the entire market.”\u003c/p>\n\u003cp>But the pressure from artists still lingers. Spotify still hasn’t dropped its appeal to the CRB’s ruling, and there’s no indication that they will. And they’re busily focusing on new avenues rather than refining the ones they already have, making investments in those podcasts and more personalized playlists. For a company dependent on people listening, they might have to start doing a little bit more themselves.\u003c/p>\n\u003cp>“Artist input is crucial,” says Dr. Shepperd, “for tying what’s essentially just a cloud aggregation service to the actual product that it’s selling.”\u003c/p>\n\u003cp>As Swift once wrote in that infamous op-ed, “the music industry is not dying … It’s just coming alive.” In that balance, Spotify might truly find its groove – adolescence is always awkward, after all.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Marissa R. Moss is a Nashville-based freelance journalist whose work has appeared in \u003c/em>Rolling Stone\u003cem>, \u003c/em>Billboard\u003cem>, \u003c/em>Nashville Scene\u003cem>, \u003c/em>The Fader\u003cem>, \u003c/em>Pitchfork\u003cem> and other publications. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "Since launching stateside in 2011, the green logo of Spotify has come to be, almost like Kleenex, synonymous with the weird new world of streaming. So, dozens of billions of dollars later, what's up?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If it weren’t for the signs reading “Spotify,” “Amazon,” “Google” and “Pandora” sitting atop four empty chairs on a warm Wednesday in April, the scene onstage at 3rd & Lindsley in Nashville would have looked like \u003ca href=\"http://431245457784103878.weebly.com/what-is-a-writers-round.html\">any\u003c/a> writer’s round. But this day wasn’t about creating and sharing music, as is custom at these events, reveling in each other’s catchy licks and smart lyrics — no one was happily drinking whiskey out of anything other than frustration. Instead, songwriters like Kenny Chesney producer Buddy Cannon and “Girl Crush” co-writer Liz Rose were gathered to hear about what they could do to push against these tech companies, whom they feel are aggressively lobbying in search of profit over songwriters’ financial well being. In that room in Nashville, Spotify seemed to be the biggest offender — after all, it’s the largest player in the streaming game, valued at over $26 billion dollars and \u003ca href=\"https://newsroom.spotify.com/company-info/\">with\u003c/a> 217 million monthly users. But Spotify didn’t show, leaving only an empty chair and a sign bearing its logo.\u003c/p>\n\u003cp>Assembled by the National Music Publishers Association (NMPA), with the Nashville Songwriters Association International (NSAI), that April town hall was in response to \u003ca href=\"https://www.billboard.com/articles/business/8502823/spotify-town-hall-royalty-board-rate-appeal-mark-beaven\">an unfulfilled promise\u003c/a> from Spotify itself to host a meeting intended to explain its motivations for appealing a 2018 ruling (\u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">finalized\u003c/a> earlier this year) mandating a sharp increase in royalty rates for songwriters’ compositions that would be phased in from 2018 to 2022. For many artists and creators, Spotify’s appeal felt particularly egregious, coming from a company that has consistently labeled itself as “artist-friendly” through programs like Secret Genius, which was meant to “celebrate” those same songwriters with awards and workshops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few months after that tech-free town hall, during CMA Fest, a much different version of Spotify hit Nashville, in the form of the now-annual Spotify House, which takes over Blake Shelton’s Ole Red bar downtown for the duration of the June festival, which showcases both new, superstar and legacy country acts. Artists — from Tanya Tucker to Lil Nas X and Billy Ray Cyrus to up-and-comers like Rachel Wammack, Tenille Townes and Dillon Charmichael — took the stage to a captive audience, and many gave ample shout-outs to Spotify and the role the company has played in their career thus far. Traditionalist country trio Midland hosted a brunch session to tout their podcast – an important new space for Spotify – while others chatted about the importance of making their way onto a coveted playlist, and how it has let them reach vast new audiences. The contempt that lingered over the songwriter town hall was nowhere to be found. This was a celebration of all that Spotify could offer to both fledgling and established country careers.\u003c/p>\n\u003cp>Spotify in 2019 is very much of this dual identity, a company (still) struggling with its reputation amongst artists, but also one immensely useful to both those artists and their fans. Since its launch in 2008, especially following its U.S. launch three years later, Spotify has tried to balance ideas of what constitutes being artist-friendly while simultaneously functioning as a global digital brand, an unprecedented and as-yet-unparalleled platform to share their music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spotify is growing at a rapid pace, putting muscle into its podcasting business and betting big that this market will prove to be a major source of revenue down the line. The company seems to have realized that, in order to have a self-determined path, its future lies in audio it controls the rights to, or that it can secure for cheap. Podcasting is one of these vehicles; in February, Spotify announced the acquisition of two podcasting companies, Gimlet and Anchor, which Spotify Founder and CEO Daniel Ek wrote about in the company’s blog, \u003cem>For the Record\u003c/em>.\u003c/p>\n\u003cp>“Based on radio industry data, we believe it is a safe assumption that, over time, more than 20% of all Spotify listening will be non-music content,” \u003ca href=\"https://newsroom.spotify.com/2019-02-06/audio-first/\">he wrote\u003c/a> of the purchases, which were reported to have cost $340 million. “This means the potential to grow much faster with more original programming — and to differentiate Spotify by playing to what makes us unique — all with the goal of becoming the world’s number one audio platform.”\u003c/p>\n\u003cp>Shrewd business moves like this aren’t the only reasons for Spotify’s leading position — though, of course, they’ve been a major part of the equation. Equity deals with the major labels instilled confidence in Spotify early on (remember, these are companies that at the time had spent a decade watching their revenues recede, at least in part because of their deals with another notable tech company). Spotify has also managed to make itself an ally in almost every album cycle, providing a highly valued platform, \u003ca href=\"https://www.npr.org/2019/07/23/744224851/khalid-is-the-shooting-star-of-the-playlist-era\">shaping entire careers\u003c/a> and providing an infrastructure smaller labels or artists might not have access to otherwise.\u003c/p>\n\u003cp>“Programs like fan first campaigns, Spotify singles, spotlights, emails to followers, release radar playlists, canvas vids, and in particular ticket presales would be financially prohibitive for small labels, if not provided by Spotify,” says Jody Whelan, of John Prine’s Oh Boy Records. Those are capabilities that services like SoundCloud just haven’t been able to match.\u003c/p>\n\u003cp>Spotify is often the center of discussions around streaming (frequently synonymous with it, in fact) and takes the bulk of the heat both because it is distinctly a music product — unlike with Amazon and Google, where you can both listen to a record but also buy some antifreeze or find movie times — and because of its high number of users compared to other streaming companies. For artists-rights activists, it gets the most attention simply because it’s the most recognizable brand in the space. The visible target is the easiest one to hit.\u003c/p>\n\u003cp>But many of the company’s biggest stumbles are of its own making. This year has brought a mess of public relations missteps for the company (which, frankly, is no stranger to public relations nightmares) – including its \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\">battle\u003c/a> with songwriters, to a much-hyped launch in India that was fraught with roadblocks and delays, along with allegations of gender discrimination (which it has \u003ca href=\"https://www.theguardian.com/music/2018/sep/19/spotify-sued-gender-discrimination-equal-pay-violation\">denied\u003c/a>), not to mention the \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\">“hateful conduct”\u003c/a> policy of 2018 and accusations that the company \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\">created fake artists\u003c/a> to boost streams in 2017. In early April, songwriters from Secret Genius filed an \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">open letter\u003c/a> to Spotify to drop their appeal, a move that conjured up the day when Taylor Swift pulled her own music from the service (“Music is art, and art is important and rare,” she \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">wrote\u003c/a> in a \u003cem>Wall Street Journal\u003c/em> op-ed. “Valuable things should be paid for” — Swift’s music is now back on Spotify, however).\u003c/p>\n\u003cp>“We know that you are not the only DSP appealing the Copyright Royalty Board (CRB) rate determination,” read the Secret Genius letter, signed by such top-tier writers as Shane McAnally, Teddy Geiger and Lori McKenna. “You are, however, the only provider that made us feel we were working to build a modern music industry together”\u003c/p>\n\u003cp>Earlier this month, Spotify encountered yet another misstep, with the release of an ad campaign that featured the slogan “Dance like no one is paying.” From a company paying out fractions of a cent per stream, it felt like a major sting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When a company makes a lot of noise about championing artists, and those claims are rarely if ever reflected in the company’s policies or practices, it’s disappointing,” says Kasey Anderson, an independent artist based in Portland, Ore. In the Spotify world, the artist – and particularly the songwriter – often finds themselves as the lowest rung on a very long and complicated pole. But as Dr. Joshua Shepperd, assistant professor of Media and Communication at The Catholic University of America argues, that’s always been the point. It’s a company in the music space, doing the business of music, but is, as he puts it, a cloud service, more similar to Dropbox than Sub Pop. They are “aggregating the aggregating,” he says.\u003c/p>\n\u003cp>Indeed, Spotify was never really so much a music company as an Internet brand. “Spotify’s business model never benefited all musicians in the same manner but rather appeared — and still appears — highly skewed toward major stars and record labels, establishing a winner-takes-all market familiar from the traditional media industries,” goes an excerpt from the book \u003cem>Spotify Teardown, \u003c/em>an investigation into the mechanisms of Spotify by a Swedish research team comprising Maria Eriksson, Anna Johansson, Rasmus Fleischer, Pelle Snickars and Patrick Vonderau. The book argues that Spotify isn’t a media company per se – and, like Dr. Shepperd, asserts that it’s structurally much closer to a Facebook or Google, particularly in its digital business model. And looking around an event like the Spotify House, that assertion holds up.\u003c/p>\n\u003cp>“A distinction needs to be made between a digital music business and recorded music business,” says Dr. Shepperd. “Spotify happens to be focused on music. But it’s a digital business first, and not a studio or concert hall, and it brings in other limits and pressures and forces that have different policy influence. That’s part of the disconnect between what they claim to be doing, and what they are actually doing. How do you qualify what Spotify actually has to deal with? Well, in their minds, they are responding to digital law [in cases like the CRB appeal].” Like any company, record labels included, Spotify is trying to turn a profit and minimize overhead.\u003c/p>\n\u003cp>Spotify has, however, been taking some steps to improve their standing with artists. This year they \u003ca href=\"https://www.billboard.com/articles/business/8505197/chaku-zulu-spotify-head-of-artist-talent-relations-ludacris\">hired\u003c/a> former Disturbing Tha Peace Records founder Chaku Zulu to head Artist and Talent Relations, who touted “growth, representation and support” when he signed on to the company back in April. But many artists and songwriters feel like it’s a case of too little, too late.\u003c/p>\n\u003cp>“With so many things Spotify does, just because it ‘seems’ like a step in the right direction doesn’t mean it is,” says Anderson. “Theoretically, streaming platforms are a more democratic delivery service for listeners and artists alike, but we’re not seeing that reflected in playlist placement, and we’re certainly not seeing it reflected financially.”\u003c/p>\n\u003cp>It \u003cem>has\u003c/em> been a successful business plan for some of music’s biggest names and companies, if no one else. For the Swifts, the Ed Sheerans and the Florida Georgia Line/Bebe Rexha’s of this world, Spotify can mean career magic – if you are streaming songs by the hundreds of millions, there is good money to be made. For mainstream artists like Swift, that’s pressure to be more global than ever. For those somewhere in between indie and mainstream, it can mean feeling like the music needs to be created with those specific playlists in mind. “The promise of a huge global audience only works if you are making art that works for a huge global audience,” says Kevin Erickson of Future of Music.\u003c/p>\n\u003cp>It also leads to an almost existential question of what happens to music itself when it needs to appeal to as many people as possible. “The platform operates best for ‘hit songs’ in the major genres,” says Wheelan. “Artists are rewarded for creating inoffensive music that can be added to playlists they are targeting. And while that may not be a huge departure from how the music business always worked, in an environment where there is no room for differential pricing, non-commercial or experimental artists suffer more.”\u003c/p>\n\u003cp>In the land of Spotify playlists, it’s all about working well in the mix — and, as with radio, familiar and generic songs are often key, as are atmospheric ones suitable for “background listening.”\u003c/p>\n\u003cp>“I hear a lot of talk about what kind of songs work well for playlists, therefore what kind of songs to focus on writing,” says singer-songwriter Michaela Anne. “And/or making acoustic versions of album songs with the intent to capitalize on playlist placement. At the end of the day, everyone is trying to survive and playlists seem to be the latest way to make the most money. But does that always translate to fans and building a whole career?”\u003c/p>\n\u003cp>For artists like Anne, Spotify does have some benefits — but most come with caveats. “It feels like as an indie artist, we don’t have much choice but to embrace Spotify,” says Anne. “As a tool for listeners to discover new music, it is really awesome that people can happen upon new artists through playlists and discover pages. At the same time, it’s fascinating to watch how the changing technology affects not only how we listen and consume music but how and why artists create music.”\u003c/p>\n\u003cp>Those benefits are strong and distinct for independent labels like Oh Boy or Rounder Records. “The artist dashboard they’ve built could be improved, but as it stands now it offers incredible feedback on what songs are being consumed, where and by what demographic,” says Wheelan. “For younger artists, that definitely helps with touring, and for an artist like John [Prine], it could point to what song we need to make a video for or send to radio. Basically creates a focus group for us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For managers like Charlie Pierce, who handles country artist and Pistol Annie Angaleena Presley and British-born Americana singer-songwriter Yola, it’s about seeing the bigger picture. “I think treating anybody in the business as a foe misses the opportunity to try and influence change in a positive way,” she says. “They provide a platform for many artists that they otherwise might not have. Independent artists do see an income stream that benefits the development of their work. There are challenges with the platform including recognition for writers, and diversity in playlists, [but] we can’t overcome those challenges by dismissing the weight of Spotify’s position in the new world of streaming we find ourselves in.”\u003c/p>\n\u003cp>Spotify doubled down on this position with Spotify for Artists, an analytics dashboard for artists and their teams to access real data from the service. It’s been a useful means for many, but also stirred its own controversy when it shut down its upload program, which let indie artists upload their own music instead of needing to hire a digital distributor. Still, the metrics it provides are generally valued as a prized commodity, even with imperfections.\u003c/p>\n\u003cp>For most labels – and even artists – that usefulness ends up keeping them squarely in the “friends” category. “Friend, but a slightly dysfunctional friendship,” says John Strohm, president of Rounder Records. “I was an early, full-throated advocate for subscription streaming as the way forward for the recorded music business, and it made a lot of people mad. So I feel vindicated, and my opinions haven’t changed much, but are more nuanced, and there are new challenges that have come from the head-spinning growth. I’m glad as f*** Spotify has real competition in that space.”\u003c/p>\n\u003cp>Competition – from Apple, Google, Amazon and other streaming platforms – is a good thing, argues Strohm, to help ensure innovation, especially as they “keep making tone-deaf moves that piss off artists and writers.” Ek seems to welcome this competition himself. “Spotify has done well defining the landscape in their favor,” says Dr. Shepperd. “Without trying to palpably own the entire market.”\u003c/p>\n\u003cp>But the pressure from artists still lingers. Spotify still hasn’t dropped its appeal to the CRB’s ruling, and there’s no indication that they will. And they’re busily focusing on new avenues rather than refining the ones they already have, making investments in those podcasts and more personalized playlists. For a company dependent on people listening, they might have to start doing a little bit more themselves.\u003c/p>\n\u003cp>“Artist input is crucial,” says Dr. Shepperd, “for tying what’s essentially just a cloud aggregation service to the actual product that it’s selling.”\u003c/p>\n\u003cp>As Swift once wrote in that infamous op-ed, “the music industry is not dying … It’s just coming alive.” In that balance, Spotify might truly find its groove – adolescence is always awkward, after all.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marissa R. Moss is a Nashville-based freelance journalist whose work has appeared in \u003c/em>Rolling Stone\u003cem>, \u003c/em>Billboard\u003cem>, \u003c/em>Nashville Scene\u003cem>, \u003c/em>The Fader\u003cem>, \u003c/em>Pitchfork\u003cem> and other publications. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Gray Area Festival\u003c/strong>: There’s a lot to love about this year’s festival exploring the intersection of art and technology. But the star attraction is the ISM Hexadome, an immersive Buckminster Fuller-like dome of music and visuals, with pieces by Thom Yorke, Holly Herndon, Suzanne Ciani, Ben Frost and more. It runs Thursday–Sunday, July 25–28, at the Gray Area Theater and Pier 70. \u003ca href=\"https://grayareafestival.io/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Dead Nuts: A Search for the Ultimate Machined Object’\u003c/strong>: What is the ultimate machined object? Something so accurate in its design, so aesthetically pleasing and functional that it rises to the top? This fun, satisfying exhibit includes simple items like the ball bearing alongside highly complicated feats of engineering, like airplane engines and analog microprocessors. It opens Saturday, July 27, at the Museum of Craft and Design. \u003ca href=\"https://sfmcd.org/deadnuts/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>KMEL Summer Jam 2019\u003c/strong>: The Oracle Arena’s been quiet since the Warriors left, but it’s about to get loud again with this annual party featuring rap stars YG, Lil Baby, City Girls and more. But by far the main attraction is Megan Thee Stallion, a sex-positive rising star whose talent and dynamism are poised to outlast the current “hot girl summer” meme she inspired. That’s Sunday, July 28, at the Oracle Arena. \u003ca href=\"https://kmel.iheart.com/featured/kmel-summer-jam/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘The Neverending Story’\u003c/strong>: Our cheap North Bay date this week is this 1980s fantasy classic, presented in a Petaluma theater that’s over 100 years old. When it comes to reliving the adventures of Atreyu and Falkor, you can’t go wrong for just $8. It screens Friday, Aug. 2, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=301834\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Kelly Stoltz\u003c/strong>: You might recognize Kelly Stoltz from working behind the counter at the Market Street record store Grooves, where hundreds of musical influences regularly seep into his ears. While his music itself is a pleasing blend of the familiar and the new, we’re also recommending this show for the beautiful outdoor setting in a redwood grove. Stoltz performs, with Magic in the Other opening, on Thursday, Aug. 1, at the UC Botanical Garden. \u003ca href=\"https://botanicalgarden.berkeley.edu/summer-concerts-2019/august-1-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Gray Area Festival\u003c/strong>: There’s a lot to love about this year’s festival exploring the intersection of art and technology. But the star attraction is the ISM Hexadome, an immersive Buckminster Fuller-like dome of music and visuals, with pieces by Thom Yorke, Holly Herndon, Suzanne Ciani, Ben Frost and more. It runs Thursday–Sunday, July 25–28, at the Gray Area Theater and Pier 70. \u003ca href=\"https://grayareafestival.io/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Dead Nuts: A Search for the Ultimate Machined Object’\u003c/strong>: What is the ultimate machined object? Something so accurate in its design, so aesthetically pleasing and functional that it rises to the top? This fun, satisfying exhibit includes simple items like the ball bearing alongside highly complicated feats of engineering, like airplane engines and analog microprocessors. It opens Saturday, July 27, at the Museum of Craft and Design. \u003ca href=\"https://sfmcd.org/deadnuts/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>KMEL Summer Jam 2019\u003c/strong>: The Oracle Arena’s been quiet since the Warriors left, but it’s about to get loud again with this annual party featuring rap stars YG, Lil Baby, City Girls and more. But by far the main attraction is Megan Thee Stallion, a sex-positive rising star whose talent and dynamism are poised to outlast the current “hot girl summer” meme she inspired. That’s Sunday, July 28, at the Oracle Arena. \u003ca href=\"https://kmel.iheart.com/featured/kmel-summer-jam/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Neverending Story’\u003c/strong>: Our cheap North Bay date this week is this 1980s fantasy classic, presented in a Petaluma theater that’s over 100 years old. When it comes to reliving the adventures of Atreyu and Falkor, you can’t go wrong for just $8. It screens Friday, Aug. 2, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=301834\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Kelly Stoltz\u003c/strong>: You might recognize Kelly Stoltz from working behind the counter at the Market Street record store Grooves, where hundreds of musical influences regularly seep into his ears. While his music itself is a pleasing blend of the familiar and the new, we’re also recommending this show for the beautiful outdoor setting in a redwood grove. Stoltz performs, with Magic in the Other opening, on Thursday, Aug. 1, at the UC Botanical Garden. \u003ca href=\"https://botanicalgarden.berkeley.edu/summer-concerts-2019/august-1-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Muppet Movie \u003c/em>is 40 now. And I could tell you that makes me feel old, but it doesn’t. It oddly makes me feel just right. The music has been with me from when I was little until right now, and I can still listen to it and discover new things. How could you not? It has “Rainbow Connection” in it.\u003c/p>\n\u003cp>You probably know all this, but \u003cem>The Muppet Movie \u003c/em>is a musical, and “Rainbow Connection” is what musical theater people would call its “I Want” song. It’s an unusual one. Often, characters who want things in a musical, even if they’re ultimately on a quest of self-discovery, express a desire for adventure and exploration (\u003cem>The Little Mermaid\u003c/em>‘s “Part Of Your World”) or greatness (\u003cem>Hamilton\u003c/em>‘s “My Shot”) or comfort (\u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It Be Loverly”). At their most philosophical, they tend toward restless searches for freedom from other people’s expectations (\u003cem>Pippin\u003c/em>‘s “Corner of the Sky”).\u003c/p>\n\u003cp>This one is a little different. We swoop through the sky, through clouds and a rainbow, until we hear the banjo phrase — \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk — \u003c/em>that at first goes unanswered. And as much as it will make you feel like a college first-year with an altered mind lying on a dorm room floor to realize it, the song that follows is really pretty … \u003cem>deep\u003c/em>. Kermit longs not for stardom and riches, though he will embark on a quest for both. His “I Want” song is about hoping to learn that belief in the power of uncertain and ethereal things — rainbows, for instance — is not unfounded.\u003c/p>\n\u003cp>“Who said that every wish\u003cbr>\nWould be heard and answered\u003cbr>\nWhen wished on the morning star?\u003cbr>\nSomebody thought of that\u003cbr>\nAnd someone believed it\u003cbr>\nAnd look what it’s done so far\u003cbr>\nWhat’s so amazing that keeps us stargazing?\u003cbr>\nAnd what do we think we might see?\u003cbr>\nSomeday we’ll find it\u003cbr>\nThe rainbow connection\u003cbr>\nThe lovers, the dreamers, and me.”\u003c/p>\n\u003cp>His “I Want” is not just for his own dreams to come true. It’s for those who believe in the enchanting myths that we’ve all written together to be proved right. Someday, he hopes, we will find a thread that makes all this make sense. You know. \u003cem>Life\u003c/em>. It’s almost a “We Want” song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hey, pass me a beer, dude.\u003c/p>\n\u003cp>Of course, this is not what I heard as a child who was eight years old when this movie came out, right in the sweet spot of its generational wallop. As a kid, I heard a little ditty about rainbows, lovers, dreamers, wishes, \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>, and the way “amazing” and “stargazing” sound so pretty pushed so close together. My sister and I had this soundtrack album, and we listened to it exhaustively (and, to my parents, probably exhaustingly). Not only that, but we hauled out the family manual typewriter and pecked out all the lyrics. This was our version of trying to crawl inside music, I think, to see what was going on. There were words on the album we most definitely either didn’t understand or had to have explained to us: I don’t think we knew what “aurora borealis” meant, let alone why “Aurora borealis shining down on Dallas” was a trippy lyric in “Can You Picture That?”, part of the oeuvre of the rock band Dr. Teeth and the Electric Mayhem.\u003c/p>\n\u003cp>And by the way, I’m certain I didn’t understand what a funny band name “Dr. Teeth and the Electric Mayhem” is.\u003c/p>\n\u003cp>This is, in large part, the genius of both the music and the movie. It’s a sophisticated piece of art, brilliantly made, that has complicated themes and winky jokes that are for parents. But at the same time, it not only appeals to kids, but almost \u003cem>teaches \u003c/em>kids how to watch movies and how to listen to music.\u003c/p>\n\u003cp>That music, in this case, comes from Paul Williams and Kenneth Ascher. Williams has found himself maybe best remembered for this contribution to the world, despite the fact that he wrote or co-wrote a truckload of music, especially popular stuff from the ’70s: “We’ve Only Just Begun,” “Just An Old-Fashioned Love Song,” “Evergreen,” and “Rainy Days and Mondays,” among others. He even wrote the lyrics to the theme song from \u003cem>The Love Boat\u003c/em>.\u003c/p>\n\u003cp>(Allow me to take a moment to recommend most highly a documentary called \u003cem>Paul Williams Still Alive\u003c/em>, which \u003ca href=\"https://www.npr.org/series/pop-culture-happy-hour/2012/03/12/148440196/sxsw-film-paul-williams-still-alive-brings-the-filmmaker-into-the-picture\">I wrote about in 2012\u003c/a>, and which is currently available streaming on Amazon Prime Video or for rent elsewhere.)\u003c/p>\n\u003cp>Williams and Ascher aren’t afraid to give you songs that are packed with jokes, often a combination of kid-level and not. In the barroom piano number “I Hope That Somethin’ Better Comes Along,” Kermit and Rowlf the Dog share their woes about women, and there are both dog puns and frog jokes. Women get “under your collar,” says Rowlf. “It’s fun when they’re fetching and agree to see an etching that you keep at your lily pad,” muses Kermit. “What could be better than a saucy Irish setter when puppy love comes on strong?” And my personal favorite, “A lover and wife gives you a new leash on life.” (To which Kermit asks, “Was that a new \u003cem>leash \u003c/em>on life?”, a joke I’m sure I did not understand at eight even with the frog pointing it out — and one that does not even appear in the film, which shortens that song considerably.)\u003c/p>\n\u003cp>The whole album walks a line between sophistication and silliness; profundity and playfulness. And all of it seems designed to draw kids into a story they will love and gradually learn to understand. Several songs include what you might call “singalong” elements, where you hear characters singing along with the music, even when there are no words. Not in the same way as a carefully chosen \u003ca href=\"https://www.youtube.com/watch?v=xWQFX3VhVWM\">“hey la”\u003c/a> refrain like you might hear in pop music, but more like the nonsense you might make up as a kid. You know, like \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>. It happens at the end of “Rainbow Connection” when Kermit sings, “Laaa da da deeee, da da dooo, la daa da da da dee da doo.”\u003c/p>\n\u003cp>Maybe my favorite example is in the road-trip song “Movin’ Right Along” that Fozzie Bear and Kermit sing together. The first time you hear the chorus, they sing, “Movin’ right along,” and then there are two beats accompanied by a banjo strum, like \u003cem>dig-a-dum, dig-a-dum\u003c/em>. But then next time you hear it, Kermit sings along with his own banjo. He sings, “Movin’ right along, dig-a-dum, dig-a-dum.” It happens, too, when \u003ca href=\"https://www.youtube.com/watch?v=3BqqYaEM2mA\">Fozzie sings “America The Beautiful.”\u003c/a> He sings, “America, America, God shed his grace on thee,” and then as if he simply can’t help it, he sings along, “Bup-bup-bup-buh!”, right along with the swelling music.\u003c/p>\n\u003cp>Kids are musical empaths, for lack of a better term. They’re not just listening to the music; they’re often trying to make it at the same time. They want to sing along, drum along, wave their arms — they want to be the music maker. They want to painstakingly clack-clack-clack the words onto a page in a pantomime of writing lyrics.\u003c/p>\n\u003cp>And in \u003cem>The Muppet Movie\u003c/em>, the avatars on the screen are both making the music and hearing the music. Fozzie hears the orchestra swelling. Kermit noodles around with nonsense words at the end of his own big number. This is a kid-friendly entry point into movie music and music in general.\u003c/p>\n\u003cp>Fozzie’s rendition of “America The Beautiful” raises another delicate matter, which is that he’s not particularly in tune. Frank Oz, as Fozzie, just lets it rip. In sharp contrast to Disney animated films, for instance, where if you don’t have a perfect singing voice they will have the music performed by someone who does, Muppet music stays in character. Fozzie belts it out, just like you do, and while Oz can sing much closer to on key, even while affecting very different character voices (as he does for most of Miss Piggy’s “Never Before, Never Again”), it’s not relevant to this performance. Fozzie is not sweating pitch. And his stuff is still great — listenable, re-listenable, hummable, singable. The point of being moved to offer a rendition of “America The Beautiful” in the car, the film posits, is to do it at the top of your lungs. Some singing is meant to be pretty, and some just deeply felt. Again: it’s teaching kids how to relate to music in a lot of different ways.\u003c/p>\n\u003cp>And when music itself is a character expression, it can also be a joke. I admit to being endlessly entertained — perhaps too entertained — by Animal, the rock band drummer (and another Oz creation) who never says much more than “DRUUUUMS!” or “WOMAAAAN!” In “Can You Picture That?”, late in the song, the band is singing the kind of call-and-response section where they all sing “Can you picture,” and then different lines follow. (“Can you picture? You gotta see it in your mind!/Can you picture what’s quick and easy to find?”) If you listen carefully, you can see that Frank Oz’s almost tuneless growl is there in the chorus as Animal, singing (essentially) “CAAAAA YAAAA PICKCHAAAAAA.” It’s so, so funny, and you’d barely notice it listening to the album unless you are, like me, an Animal partisan.\u003c/p>\n\u003cp>And yet, there are songs on the album that are just searching and beautiful and thoughtful, ones that go back to that “Rainbow Connection” mood. “I’m Going To Go Back There Someday” is Gonzo’s song as he looks at the night sky, reminiscing about being accidentally set adrift hanging onto a bunch of balloons. Even after he’s been rescued, he can’t forget the experience: “You can just visit, but I plan to stay; I’m going to go back there someday.” This is a startlingly abstract, melancholy moment in the middle of a road movie, complete with a lonesome cowboy harmonica and a sense that what we are able to see and know on earth is always going to be less than what we could see from anywhere else.\u003c/p>\n\u003cp>As the film approaches its finale, the characters get their big break — from Orson Welles, no less. (In this and some other cases, the big-name cameos in the film operate not only as treats for parents, but as a gentle meta-commentary on who these figures were in the larger celebrity universe at the time, as when Steve Martin appears as an incessantly sarcastic waiter.) They work on their movie, and they begin to perform what seems like a classic finale song of satisfaction called “The Magic Store,” which traces the path from weird, misunderstood kid to person (or frog, or pig, or bear, or dog, or whatever Gonzo is) with a shot at fame. “Somebody out there loves you,” they sing, “Stands up and hollers for more; You’ve found a home at the magic store.”\u003c/p>\n\u003cp>But just as this is happening, an accident destroys the set, which collapses around the collected Muppets. A hole in the roof, though, reveals — yes — a rainbow. And as everyone gawps at the rainbow, Kermit turns to the camera and tells us what he’s learned, in a moment that gives me chills every single time, to this day:\u003c/p>\n\u003cp>“Life’s like a movie\u003cbr>\nWrite your own ending”\u003c/p>\n\u003cp>These two lines are sung to sound suspended and haunting, two notes only a half-step apart, bumping up against each other. But then on the next phrase, the rest of his friends join in the song, and the piano stops doubling his melody and starts giving him an ever so gently jaunty one-two, one-two:\u003c/p>\n\u003cp>“Keep believing\u003cbr>\nKeep pretending”\u003c/p>\n\u003cp>We pull back to a shot of hundreds of Muppets singing, and as the song ends — now it’s “the lovers, the dreamers and you,” of course — you get another taste of movie music as it always is and always must be. Because the last thing you hear is the timpani. BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM!\u003c/p>\n\u003cp>It’s movie music that knows it’s movie music, in the same way that the film observes such a porous boundary between the movie you’re watching and the movie the Muppets are making that at one point, Dr. Teeth and the Electric Mayhem find their friends by consulting a copy of the script. It’s not even breaking the fourth wall; it’s sort of breaking the pit under the stage.\u003c/p>\n\u003cp>Perhaps puppetry — Muppetry? — has changed less in less obvious ways than animation in the last 40 years. Maybe that’s why it’s hard for me to believe an updated \u003cem>Muppet Movie \u003c/em>(not other Muppet movies, but a remake of this one) would be anything except just … this. It doesn’t need photorealism or fresh movie stars.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That banjo is already calling.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Muppet Movie \u003c/em>is 40 now. And I could tell you that makes me feel old, but it doesn’t. It oddly makes me feel just right. The music has been with me from when I was little until right now, and I can still listen to it and discover new things. How could you not? It has “Rainbow Connection” in it.\u003c/p>\n\u003cp>You probably know all this, but \u003cem>The Muppet Movie \u003c/em>is a musical, and “Rainbow Connection” is what musical theater people would call its “I Want” song. It’s an unusual one. Often, characters who want things in a musical, even if they’re ultimately on a quest of self-discovery, express a desire for adventure and exploration (\u003cem>The Little Mermaid\u003c/em>‘s “Part Of Your World”) or greatness (\u003cem>Hamilton\u003c/em>‘s “My Shot”) or comfort (\u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It Be Loverly”). At their most philosophical, they tend toward restless searches for freedom from other people’s expectations (\u003cem>Pippin\u003c/em>‘s “Corner of the Sky”).\u003c/p>\n\u003cp>This one is a little different. We swoop through the sky, through clouds and a rainbow, until we hear the banjo phrase — \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk — \u003c/em>that at first goes unanswered. And as much as it will make you feel like a college first-year with an altered mind lying on a dorm room floor to realize it, the song that follows is really pretty … \u003cem>deep\u003c/em>. Kermit longs not for stardom and riches, though he will embark on a quest for both. His “I Want” song is about hoping to learn that belief in the power of uncertain and ethereal things — rainbows, for instance — is not unfounded.\u003c/p>\n\u003cp>“Who said that every wish\u003cbr>\nWould be heard and answered\u003cbr>\nWhen wished on the morning star?\u003cbr>\nSomebody thought of that\u003cbr>\nAnd someone believed it\u003cbr>\nAnd look what it’s done so far\u003cbr>\nWhat’s so amazing that keeps us stargazing?\u003cbr>\nAnd what do we think we might see?\u003cbr>\nSomeday we’ll find it\u003cbr>\nThe rainbow connection\u003cbr>\nThe lovers, the dreamers, and me.”\u003c/p>\n\u003cp>His “I Want” is not just for his own dreams to come true. It’s for those who believe in the enchanting myths that we’ve all written together to be proved right. Someday, he hopes, we will find a thread that makes all this make sense. You know. \u003cem>Life\u003c/em>. It’s almost a “We Want” song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hey, pass me a beer, dude.\u003c/p>\n\u003cp>Of course, this is not what I heard as a child who was eight years old when this movie came out, right in the sweet spot of its generational wallop. As a kid, I heard a little ditty about rainbows, lovers, dreamers, wishes, \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>, and the way “amazing” and “stargazing” sound so pretty pushed so close together. My sister and I had this soundtrack album, and we listened to it exhaustively (and, to my parents, probably exhaustingly). Not only that, but we hauled out the family manual typewriter and pecked out all the lyrics. This was our version of trying to crawl inside music, I think, to see what was going on. There were words on the album we most definitely either didn’t understand or had to have explained to us: I don’t think we knew what “aurora borealis” meant, let alone why “Aurora borealis shining down on Dallas” was a trippy lyric in “Can You Picture That?”, part of the oeuvre of the rock band Dr. Teeth and the Electric Mayhem.\u003c/p>\n\u003cp>And by the way, I’m certain I didn’t understand what a funny band name “Dr. Teeth and the Electric Mayhem” is.\u003c/p>\n\u003cp>This is, in large part, the genius of both the music and the movie. It’s a sophisticated piece of art, brilliantly made, that has complicated themes and winky jokes that are for parents. But at the same time, it not only appeals to kids, but almost \u003cem>teaches \u003c/em>kids how to watch movies and how to listen to music.\u003c/p>\n\u003cp>That music, in this case, comes from Paul Williams and Kenneth Ascher. Williams has found himself maybe best remembered for this contribution to the world, despite the fact that he wrote or co-wrote a truckload of music, especially popular stuff from the ’70s: “We’ve Only Just Begun,” “Just An Old-Fashioned Love Song,” “Evergreen,” and “Rainy Days and Mondays,” among others. He even wrote the lyrics to the theme song from \u003cem>The Love Boat\u003c/em>.\u003c/p>\n\u003cp>(Allow me to take a moment to recommend most highly a documentary called \u003cem>Paul Williams Still Alive\u003c/em>, which \u003ca href=\"https://www.npr.org/series/pop-culture-happy-hour/2012/03/12/148440196/sxsw-film-paul-williams-still-alive-brings-the-filmmaker-into-the-picture\">I wrote about in 2012\u003c/a>, and which is currently available streaming on Amazon Prime Video or for rent elsewhere.)\u003c/p>\n\u003cp>Williams and Ascher aren’t afraid to give you songs that are packed with jokes, often a combination of kid-level and not. In the barroom piano number “I Hope That Somethin’ Better Comes Along,” Kermit and Rowlf the Dog share their woes about women, and there are both dog puns and frog jokes. Women get “under your collar,” says Rowlf. “It’s fun when they’re fetching and agree to see an etching that you keep at your lily pad,” muses Kermit. “What could be better than a saucy Irish setter when puppy love comes on strong?” And my personal favorite, “A lover and wife gives you a new leash on life.” (To which Kermit asks, “Was that a new \u003cem>leash \u003c/em>on life?”, a joke I’m sure I did not understand at eight even with the frog pointing it out — and one that does not even appear in the film, which shortens that song considerably.)\u003c/p>\n\u003cp>The whole album walks a line between sophistication and silliness; profundity and playfulness. And all of it seems designed to draw kids into a story they will love and gradually learn to understand. Several songs include what you might call “singalong” elements, where you hear characters singing along with the music, even when there are no words. Not in the same way as a carefully chosen \u003ca href=\"https://www.youtube.com/watch?v=xWQFX3VhVWM\">“hey la”\u003c/a> refrain like you might hear in pop music, but more like the nonsense you might make up as a kid. You know, like \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>. It happens at the end of “Rainbow Connection” when Kermit sings, “Laaa da da deeee, da da dooo, la daa da da da dee da doo.”\u003c/p>\n\u003cp>Maybe my favorite example is in the road-trip song “Movin’ Right Along” that Fozzie Bear and Kermit sing together. The first time you hear the chorus, they sing, “Movin’ right along,” and then there are two beats accompanied by a banjo strum, like \u003cem>dig-a-dum, dig-a-dum\u003c/em>. But then next time you hear it, Kermit sings along with his own banjo. He sings, “Movin’ right along, dig-a-dum, dig-a-dum.” It happens, too, when \u003ca href=\"https://www.youtube.com/watch?v=3BqqYaEM2mA\">Fozzie sings “America The Beautiful.”\u003c/a> He sings, “America, America, God shed his grace on thee,” and then as if he simply can’t help it, he sings along, “Bup-bup-bup-buh!”, right along with the swelling music.\u003c/p>\n\u003cp>Kids are musical empaths, for lack of a better term. They’re not just listening to the music; they’re often trying to make it at the same time. They want to sing along, drum along, wave their arms — they want to be the music maker. They want to painstakingly clack-clack-clack the words onto a page in a pantomime of writing lyrics.\u003c/p>\n\u003cp>And in \u003cem>The Muppet Movie\u003c/em>, the avatars on the screen are both making the music and hearing the music. Fozzie hears the orchestra swelling. Kermit noodles around with nonsense words at the end of his own big number. This is a kid-friendly entry point into movie music and music in general.\u003c/p>\n\u003cp>Fozzie’s rendition of “America The Beautiful” raises another delicate matter, which is that he’s not particularly in tune. Frank Oz, as Fozzie, just lets it rip. In sharp contrast to Disney animated films, for instance, where if you don’t have a perfect singing voice they will have the music performed by someone who does, Muppet music stays in character. Fozzie belts it out, just like you do, and while Oz can sing much closer to on key, even while affecting very different character voices (as he does for most of Miss Piggy’s “Never Before, Never Again”), it’s not relevant to this performance. Fozzie is not sweating pitch. And his stuff is still great — listenable, re-listenable, hummable, singable. The point of being moved to offer a rendition of “America The Beautiful” in the car, the film posits, is to do it at the top of your lungs. Some singing is meant to be pretty, and some just deeply felt. Again: it’s teaching kids how to relate to music in a lot of different ways.\u003c/p>\n\u003cp>And when music itself is a character expression, it can also be a joke. I admit to being endlessly entertained — perhaps too entertained — by Animal, the rock band drummer (and another Oz creation) who never says much more than “DRUUUUMS!” or “WOMAAAAN!” In “Can You Picture That?”, late in the song, the band is singing the kind of call-and-response section where they all sing “Can you picture,” and then different lines follow. (“Can you picture? You gotta see it in your mind!/Can you picture what’s quick and easy to find?”) If you listen carefully, you can see that Frank Oz’s almost tuneless growl is there in the chorus as Animal, singing (essentially) “CAAAAA YAAAA PICKCHAAAAAA.” It’s so, so funny, and you’d barely notice it listening to the album unless you are, like me, an Animal partisan.\u003c/p>\n\u003cp>And yet, there are songs on the album that are just searching and beautiful and thoughtful, ones that go back to that “Rainbow Connection” mood. “I’m Going To Go Back There Someday” is Gonzo’s song as he looks at the night sky, reminiscing about being accidentally set adrift hanging onto a bunch of balloons. Even after he’s been rescued, he can’t forget the experience: “You can just visit, but I plan to stay; I’m going to go back there someday.” This is a startlingly abstract, melancholy moment in the middle of a road movie, complete with a lonesome cowboy harmonica and a sense that what we are able to see and know on earth is always going to be less than what we could see from anywhere else.\u003c/p>\n\u003cp>As the film approaches its finale, the characters get their big break — from Orson Welles, no less. (In this and some other cases, the big-name cameos in the film operate not only as treats for parents, but as a gentle meta-commentary on who these figures were in the larger celebrity universe at the time, as when Steve Martin appears as an incessantly sarcastic waiter.) They work on their movie, and they begin to perform what seems like a classic finale song of satisfaction called “The Magic Store,” which traces the path from weird, misunderstood kid to person (or frog, or pig, or bear, or dog, or whatever Gonzo is) with a shot at fame. “Somebody out there loves you,” they sing, “Stands up and hollers for more; You’ve found a home at the magic store.”\u003c/p>\n\u003cp>But just as this is happening, an accident destroys the set, which collapses around the collected Muppets. A hole in the roof, though, reveals — yes — a rainbow. And as everyone gawps at the rainbow, Kermit turns to the camera and tells us what he’s learned, in a moment that gives me chills every single time, to this day:\u003c/p>\n\u003cp>“Life’s like a movie\u003cbr>\nWrite your own ending”\u003c/p>\n\u003cp>These two lines are sung to sound suspended and haunting, two notes only a half-step apart, bumping up against each other. But then on the next phrase, the rest of his friends join in the song, and the piano stops doubling his melody and starts giving him an ever so gently jaunty one-two, one-two:\u003c/p>\n\u003cp>“Keep believing\u003cbr>\nKeep pretending”\u003c/p>\n\u003cp>We pull back to a shot of hundreds of Muppets singing, and as the song ends — now it’s “the lovers, the dreamers and you,” of course — you get another taste of movie music as it always is and always must be. Because the last thing you hear is the timpani. BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM!\u003c/p>\n\u003cp>It’s movie music that knows it’s movie music, in the same way that the film observes such a porous boundary between the movie you’re watching and the movie the Muppets are making that at one point, Dr. Teeth and the Electric Mayhem find their friends by consulting a copy of the script. It’s not even breaking the fourth wall; it’s sort of breaking the pit under the stage.\u003c/p>\n\u003cp>Perhaps puppetry — Muppetry? — has changed less in less obvious ways than animation in the last 40 years. Maybe that’s why it’s hard for me to believe an updated \u003cem>Muppet Movie \u003c/em>(not other Muppet movies, but a remake of this one) would be anything except just … this. It doesn’t need photorealism or fresh movie stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That banjo is already calling.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ken Burns Visits San Quentin to Preview 'Country Music' Documentary For Inmates",
"headTitle": "Ken Burns Visits San Quentin to Preview ‘Country Music’ Documentary For Inmates | KQED",
"content": "\u003cp>Ken Burns, the prolific documentary filmmaker, addressed roughly 100 inmates at San Quentin State Prison on Wednesday with a message about redemption, destigmatizing incarceration and country music.\u003c/p>\n\u003cp>Country star Merle Haggard, Burns explained, was once reluctant to acknowledge his stint at prisons including San Quentin, fearful it would hurt his professional reputation. But Johnny Cash, well-known for concert recordings at Folsom State Prison and San Quentin, urged Haggard to be open about his time behind bars, and to draw on his experiences.\u003c/p>\n\u003cp>What Cash knew, and country music affirms, Burns said, is that “the value of a human being does not end when you walk in the front door of a place like this,” adding, “I know I’m preaching to the choir.”\u003c/p>\n\u003cfigure id=\"attachment_13862094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg\" alt=\"Rahsaan Thomas, Ear Hustle co-host and San Quentin News contributor, speaks with Ken Burns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rahsaan Thomas, ‘Ear Hustle’ co-host and San Quentin News contributor, speaks with Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was a preview of \u003cem>Country Music\u003c/em>, Burns’ forthcoming eight-part, 16-hour series on the “uniquely American art form.” He played clips from the series, focused on Cash and Haggard’s ties to California’s penal system, before fielding questions from Rahsaan Thomas, “inside” co-host of \u003cem>Ear Hustle\u003c/em> and a contributor to \u003cem>San Quentin News\u003c/em>, plus other incarcerated audience members. \u003cem>Country Music\u003c/em> airs on PBS stations, including KQED, from Sept. 15–25.\u003c/p>\n\u003cp>The event, which general population inmates attended voluntarily, occurred in a 373-capacity protestant chapel next to a neatly landscaped courtyard where men in blue denim mowed lawns. In addition to Cash, the prison has hosted musical acts including Metallica, Crime and, most recently, Queens of the Stone Age.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clips, together running a half hour, followed Haggard from his impoverished Central Valley upbringing to his time in prison (he witnessed Cash’s performance at San Quentin in 1959, while an inmate), and the development of his “outlaw” persona. Cash, meanwhile, is seen struggling with methamphetamine addiction before the concert recordings at Folsom and San Quentin draw acclaim and restart his career.\u003c/p>\n\u003cfigure id=\"attachment_13862096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg\" alt=\"Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to Country Music writer and co-producer Dayton Duncan (R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to ‘Country Music’ writer and co-producer Dayton Duncan (R). \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dayton Duncan, \u003cem>Country Music\u003c/em>‘s writer and co-producer who took questions alongside Burns and co-producer Julie Dunfey, described San Quentin as central to Haggard’s story. “You know, how important was Valley Forge to George Washington?” he said.\u003c/p>\n\u003cp>Duncan, choking up, then acknowledged the presence of an 80-year-old inmate named Curly Ray Martin, who once shared a cell with Haggard. “Merle taught me how to play bass,” said Martin, who performed with West Coast artists such as Rose Maddox before being incarcerated 52 years ago. “Listenin’ to Merle in here, his songs, everybody knew he was destined to be a big star,” he said.\u003c/p>\n\u003cp>Thomas, who chatted with reporters about Robert Mueller’s congressional testimony that morning (“You’d be surprised by the political savvy on the yard,” he said), brought up Burns’ 2012 documentary \u003cem>The Central Park Five\u003c/em>, about five teenagers wrongly imprisoned after being coerced to confess to rape in 1989. Thomas asked the filmmaker about his views on criminal-justice reform.\u003c/p>\n\u003cfigure id=\"attachment_13862095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg\" alt=\"San Quentin News reporters interview Ken Burns.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News reporters interview Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burns responded that interrogation practices deserve scrutiny. Mentioning \u003cem>College Behind Bars\u003c/em>, a forthcoming Lynn Novick documentary he executive produced, Burns stressed the role of education in reducing recidivism. “This is the time,” he said, noting such reforms have bipartisan support. “It can’t come too soon.”\u003c/p>\n\u003cp>More than a dozen incarcerated audience members stepped up to a microphone to ask questions, almost all of them professing intimate knowledge of Burns’ work. (PBS is one of few channels available in prison.) One of them, a FirstWatch filmmaker, noted the “Ken Burns effect,” a style of panning and zooming, available to use through iMovie.\u003c/p>\n\u003cp>Laughing, Burns replied, “You have to thank Steve Jobs for that one.”\u003c/p>\n\u003cp>Anthony Evans, an inmate, asked how the film addresses the “symbiotic relationship between country and the blues.” Duncan responded that the documentary traces the international roots of country, and examines the former market division between “race” and “hillbilly” music. Burns similarly noted the debate over how to categorize Lil Nas X’s “Old Town Road” reflects how black people’s contributions to country have long been minimized or ignored.\u003c/p>\n\u003cp>“It’s appropriate we’re in a chapel,” Burns said. “I want to share with you the gospel of country music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ken Burns, the prolific documentary filmmaker, addressed roughly 100 inmates at San Quentin State Prison on Wednesday with a message about redemption, destigmatizing incarceration and country music.\u003c/p>\n\u003cp>Country star Merle Haggard, Burns explained, was once reluctant to acknowledge his stint at prisons including San Quentin, fearful it would hurt his professional reputation. But Johnny Cash, well-known for concert recordings at Folsom State Prison and San Quentin, urged Haggard to be open about his time behind bars, and to draw on his experiences.\u003c/p>\n\u003cp>What Cash knew, and country music affirms, Burns said, is that “the value of a human being does not end when you walk in the front door of a place like this,” adding, “I know I’m preaching to the choir.”\u003c/p>\n\u003cfigure id=\"attachment_13862094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg\" alt=\"Rahsaan Thomas, Ear Hustle co-host and San Quentin News contributor, speaks with Ken Burns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rahsaan Thomas, ‘Ear Hustle’ co-host and San Quentin News contributor, speaks with Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was a preview of \u003cem>Country Music\u003c/em>, Burns’ forthcoming eight-part, 16-hour series on the “uniquely American art form.” He played clips from the series, focused on Cash and Haggard’s ties to California’s penal system, before fielding questions from Rahsaan Thomas, “inside” co-host of \u003cem>Ear Hustle\u003c/em> and a contributor to \u003cem>San Quentin News\u003c/em>, plus other incarcerated audience members. \u003cem>Country Music\u003c/em> airs on PBS stations, including KQED, from Sept. 15–25.\u003c/p>\n\u003cp>The event, which general population inmates attended voluntarily, occurred in a 373-capacity protestant chapel next to a neatly landscaped courtyard where men in blue denim mowed lawns. In addition to Cash, the prison has hosted musical acts including Metallica, Crime and, most recently, Queens of the Stone Age.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clips, together running a half hour, followed Haggard from his impoverished Central Valley upbringing to his time in prison (he witnessed Cash’s performance at San Quentin in 1959, while an inmate), and the development of his “outlaw” persona. Cash, meanwhile, is seen struggling with methamphetamine addiction before the concert recordings at Folsom and San Quentin draw acclaim and restart his career.\u003c/p>\n\u003cfigure id=\"attachment_13862096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg\" alt=\"Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to Country Music writer and co-producer Dayton Duncan (R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to ‘Country Music’ writer and co-producer Dayton Duncan (R). \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dayton Duncan, \u003cem>Country Music\u003c/em>‘s writer and co-producer who took questions alongside Burns and co-producer Julie Dunfey, described San Quentin as central to Haggard’s story. “You know, how important was Valley Forge to George Washington?” he said.\u003c/p>\n\u003cp>Duncan, choking up, then acknowledged the presence of an 80-year-old inmate named Curly Ray Martin, who once shared a cell with Haggard. “Merle taught me how to play bass,” said Martin, who performed with West Coast artists such as Rose Maddox before being incarcerated 52 years ago. “Listenin’ to Merle in here, his songs, everybody knew he was destined to be a big star,” he said.\u003c/p>\n\u003cp>Thomas, who chatted with reporters about Robert Mueller’s congressional testimony that morning (“You’d be surprised by the political savvy on the yard,” he said), brought up Burns’ 2012 documentary \u003cem>The Central Park Five\u003c/em>, about five teenagers wrongly imprisoned after being coerced to confess to rape in 1989. Thomas asked the filmmaker about his views on criminal-justice reform.\u003c/p>\n\u003cfigure id=\"attachment_13862095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg\" alt=\"San Quentin News reporters interview Ken Burns.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News reporters interview Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burns responded that interrogation practices deserve scrutiny. Mentioning \u003cem>College Behind Bars\u003c/em>, a forthcoming Lynn Novick documentary he executive produced, Burns stressed the role of education in reducing recidivism. “This is the time,” he said, noting such reforms have bipartisan support. “It can’t come too soon.”\u003c/p>\n\u003cp>More than a dozen incarcerated audience members stepped up to a microphone to ask questions, almost all of them professing intimate knowledge of Burns’ work. (PBS is one of few channels available in prison.) One of them, a FirstWatch filmmaker, noted the “Ken Burns effect,” a style of panning and zooming, available to use through iMovie.\u003c/p>\n\u003cp>Laughing, Burns replied, “You have to thank Steve Jobs for that one.”\u003c/p>\n\u003cp>Anthony Evans, an inmate, asked how the film addresses the “symbiotic relationship between country and the blues.” Duncan responded that the documentary traces the international roots of country, and examines the former market division between “race” and “hillbilly” music. Burns similarly noted the debate over how to categorize Lil Nas X’s “Old Town Road” reflects how black people’s contributions to country have long been minimized or ignored.\u003c/p>\n\u003cp>“It’s appropriate we’re in a chapel,” Burns said. “I want to share with you the gospel of country music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Actor Rutger Hauer, of ‘Blade Runner’ Fame, Has Died at 75",
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"content": "\u003cp>NEW YORK (AP) — Dutch film actor Rutger Hauer, who specialized in menacing roles, including a memorable turn as a murderous android in “Blade Runner” opposite Harrison Ford, has died. He was 75.\u003c/p>\n\u003cp>Hauer’s agent, Steve Kenis, says the actor died July 19 at his home in the Netherlands.\u003c/p>\n\u003cp>Hauer’s roles included a terrorist in \u003cem>Nighthawks\u003c/em> with Sylvester Stallone, Cardinal Roark in \u003cem>Sin City\u003c/em> and playing an evil corporate executive in\u003cem> Batman Begins\u003c/em>. He was in the big-budget 1985 fantasy \u003cem>Ladyhawke\u003c/em>, portrayed a menacing hitchhiker who’s picked up by a murderer in the Mojave Desert in \u003cem>The Hitcher\u003c/em> and won a supporting-actor Golden Globe award in 1988 for \u003cem>Escape from Sobibor\u003c/em>.\u003c/p>\n\u003cp>“He was always a gentleman, kind and compassionate. Sending our condolences and prayers to his family, friends and fans,” Gene Simmons, the KISS bassist who starred opposite Hauer in \u003cem>Wanted: Dead or Alive\u003c/em>, wrote on Twitter.\u003c/p>\n\u003cp>In \u003cem>Blade Runner\u003c/em>, Hauer played the murderous replicant Roy Batty on a desperate quest to prolong his artificially shortened life in post-apocalyptic, 21st-century Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his dying, rain-soaked soliloquy, he looked back at his extraordinary existence. “All those moments will be lost in time. Like tears in rain. Time to die,” he said.\u003c/p>\n\u003cp>“It’s so much fun to playfully roam into the dark side of the soul and tease people,” the actor told The Associated Press in 1987. “If you try to work on human beings’ light side, that’s harder. What is good is hard. Most people try to be good all their lives. So you have to work harder to make those characters interesting.”\u003c/p>\n\u003cp>Hauer’s ruggedly handsome face, blue eyes and strong physique drew the attention of American producers in such international successes as \u003cem>Turkish Delight\u003c/em>, \u003cem>Spetters\u003c/em> and \u003cem>Soldier of Orange\u003c/em>. The offers from the United States came as a surprise to Hauer, who faced the same uncertain future experienced by other Dutch film actors.\u003c/p>\n\u003cp>“We make about 10 films a year, all in Dutch,” he recalled. “You act for your own community, basically, which is fine. But you can’t live on it. There is also the danger of overexposure; you can’t be too greedy.” After the world recognition for \u003cem>Soldier of Orange\u003c/em>, a friend suggested Hauer might be able to find work in American films.\u003c/p>\n\u003cp>Hauer was born in the Netherlands village of Breukelen. His parents were actors but he had little concentration for school and at 15 ran away as a seaman on a freighter. That didn’t take, nor did a stint in the army, and his parents decided he was destined to follow the family profession. Rutger enrolled in acting school.\u003c/p>\n\u003cp>Hauer spent five years with a small troupe bringing theater to rural Holland. He made his film debut in the saucy \u003cem>Turkish Delight\u003c/em>, nominated for an Oscar as best foreign-language film of 1973.\u003c/p>\n\u003cp>Earlier in his career, a Hollywood agent suggested changing his name to something easier for the American public to learn. The actor declined. “If you’re good enough, people will remember your name,” he explained.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his wife of 50 years, Ineke ten Cate, and a daughter, actress Aysha Hauer, from a previous marriage.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NEW YORK (AP) — Dutch film actor Rutger Hauer, who specialized in menacing roles, including a memorable turn as a murderous android in “Blade Runner” opposite Harrison Ford, has died. He was 75.\u003c/p>\n\u003cp>Hauer’s agent, Steve Kenis, says the actor died July 19 at his home in the Netherlands.\u003c/p>\n\u003cp>Hauer’s roles included a terrorist in \u003cem>Nighthawks\u003c/em> with Sylvester Stallone, Cardinal Roark in \u003cem>Sin City\u003c/em> and playing an evil corporate executive in\u003cem> Batman Begins\u003c/em>. He was in the big-budget 1985 fantasy \u003cem>Ladyhawke\u003c/em>, portrayed a menacing hitchhiker who’s picked up by a murderer in the Mojave Desert in \u003cem>The Hitcher\u003c/em> and won a supporting-actor Golden Globe award in 1988 for \u003cem>Escape from Sobibor\u003c/em>.\u003c/p>\n\u003cp>“He was always a gentleman, kind and compassionate. Sending our condolences and prayers to his family, friends and fans,” Gene Simmons, the KISS bassist who starred opposite Hauer in \u003cem>Wanted: Dead or Alive\u003c/em>, wrote on Twitter.\u003c/p>\n\u003cp>In \u003cem>Blade Runner\u003c/em>, Hauer played the murderous replicant Roy Batty on a desperate quest to prolong his artificially shortened life in post-apocalyptic, 21st-century Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his dying, rain-soaked soliloquy, he looked back at his extraordinary existence. “All those moments will be lost in time. Like tears in rain. Time to die,” he said.\u003c/p>\n\u003cp>“It’s so much fun to playfully roam into the dark side of the soul and tease people,” the actor told The Associated Press in 1987. “If you try to work on human beings’ light side, that’s harder. What is good is hard. Most people try to be good all their lives. So you have to work harder to make those characters interesting.”\u003c/p>\n\u003cp>Hauer’s ruggedly handsome face, blue eyes and strong physique drew the attention of American producers in such international successes as \u003cem>Turkish Delight\u003c/em>, \u003cem>Spetters\u003c/em> and \u003cem>Soldier of Orange\u003c/em>. The offers from the United States came as a surprise to Hauer, who faced the same uncertain future experienced by other Dutch film actors.\u003c/p>\n\u003cp>“We make about 10 films a year, all in Dutch,” he recalled. “You act for your own community, basically, which is fine. But you can’t live on it. There is also the danger of overexposure; you can’t be too greedy.” After the world recognition for \u003cem>Soldier of Orange\u003c/em>, a friend suggested Hauer might be able to find work in American films.\u003c/p>\n\u003cp>Hauer was born in the Netherlands village of Breukelen. His parents were actors but he had little concentration for school and at 15 ran away as a seaman on a freighter. That didn’t take, nor did a stint in the army, and his parents decided he was destined to follow the family profession. Rutger enrolled in acting school.\u003c/p>\n\u003cp>Hauer spent five years with a small troupe bringing theater to rural Holland. He made his film debut in the saucy \u003cem>Turkish Delight\u003c/em>, nominated for an Oscar as best foreign-language film of 1973.\u003c/p>\n\u003cp>Earlier in his career, a Hollywood agent suggested changing his name to something easier for the American public to learn. The actor declined. “If you’re good enough, people will remember your name,” he explained.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his wife of 50 years, Ineke ten Cate, and a daughter, actress Aysha Hauer, from a previous marriage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "BART's Fare Evasion Crackdown Exposes the 'Deadly Elegance' of Hostile Design",
"headTitle": "BART’s Fare Evasion Crackdown Exposes the ‘Deadly Elegance’ of Hostile Design | KQED",
"content": "\u003cp>A city’s public architecture can tell you a lot about \u003ca href=\"https://www.atlasobscura.com/articles/the-subtle-design-features-that-make-cities-feel-more-hostile\" target=\"_blank\" rel=\"noopener\">what it thinks of its citizens\u003c/a>. Are the benches comfortable? Can I lay down here? Is there a place to sit while waiting for the bus? Urban planning provides tangible evidence of how a region grapples with some of its most pressing issues, whether that’s budget shortfalls or a crisis of livability.\u003c/p>\n\u003cp>Bay Area Rapid Transit is currently under fire for its pilot project aimed at preventing fare evaders from jumping through turnstiles with newly-installed modifications to gates at the Richmond and Fruitvale stations. The retrofitted gates, officially \u003ca href=\"https://www.bart.gov/about/bod/multimedia\" target=\"_blank\" rel=\"noopener\">presented\u003c/a> to BART’s board of directors as ‘Double-Decker’ and ‘Pop-Up’ modifications, have been derided as ‘\u003ca href=\"https://twitter.com/citizenkrans/status/1152340444597981184?s=21\" target=\"_blank\" rel=\"noopener\">skull-crushers\u003c/a>‘ and ‘inverted guillotine’ gates by riders on Twitter.\u003c/p>\n\u003cp>“I haven’t seen anything that even comes close to the overt hostility of these inverted guillotine prototypes,” says Kurt Kohlstedt, digital director and producer for the architecture and design podcast \u003ca href=\"https://99percentinvisible.org/author/kurt-kohlstedt/\" target=\"_blank\" rel=\"noopener\">\u003ci>99% Invisible\u003c/i>\u003c/a>. “Usually they try to hide it better! I’ve encountered a lot of hostile design, but this one really takes the cake.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/LinaBlanco/status/1152333254298521600\" target=\"_blank\" rel=\"noopener\">viral tweet\u003c/a> over the weekend, BART riders expressed their concerns over a recent fare-evasion modification pilot gate spotted at Fruitvale station. Many were quick to point out how the preventative effort is a disturbing example of anti-poor, anti-homeless and ableist design. Others called the prototypes an extreme example of hostile architecture.\u003c/p>\n\u003cp>https://twitter.com/AntonioDRAMsci/status/1152643674842570752\u003c/p>\n\u003cp>At its root, hostile or defensive architecture \u003ca href=\"https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/\" target=\"_blank\" rel=\"noopener\">embodies the “anti.”\u003c/a> Whether it’s anti-litter, anti-skating, anti-sitting, anti-loitering or anti-fare evading, the goal of hostile design is to prevent a person or group from taking specific actions, relying on an object’s mass, edges, weight, and other defining characteristics to alter behavior.\u003c/p>\n\u003cp>San Francisco is \u003ca href=\"https://www.sfchronicle.com/entertainment/article/S-F-loves-anti-homeless-design-just-look-around-6147842.php\" target=\"_blank\" rel=\"noopener\">no stranger to hostile architecture\u003c/a> and is often toted as one of the most unfriendly cities for low-income and homeless populations. “A lot of the design, in general, these days is creating an environment where people who are marginalized are not welcome,” says Kelley Cutler, human rights organizer at the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a>.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Kelley Cutler, Coalition on Homelessness']“A lot of the design, in general, these days is creating an environment where people who are marginalized are not welcome.”[/pullquote]\u003c/p>\n\u003cp>Rocks, spikes, restrictive benches, loud music and barricades are all obvious examples of hostile design, but Kohlstedt explains it can also be camouflaged. Spikes are obvious, but boulders aren’t. Metal blades are egregious, but classical music blaring outside of an establishment isn’t. Restrictive barriers are overt, but the absence of park benches, water fountains and public restrooms isn’t. “Hostile design can be not just the presence of something, but the absence,” he adds.\u003c/p>\n\u003cp>\u003ca href=\"https://www.vice.com/en_us/article/kzm53n/photos-of-the-most-egregious-anti-homeless-architecture\" target=\"_blank\" rel=\"noopener\">At its worst\u003c/a>, hostile design prevents society’s most vulnerable populations from finding sanctuary or rest, revealing a broader sentiment of how a city, landlords and residents feel and act towards unhoused communities.\u003c/p>\n\u003cp>Kohlstedt’s \u003ca href=\"https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/\" target=\"_blank\" rel=\"noopener\">stories tackle both overt\u003c/a> and \u003ca href=\"https://99percentinvisible.org/article/unpleasant-design-disguise-bike-racks-boulders-defensive-urbanism/\" target=\"_blank\" rel=\"noopener\">discreet\u003c/a> hostilities fashioned by urban planners and developers around the world, but there’s plenty of examples right here in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13861964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861964 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-800x600.jpg\" alt='A cafe on Larkin in the Tenderloin uses metal attachments to prevent people from sitting in an open windowsill. \"Being aware of hostile design helps people know what their city is interested in doing,\" says Kurt Kohlstedt.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A cafe on Larkin in the Tenderloin uses metal attachments to prevent people from sitting in an open windowsill. “Being aware of hostile design helps people know what their city is interested in doing,” says Kurt Kohlstedt. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861963\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861963 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-800x600.jpg\" alt=\"A park bench with armrests off Market Street near Embarcadero BART Station. Hostile design is motivated by preventing a person or group from taking specific actions.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A park bench with armrests off Market Street near Embarcadero BART Station. Hostile design is motivated by preventing a person or group from taking specific actions. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861965 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-800x600.jpg\" alt=\"Spikes at the San Francisco courthouse that prevent people from sitting are an egregious example of hostile architecture.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spikes at the San Francisco courthouse that prevent people from sitting are an egregious example of hostile architecture. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861960 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-800x600.jpg\" alt=\"The plaza at the Phillip Burton Federal Building near Civic Center is a playground of hostile architecture. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza at the Phillip Burton Federal Building near Civic Center is a playground of hostile architecture. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861962\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861962 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-800x600.jpg\" alt=\"Don't let the flowers fool you. Angular steel stools installed on the plaza of Phillip Burton Federal Building prevent people from loitering.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t let the flowers fool you. Angular steel stools installed on the plaza of Phillip Burton Federal Building prevent people from loitering. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the more disturbing features of hostile urban design is its ability to camouflage its true purpose with aesthetics. Whimsical, modern benches with curvaceous lines might look inviting to a weary traveler, but they would never support a full night’s sleep. Similarly, armrests on a bench might seem like added comfort, not bars preventing anyone from laying down. Much of hostile architecture lives in a gray area, under the guise of a public amenity, but in practice functions as acts of aggression toward specific user groups.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Kurt Kohlstedt, 99% Invisible']“Hostile design can be not just the presence of something, but the absence.”[/pullquote]\u003c/p>\n\u003cp>BART engineers are tasked with a seemingly impossible design problem to prevent BART from losing $15 to $25 million in fare evasion within the confines of existing turnstile structures. Adding blades to turnstiles results in what Kohlstedt describes as a “deadly elegance.” At best, the patchwork hack might increase revenue by a few million dollars. Yet an underlying concern is that pilot programs like these could alienate riders from taking public transportation entirely.\u003c/p>\n\u003cp>When questioned about these concerns, BART Media Relations Manager James K. Allison shared that BART is currently participating in a 12-to-18 month means-based fare discount program starting in Fall 2019. The pilot program through the \u003ca href=\"https://mtc.ca.gov/our-work/plans-projects/other-plans/means-based-fare-discount-program\" target=\"_blank\" rel=\"noopener\">Metropolitan Transportation Commission\u003c/a> would provide eligible low-income riders a 20-percent fare discount aimed at addressing larger issues of affordability. However, \u003ca href=\"https://mtc.ca.gov/sites/default/files/Summary_MTC_Mean_Based_Overview_DRAFT_FINAL.pdf\" target=\"_blank\" rel=\"noopener\">eligibility requires\u003c/a> adults to submit documentation that proves income status or enrollment in low-income programs. Documentation of enrollment in low-income programs like Medi-Cal requires mailing addresses and working phone numbers, conditions that make it increasingly difficult for communities without stable housing to enroll.\u003c/p>\n\u003cp>In a statement, BART reiterated that their staff would never have installed pilot modifications if they believed these changes could potentially injure someone. BART maintains that no injuries have been reported at either Fruitvale or Richmond stations.\u003c/p>\n\u003cp>But riders and experts\u003ca href=\"https://twitter.com/RickPaulas/status/1152956103686336512\" target=\"_blank\" rel=\"noopener\"> aren’t convinced\u003c/a>.\u003c/p>\n\u003cp>“If there’s one positive thing I can say about them, it’s that they highlight just how hostile design can be,” says Kohlstedt. “Completely by accident and not by design at all, they’re proving to be a really good awareness-raising device.”\u003c/p>\n\u003cp>The old adage goes: Once you see it, you can’t unsee it. And maybe that’s the success of BART’s fare-evasion pilot program. “Being aware of hostile design helps people know what their city is interested in doing and the ability for them to decide if they agree with what their city is interested in doing,” adds Kohlstedt.\u003c/p>\n\u003cp>So next time you find yourself walking through your city, look around and see how many examples of \u003ca href=\"https://twitter.com/TheCoalitionSF/status/1063520168792416256\" target=\"_blank\" rel=\"noopener\">hostile design\u003c/a> you can find.\u003c/p>\n\u003cp>The results may surprise you.\u003c/p>\n\u003cp>\u003cem>This interactive map of San Francisco’s Hostile Design was produced by Heidi Loosen of UC Berkeley in partnership with the SF Coalition on Homelessness. \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"600\" frameborder=\"0\" scrolling=\"no\" src=\"//www.arcgis.com/apps/Embed/index.html?webmap=f0f50401077243de8e55dd03332466b5&extent=-122.5463,37.6993,-122.2928,37.8157&zoom=true&previewImage=false&scale=true&disable_scroll=true&theme=light\" class=\"iframe-class\">\u003c/iframe>\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>A city’s public architecture can tell you a lot about \u003ca href=\"https://www.atlasobscura.com/articles/the-subtle-design-features-that-make-cities-feel-more-hostile\" target=\"_blank\" rel=\"noopener\">what it thinks of its citizens\u003c/a>. Are the benches comfortable? Can I lay down here? Is there a place to sit while waiting for the bus? Urban planning provides tangible evidence of how a region grapples with some of its most pressing issues, whether that’s budget shortfalls or a crisis of livability.\u003c/p>\n\u003cp>Bay Area Rapid Transit is currently under fire for its pilot project aimed at preventing fare evaders from jumping through turnstiles with newly-installed modifications to gates at the Richmond and Fruitvale stations. The retrofitted gates, officially \u003ca href=\"https://www.bart.gov/about/bod/multimedia\" target=\"_blank\" rel=\"noopener\">presented\u003c/a> to BART’s board of directors as ‘Double-Decker’ and ‘Pop-Up’ modifications, have been derided as ‘\u003ca href=\"https://twitter.com/citizenkrans/status/1152340444597981184?s=21\" target=\"_blank\" rel=\"noopener\">skull-crushers\u003c/a>‘ and ‘inverted guillotine’ gates by riders on Twitter.\u003c/p>\n\u003cp>“I haven’t seen anything that even comes close to the overt hostility of these inverted guillotine prototypes,” says Kurt Kohlstedt, digital director and producer for the architecture and design podcast \u003ca href=\"https://99percentinvisible.org/author/kurt-kohlstedt/\" target=\"_blank\" rel=\"noopener\">\u003ci>99% Invisible\u003c/i>\u003c/a>. “Usually they try to hide it better! I’ve encountered a lot of hostile design, but this one really takes the cake.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/LinaBlanco/status/1152333254298521600\" target=\"_blank\" rel=\"noopener\">viral tweet\u003c/a> over the weekend, BART riders expressed their concerns over a recent fare-evasion modification pilot gate spotted at Fruitvale station. Many were quick to point out how the preventative effort is a disturbing example of anti-poor, anti-homeless and ableist design. Others called the prototypes an extreme example of hostile architecture.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>At its root, hostile or defensive architecture \u003ca href=\"https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/\" target=\"_blank\" rel=\"noopener\">embodies the “anti.”\u003c/a> Whether it’s anti-litter, anti-skating, anti-sitting, anti-loitering or anti-fare evading, the goal of hostile design is to prevent a person or group from taking specific actions, relying on an object’s mass, edges, weight, and other defining characteristics to alter behavior.\u003c/p>\n\u003cp>San Francisco is \u003ca href=\"https://www.sfchronicle.com/entertainment/article/S-F-loves-anti-homeless-design-just-look-around-6147842.php\" target=\"_blank\" rel=\"noopener\">no stranger to hostile architecture\u003c/a> and is often toted as one of the most unfriendly cities for low-income and homeless populations. “A lot of the design, in general, these days is creating an environment where people who are marginalized are not welcome,” says Kelley Cutler, human rights organizer at the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rocks, spikes, restrictive benches, loud music and barricades are all obvious examples of hostile design, but Kohlstedt explains it can also be camouflaged. Spikes are obvious, but boulders aren’t. Metal blades are egregious, but classical music blaring outside of an establishment isn’t. Restrictive barriers are overt, but the absence of park benches, water fountains and public restrooms isn’t. “Hostile design can be not just the presence of something, but the absence,” he adds.\u003c/p>\n\u003cp>\u003ca href=\"https://www.vice.com/en_us/article/kzm53n/photos-of-the-most-egregious-anti-homeless-architecture\" target=\"_blank\" rel=\"noopener\">At its worst\u003c/a>, hostile design prevents society’s most vulnerable populations from finding sanctuary or rest, revealing a broader sentiment of how a city, landlords and residents feel and act towards unhoused communities.\u003c/p>\n\u003cp>Kohlstedt’s \u003ca href=\"https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/\" target=\"_blank\" rel=\"noopener\">stories tackle both overt\u003c/a> and \u003ca href=\"https://99percentinvisible.org/article/unpleasant-design-disguise-bike-racks-boulders-defensive-urbanism/\" target=\"_blank\" rel=\"noopener\">discreet\u003c/a> hostilities fashioned by urban planners and developers around the world, but there’s plenty of examples right here in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13861964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861964 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-800x600.jpg\" alt='A cafe on Larkin in the Tenderloin uses metal attachments to prevent people from sitting in an open windowsill. \"Being aware of hostile design helps people know what their city is interested in doing,\" says Kurt Kohlstedt.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A cafe on Larkin in the Tenderloin uses metal attachments to prevent people from sitting in an open windowsill. “Being aware of hostile design helps people know what their city is interested in doing,” says Kurt Kohlstedt. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861963\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861963 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-800x600.jpg\" alt=\"A park bench with armrests off Market Street near Embarcadero BART Station. Hostile design is motivated by preventing a person or group from taking specific actions.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A park bench with armrests off Market Street near Embarcadero BART Station. Hostile design is motivated by preventing a person or group from taking specific actions. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861965 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-800x600.jpg\" alt=\"Spikes at the San Francisco courthouse that prevent people from sitting are an egregious example of hostile architecture.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spikes at the San Francisco courthouse that prevent people from sitting are an egregious example of hostile architecture. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861960 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-800x600.jpg\" alt=\"The plaza at the Phillip Burton Federal Building near Civic Center is a playground of hostile architecture. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza at the Phillip Burton Federal Building near Civic Center is a playground of hostile architecture. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861962\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861962 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-800x600.jpg\" alt=\"Don't let the flowers fool you. Angular steel stools installed on the plaza of Phillip Burton Federal Building prevent people from loitering.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t let the flowers fool you. Angular steel stools installed on the plaza of Phillip Burton Federal Building prevent people from loitering. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the more disturbing features of hostile urban design is its ability to camouflage its true purpose with aesthetics. Whimsical, modern benches with curvaceous lines might look inviting to a weary traveler, but they would never support a full night’s sleep. Similarly, armrests on a bench might seem like added comfort, not bars preventing anyone from laying down. Much of hostile architecture lives in a gray area, under the guise of a public amenity, but in practice functions as acts of aggression toward specific user groups.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“Hostile design can be not just the presence of something, but the absence.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>BART engineers are tasked with a seemingly impossible design problem to prevent BART from losing $15 to $25 million in fare evasion within the confines of existing turnstile structures. Adding blades to turnstiles results in what Kohlstedt describes as a “deadly elegance.” At best, the patchwork hack might increase revenue by a few million dollars. Yet an underlying concern is that pilot programs like these could alienate riders from taking public transportation entirely.\u003c/p>\n\u003cp>When questioned about these concerns, BART Media Relations Manager James K. Allison shared that BART is currently participating in a 12-to-18 month means-based fare discount program starting in Fall 2019. The pilot program through the \u003ca href=\"https://mtc.ca.gov/our-work/plans-projects/other-plans/means-based-fare-discount-program\" target=\"_blank\" rel=\"noopener\">Metropolitan Transportation Commission\u003c/a> would provide eligible low-income riders a 20-percent fare discount aimed at addressing larger issues of affordability. However, \u003ca href=\"https://mtc.ca.gov/sites/default/files/Summary_MTC_Mean_Based_Overview_DRAFT_FINAL.pdf\" target=\"_blank\" rel=\"noopener\">eligibility requires\u003c/a> adults to submit documentation that proves income status or enrollment in low-income programs. Documentation of enrollment in low-income programs like Medi-Cal requires mailing addresses and working phone numbers, conditions that make it increasingly difficult for communities without stable housing to enroll.\u003c/p>\n\u003cp>In a statement, BART reiterated that their staff would never have installed pilot modifications if they believed these changes could potentially injure someone. BART maintains that no injuries have been reported at either Fruitvale or Richmond stations.\u003c/p>\n\u003cp>But riders and experts\u003ca href=\"https://twitter.com/RickPaulas/status/1152956103686336512\" target=\"_blank\" rel=\"noopener\"> aren’t convinced\u003c/a>.\u003c/p>\n\u003cp>“If there’s one positive thing I can say about them, it’s that they highlight just how hostile design can be,” says Kohlstedt. “Completely by accident and not by design at all, they’re proving to be a really good awareness-raising device.”\u003c/p>\n\u003cp>The old adage goes: Once you see it, you can’t unsee it. And maybe that’s the success of BART’s fare-evasion pilot program. “Being aware of hostile design helps people know what their city is interested in doing and the ability for them to decide if they agree with what their city is interested in doing,” adds Kohlstedt.\u003c/p>\n\u003cp>So next time you find yourself walking through your city, look around and see how many examples of \u003ca href=\"https://twitter.com/TheCoalitionSF/status/1063520168792416256\" target=\"_blank\" rel=\"noopener\">hostile design\u003c/a> you can find.\u003c/p>\n\u003cp>The results may surprise you.\u003c/p>\n\u003cp>\u003cem>This interactive map of San Francisco’s Hostile Design was produced by Heidi Loosen of UC Berkeley in partnership with the SF Coalition on Homelessness. \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"600\" frameborder=\"0\" scrolling=\"no\" src=\"//www.arcgis.com/apps/Embed/index.html?webmap=f0f50401077243de8e55dd03332466b5&extent=-122.5463,37.6993,-122.2928,37.8157&zoom=true&previewImage=false&scale=true&disable_scroll=true&theme=light\" class=\"iframe-class\">\u003c/iframe>\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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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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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": {
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"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.",
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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",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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