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"title": "In Vallejo, ‘Bureaucratic Bullying’ Threatens a Nature Preserve and Unlikely Arts Hub",
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"content": "\u003cp>On a recent Sunday morning, Myrna Hayes reclined in an upholstered chair beneath a chirping swallow nest on the stoop of what was once a munitions bunker on Vallejo’s Mare Island. She looked out at some 200 acres of scrub and structures overrun by vegetation, former naval facilities she’s helped restore and manage as a nature preserve for the past 25 years.\u003c/p>\n\u003cp>“It’s like the Presidio,” Hayes said. “But gone wild.”\u003c/p>\n\u003cp>As head of the shoestring nonprofit overseeing the Mare Island Shoreline Heritage Preserve, which opened to the public in 2008 and overlooks the San Pablo Bay and Carquinez Strait, Hayes and her fellow volunteers facilitate events and manage a dozen campsites here. They also run the depot-turned-visitor-center, where artifacts of natural and naval history commingle with hand-painted signs soliciting donations.\u003c/p>\n\u003cp>Hayes, 63, has a familiar rapport with the preserve’s regulars. As we spoke she greeted Richard, who built yurts on two of the campsites, and then Rina, a camper who was returning some rags she’d taken home to wash. Hayes brings her conviction as a conservationist to the preserve, familiar with the island’s endemic species, and also her vision as a sort of “curator,” as supporters call her, who encourages the preserve’s appeal to naturalists and artists alike. “It’s riveting for me to watch this place as a real-time play,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13861896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/depot-w-fennel-800x450.jpg\" alt=\"Once the largest naval base on the West Coast, Mare Island is dramatic redevelopment.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Once the largest naval base on the West Coast, Mare Island is undergoing dramatic redevelopment. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.re-sound.net/\">Re:Sound\u003c/a>, a concert series of experimental electronic music, started five years ago as part of the San Francisco Bay \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival/MARE_ISLAND_PRESERVE_HOMEPAGE.html\">Flyway Festival\u003c/a>, which draws hundreds to the island to observe migrating birds. The shows occur in a disused munitions magazine; artists including Rova Saxophone Quartet’s Larry Ochs and Thingamajigs Performance Group have also played in the concrete structure. Paul Boneberg, a Vallejo arts commissioner, described the sound art programming as creative reuse like little else in the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, though, Hayes believes the unique blend of arts and outdoors uses is at risk. Real-estate development on Mare Island, coupled with what she considers “bureaucratic bullying,” threaten her volunteer group’s longtime role, and with it Hayes’ open-minded style of stewardship and public access.\u003c/p>\n\u003cp>“I’m told that rich people are buying the island,” Hayes said. “And they don’t like the way I run this park.”\u003c/p>\n\u003ch2>Soliciting New Management\u003c/h2>\n\u003cp>Mare Island, once the largest naval base on the West Coast, looks largely untouched since the military left in 1996, but it’s the site of one of the Bay Area’s largest development mega-projects. The \u003ca href=\"http://www.nimitzgroup.com/\">Nimitz Group\u003c/a>, led by a local wine entrepreneur and a southern investor, has acquired hundreds of acres of property for what it envisions as a practically self-contained commercial and residential district. And city officials in Vallejo, recovering from a municipal bankruptcy in 2008, eagerly await the new economic base.\u003c/p>\n\u003cfigure id=\"attachment_13861890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861890\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/mare-Island-depot-800x450.jpg\" alt=\"At the Mare Island Shoreline Heritage Preserve's visitors center, artifacts of naval and natural history commingle.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the Mare Island Shoreline Heritage Preserve’s visitors center, artifacts of naval and natural history commingle. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a Vallejo City Council meeting in May, City Manager Greg Nyhoff said that there’s no plan to develop the preserve; it’s actually set to expand when the navy transfers an adjacent tract to the city. But Hayes sees a campaign to remove her group. Officials recently told her to disallow overnight camping, which last year accounted for roughly a third of her nonprofit’s $97,000 in total revenue, and the city is reluctant to issue once-routine permits for events such as Re:Sound.\u003c/p>\n\u003cp>Last year, Vallejo set aside money to renovate the visitors center, but Hayes’ group hasn’t received it. And at the meeting this May, City Council voted to issue a request-for-qualifications soliciting organizations for operations, maintenance and management of the Mare Island Regional Park Lands.\u003c/p>\n\u003cp>“We absolutely invite the Mare Island Heritage Trust to be an applicant,” said Nyhoff, referring to Hayes’ nonprofit. “There’s no action that’s been taken to this date about ruling anybody out or ruling anybody in.”\u003c/p>\n\u003cp>But councilperson Robert McConnell, who cast the sole vote against the request for qualifications, said at the meeting that the city should already have a formal agreement with Hayes’ group. Vallejo should find another entity to manage the land expected to transfer from the Navy (which will require extensive remediation), he argued, and enshrine its partnership with Hayes for the extant preserve. “I do not believe we should be turning our backs on a partner of eleven and a half years,” McConnell said.\u003c/p>\n\u003cfigure id=\"attachment_13861894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Resound-bunker-800x450.jpg\" alt=\"Re:Sound, an experimental music series, occurs in a disused munitions magazine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Re:Sound, an experimental music series, occurs in a disused munitions magazine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘No Sensitivity’\u003c/h2>\n\u003cp>Appointed to a restoration advisory board in 1994, Hayes remembers the Civil War-era artillery rusting on the shoreline, a vending machine pulled out of the pond, and the protracted years of environmental remediation and approvals. The preserve first opened to the public weeks before the municipal bankruptcy in 2008, and she steered it through the ensuing services crisis, all without compensation. Now that the city is finally poised to invest in the preserve, Hayes and her volunteers feel sidelined.\u003c/p>\n\u003cp>Nimitz Group recently acquired an overgrown golf course next to the preserve, and Hayes pointed out where city contractors have begun trimming weeds and, to her dismay, spraying herbicide. “No sensitivity for historic trees, native plants,” she said. Picking blackberries, she worried aloud about foraging habitat for bluebirds, which nest in front of the visitors center, seeming stressed to be left out of critical upkeep decisions. “Some people say the rattlesnakes listen to me,” she said. “And they do.”\u003c/p>\n\u003cfigure id=\"attachment_13861889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861889\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-800x450.jpg\" alt=\"Vegetation overgrows former naval facilities at the Mare Island Shoreline Heritage Preserve. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vegetation overgrows former naval facilities at the Mare Island Shoreline Heritage Preserve. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians and sound artists, meanwhile, worry another operator won’t continue to make the dilapidated but intensely resonant buildings available for performance and recording. Six years ago, Hayes recommended the 12,000-square-foot munitions magazine as a venue to Jen Boyd, who asked fellow experimental musician Kevin Corcoran to help organize the inaugural Re:Sound. “Without Myrna, Re:Sound wouldn’t be possible,” Corcoran said.\u003c/p>\n\u003cp>Corcoran, who has incorporated Mare Island field recordings into his work, recalled first encountering the munitions magazine. “You open the door and this enormous, squealing sound echoes through the space with something like a 7-second reverb tail,” he said. “It’s industrial, it’s brutal, it’s designed to contain an explosion, but there’s also this aroma of fennel pollen drying in the building.”\u003c/p>\n\u003cp>Awed by the setting, and encouraged by Hayes, what was meant as a one-off became a series, since attracting performers including Paul Clipson, Maggi Payne, Voicehandler and Zachary James Watkins. Often, artists reference the island in their sets. “But whatever you do there becomes site-specific,” said Corcoran. “You work with the sound of the door, the ferry and the migrating birds overhead.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He added, “We also encourage performers to think critically about repurposing this venue with a past rooted in destruction.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Sunday morning, Myrna Hayes reclined in an upholstered chair beneath a chirping swallow nest on the stoop of what was once a munitions bunker on Vallejo’s Mare Island. She looked out at some 200 acres of scrub and structures overrun by vegetation, former naval facilities she’s helped restore and manage as a nature preserve for the past 25 years.\u003c/p>\n\u003cp>“It’s like the Presidio,” Hayes said. “But gone wild.”\u003c/p>\n\u003cp>As head of the shoestring nonprofit overseeing the Mare Island Shoreline Heritage Preserve, which opened to the public in 2008 and overlooks the San Pablo Bay and Carquinez Strait, Hayes and her fellow volunteers facilitate events and manage a dozen campsites here. They also run the depot-turned-visitor-center, where artifacts of natural and naval history commingle with hand-painted signs soliciting donations.\u003c/p>\n\u003cp>Hayes, 63, has a familiar rapport with the preserve’s regulars. As we spoke she greeted Richard, who built yurts on two of the campsites, and then Rina, a camper who was returning some rags she’d taken home to wash. Hayes brings her conviction as a conservationist to the preserve, familiar with the island’s endemic species, and also her vision as a sort of “curator,” as supporters call her, who encourages the preserve’s appeal to naturalists and artists alike. “It’s riveting for me to watch this place as a real-time play,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13861896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/depot-w-fennel-800x450.jpg\" alt=\"Once the largest naval base on the West Coast, Mare Island is dramatic redevelopment.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Once the largest naval base on the West Coast, Mare Island is undergoing dramatic redevelopment. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.re-sound.net/\">Re:Sound\u003c/a>, a concert series of experimental electronic music, started five years ago as part of the San Francisco Bay \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival/MARE_ISLAND_PRESERVE_HOMEPAGE.html\">Flyway Festival\u003c/a>, which draws hundreds to the island to observe migrating birds. The shows occur in a disused munitions magazine; artists including Rova Saxophone Quartet’s Larry Ochs and Thingamajigs Performance Group have also played in the concrete structure. Paul Boneberg, a Vallejo arts commissioner, described the sound art programming as creative reuse like little else in the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, though, Hayes believes the unique blend of arts and outdoors uses is at risk. Real-estate development on Mare Island, coupled with what she considers “bureaucratic bullying,” threaten her volunteer group’s longtime role, and with it Hayes’ open-minded style of stewardship and public access.\u003c/p>\n\u003cp>“I’m told that rich people are buying the island,” Hayes said. “And they don’t like the way I run this park.”\u003c/p>\n\u003ch2>Soliciting New Management\u003c/h2>\n\u003cp>Mare Island, once the largest naval base on the West Coast, looks largely untouched since the military left in 1996, but it’s the site of one of the Bay Area’s largest development mega-projects. The \u003ca href=\"http://www.nimitzgroup.com/\">Nimitz Group\u003c/a>, led by a local wine entrepreneur and a southern investor, has acquired hundreds of acres of property for what it envisions as a practically self-contained commercial and residential district. And city officials in Vallejo, recovering from a municipal bankruptcy in 2008, eagerly await the new economic base.\u003c/p>\n\u003cfigure id=\"attachment_13861890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861890\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/mare-Island-depot-800x450.jpg\" alt=\"At the Mare Island Shoreline Heritage Preserve's visitors center, artifacts of naval and natural history commingle.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the Mare Island Shoreline Heritage Preserve’s visitors center, artifacts of naval and natural history commingle. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a Vallejo City Council meeting in May, City Manager Greg Nyhoff said that there’s no plan to develop the preserve; it’s actually set to expand when the navy transfers an adjacent tract to the city. But Hayes sees a campaign to remove her group. Officials recently told her to disallow overnight camping, which last year accounted for roughly a third of her nonprofit’s $97,000 in total revenue, and the city is reluctant to issue once-routine permits for events such as Re:Sound.\u003c/p>\n\u003cp>Last year, Vallejo set aside money to renovate the visitors center, but Hayes’ group hasn’t received it. And at the meeting this May, City Council voted to issue a request-for-qualifications soliciting organizations for operations, maintenance and management of the Mare Island Regional Park Lands.\u003c/p>\n\u003cp>“We absolutely invite the Mare Island Heritage Trust to be an applicant,” said Nyhoff, referring to Hayes’ nonprofit. “There’s no action that’s been taken to this date about ruling anybody out or ruling anybody in.”\u003c/p>\n\u003cp>But councilperson Robert McConnell, who cast the sole vote against the request for qualifications, said at the meeting that the city should already have a formal agreement with Hayes’ group. Vallejo should find another entity to manage the land expected to transfer from the Navy (which will require extensive remediation), he argued, and enshrine its partnership with Hayes for the extant preserve. “I do not believe we should be turning our backs on a partner of eleven and a half years,” McConnell said.\u003c/p>\n\u003cfigure id=\"attachment_13861894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Resound-bunker-800x450.jpg\" alt=\"Re:Sound, an experimental music series, occurs in a disused munitions magazine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Re:Sound, an experimental music series, occurs in a disused munitions magazine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘No Sensitivity’\u003c/h2>\n\u003cp>Appointed to a restoration advisory board in 1994, Hayes remembers the Civil War-era artillery rusting on the shoreline, a vending machine pulled out of the pond, and the protracted years of environmental remediation and approvals. The preserve first opened to the public weeks before the municipal bankruptcy in 2008, and she steered it through the ensuing services crisis, all without compensation. Now that the city is finally poised to invest in the preserve, Hayes and her volunteers feel sidelined.\u003c/p>\n\u003cp>Nimitz Group recently acquired an overgrown golf course next to the preserve, and Hayes pointed out where city contractors have begun trimming weeds and, to her dismay, spraying herbicide. “No sensitivity for historic trees, native plants,” she said. Picking blackberries, she worried aloud about foraging habitat for bluebirds, which nest in front of the visitors center, seeming stressed to be left out of critical upkeep decisions. “Some people say the rattlesnakes listen to me,” she said. “And they do.”\u003c/p>\n\u003cfigure id=\"attachment_13861889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861889\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-800x450.jpg\" alt=\"Vegetation overgrows former naval facilities at the Mare Island Shoreline Heritage Preserve. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vegetation overgrows former naval facilities at the Mare Island Shoreline Heritage Preserve. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians and sound artists, meanwhile, worry another operator won’t continue to make the dilapidated but intensely resonant buildings available for performance and recording. Six years ago, Hayes recommended the 12,000-square-foot munitions magazine as a venue to Jen Boyd, who asked fellow experimental musician Kevin Corcoran to help organize the inaugural Re:Sound. “Without Myrna, Re:Sound wouldn’t be possible,” Corcoran said.\u003c/p>\n\u003cp>Corcoran, who has incorporated Mare Island field recordings into his work, recalled first encountering the munitions magazine. “You open the door and this enormous, squealing sound echoes through the space with something like a 7-second reverb tail,” he said. “It’s industrial, it’s brutal, it’s designed to contain an explosion, but there’s also this aroma of fennel pollen drying in the building.”\u003c/p>\n\u003cp>Awed by the setting, and encouraged by Hayes, what was meant as a one-off became a series, since attracting performers including Paul Clipson, Maggi Payne, Voicehandler and Zachary James Watkins. Often, artists reference the island in their sets. “But whatever you do there becomes site-specific,” said Corcoran. “You work with the sound of the door, the ferry and the migrating birds overhead.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He added, “We also encourage performers to think critically about repurposing this venue with a past rooted in destruction.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-VLEPhfEN2M\u003c/p>\n\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\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/-VLEPhfEN2M'\n title='//www.youtube.com/embed/-VLEPhfEN2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "1960s Prankster Paul Krassner, Who Coined his Group the 'Yippies,' Dies at 87",
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"content": "\u003cp>Paul Krassner, the publisher, author and radical political activist on the front lines of 1960s counterculture who helped tie together his loose-knit prankster group by naming them the Yippies, died Sunday in Southern California, his daughter said.\u003c/p>\n\u003cp>Krassner died at his home in Desert Hot Springs, Holly Krassner Dawson told The Associated Press. He was 87 and had recently transitioned to hospice care after an illness, Dawson said. She didn’t say what the illness was.\u003c/p>\n\u003cp>The Yippies, who included Jerry Rubin and Abbie Hoffman and were otherwise known as the Youth International Party, briefly became notorious for such stunts as running a pig for president and throwing dollar bills onto the trading floor of the New York Stock Exchange. Hoffman and Rubin, but not Krassner, were among the so-called “Chicago 7” charged with inciting riots at 1968′s chaotic Democratic National Convention.\u003c/p>\n\u003cp>By the end of the decade, most of the group’s members had faded into obscurity. But not Krassner, who constantly reinvented himself, becoming a public speaker, freelance writer, stand-up comedian, celebrity interviewer and author of nearly a dozen books.\u003c/p>\n\u003cp>“He doesn’t waste time,” longtime friend and fellow counterculture personality Wavy Gravy once said of him. “People who waste time get buried in it. He keeps doing one thing after another.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He interviewed such celebrity acquaintances as authors Norman Mailer and Joseph Heller and the late conservative pundit Andrew Breitbart. The latter, like other conservatives, said that although he disagreed with everything Krassner stood for, he admired his sense of humor.\u003c/p>\n\u003cp>An advocate of unmitigated free speech, recreational drug use and personal pornography, Krassner’s books included such titles as “Pot Stories For The Soul” and “Psychedelic Trips for the Mind,” and he claimed to have taken LSD with numerous celebrities, including comedian Groucho Marx, LSD guru Timothy Leary and author Ken Kesey.\u003c/p>\n\u003cp>He also published several books on obscenity, some with names that can’t be listed here. Two that can are “In Praise of Indecency: Dispatches From the Valley of Porn” and “Who’s to Say What’s Obscene: Politics, Culture & Comedy in America Today.”\u003c/p>\n\u003cp>For his autobiography, Krassner chose the title, “Confessions of a Raving, Unconfined Nut: Misadventures in the Counterculture,” using a phrase taken from an angry letter to the editor of a magazine that had once published a favorable profile of him.\u003c/p>\n\u003cp>“To classify Krassner as a social rebel is far too cute,” the letter writer said. “He’s a nut, a raving, unconfined nut.”\u003c/p>\n\u003cp>What he really was, Krassner told The Associated Press in 2013, was a guy who enjoyed making people laugh, although one who brought a political activist’s conscience to the effort.\u003c/p>\n\u003cp>He noted proudly that in the early 1960s, when abortion was illegal in almost every state, he ran an underground abortion referral service for women.\u003c/p>\n\u003cp>“That really was a turning point in my life because I had morphed from a satirist into an activist,” he said.\u003c/p>\n\u003cp>His original career choice, however, had been music.\u003c/p>\n\u003cp>A child prodigy on the violin, he performed at Carnegie Hall at age 6. Later he all but gave up the instrument, only occasionally playing it as a joke during lectures or comedy routines.\u003c/p>\n\u003cp>“I only had a technique for playing the violin, but I had a real passion for making people laugh,” he would say.\u003c/p>\n\u003cp>After studying journalism at New York’s Baruch College, Krassner went to work for Mad Magazine before founding the satirical counterculture magazine The Realist in 1958. He continued to publish it periodically into the 1980s.\u003c/p>\n\u003cp>For a time in the 1950s, he also appeared on the stand-up comedy circuit. There, he would meet his mentor, Lenny Bruce, the legendary outlaw comic who pushed free speech to its limits with routines filled with obscenities and sexual innuendo that sometimes landed him in jail.\u003c/p>\n\u003cp>Krassner interviewed Bruce for Playboy Magazine in 1959 and edited the comedian’s autobiography, “How To Talk Dirty and Influence People.”\u003c/p>\n\u003cp>When the counterculture arrived in earnest in the ’60s, Krassner was working as a comedian, freelance writer, satirist, publisher, celebrity interviewer and occasional creator of soft-core pornography. To mark the death of Walt Disney in 1966, he published a colorful wall poster showing Disney cartoon characters engaging in sex acts.\u003c/p>\n\u003cp>When he and other anti-war activists, free-speech advocates and assorted radicals began to plot ways to promote their causes, Krassner said he soon realized they would need a clever name if they wanted to grab the public’s attention.\u003c/p>\n\u003cp>“I knew that we had to have a ‘who’ for the ‘who, what, where, when and why’ that would symbolize the radicalization of hippies for the media,” Krassner, who co-founded the group, told the AP in 2009. “So I started going through the alphabet: Bippie, Dippie, Ippie, Sippie. I was about to give up when I came to Yippie.”\u003c/p>\n\u003cp>As one of the last surviving Yippies, he continued to write prolifically up until his death, his daughter said.\u003c/p>\n\u003cp>His newest book, “Zapped by the God of Absurdity,” will be released later this year. And he recently wrote the introduction for an upcoming book about his old friend Abbie Hoffman, Dawson said.\u003c/p>\n\u003cp>Krassner also had hoped to publish his first novel, a mystery whose protagonist is a crime-solving comedian modeled after Lenny Bruce. He got so into the story, Krassner once said, that he began to believe he was channeling Bruce’s spirit. That ended, however, when the spirit reminded his old friend one day that Krassner was an atheist.\u003c/p>\n\u003cp>“He said to me, ‘Come on, you don’t even believe that (expletive),’” Krassner recalled with a laugh.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his wife, Nancy Cain; brother, George; daughter, Holly Krassner Dawson; and one grandchild.\u003c/p>\n\n",
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"title": "1960s Prankster Paul Krassner, Who Coined his Group the 'Yippies,' Dies at 87 | KQED",
"description": "The publisher, author and radical political activist on the front lines of 1960s counterculture died Sunday in Southern California.",
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"headline": "1960s Prankster Paul Krassner, Who Coined his Group the 'Yippies,' Dies at 87",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Krassner, the publisher, author and radical political activist on the front lines of 1960s counterculture who helped tie together his loose-knit prankster group by naming them the Yippies, died Sunday in Southern California, his daughter said.\u003c/p>\n\u003cp>Krassner died at his home in Desert Hot Springs, Holly Krassner Dawson told The Associated Press. He was 87 and had recently transitioned to hospice care after an illness, Dawson said. She didn’t say what the illness was.\u003c/p>\n\u003cp>The Yippies, who included Jerry Rubin and Abbie Hoffman and were otherwise known as the Youth International Party, briefly became notorious for such stunts as running a pig for president and throwing dollar bills onto the trading floor of the New York Stock Exchange. Hoffman and Rubin, but not Krassner, were among the so-called “Chicago 7” charged with inciting riots at 1968′s chaotic Democratic National Convention.\u003c/p>\n\u003cp>By the end of the decade, most of the group’s members had faded into obscurity. But not Krassner, who constantly reinvented himself, becoming a public speaker, freelance writer, stand-up comedian, celebrity interviewer and author of nearly a dozen books.\u003c/p>\n\u003cp>“He doesn’t waste time,” longtime friend and fellow counterculture personality Wavy Gravy once said of him. “People who waste time get buried in it. He keeps doing one thing after another.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He interviewed such celebrity acquaintances as authors Norman Mailer and Joseph Heller and the late conservative pundit Andrew Breitbart. The latter, like other conservatives, said that although he disagreed with everything Krassner stood for, he admired his sense of humor.\u003c/p>\n\u003cp>An advocate of unmitigated free speech, recreational drug use and personal pornography, Krassner’s books included such titles as “Pot Stories For The Soul” and “Psychedelic Trips for the Mind,” and he claimed to have taken LSD with numerous celebrities, including comedian Groucho Marx, LSD guru Timothy Leary and author Ken Kesey.\u003c/p>\n\u003cp>He also published several books on obscenity, some with names that can’t be listed here. Two that can are “In Praise of Indecency: Dispatches From the Valley of Porn” and “Who’s to Say What’s Obscene: Politics, Culture & Comedy in America Today.”\u003c/p>\n\u003cp>For his autobiography, Krassner chose the title, “Confessions of a Raving, Unconfined Nut: Misadventures in the Counterculture,” using a phrase taken from an angry letter to the editor of a magazine that had once published a favorable profile of him.\u003c/p>\n\u003cp>“To classify Krassner as a social rebel is far too cute,” the letter writer said. “He’s a nut, a raving, unconfined nut.”\u003c/p>\n\u003cp>What he really was, Krassner told The Associated Press in 2013, was a guy who enjoyed making people laugh, although one who brought a political activist’s conscience to the effort.\u003c/p>\n\u003cp>He noted proudly that in the early 1960s, when abortion was illegal in almost every state, he ran an underground abortion referral service for women.\u003c/p>\n\u003cp>“That really was a turning point in my life because I had morphed from a satirist into an activist,” he said.\u003c/p>\n\u003cp>His original career choice, however, had been music.\u003c/p>\n\u003cp>A child prodigy on the violin, he performed at Carnegie Hall at age 6. Later he all but gave up the instrument, only occasionally playing it as a joke during lectures or comedy routines.\u003c/p>\n\u003cp>“I only had a technique for playing the violin, but I had a real passion for making people laugh,” he would say.\u003c/p>\n\u003cp>After studying journalism at New York’s Baruch College, Krassner went to work for Mad Magazine before founding the satirical counterculture magazine The Realist in 1958. He continued to publish it periodically into the 1980s.\u003c/p>\n\u003cp>For a time in the 1950s, he also appeared on the stand-up comedy circuit. There, he would meet his mentor, Lenny Bruce, the legendary outlaw comic who pushed free speech to its limits with routines filled with obscenities and sexual innuendo that sometimes landed him in jail.\u003c/p>\n\u003cp>Krassner interviewed Bruce for Playboy Magazine in 1959 and edited the comedian’s autobiography, “How To Talk Dirty and Influence People.”\u003c/p>\n\u003cp>When the counterculture arrived in earnest in the ’60s, Krassner was working as a comedian, freelance writer, satirist, publisher, celebrity interviewer and occasional creator of soft-core pornography. To mark the death of Walt Disney in 1966, he published a colorful wall poster showing Disney cartoon characters engaging in sex acts.\u003c/p>\n\u003cp>When he and other anti-war activists, free-speech advocates and assorted radicals began to plot ways to promote their causes, Krassner said he soon realized they would need a clever name if they wanted to grab the public’s attention.\u003c/p>\n\u003cp>“I knew that we had to have a ‘who’ for the ‘who, what, where, when and why’ that would symbolize the radicalization of hippies for the media,” Krassner, who co-founded the group, told the AP in 2009. “So I started going through the alphabet: Bippie, Dippie, Ippie, Sippie. I was about to give up when I came to Yippie.”\u003c/p>\n\u003cp>As one of the last surviving Yippies, he continued to write prolifically up until his death, his daughter said.\u003c/p>\n\u003cp>His newest book, “Zapped by the God of Absurdity,” will be released later this year. And he recently wrote the introduction for an upcoming book about his old friend Abbie Hoffman, Dawson said.\u003c/p>\n\u003cp>Krassner also had hoped to publish his first novel, a mystery whose protagonist is a crime-solving comedian modeled after Lenny Bruce. He got so into the story, Krassner once said, that he began to believe he was channeling Bruce’s spirit. That ended, however, when the spirit reminded his old friend one day that Krassner was an atheist.\u003c/p>\n\u003cp>“He said to me, ‘Come on, you don’t even believe that (expletive),’” Krassner recalled with a laugh.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his wife, Nancy Cain; brother, George; daughter, Holly Krassner Dawson; and one grandchild.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mayan Fashion a Feast for the Eyes in San Jose",
"headTitle": "Mayan Fashion a Feast for the Eyes in San Jose | KQED",
"content": "\u003cp>For thousands of years, Mayan women have woven their own fabrics, and embroidered on top of that to create works of art to wear on holidays and at religious ceremonies. In many ways, this dress has become iconic: what we think of when we think of modern Mayan culture.\u003c/p>\n\u003cp>The San Francisco Bay Area is home to a growing number of Mayans from Guatemala, including local members of a group called \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>, which is located in \u003ca href=\"https://museoixchel.org/home\" target=\"_blank\" rel=\"noopener\">Guatemala City\u003c/a>. (Ixchel is the Mayan goddess of weaving, among other things.)\u003c/p>\n\u003cp>So it was they made curator Amy DiPlacido of the \u003ca href=\"https://www.sjquiltmuseum.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Quilts and Textiles\u003c/a> an offer she couldn’t refuse: an exhibition of Mayan traje (clothing), much of it dating back to the early 20th century, from their private collections here in the United States.\u003c/p>\n\u003cp>It’s not often you get the chance to move in close and stare at wearable art, but you can in San Jose, where the exhibition \u003cem>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i> \u003c/em>presents the clothing on walls and manikins out in the open, not parked behind glass.\u003c/p>\n\u003cfigure id=\"attachment_13861828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg\" alt=\"Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This means you can really take in the quality of the weaving and embroidery; the creative choices made, the effort put in. It’s a feast for the eyes, for newbies and textile artists alike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Really, this show is focusing on pieces never made for the tourist market but very traditional to the indigenous people,” DiPlacido said.\u003c/p>\n\u003cp>She explained there are four parts to the traditional woman’s outfit, or \u003cem>traje\u003c/em>: the boxy blouse up top called the \u003cem>huipal\u003c/em>, the ankle length skirt underneath, the apron, or \u003cem>delantal,\u003c/em> worn over that, and a \u003cem>faje\u003c/em>, or embroidered belt, that ties it all together.\u003c/p>\n\u003cp>For centuries, each Mayan village cultivated a distinctive visual tradition, a point of pride and handy visual guide announcing a woman’s hometown when she traveled in the region.\u003c/p>\n\u003cfigure id=\"attachment_13861827\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg\" alt=\"\" width=\"1920\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1200x832.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of a Mayan weaver using a backstrap loom. So-called because the loom comes around the back of the weaver. The museum will feature a live demonstration on July 21, 2019, the opening date of the exhibit. \u003ccite>(Photo: Courtesy of Yolanda Alcorta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mayans have acquired smart phones and satellite dishes just like the rest of us, and this exhibition is keen to show how the tradition has adapted to changing modern tastes.\u003c/p>\n\u003cp>Today, cloth is often purchased instead of woven by backstrap loom. \u003cem>Huipals\u003c/em> and \u003cem>delentales\u003c/em> now feature computer generated designs, sparkly rhinestones, and even cell phone pockets.\u003c/p>\n\u003cp>Mayan women also no longer feel constrained to represent their village with their dress. They’re free to wear designs of all kinds, and do. That said, there’s a keen awareness of how their tradition has been \u003ca href=\"https://globalvoices.org/2017/09/25/after-years-of-cultural-appropriation-mayan-weavers-want-legal-protection-for-their-heritage/\" target=\"_blank\" rel=\"noopener\">culturally appropriated\u003c/a> by non-indigenous designers and even the Guatemalan government, keen to use the art form to promote tourism.\u003c/p>\n\u003cp>That’s despite its historic neglect of indigenous Guatemalans, who make up approximately 40 percent of the population but account for \u003ca href=\"http://www.americasquarterly.org/content/repression-resistance-and-indigenous-rights-guatemala\">80 percent of the country’s poor\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13861833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg\" alt=\"Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Guatemalan Civil War that raged between 1960 and 1996 disproportionately victimized Mayans, and that’s a history you see reflected in the clothing as well. “The political upheaval changed the style of dress,” noted DiPlacido, adding something as basic as dyes were made of what was available.\u003c/p>\n\u003cp>The antique textiles have been through a lot: wear, washing, war. There are items that date to the 1850s, “but past that, you don’t usually see them anymore, because they do tend to wear down,” DiPlacido said.\u003c/p>\n\u003cp>The museum has posted explanatory text in English and Spanish, but perhaps it was a bridge too far to add Mam to the mix. Mam is a Mayan language spoken by about half a million people in throughout Central America. [youtube https://www.youtube.com/watch?v=j2WZsDB2LHM]\u003cbr>\nHere in the San Francisco Bay Area, there are just a few thousand Mam speakers. You can bet many of them will be making their way to this exhibition in the coming months.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i>\u003c/strong> runs July 21 – October 13, 2019 at the San Jose Museum of Quilts and Textiles. For more information, click \u003cstrong>\u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For thousands of years, Mayan women have woven their own fabrics, and embroidered on top of that to create works of art to wear on holidays and at religious ceremonies. In many ways, this dress has become iconic: what we think of when we think of modern Mayan culture.\u003c/p>\n\u003cp>The San Francisco Bay Area is home to a growing number of Mayans from Guatemala, including local members of a group called \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>, which is located in \u003ca href=\"https://museoixchel.org/home\" target=\"_blank\" rel=\"noopener\">Guatemala City\u003c/a>. (Ixchel is the Mayan goddess of weaving, among other things.)\u003c/p>\n\u003cp>So it was they made curator Amy DiPlacido of the \u003ca href=\"https://www.sjquiltmuseum.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Quilts and Textiles\u003c/a> an offer she couldn’t refuse: an exhibition of Mayan traje (clothing), much of it dating back to the early 20th century, from their private collections here in the United States.\u003c/p>\n\u003cp>It’s not often you get the chance to move in close and stare at wearable art, but you can in San Jose, where the exhibition \u003cem>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i> \u003c/em>presents the clothing on walls and manikins out in the open, not parked behind glass.\u003c/p>\n\u003cfigure id=\"attachment_13861828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg\" alt=\"Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This means you can really take in the quality of the weaving and embroidery; the creative choices made, the effort put in. It’s a feast for the eyes, for newbies and textile artists alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Really, this show is focusing on pieces never made for the tourist market but very traditional to the indigenous people,” DiPlacido said.\u003c/p>\n\u003cp>She explained there are four parts to the traditional woman’s outfit, or \u003cem>traje\u003c/em>: the boxy blouse up top called the \u003cem>huipal\u003c/em>, the ankle length skirt underneath, the apron, or \u003cem>delantal,\u003c/em> worn over that, and a \u003cem>faje\u003c/em>, or embroidered belt, that ties it all together.\u003c/p>\n\u003cp>For centuries, each Mayan village cultivated a distinctive visual tradition, a point of pride and handy visual guide announcing a woman’s hometown when she traveled in the region.\u003c/p>\n\u003cfigure id=\"attachment_13861827\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg\" alt=\"\" width=\"1920\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1200x832.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of a Mayan weaver using a backstrap loom. So-called because the loom comes around the back of the weaver. The museum will feature a live demonstration on July 21, 2019, the opening date of the exhibit. \u003ccite>(Photo: Courtesy of Yolanda Alcorta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mayans have acquired smart phones and satellite dishes just like the rest of us, and this exhibition is keen to show how the tradition has adapted to changing modern tastes.\u003c/p>\n\u003cp>Today, cloth is often purchased instead of woven by backstrap loom. \u003cem>Huipals\u003c/em> and \u003cem>delentales\u003c/em> now feature computer generated designs, sparkly rhinestones, and even cell phone pockets.\u003c/p>\n\u003cp>Mayan women also no longer feel constrained to represent their village with their dress. They’re free to wear designs of all kinds, and do. That said, there’s a keen awareness of how their tradition has been \u003ca href=\"https://globalvoices.org/2017/09/25/after-years-of-cultural-appropriation-mayan-weavers-want-legal-protection-for-their-heritage/\" target=\"_blank\" rel=\"noopener\">culturally appropriated\u003c/a> by non-indigenous designers and even the Guatemalan government, keen to use the art form to promote tourism.\u003c/p>\n\u003cp>That’s despite its historic neglect of indigenous Guatemalans, who make up approximately 40 percent of the population but account for \u003ca href=\"http://www.americasquarterly.org/content/repression-resistance-and-indigenous-rights-guatemala\">80 percent of the country’s poor\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13861833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg\" alt=\"Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Guatemalan Civil War that raged between 1960 and 1996 disproportionately victimized Mayans, and that’s a history you see reflected in the clothing as well. “The political upheaval changed the style of dress,” noted DiPlacido, adding something as basic as dyes were made of what was available.\u003c/p>\n\u003cp>The antique textiles have been through a lot: wear, washing, war. There are items that date to the 1850s, “but past that, you don’t usually see them anymore, because they do tend to wear down,” DiPlacido said.\u003c/p>\n\u003cp>The museum has posted explanatory text in English and Spanish, but perhaps it was a bridge too far to add Mam to the mix. Mam is a Mayan language spoken by about half a million people in throughout Central America. \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/j2WZsDB2LHM'\n title='//www.youtube.com/embed/j2WZsDB2LHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nHere in the San Francisco Bay Area, there are just a few thousand Mam speakers. You can bet many of them will be making their way to this exhibition in the coming months.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i>\u003c/strong> runs July 21 – October 13, 2019 at the San Jose Museum of Quilts and Textiles. For more information, click \u003cstrong>\u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Metallica's Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets",
"headTitle": "Metallica’s Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets | KQED",
"content": "\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fired Over Too Much Tupac? A Rap-Loving Bureaucrat From Iowa Says He Hopes Not",
"headTitle": "Fired Over Too Much Tupac? A Rap-Loving Bureaucrat From Iowa Says He Hopes Not | KQED",
"content": "\u003cp>Keep ya head up, Jerry Foxhoven.\u003c/p>\n\u003cp>The public servant who led Iowa’s Department of Human Services was forced to resign\u003cstrong> \u003c/strong>in June, just one business day after he sent an email to more than 4,000 agency employees that included an inspirational quote from the rapper Tupac Shakur.\u003c/p>\n\u003cp>He used his love of rap from time to time to “reach out to our staff, tell them that I’m human, have a little levity,” he tells NPR.\u003c/p>\n\u003cp>Foxhoven regularly held “Tupac Fridays” in his office, where the rapper’s music was played — the lawyer said he liked breaking stereotypes about who listens to rap.\u003c/p>\n\u003cp>“I’m a 66-year-old white guy from the Midwest who likes rap music, who likes Tupac!” he says.\u003c/p>\n\u003cfigure id=\"attachment_13861660\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg\" alt=\"Jerry Foxhoven, the former head of Iowa's Department of Human Services, who was abruptly removed from that position in June.\" width=\"200\" height=\"242\" class=\"size-full wp-image-13861660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff-160x194.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Foxhoven, the former head of Iowa’s Department of Human Services, who was abruptly removed from that position in June. \u003ccite>(Courtesy of Jerry Foxhoven)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Foxhoven is a Tupac superfan. The civil servant is utterly dedicated to the slain rapper, celebrating his birthday with Tupac-themed baked goods; marking Tupac milestones (“I might seem a little down because today is the 22nd anniversary of 2Pac’s death,” he wrote once to a staff member); and assigning Tupac as mandatory reading for his ethics class at Drake University.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Foxhoven’s tenure at the Department of Human Services ended without warning — and without a chance for an orderly transition. After his email citing the rapper, Foxhoven was asked to resign. He says that he was not even granted a meeting with Iowa Gov. Kim Reynolds.\u003c/p>\n\u003cp>Instead, the governor’s chief of staff confiscated his cell phone and ID card on the spot and ordered him not to go back to his office. They did not cite a reason, and Foxhoven was not made aware of why he was let go after two years on the job.\u003c/p>\n\u003cp>Foxhoven was aware that at least one individual was not a fan of his Tupac quotations. In an email, one of his staff members alluded to the existence of a disgruntled employee, who then reported his Tupac references to state legislators. These emails indicate that action may have been taken due to his Tupac-related messages.\u003c/p>\n\u003cp>“I am going to hang in there on him — despite all the naysayers,” he wrote in one email, after a staff member said that there were “haters” who didn’t appreciate his Tupac quotes.\u003c/p>\n\u003cp>Although he knew one employee had complained about his frequent references to Tupac, Foxhoven says he hopes they were not the reason he was forced to resign.\u003c/p>\n\u003cp>He does wonder, however.\u003c/p>\n\u003cp>Foxhoven points out that Barry Manilow’s birthday is one day after Tupac’s, and wonders whether he have been dismissed if he had cited Manilow instead.\u003c/p>\n\u003cfigure id=\"attachment_13861661\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png\" alt=\"Email sent by Jerry Foxhoven to Iowa Department of Human Services staff.\" width=\"644\" height=\"721\" class=\"size-full wp-image-13861661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5-160x179.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Email sent by Jerry Foxhoven to Iowa Department of Human Services staff. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I always try to assume the best of everybody, and I can’t imagine that [the governor] would base her decision on the Tupac incident,” he says. “If this is the reason, I’m really disappointed.”\u003c/p>\n\u003cp>The governor’s office did not respond to a request for comment from NPR. But according to the Associated Press, the governor’s office would not confirm or deny that Foxhoven’s rap references were part of the reason for Foxhoven’s dismissal.\u003c/p>\n\u003cp>“She wanted to go in a new direction,” the governor’s spokesman previously said in a statement, according to \u003ca href=\"https://www.iowapublicradio.org/post/iowa-governor-pushes-human-services-director-resign\">Iowa Public Radio\u003c/a>. The spokesman provided no specifics.\u003c/p>\n\u003cp>NPR made a public records request in order to obtain emails involving Foxhoven and his references to Tupac. Foxhoven’s Tupac emails were first \u003ca href=\"https://www.apnews.com/c7ae931fae0f4bc1a0fe3386e4b5bc38\">reported by the AP\u003c/a>.\u003c/p>\n\u003cp>The email which preceded his ouster was a positive one, in which he recognized Father’s Day, Tupac’s Birthday and his own work anniversary. “Pay no mind to those who talk behind your back,” he wrote, citing Tupac. “It simply means that you are 2 steps ahead.”\u003c/p>\n\u003cp>In that same email, he praised his staff, writing that it was “absolute honor to lead such a dedicated and committed group of people.” In response, more than a dozen employees at the agency wrote back to praise him for the positive message.\u003c/p>\n\u003cp>“You are such a breath of fresh air, Jerry!” wrote one staff member in response, according to emails obtained by NPR.\u003c/p>\n\u003cp>The hundreds of pages of emails reviewed by NPR show that by all accounts Foxhoven was widely admired by his staff and regularly took time to mentor subordinates. In one email he dispensed career advice, noting that he was inspired at the agency by the well-known Tupac song “\u003ca href=\"https://open.spotify.com/track/3fLJfEJuyfZVYJ01BB9vnV\">Changes\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13861662\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png\" alt=\"Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven's birthday\" width=\"200\" height=\"170\" class=\"size-full wp-image-13861662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f-160x136.png 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven’s birthday. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, he regularly cited Tupac in staff and agency-wide emails — including a Valentine’s Day email in which he marveled, “isn’t it wonderful that we have a day to celebrate love?” This observation was followed by a quote from Tupac’s “Dear Mama.” The 66 year old’s inbox even included a meme that referenced Tupac’s famous collaboration with Dr. Dre, “California Love.”\u003c/p>\n\u003cp>Ultimately, Foxhoven tells NPR he’s glad that his emails about his favorite musical artist have now made national news, because it allows for a discussion about stereotypes and music. He said he was especially disturbed by a \u003ca href=\"https://www.nytimes.com/2019/07/09/us/elijah-al-amin-michael-paul-adams.html\">recent news story\u003c/a> which reported that a 17-year-old boy in Arizona was fatally stabbed by a man who said the victim’s rap music made him feel “unsafe.”\u003c/p>\n\u003cp>“It’s important for us to break down those stereotypes: if you listen to rap music, you’re a criminal or dangerous. It’s not true at all,” he says, adding that he hoped his situation could lead to “having open discussions about race and what we have in common, instead of what separates us.”\u003c/p>\n\u003cp>He first got into Tupac in the early ’90s when the rapper was still alive — “we’re going to have to get into this East Coast, West Coast thing,” he says apologetically, as he explained his preference for the Californian musician. “Part of the reason I like Tupac [is that] it’s good music — it’s not just rap with a bass in the background. It’s fun to listen to, and also I liked over his career, you could see him transform.”\u003c/p>\n\u003cp>Foxhoven turns 67 next week, and is still figuring out what to do next. He wouldn’t mind seeing the \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/17/150820261/how-that-tupac-hologram-at-coachella-worked\">Tupac hologram\u003c/a> in person, he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One thing is for sure: “I will be listening to some Tupac on my birthday. That’s totally true.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fired+Over+Too+Much+Tupac%3F+A+Rap-Loving+Bureaucrat+From+Iowa+Says+He+Hopes+Not&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Keep ya head up, Jerry Foxhoven.\u003c/p>\n\u003cp>The public servant who led Iowa’s Department of Human Services was forced to resign\u003cstrong> \u003c/strong>in June, just one business day after he sent an email to more than 4,000 agency employees that included an inspirational quote from the rapper Tupac Shakur.\u003c/p>\n\u003cp>He used his love of rap from time to time to “reach out to our staff, tell them that I’m human, have a little levity,” he tells NPR.\u003c/p>\n\u003cp>Foxhoven regularly held “Tupac Fridays” in his office, where the rapper’s music was played — the lawyer said he liked breaking stereotypes about who listens to rap.\u003c/p>\n\u003cp>“I’m a 66-year-old white guy from the Midwest who likes rap music, who likes Tupac!” he says.\u003c/p>\n\u003cfigure id=\"attachment_13861660\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg\" alt=\"Jerry Foxhoven, the former head of Iowa's Department of Human Services, who was abruptly removed from that position in June.\" width=\"200\" height=\"242\" class=\"size-full wp-image-13861660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff-160x194.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Foxhoven, the former head of Iowa’s Department of Human Services, who was abruptly removed from that position in June. \u003ccite>(Courtesy of Jerry Foxhoven)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Foxhoven is a Tupac superfan. The civil servant is utterly dedicated to the slain rapper, celebrating his birthday with Tupac-themed baked goods; marking Tupac milestones (“I might seem a little down because today is the 22nd anniversary of 2Pac’s death,” he wrote once to a staff member); and assigning Tupac as mandatory reading for his ethics class at Drake University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Foxhoven’s tenure at the Department of Human Services ended without warning — and without a chance for an orderly transition. After his email citing the rapper, Foxhoven was asked to resign. He says that he was not even granted a meeting with Iowa Gov. Kim Reynolds.\u003c/p>\n\u003cp>Instead, the governor’s chief of staff confiscated his cell phone and ID card on the spot and ordered him not to go back to his office. They did not cite a reason, and Foxhoven was not made aware of why he was let go after two years on the job.\u003c/p>\n\u003cp>Foxhoven was aware that at least one individual was not a fan of his Tupac quotations. In an email, one of his staff members alluded to the existence of a disgruntled employee, who then reported his Tupac references to state legislators. These emails indicate that action may have been taken due to his Tupac-related messages.\u003c/p>\n\u003cp>“I am going to hang in there on him — despite all the naysayers,” he wrote in one email, after a staff member said that there were “haters” who didn’t appreciate his Tupac quotes.\u003c/p>\n\u003cp>Although he knew one employee had complained about his frequent references to Tupac, Foxhoven says he hopes they were not the reason he was forced to resign.\u003c/p>\n\u003cp>He does wonder, however.\u003c/p>\n\u003cp>Foxhoven points out that Barry Manilow’s birthday is one day after Tupac’s, and wonders whether he have been dismissed if he had cited Manilow instead.\u003c/p>\n\u003cfigure id=\"attachment_13861661\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png\" alt=\"Email sent by Jerry Foxhoven to Iowa Department of Human Services staff.\" width=\"644\" height=\"721\" class=\"size-full wp-image-13861661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5-160x179.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Email sent by Jerry Foxhoven to Iowa Department of Human Services staff. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I always try to assume the best of everybody, and I can’t imagine that [the governor] would base her decision on the Tupac incident,” he says. “If this is the reason, I’m really disappointed.”\u003c/p>\n\u003cp>The governor’s office did not respond to a request for comment from NPR. But according to the Associated Press, the governor’s office would not confirm or deny that Foxhoven’s rap references were part of the reason for Foxhoven’s dismissal.\u003c/p>\n\u003cp>“She wanted to go in a new direction,” the governor’s spokesman previously said in a statement, according to \u003ca href=\"https://www.iowapublicradio.org/post/iowa-governor-pushes-human-services-director-resign\">Iowa Public Radio\u003c/a>. The spokesman provided no specifics.\u003c/p>\n\u003cp>NPR made a public records request in order to obtain emails involving Foxhoven and his references to Tupac. Foxhoven’s Tupac emails were first \u003ca href=\"https://www.apnews.com/c7ae931fae0f4bc1a0fe3386e4b5bc38\">reported by the AP\u003c/a>.\u003c/p>\n\u003cp>The email which preceded his ouster was a positive one, in which he recognized Father’s Day, Tupac’s Birthday and his own work anniversary. “Pay no mind to those who talk behind your back,” he wrote, citing Tupac. “It simply means that you are 2 steps ahead.”\u003c/p>\n\u003cp>In that same email, he praised his staff, writing that it was “absolute honor to lead such a dedicated and committed group of people.” In response, more than a dozen employees at the agency wrote back to praise him for the positive message.\u003c/p>\n\u003cp>“You are such a breath of fresh air, Jerry!” wrote one staff member in response, according to emails obtained by NPR.\u003c/p>\n\u003cp>The hundreds of pages of emails reviewed by NPR show that by all accounts Foxhoven was widely admired by his staff and regularly took time to mentor subordinates. In one email he dispensed career advice, noting that he was inspired at the agency by the well-known Tupac song “\u003ca href=\"https://open.spotify.com/track/3fLJfEJuyfZVYJ01BB9vnV\">Changes\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13861662\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png\" alt=\"Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven's birthday\" width=\"200\" height=\"170\" class=\"size-full wp-image-13861662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f-160x136.png 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven’s birthday. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, he regularly cited Tupac in staff and agency-wide emails — including a Valentine’s Day email in which he marveled, “isn’t it wonderful that we have a day to celebrate love?” This observation was followed by a quote from Tupac’s “Dear Mama.” The 66 year old’s inbox even included a meme that referenced Tupac’s famous collaboration with Dr. Dre, “California Love.”\u003c/p>\n\u003cp>Ultimately, Foxhoven tells NPR he’s glad that his emails about his favorite musical artist have now made national news, because it allows for a discussion about stereotypes and music. He said he was especially disturbed by a \u003ca href=\"https://www.nytimes.com/2019/07/09/us/elijah-al-amin-michael-paul-adams.html\">recent news story\u003c/a> which reported that a 17-year-old boy in Arizona was fatally stabbed by a man who said the victim’s rap music made him feel “unsafe.”\u003c/p>\n\u003cp>“It’s important for us to break down those stereotypes: if you listen to rap music, you’re a criminal or dangerous. It’s not true at all,” he says, adding that he hoped his situation could lead to “having open discussions about race and what we have in common, instead of what separates us.”\u003c/p>\n\u003cp>He first got into Tupac in the early ’90s when the rapper was still alive — “we’re going to have to get into this East Coast, West Coast thing,” he says apologetically, as he explained his preference for the Californian musician. “Part of the reason I like Tupac [is that] it’s good music — it’s not just rap with a bass in the background. It’s fun to listen to, and also I liked over his career, you could see him transform.”\u003c/p>\n\u003cp>Foxhoven turns 67 next week, and is still figuring out what to do next. He wouldn’t mind seeing the \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/17/150820261/how-that-tupac-hologram-at-coachella-worked\">Tupac hologram\u003c/a> in person, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One thing is for sure: “I will be listening to some Tupac on my birthday. That’s totally true.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fired+Over+Too+Much+Tupac%3F+A+Rap-Loving+Bureaucrat+From+Iowa+Says+He+Hopes+Not&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Linda Ronstadt, Michael Tilson Thomas Among Kennedy Center 2019 Honorees",
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"content": "\u003cp>The band Earth, Wind & Fire, actress Sally Field, singer Linda Ronstadt, television program \u003cem>Sesame Street\u003c/em> and conductor Michael Tilson Thomas are the next recipients of one of the most prestigious U.S. awards for lifetime artistic achievement: the Kennedy Center Honors. The John F. Kennedy Center for the Performing Arts made the announcement today.\u003c/p>\n\u003cp>The Bay Area is represented in two of the honorees: Michael Tilson Thomas, music director and conductor of the San Francisco Symphony, and Linda Ronstadt, longtime resident of Pacific Heights.\u003c/p>\n\u003cp>“The Kennedy Center Honors celebrates icons who, through their artistry, have left an indelible stamp on our collective cultural consciousness,” Kennedy Center Chairman David M. Rubenstein said in a prepared statement. Later in that statement, the institution stated that its Honors are not limited by art form or category of achievement: “The primary criterion in the selection process is excellence.”\u003c/p>\n\u003cp>This year’s class of honorees, the 42nd annual since 1978, is eclectic as usual. \u003c/p>\n\u003cp>Founded in 1969, the group \u003ca href=\"https://www.npr.org/artists/15402896/earth-wind-fire\">Earth, Wind & Fire\u003c/a> created a deeply grooving and horn-driven sound at the intersection of many strands of black-origin popular music: funk, R&B, soul, disco, rock, jazz and more. Known for an elaborate stage show, its major recorded hits still have currency on the dance floor — \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">“September,”\u003c/a> “Shining Star” and “Let’s Groove” among them. Following the 2016 death of founder Maurice White, the award will be presented to singer Philip Bailey, bassist Verdine White and percussionist Ralph Johnson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I remember when Verdine and Maurice came over to the house and asked me to be a part of the group,” Johnson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4944398\">said to NPR’s Ed Gordon\u003c/a> in 2005. “I did mention to them, I says, ‘You know what? There’s one thing. I want to have the best band in the whole world.’ And they looked at each other, smiled and said, ‘You’re in.’ We all had that same common goal, and it wasn’t about the bling — it was about the music.”\u003c/p>\n\u003cp>The vocalist \u003ca href=\"https://www.npr.org/artists/15335239/linda-ronstadt\">Linda Ronstadt\u003c/a> also worked across genres for decades, including country, rock, musical theater and traditional Mexican music. Also like EWF, she’s a member of the Rock and Roll Hall of Fame, and boasts a long list of hits such as “You’re No Good,” “Long Long Time,” “When Will I Be Loved,” “Don’t Know Much” (with Aaron Neville) and “Blue Bayou.” At one time among the biggest draws in popular music, Ronstadt has retired from performing due to what she later learned was Parkinson’s disease, but has written a memoir and toured a one-woman show.\u003c/p>\n\u003cp>“I had a long turn at the trough,” \u003ca href=\"https://www.npr.org/2013/09/17/223172521/in-memoir-linda-ronstadt-describes-her-simple-dreams\">she said to Terry Gross\u003c/a> on \u003cem>Fresh Air\u003c/em> in 2013. “You know, I’m grateful for the time I had. I got to live a lot of my dreams, and I feel lucky about it.”\u003c/p>\n\u003cfigure id=\"attachment_13861651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13861651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1920x1274.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The John F. Kennedy Center for the Performing Arts, pictured here in 2014, has announced this year’s class of Kennedy Center Honors recipients.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15806461/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> is best known as the music director of the San Francisco Symphony, where he has championed modern American composers alongside established European masters. Previously, he conducted several orchestras (including the London Symphony Orchestra, where he is conductor laureate), and he has composed work for orchestra and small ensembles.\u003c/p>\n\u003cp>He also co-founded and remains artistic director of the New World Symphony, a Miami-based fellowship program for up-and-coming classical performers. In 2004, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4176932\">he told NPR’s Ari Shapiro\u003c/a> that he was happy to pass on other prestigious opportunities in favor of guiding the next generation of musicians. “I used to, with great frustration, say, ‘Oh, well, it will have to be in the next lifetime,'” Thomas said. “Now it’s with great peace, resignation and relief that I say, ‘Oh, it’ll have to be the next lifetime.'”\u003c/p>\n\u003cp>Throughout a career that began in the 1960s, actress Sally Field has accumulated a long list of major roles. Once known for playing wholesome characters in sitcoms, she says she fought typecasting to break into film; she’s now remembered for complex titular roles on the miniseries \u003cem>Sybil \u003c/em>and the feature film \u003cem>Norma Rae\u003c/em>. Those are among the projects which won her two Oscars and three Emmys (and a Tony nomination to boot).\u003c/p>\n\u003cp>“Do I still have that gnawing, hair-on-fire feeling of needing more and wanting to reach out for something that’s just outside of my grasp?” \u003ca href=\"https://www.npr.org/2018/09/11/646723297/sally-field-wasnt-sure-shed-have-the-guts-to-publish-her-new-memoir\">she said to NPR’s Ari Shapiro\u003c/a> after publishing her memoir in 2018. “Yes, totally. Yes. But can I now look back and feel the length that I’ve traveled? Yes. And I couldn’t do that before.”\u003c/p>\n\u003cp>The children’s television program \u003cem>Sesame Street\u003c/em> was launched in 1969 to answer the question: Could children learn from television? After 50 years of Big Bird, Oscar the Grouch, Bert and Ernie, the answer seems to be yes. The co-founders of the show, Joan Ganz Cooney and Lloyd Morrisett, will accept the award on behalf of the program and the nonprofit organization behind it, Sesame Workshop. The cast recently visited NPR for a \u003ca href=\"https://www.npr.org/2019/06/10/730381700/sesame-street-tiny-desk-concert\">Tiny Desk Concert\u003c/a>.\u003c/p>\n\u003cp>All the recipients released statements thanking the Kennedy Center for the recognition. Cooney and Morrisett of Sesame Workshop said that the honor is a testament to all who help carry out their mission to make children “smarter, stronger and kinder.”\u003c/p>\n\u003cp>The awards are presented in a gala performance at the Kennedy Center on Sunday, Dec. 8, and filmed by CBS for a primetime special airing Sunday, Dec. 15 at 8 p.m. ET. Major stars of music, film, theater and other performing arts are often present to give tribute performances and speeches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Traditionally, the sitting U.S. president attends the gala, barring pressing international travel. However, President Trump has now \u003ca href=\"https://www.npr.org/2018/11/15/668207540/trumps-plan-to-skip-kennedy-center-honors-again\">declined to attend two years in a row\u003c/a>, making him the first president to have missed the event twice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Announces+2019+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Bay Area music legends join Earth Wind & Fire, Sally Field, and 'Sesame Street' as those recognized for their lifetime contributions to the performing arts.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The band Earth, Wind & Fire, actress Sally Field, singer Linda Ronstadt, television program \u003cem>Sesame Street\u003c/em> and conductor Michael Tilson Thomas are the next recipients of one of the most prestigious U.S. awards for lifetime artistic achievement: the Kennedy Center Honors. The John F. Kennedy Center for the Performing Arts made the announcement today.\u003c/p>\n\u003cp>The Bay Area is represented in two of the honorees: Michael Tilson Thomas, music director and conductor of the San Francisco Symphony, and Linda Ronstadt, longtime resident of Pacific Heights.\u003c/p>\n\u003cp>“The Kennedy Center Honors celebrates icons who, through their artistry, have left an indelible stamp on our collective cultural consciousness,” Kennedy Center Chairman David M. Rubenstein said in a prepared statement. Later in that statement, the institution stated that its Honors are not limited by art form or category of achievement: “The primary criterion in the selection process is excellence.”\u003c/p>\n\u003cp>This year’s class of honorees, the 42nd annual since 1978, is eclectic as usual. \u003c/p>\n\u003cp>Founded in 1969, the group \u003ca href=\"https://www.npr.org/artists/15402896/earth-wind-fire\">Earth, Wind & Fire\u003c/a> created a deeply grooving and horn-driven sound at the intersection of many strands of black-origin popular music: funk, R&B, soul, disco, rock, jazz and more. Known for an elaborate stage show, its major recorded hits still have currency on the dance floor — \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">“September,”\u003c/a> “Shining Star” and “Let’s Groove” among them. Following the 2016 death of founder Maurice White, the award will be presented to singer Philip Bailey, bassist Verdine White and percussionist Ralph Johnson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I remember when Verdine and Maurice came over to the house and asked me to be a part of the group,” Johnson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4944398\">said to NPR’s Ed Gordon\u003c/a> in 2005. “I did mention to them, I says, ‘You know what? There’s one thing. I want to have the best band in the whole world.’ And they looked at each other, smiled and said, ‘You’re in.’ We all had that same common goal, and it wasn’t about the bling — it was about the music.”\u003c/p>\n\u003cp>The vocalist \u003ca href=\"https://www.npr.org/artists/15335239/linda-ronstadt\">Linda Ronstadt\u003c/a> also worked across genres for decades, including country, rock, musical theater and traditional Mexican music. Also like EWF, she’s a member of the Rock and Roll Hall of Fame, and boasts a long list of hits such as “You’re No Good,” “Long Long Time,” “When Will I Be Loved,” “Don’t Know Much” (with Aaron Neville) and “Blue Bayou.” At one time among the biggest draws in popular music, Ronstadt has retired from performing due to what she later learned was Parkinson’s disease, but has written a memoir and toured a one-woman show.\u003c/p>\n\u003cp>“I had a long turn at the trough,” \u003ca href=\"https://www.npr.org/2013/09/17/223172521/in-memoir-linda-ronstadt-describes-her-simple-dreams\">she said to Terry Gross\u003c/a> on \u003cem>Fresh Air\u003c/em> in 2013. “You know, I’m grateful for the time I had. I got to live a lot of my dreams, and I feel lucky about it.”\u003c/p>\n\u003cfigure id=\"attachment_13861651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13861651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1920x1274.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The John F. Kennedy Center for the Performing Arts, pictured here in 2014, has announced this year’s class of Kennedy Center Honors recipients.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15806461/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> is best known as the music director of the San Francisco Symphony, where he has championed modern American composers alongside established European masters. Previously, he conducted several orchestras (including the London Symphony Orchestra, where he is conductor laureate), and he has composed work for orchestra and small ensembles.\u003c/p>\n\u003cp>He also co-founded and remains artistic director of the New World Symphony, a Miami-based fellowship program for up-and-coming classical performers. In 2004, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4176932\">he told NPR’s Ari Shapiro\u003c/a> that he was happy to pass on other prestigious opportunities in favor of guiding the next generation of musicians. “I used to, with great frustration, say, ‘Oh, well, it will have to be in the next lifetime,'” Thomas said. “Now it’s with great peace, resignation and relief that I say, ‘Oh, it’ll have to be the next lifetime.'”\u003c/p>\n\u003cp>Throughout a career that began in the 1960s, actress Sally Field has accumulated a long list of major roles. Once known for playing wholesome characters in sitcoms, she says she fought typecasting to break into film; she’s now remembered for complex titular roles on the miniseries \u003cem>Sybil \u003c/em>and the feature film \u003cem>Norma Rae\u003c/em>. Those are among the projects which won her two Oscars and three Emmys (and a Tony nomination to boot).\u003c/p>\n\u003cp>“Do I still have that gnawing, hair-on-fire feeling of needing more and wanting to reach out for something that’s just outside of my grasp?” \u003ca href=\"https://www.npr.org/2018/09/11/646723297/sally-field-wasnt-sure-shed-have-the-guts-to-publish-her-new-memoir\">she said to NPR’s Ari Shapiro\u003c/a> after publishing her memoir in 2018. “Yes, totally. Yes. But can I now look back and feel the length that I’ve traveled? Yes. And I couldn’t do that before.”\u003c/p>\n\u003cp>The children’s television program \u003cem>Sesame Street\u003c/em> was launched in 1969 to answer the question: Could children learn from television? After 50 years of Big Bird, Oscar the Grouch, Bert and Ernie, the answer seems to be yes. The co-founders of the show, Joan Ganz Cooney and Lloyd Morrisett, will accept the award on behalf of the program and the nonprofit organization behind it, Sesame Workshop. The cast recently visited NPR for a \u003ca href=\"https://www.npr.org/2019/06/10/730381700/sesame-street-tiny-desk-concert\">Tiny Desk Concert\u003c/a>.\u003c/p>\n\u003cp>All the recipients released statements thanking the Kennedy Center for the recognition. Cooney and Morrisett of Sesame Workshop said that the honor is a testament to all who help carry out their mission to make children “smarter, stronger and kinder.”\u003c/p>\n\u003cp>The awards are presented in a gala performance at the Kennedy Center on Sunday, Dec. 8, and filmed by CBS for a primetime special airing Sunday, Dec. 15 at 8 p.m. ET. Major stars of music, film, theater and other performing arts are often present to give tribute performances and speeches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Traditionally, the sitting U.S. president attends the gala, barring pressing international travel. However, President Trump has now \u003ca href=\"https://www.npr.org/2018/11/15/668207540/trumps-plan-to-skip-kennedy-center-honors-again\">declined to attend two years in a row\u003c/a>, making him the first president to have missed the event twice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Announces+2019+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "arts-funder-reversing-eviction-of-family-next-to-david-ireland-house",
"title": "Arts Funder Reversing Eviction of Family Next to David Ireland House",
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"content": "\u003cp>\u003cem>Updated Thursday, 11 a.m.\u003c/em>\u003c/p>\n\u003cp>Arts philanthropist Carlie Wilmans’ eviction of an immigrant family from her property next to the David Ireland House is on hold, according to the tenants’ attorney. \u003c/p>\n\u003cp>Stephen Collier of the Tenderloin Housing Clinic, who represents the multi-generational Mission District household, said he’s reached a tentative settlement rescinding the eviction lawsuit and allowing the tenants to remain. “But it is not yet finalized,” he said. [aside postID=arts_13855723,arts_13860412,arts_13860618]\u003c/p>\n\u003cp>Court records show the eviction case is still open. \u003c/p>\n\u003cp>Wilmans, who confirmed the tentative agreement, is the founder and primary financial supporter of the 500 Capp Street Foundation, which runs the late conceptual artist David Ireland’s home as a gallery. “My decision to reverse the eviction was entirely personal,” she said in a statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilmans bought the 20th Street duplex in 2016. That year she evicted the lower unit’s tenants, citing mattresses in the garage as a lease violation. In 2017, she invoked the Ellis Act to empty the upper unit, and the Chinese family of six has been resisting the eviction ever since.\u003c/p>\n\u003cp>Wilmans planned to “donate” use of both units to the 500 Capp Street Foundation, including as temporary lodging for visiting artists. \u003c/p>\n\u003cp>In a statement in April, 500 Capp Street staff said they were unaware of the eviction. “We have recently been briefed on the matter and have voiced our deep concerns,” the statement read. \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13855723/arts-funder-under-fire-for-evicting-family-next-to-david-ireland-house\">previously reported\u003c/a>, news of the eviction prompted outcry. Wilmans framed her actions as part of her work to support 500 Capp Street, but critics called it “art-washing,” or a gallery masking the pernicious effects of gentrification with supposed cultural benefits.\u003c/p>\n\u003cp>In the three months since the evictions came to light, 500 Capp Street has been in disarray. \u003c/p>\n\u003cp>Wilmans ceded her role as board chair to Jock Reynolds. Head curator Bob Linder was laid off, \u003ca href=\"https://www.kqed.org/arts/13860412/500-capp-street-lays-off-head-curator-creates-confusion-about-future-exhibitions\">casting doubt\u003c/a> on the future of the gallery’s non-Ireland programming; artists currently exhibiting and scheduled to exhibit \u003ca href=\"https://www.kqed.org/arts/13860618/liz-magor-pulls-works-from-500-capp-street-in-response-to-head-curator-layoff\">withdrew\u003c/a> their work, and Linder’s colleague, curator Diego Villalobos, also resigned. \u003c/p>\n\u003cp>According to Reynolds and Wilmans, Linder was laid off due to budget shortcomings. \u003c/p>\n\u003cp>Wilmans has long been the space’s chief benefactor: 2017 tax filings show she gave 500 Capp Street 91 percent of its $670,734 in revenue. In the wake of the eviction controversy, though, Wilmans seemed less willing to continue subsidizing the organization’s payroll costs. \u003c/p>\n\u003cp>\u003cem>Mission Local\u003c/em>, citing an unnamed source “familiar with the situation,” \u003ca href=\"https://missionlocal.org/2019/07/david-ireland-house-benefactor-carlie-wilmans-to-halt-eviction-of-mission-immigrant-family-following-backlash/\">reported\u003c/a> Tuesday that Linder’s criticism of Wilmans’ role in the evictions “may have hastened his departure.” \u003c/p>\n\u003cp>In her statement, Wilmans rejected the suggestion. “If Bob Linder had any criticism of the eviction, it had absolutely nothing to do with his lay off,” she said.\u003c/p>\n\u003cp>Linder and Villalobos have said they’re unable to comment due to non-disclosure agreements. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It is unclear for what purposes Wilmans is using the duplex’s upper unit, which she successfully emptied last year, but public records show she acquired permits for interior renovations. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Thursday, 11 a.m.\u003c/em>\u003c/p>\n\u003cp>Arts philanthropist Carlie Wilmans’ eviction of an immigrant family from her property next to the David Ireland House is on hold, according to the tenants’ attorney. \u003c/p>\n\u003cp>Stephen Collier of the Tenderloin Housing Clinic, who represents the multi-generational Mission District household, said he’s reached a tentative settlement rescinding the eviction lawsuit and allowing the tenants to remain. “But it is not yet finalized,” he said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Court records show the eviction case is still open. \u003c/p>\n\u003cp>Wilmans, who confirmed the tentative agreement, is the founder and primary financial supporter of the 500 Capp Street Foundation, which runs the late conceptual artist David Ireland’s home as a gallery. “My decision to reverse the eviction was entirely personal,” she said in a statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilmans bought the 20th Street duplex in 2016. That year she evicted the lower unit’s tenants, citing mattresses in the garage as a lease violation. In 2017, she invoked the Ellis Act to empty the upper unit, and the Chinese family of six has been resisting the eviction ever since.\u003c/p>\n\u003cp>Wilmans planned to “donate” use of both units to the 500 Capp Street Foundation, including as temporary lodging for visiting artists. \u003c/p>\n\u003cp>In a statement in April, 500 Capp Street staff said they were unaware of the eviction. “We have recently been briefed on the matter and have voiced our deep concerns,” the statement read. \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13855723/arts-funder-under-fire-for-evicting-family-next-to-david-ireland-house\">previously reported\u003c/a>, news of the eviction prompted outcry. Wilmans framed her actions as part of her work to support 500 Capp Street, but critics called it “art-washing,” or a gallery masking the pernicious effects of gentrification with supposed cultural benefits.\u003c/p>\n\u003cp>In the three months since the evictions came to light, 500 Capp Street has been in disarray. \u003c/p>\n\u003cp>Wilmans ceded her role as board chair to Jock Reynolds. Head curator Bob Linder was laid off, \u003ca href=\"https://www.kqed.org/arts/13860412/500-capp-street-lays-off-head-curator-creates-confusion-about-future-exhibitions\">casting doubt\u003c/a> on the future of the gallery’s non-Ireland programming; artists currently exhibiting and scheduled to exhibit \u003ca href=\"https://www.kqed.org/arts/13860618/liz-magor-pulls-works-from-500-capp-street-in-response-to-head-curator-layoff\">withdrew\u003c/a> their work, and Linder’s colleague, curator Diego Villalobos, also resigned. \u003c/p>\n\u003cp>According to Reynolds and Wilmans, Linder was laid off due to budget shortcomings. \u003c/p>\n\u003cp>Wilmans has long been the space’s chief benefactor: 2017 tax filings show she gave 500 Capp Street 91 percent of its $670,734 in revenue. In the wake of the eviction controversy, though, Wilmans seemed less willing to continue subsidizing the organization’s payroll costs. \u003c/p>\n\u003cp>\u003cem>Mission Local\u003c/em>, citing an unnamed source “familiar with the situation,” \u003ca href=\"https://missionlocal.org/2019/07/david-ireland-house-benefactor-carlie-wilmans-to-halt-eviction-of-mission-immigrant-family-following-backlash/\">reported\u003c/a> Tuesday that Linder’s criticism of Wilmans’ role in the evictions “may have hastened his departure.” \u003c/p>\n\u003cp>In her statement, Wilmans rejected the suggestion. “If Bob Linder had any criticism of the eviction, it had absolutely nothing to do with his lay off,” she said.\u003c/p>\n\u003cp>Linder and Villalobos have said they’re unable to comment due to non-disclosure agreements. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It is unclear for what purposes Wilmans is using the duplex’s upper unit, which she successfully emptied last year, but public records show she acquired permits for interior renovations. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are limited “experiences” to be had in “\u003ca href=\"https://experiencethe90s.com/\" rel=\"noopener\" target=\"_blank\">The 90’s Experience\u003c/a>,” the latest contender in the Instagram-fodder-as-pop-up-museum trend which opened last weekend in Oakland’s Jack London Square. In fact, there is pretty much one experience: photographing yourself and your friends against various digitally printed vinyl backgrounds meant to evoke “iconic” moments in the decade’s pop culture.\u003c/p>\n\u003cp>This may sound attractive \u003ca href=\"https://www.instagram.com/experiencethe90s/tagged/\" rel=\"noopener\" target=\"_blank\">to some\u003c/a>. But in every permutation of the imagination, every possible arrangement of hand-on-hip or head-in-hands or twist-of-the-neck-with-open-mouth-and-peace-sign, this experience is simply not worth the $32 price of admission.\u003c/p>\n\u003cp>Let’s look at other “experiences” that offer up what ultimately amounts to photo opportunities for their attendees to share on social media. The \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\" rel=\"noopener\" target=\"_blank\">Color Factory\u003c/a>, a “collaborative interactive exhibit,” debuted in August 2017 in San Francisco for $32 a ticket. It was sold out for its entire eight months on Sutter Street, reopening in New York City where tickets are now $38 a pop. And the Museum of Ice Cream currently holds court at the corner of O’Farrell and Grant, where it offers “an experiential installation inspired by ice cream.” Entrance is $38 a person. \u003c/p>\n\u003cfigure id=\"attachment_13861542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/90s_1200.jpg\" alt='Outside the Jack London Square pop-up \"experience.\"' width=\"1200\" height=\"800\" class=\"size-full wp-image-13861542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Outside the Jack London Square pop-up “experience.” \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I bring up these prices to establish the market rate for Instagram traps, which the creators of “The 90’s Experience” likely studied. The success of these “experiences,” or at least their proliferation, seems to suggest that there is an eager audience for lightly themed, candy-colored selfie spaces.\u003c/p>\n\u003cp>But what “The 90’s Experience” makes clear is that it’s not as easy to create an “experience” as it is to double-tap one. Though I’m loathe to hold up the Color Factory and the Museum of Ice Cream as places \u003ci>worth\u003c/i> over $30 of your hard-earned money, they do provide at least a modicum of in-person sensory stimulation before you translate that moment into a flat digital image for the purposes of feeding some tech giant’s understanding of you and your demographic. \u003c/p>\n\u003cp>I wouldn’t compare “The 90’s Experience” to the Color Factory and the Museum of Ice Cream if one of the five local organizers, Ky Truong, hadn’t mentioned those operations himself during preview night festivities for media, collaborators and Instagram influencers. Truong says those other “experiences” are too general, and with this pop-up effort he and his co-producers want to create something more specific, more nostalgic.\u003c/p>\n\u003cfigure id=\"attachment_13861543\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200.jpg\" alt=\"Co-organizer Ky Truong pointing out the intercom beside a replica 'Friends' apartment door.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Co-organizer Ky Truong pointing out the intercom beside a replica ‘Friends’ apartment door. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bathing all five senses,” is how “The 90’s Experience” describes itself on its website.\u003c/p>\n\u003cp>The closest “The 90’s Experience” gets to an actual activity is the zone featuring giant “The 90’s Experience”-branded markers that you’re encouraged to sniff. On opening night, I couldn’t smell anything special on their fuzzy tips. The pens do not hold ink, of course, so after sniffing, the only thing left to do is to pose against a vinyl backdrop decorated with the approximations of doodles you might once have made in the 90s (yes, there are several “Stussy esses”).\u003c/p>\n\u003cp>Did “The 90’s Experience” unlock the nostalgia vault for me, as Truong hoped? By all reasoning I should be a member of its prime audience: I remember the 90s well as formative grade school and middle school years. And surely, across the self-proclaimed 6,000-square-foot space with 12 interactive rooms (this is a stretch, as most of the themed spaces inside the Jack London Square storefront are one to two walls, if any) there should have been something to stir my feelings.\u003c/p>\n\u003cfigure id=\"attachment_13861544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/FreshPrince_1200.jpg\" alt=\"Artist Maria Garcia poses on a 'Fresh Prince' throne.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Artist Maria Garcia poses on a ‘Fresh Prince’ throne. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But despite organizers’ best efforts at what appeared to be Googling “the 90s”—a \u003ci>Friends\u003c/i> door, a \u003ci>Nevermind\u003c/i> photo op (floating money, check!), a column half-covered in pogs, a \u003ci>Fresh Prince\u003c/i> throne, a giant plastic beeper (solid, no buttons to press), a wall adorned in CDs and a Mario Bros. tableau—the pangs of nostalgia stayed firmly behind lock and key. \u003c/p>\n\u003cp>In one corner, the set decoration (because let’s face it, the vinyl-covered surfaces are really just a series of backdrops) makes an attempt at Oakland specificity. On a faux-brick wall, concert flyers advertise Spring Jam on the Green, a 1993 concert in Jack London Square, and a Salt-n-Pepa concert at the Henry J. Kaiser Arena. One problem: the Salt-n-Pepa flyer is from 1987.\u003c/p>\n\u003cp>Beside these is what looks like a newspaper story on the 1992 Los Angeles riots, but upon further investigation reveals itself to be a \u003ca href=\"https://www.dailynews.com/2012/04/28/unrest-and-aftermath-transformed-city-lapd/\" rel=\"noopener\" target=\"_blank\">\u003ci>Los Angeles Daily News\u003c/i> article\u003c/a> written to commemorate the 20th anniversary of the events, complete with a QR code. The paper is from 2012. \u003c/p>\n\u003cfigure id=\"attachment_13861546\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/BashBrothers_1200.jpg\" alt=\"Posters and flyers on a faux-brick wall at "The 90's Experience."\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Posters and flyers on a faux-brick wall at “The 90’s Experience.” \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other concert posters advertise events in New York and Ohio; this wall is nowhere and from no time—except possibly inside a casual, hurried gesture at the 1990s, made in 2019. (Disappointingly, the oversized gold plastic payphone at the end of this wall emits no sound through its earpiece, nor do its buttons actually move—a fact I discovered when I pushed the entire thing off balance with my index finger on the 9.)\u003c/p>\n\u003cp>Does “The 90’s Experience” actually teach us anything about life in the 90s? The timeline just inside its entryway is dotted with movie, album and product releases; their descriptions read as hastily cribbed copy from Wikipedia. (Can TLC’s “Waterfalls” really be summed up by explaining away the lyrics as “don’t go chasing intangible dreams without expecting consequences”?) That 2012 article is the closest we get to any historical or political information about the decade.\u003c/p>\n\u003cfigure id=\"attachment_13861545\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Nevermind_1200.jpg\" alt=\"Nicole Hankton poses like the baby on the cover of Nirvana's 1991 album 'Nevermind.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Hankton poses like the baby on the cover of Nirvana’s 1991 album ‘Nevermind.’ \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>News isn’t fun, I get it. But culture doesn’t exist in a vacuum. \u003ci>Jurassic Park\u003c/i>, \u003ci>Titanic\u003c/i> and \u003ci>The Matrix\u003c/i> can’t be reduced to the descriptor “iconic” without first understanding why they were such big hits—and that has a lot to do with the context in which they were made. But here they are now, along with Lisa Frank and Nirvana and giant boxes of cereal, unmoored and unmoving. Nineties culture gets trotted out as flattened simulations of things that were once very real and very meaningful, but are now simply meant to be photo opportunities captured at just the right angle.\u003c/p>\n\u003cp>What an experience.\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>There are limited “experiences” to be had in “\u003ca href=\"https://experiencethe90s.com/\" rel=\"noopener\" target=\"_blank\">The 90’s Experience\u003c/a>,” the latest contender in the Instagram-fodder-as-pop-up-museum trend which opened last weekend in Oakland’s Jack London Square. In fact, there is pretty much one experience: photographing yourself and your friends against various digitally printed vinyl backgrounds meant to evoke “iconic” moments in the decade’s pop culture.\u003c/p>\n\u003cp>This may sound attractive \u003ca href=\"https://www.instagram.com/experiencethe90s/tagged/\" rel=\"noopener\" target=\"_blank\">to some\u003c/a>. But in every permutation of the imagination, every possible arrangement of hand-on-hip or head-in-hands or twist-of-the-neck-with-open-mouth-and-peace-sign, this experience is simply not worth the $32 price of admission.\u003c/p>\n\u003cp>Let’s look at other “experiences” that offer up what ultimately amounts to photo opportunities for their attendees to share on social media. The \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\" rel=\"noopener\" target=\"_blank\">Color Factory\u003c/a>, a “collaborative interactive exhibit,” debuted in August 2017 in San Francisco for $32 a ticket. It was sold out for its entire eight months on Sutter Street, reopening in New York City where tickets are now $38 a pop. And the Museum of Ice Cream currently holds court at the corner of O’Farrell and Grant, where it offers “an experiential installation inspired by ice cream.” Entrance is $38 a person. \u003c/p>\n\u003cfigure id=\"attachment_13861542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/90s_1200.jpg\" alt='Outside the Jack London Square pop-up \"experience.\"' width=\"1200\" height=\"800\" class=\"size-full wp-image-13861542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Outside the Jack London Square pop-up “experience.” \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I bring up these prices to establish the market rate for Instagram traps, which the creators of “The 90’s Experience” likely studied. The success of these “experiences,” or at least their proliferation, seems to suggest that there is an eager audience for lightly themed, candy-colored selfie spaces.\u003c/p>\n\u003cp>But what “The 90’s Experience” makes clear is that it’s not as easy to create an “experience” as it is to double-tap one. Though I’m loathe to hold up the Color Factory and the Museum of Ice Cream as places \u003ci>worth\u003c/i> over $30 of your hard-earned money, they do provide at least a modicum of in-person sensory stimulation before you translate that moment into a flat digital image for the purposes of feeding some tech giant’s understanding of you and your demographic. \u003c/p>\n\u003cp>I wouldn’t compare “The 90’s Experience” to the Color Factory and the Museum of Ice Cream if one of the five local organizers, Ky Truong, hadn’t mentioned those operations himself during preview night festivities for media, collaborators and Instagram influencers. Truong says those other “experiences” are too general, and with this pop-up effort he and his co-producers want to create something more specific, more nostalgic.\u003c/p>\n\u003cfigure id=\"attachment_13861543\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200.jpg\" alt=\"Co-organizer Ky Truong pointing out the intercom beside a replica 'Friends' apartment door.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Co-organizer Ky Truong pointing out the intercom beside a replica ‘Friends’ apartment door. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bathing all five senses,” is how “The 90’s Experience” describes itself on its website.\u003c/p>\n\u003cp>The closest “The 90’s Experience” gets to an actual activity is the zone featuring giant “The 90’s Experience”-branded markers that you’re encouraged to sniff. On opening night, I couldn’t smell anything special on their fuzzy tips. The pens do not hold ink, of course, so after sniffing, the only thing left to do is to pose against a vinyl backdrop decorated with the approximations of doodles you might once have made in the 90s (yes, there are several “Stussy esses”).\u003c/p>\n\u003cp>Did “The 90’s Experience” unlock the nostalgia vault for me, as Truong hoped? By all reasoning I should be a member of its prime audience: I remember the 90s well as formative grade school and middle school years. And surely, across the self-proclaimed 6,000-square-foot space with 12 interactive rooms (this is a stretch, as most of the themed spaces inside the Jack London Square storefront are one to two walls, if any) there should have been something to stir my feelings.\u003c/p>\n\u003cfigure id=\"attachment_13861544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/FreshPrince_1200.jpg\" alt=\"Artist Maria Garcia poses on a 'Fresh Prince' throne.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Artist Maria Garcia poses on a ‘Fresh Prince’ throne. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But despite organizers’ best efforts at what appeared to be Googling “the 90s”—a \u003ci>Friends\u003c/i> door, a \u003ci>Nevermind\u003c/i> photo op (floating money, check!), a column half-covered in pogs, a \u003ci>Fresh Prince\u003c/i> throne, a giant plastic beeper (solid, no buttons to press), a wall adorned in CDs and a Mario Bros. tableau—the pangs of nostalgia stayed firmly behind lock and key. \u003c/p>\n\u003cp>In one corner, the set decoration (because let’s face it, the vinyl-covered surfaces are really just a series of backdrops) makes an attempt at Oakland specificity. On a faux-brick wall, concert flyers advertise Spring Jam on the Green, a 1993 concert in Jack London Square, and a Salt-n-Pepa concert at the Henry J. Kaiser Arena. One problem: the Salt-n-Pepa flyer is from 1987.\u003c/p>\n\u003cp>Beside these is what looks like a newspaper story on the 1992 Los Angeles riots, but upon further investigation reveals itself to be a \u003ca href=\"https://www.dailynews.com/2012/04/28/unrest-and-aftermath-transformed-city-lapd/\" rel=\"noopener\" target=\"_blank\">\u003ci>Los Angeles Daily News\u003c/i> article\u003c/a> written to commemorate the 20th anniversary of the events, complete with a QR code. The paper is from 2012. \u003c/p>\n\u003cfigure id=\"attachment_13861546\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/BashBrothers_1200.jpg\" alt=\"Posters and flyers on a faux-brick wall at "The 90's Experience."\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Posters and flyers on a faux-brick wall at “The 90’s Experience.” \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other concert posters advertise events in New York and Ohio; this wall is nowhere and from no time—except possibly inside a casual, hurried gesture at the 1990s, made in 2019. (Disappointingly, the oversized gold plastic payphone at the end of this wall emits no sound through its earpiece, nor do its buttons actually move—a fact I discovered when I pushed the entire thing off balance with my index finger on the 9.)\u003c/p>\n\u003cp>Does “The 90’s Experience” actually teach us anything about life in the 90s? The timeline just inside its entryway is dotted with movie, album and product releases; their descriptions read as hastily cribbed copy from Wikipedia. (Can TLC’s “Waterfalls” really be summed up by explaining away the lyrics as “don’t go chasing intangible dreams without expecting consequences”?) That 2012 article is the closest we get to any historical or political information about the decade.\u003c/p>\n\u003cfigure id=\"attachment_13861545\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Nevermind_1200.jpg\" alt=\"Nicole Hankton poses like the baby on the cover of Nirvana's 1991 album 'Nevermind.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Hankton poses like the baby on the cover of Nirvana’s 1991 album ‘Nevermind.’ \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>News isn’t fun, I get it. But culture doesn’t exist in a vacuum. \u003ci>Jurassic Park\u003c/i>, \u003ci>Titanic\u003c/i> and \u003ci>The Matrix\u003c/i> can’t be reduced to the descriptor “iconic” without first understanding why they were such big hits—and that has a lot to do with the context in which they were made. But here they are now, along with Lisa Frank and Nirvana and giant boxes of cereal, unmoored and unmoving. Nineties culture gets trotted out as flattened simulations of things that were once very real and very meaningful, but are now simply meant to be photo opportunities captured at just the right angle.\u003c/p>\n\u003cp>What an experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Go Back Where You Came From': The Long Rhetorical Roots Of Trump's Racist Tweets",
"headTitle": "‘Go Back Where You Came From’: The Long Rhetorical Roots Of Trump’s Racist Tweets | KQED",
"content": "\u003cfigure id=\"attachment_13861530\" class=\"wp-caption alignright\" style=\"max-width: 714px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/YouCanComeBack.jpg\" alt='\"You can go back to wherever you came from\" Editorial cartoon drawing shows \"L.B.J.\" standing on the back of a truck with another man labeled \"89th Congress\" who wields a hand truck for the removal of \"Immigration Snobbery\" from the Statue of Liberty.' width=\"714\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/YouCanComeBack.jpg 714w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/YouCanComeBack-160x181.jpg 160w\" sizes=\"(max-width: 714px) 100vw, 714px\">\u003cfigcaption class=\"wp-caption-text\">Editorial cartoon drawing shows “L.B.J.” standing on the back of a truck with another man labeled “89th Congress” who wields a hand truck for the removal of “Immigration Snobbery” from the Statue of Liberty. \u003ccite>(Herbert Block, 1965 / Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When President Trump \u003ca href=\"https://www.npr.org/2019/07/14/741630889/congresswomen-denounce-trump-tweets-telling-them-to-go-back-to-their-home-countr\">tweeted his racist remarks\u003c/a> Sunday, asking why certain Democratic congresswomen don’t just “go back and help fix the totally broken and crime infested places from which they came,” he did not just take aim at the \u003ca href=\"https://www.npr.org/2019/07/15/741771445/trump-continues-twitter-assault-on-4-minority-congresswomen\">four women of color\u003c/a> — three of whom were born in the U.S.\u003c/p>\n\u003cp>He did so using a taunt that has long, deeply entrenched roots in American history: Why don’t you just go back where you came from?\u003c/p>\n\u003cp>The question doesn’t always appear in those precise words, nor does it always surface in the same situations. And it doesn’t always get directed at the same groups of people — far from it, in fact. But more often than not, it conveys the same sentiment: You — and others like you — are not welcome here.\u003c/p>\n\u003cp>“There have been different phrases that have been used,” says \u003ca href=\"https://gspm.gwu.edu/dr-michael-cornfield\">Michael Cornfield\u003c/a>, a scholar of rhetoric at \u003ca href=\"https://gspm.gwu.edu/\">George Washington University\u003c/a>, “but the idea that we don’t have any more room for people, or those people don’t look like us, this is a long, ugly strain in American history.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.uh.edu/class/english/people/faculty/wingard/\">Jennifer Wingard\u003c/a>, a University of Houston professor who has looked at rhetoric and immigrant communities, traces this sentiment at least to 1798, when the U.S. passed a series of laws — together known as the the \u003ca href=\"http://www.ushistory.org/us/19e.asp\">Alien and Sedition Acts\u003c/a> — that were aimed at making citizenship more difficult for immigrants and deportation easier for U.S. authorities to carry out.\u003c/p>\n\u003cp>“The legislation is actually constructed for the ability to remove immigrants who are saying things against the U.S. government,” she says, explaining that these laws were passed in a tumultuous political climate.\u003c/p>\n\u003cp>“We were starting to see different political parties and different politicians arguing for different ways that the government should be run. And it just happened that politically, they could try to maintain and try to withhold the status quo by putting it on the backs of immigrants.”\u003c/p>\n\u003cp>Those laws established a pattern, she says, that would resurface with new waves of immigration and new perceived threats — from the Great Famine in Ireland and the Spanish-American War to the Great Depression and the attacks on Sept. 11.\u003c/p>\n\u003cfigure id=\"attachment_13861531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85.jpg\" alt=\"This cartoon, published around 1855, reflects the pervasive anti-Catholic sentiment of the era — perhaps best epitomized by the rise of the Know-Nothings, a nativist political party. Catholics, led by the pope, are depicted as an invading force of foreigners, rebuffed by a man dressed like Uncle Sam, who likens them to the anti-Christ.\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85-768x586.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, published around 1855, reflects the pervasive anti-Catholic sentiment of the era — perhaps best epitomized by the rise of the Know-Nothings, a nativist political party. Catholics, led by the pope, are depicted as an invading force of foreigners, rebuffed by a man dressed like Uncle Sam, who likens them to the anti-Christ. \u003ccite>(Nathaniel Currier/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every wave of immigration that gets in sees the next wave as the threat. That is the wave that is now going to take the jobs, that is now going to take things away,” Wingard says. “The latest flow in is always the one that seems the most threatening.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.american.edu/cas/faculty/akraut.cfm\">Alan Kraut\u003c/a>, a scholar at American University who is writing a history of anti-immigrant feeling in the U.S., says he saw this kind of thing play out firsthand when he was a child growing up in the Bronx.\u003c/p>\n\u003cp>“When kids had a fight in the street and the kids were from different ethnic groups, one kid would often say to the other: ‘You and your parents go back where you came from,’ ” Kraut recalls.\u003c/p>\n\u003cp>“You know, it could mean Brooklyn. But it could also mean go back where you came from — you know, Russian Jews who came to the United States, southern Italians who came to the United States, Puerto Ricans newly arrived,” he continues. “So when this came out of the mouth of this president who’s from Queens, it sounded almost like a child saying that in my memory on the streets of New York.”\u003c/p>\n\u003cp>The process renews often, Wingard says, and she says the sentiment remains steady even if the names of the targeted groups change.\u003c/p>\n\u003cfigure id=\"attachment_13861529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85.jpg\" alt='A cartoon, published in 1891, titled \"Where the Blame Lies.\" shows a man gesturing toward a crowd of immigrants — including the \"German socialist,\" \"Italian brigand\" and \"English convict.\" The gesturing man tells a sagging Uncle Sam: \"If Immigration was properly Restricted you would no longer be troubled with Anarchy, Socialism, the Mafia and such kindred evils!\"' width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85-768x499.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A cartoon, published in 1891, titled “Where the Blame Lies.” shows a man gesturing toward a crowd of immigrants — including the “German socialist,” “Italian brigand” and “English convict.” The gesturing man tells a sagging Uncle Sam: “If Immigration was properly Restricted you would no longer be troubled with Anarchy, Socialism, the Mafia and such kindred evils!” \u003ccite>(Sackett & Wilhelms Litho. Co./Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a fancy theoretical term — it’s called a palimpsest,” says \u003ca href=\"https://www.uh.edu/class/english/people/faculty/wingard/\">Jennifer Wingard\u003c/a>, a rhetoric scholar at the \u003ca href=\"https://www.uh.edu/\">University of Houston\u003c/a>. A palimpsest, she explains, is a text that has been erased and overwritten — but that nevertheless continues to bear many of the markings and meanings largely concealed beneath the new writing.\u003c/p>\n\u003cp>“They carry these sentiments that we have seen over centuries, but then they get repurposed for the current moment — and a phrase like that [racist taunt] becomes almost like a shorthand for anti-immigrant sentiment,” Wingard says. “You know, ‘go back where you came from’ is the same as ‘go back to your own country’ is the same as ‘you are not allowed here’ is the same as ‘no immigrants allowed.’ Yet it carries all of this historical shorthand with it.”\u003c/p>\n\u003cp>Cornfield says it’s partly the statement’s variability that makes it so powerful.\u003c/p>\n\u003cp>“It plays to the fear that somehow America is getting too full or that the mixing of ethnicities and races would somehow aggravate issues,” he says. “It’s a potent phrase and part of its potency is its ambiguity.”\u003c/p>\n\u003cp>It’s simplicity, too.\u003c/p>\n\u003cp>“When you use a phrase like this, you’re just asking people to forget about context and forget about policy choices,” he adds, “and just get angry at people who don’t look or sound like you do.”\u003c/p>\n\u003cp>\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "When the president told several new congresswomen of color to \"go back\" to where they came from, he borrowed nativist language about as old as the country itself. Here's a little history.",
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"description": "When the president told several new congresswomen of color to "go back" to where they came from, he borrowed nativist language about as old as the country itself. Here's a little history.",
"title": "'Go Back Where You Came From': The Long Rhetorical Roots Of Trump's Racist Tweets | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13861530\" class=\"wp-caption alignright\" style=\"max-width: 714px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/YouCanComeBack.jpg\" alt='\"You can go back to wherever you came from\" Editorial cartoon drawing shows \"L.B.J.\" standing on the back of a truck with another man labeled \"89th Congress\" who wields a hand truck for the removal of \"Immigration Snobbery\" from the Statue of Liberty.' width=\"714\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/YouCanComeBack.jpg 714w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/YouCanComeBack-160x181.jpg 160w\" sizes=\"(max-width: 714px) 100vw, 714px\">\u003cfigcaption class=\"wp-caption-text\">Editorial cartoon drawing shows “L.B.J.” standing on the back of a truck with another man labeled “89th Congress” who wields a hand truck for the removal of “Immigration Snobbery” from the Statue of Liberty. \u003ccite>(Herbert Block, 1965 / Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When President Trump \u003ca href=\"https://www.npr.org/2019/07/14/741630889/congresswomen-denounce-trump-tweets-telling-them-to-go-back-to-their-home-countr\">tweeted his racist remarks\u003c/a> Sunday, asking why certain Democratic congresswomen don’t just “go back and help fix the totally broken and crime infested places from which they came,” he did not just take aim at the \u003ca href=\"https://www.npr.org/2019/07/15/741771445/trump-continues-twitter-assault-on-4-minority-congresswomen\">four women of color\u003c/a> — three of whom were born in the U.S.\u003c/p>\n\u003cp>He did so using a taunt that has long, deeply entrenched roots in American history: Why don’t you just go back where you came from?\u003c/p>\n\u003cp>The question doesn’t always appear in those precise words, nor does it always surface in the same situations. And it doesn’t always get directed at the same groups of people — far from it, in fact. But more often than not, it conveys the same sentiment: You — and others like you — are not welcome here.\u003c/p>\n\u003cp>“There have been different phrases that have been used,” says \u003ca href=\"https://gspm.gwu.edu/dr-michael-cornfield\">Michael Cornfield\u003c/a>, a scholar of rhetoric at \u003ca href=\"https://gspm.gwu.edu/\">George Washington University\u003c/a>, “but the idea that we don’t have any more room for people, or those people don’t look like us, this is a long, ugly strain in American history.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.uh.edu/class/english/people/faculty/wingard/\">Jennifer Wingard\u003c/a>, a University of Houston professor who has looked at rhetoric and immigrant communities, traces this sentiment at least to 1798, when the U.S. passed a series of laws — together known as the the \u003ca href=\"http://www.ushistory.org/us/19e.asp\">Alien and Sedition Acts\u003c/a> — that were aimed at making citizenship more difficult for immigrants and deportation easier for U.S. authorities to carry out.\u003c/p>\n\u003cp>“The legislation is actually constructed for the ability to remove immigrants who are saying things against the U.S. government,” she says, explaining that these laws were passed in a tumultuous political climate.\u003c/p>\n\u003cp>“We were starting to see different political parties and different politicians arguing for different ways that the government should be run. And it just happened that politically, they could try to maintain and try to withhold the status quo by putting it on the backs of immigrants.”\u003c/p>\n\u003cp>Those laws established a pattern, she says, that would resurface with new waves of immigration and new perceived threats — from the Great Famine in Ireland and the Spanish-American War to the Great Depression and the attacks on Sept. 11.\u003c/p>\n\u003cfigure id=\"attachment_13861531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85.jpg\" alt=\"This cartoon, published around 1855, reflects the pervasive anti-Catholic sentiment of the era — perhaps best epitomized by the rise of the Know-Nothings, a nativist political party. Catholics, led by the pope, are depicted as an invading force of foreigners, rebuffed by a man dressed like Uncle Sam, who likens them to the anti-Christ.\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc1_custom-1326a615b4a7e8dc6bd2d95e37044709ae1a8755-s800-c85-768x586.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, published around 1855, reflects the pervasive anti-Catholic sentiment of the era — perhaps best epitomized by the rise of the Know-Nothings, a nativist political party. Catholics, led by the pope, are depicted as an invading force of foreigners, rebuffed by a man dressed like Uncle Sam, who likens them to the anti-Christ. \u003ccite>(Nathaniel Currier/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every wave of immigration that gets in sees the next wave as the threat. That is the wave that is now going to take the jobs, that is now going to take things away,” Wingard says. “The latest flow in is always the one that seems the most threatening.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.american.edu/cas/faculty/akraut.cfm\">Alan Kraut\u003c/a>, a scholar at American University who is writing a history of anti-immigrant feeling in the U.S., says he saw this kind of thing play out firsthand when he was a child growing up in the Bronx.\u003c/p>\n\u003cp>“When kids had a fight in the street and the kids were from different ethnic groups, one kid would often say to the other: ‘You and your parents go back where you came from,’ ” Kraut recalls.\u003c/p>\n\u003cp>“You know, it could mean Brooklyn. But it could also mean go back where you came from — you know, Russian Jews who came to the United States, southern Italians who came to the United States, Puerto Ricans newly arrived,” he continues. “So when this came out of the mouth of this president who’s from Queens, it sounded almost like a child saying that in my memory on the streets of New York.”\u003c/p>\n\u003cp>The process renews often, Wingard says, and she says the sentiment remains steady even if the names of the targeted groups change.\u003c/p>\n\u003cfigure id=\"attachment_13861529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85.jpg\" alt='A cartoon, published in 1891, titled \"Where the Blame Lies.\" shows a man gesturing toward a crowd of immigrants — including the \"German socialist,\" \"Italian brigand\" and \"English convict.\" The gesturing man tells a sagging Uncle Sam: \"If Immigration was properly Restricted you would no longer be troubled with Anarchy, Socialism, the Mafia and such kindred evils!\"' width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/loc3_custom-cbfc43c027ddf4c9fce82d11e16a49e788e1f11e-s800-c85-768x499.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A cartoon, published in 1891, titled “Where the Blame Lies.” shows a man gesturing toward a crowd of immigrants — including the “German socialist,” “Italian brigand” and “English convict.” The gesturing man tells a sagging Uncle Sam: “If Immigration was properly Restricted you would no longer be troubled with Anarchy, Socialism, the Mafia and such kindred evils!” \u003ccite>(Sackett & Wilhelms Litho. Co./Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a fancy theoretical term — it’s called a palimpsest,” says \u003ca href=\"https://www.uh.edu/class/english/people/faculty/wingard/\">Jennifer Wingard\u003c/a>, a rhetoric scholar at the \u003ca href=\"https://www.uh.edu/\">University of Houston\u003c/a>. A palimpsest, she explains, is a text that has been erased and overwritten — but that nevertheless continues to bear many of the markings and meanings largely concealed beneath the new writing.\u003c/p>\n\u003cp>“They carry these sentiments that we have seen over centuries, but then they get repurposed for the current moment — and a phrase like that [racist taunt] becomes almost like a shorthand for anti-immigrant sentiment,” Wingard says. “You know, ‘go back where you came from’ is the same as ‘go back to your own country’ is the same as ‘you are not allowed here’ is the same as ‘no immigrants allowed.’ Yet it carries all of this historical shorthand with it.”\u003c/p>\n\u003cp>Cornfield says it’s partly the statement’s variability that makes it so powerful.\u003c/p>\n\u003cp>“It plays to the fear that somehow America is getting too full or that the mixing of ethnicities and races would somehow aggravate issues,” he says. “It’s a potent phrase and part of its potency is its ambiguity.”\u003c/p>\n\u003cp>It’s simplicity, too.\u003c/p>\n\u003cp>“When you use a phrase like this, you’re just asking people to forget about context and forget about policy choices,” he adds, “and just get angry at people who don’t look or sound like you do.”\u003c/p>\n\u003cp>\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Beyoncé, 'Surviving R. Kelly' and 'Leaving Neverland' Get Emmy Nods",
"headTitle": "Beyoncé, ‘Surviving R. Kelly’ and ‘Leaving Neverland’ Get Emmy Nods | KQED",
"content": "\u003cp>NEW YORK (AP) — Beyoncé’s “Homecoming” film has scored six Emmy nominations, while documentaries on Michael Jackson, R. Kelly and the disastrous Fyre Festival also picked up nominations.\u003c/p>\n\u003cp>With Netflix’s “Homecoming: A Film by Beyoncé,” the pop star personally earned four of the six nominations Tuesday, including bids for producing, writing, co-directing and musical direction. In the outstanding variety special (pre-recorded) category, “Homecoming” will compete with “Springsteen on Broadway.”\u003c/p>\n\u003cp>“Homecoming” also earned nominations for costumes and production design.\u003c/p>\n\u003cp>HBO’s “Leaving Neverland,” a documentary where two men accused Jackson of molesting them as boys that sparked new scrutiny of years-old claims that the King of Pop preyed on children, earned five nominations, including outstanding documentary or nonfiction special (Jackson’s estate denied the allegations and Jackson long maintained his innocence when he was alive).\u003c/p>\n\u003cp>Lifetime’s “Surviving R. Kelly,” which looks at the R&B singer’s history and allegations that he has sexually abused women and girls, picked up a single nomination for outstanding informational series or special. Kelly, who was acquitted of child pornography charges in 2008, was hit with new criminal charges on the federal and state level following the airing of the docuseries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Netflix’s “FYRE: The Greatest Party That Never Happened” followed the highly publicized and famously failed music bash in the Bahamas and received four nominations. Another documentary on the doomed festival called “Fyre Fraud,” which aired on Hulu, is nominated for outstanding writing for a nonfiction program, where Showtime’s “Wu-Tang Clan: Of Mics And Men” also earned a nomination.\u003c/p>\n\u003cp>“Aretha! A Grammy Celebration For The Queen of Soul,” which aired on CBS and featured Patti LaBelle, John Legend and others honoring the late legend, picked up two nominations.\u003c/p>\n\u003cp>Sara Bareilles — who has been nominated for multiple Grammys and Tonys and earned up her first Emmy nomination last year — shares a nomination this year for outstanding original music and lyrics with Josh Groban for their work on the 72nd annual Tony Awards. Mega-producer T Bone Burnett, who produced Bareilles’ latest album, scored a nomination for his musical score of HBO’s “True Detective.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beyoncé, who has 23 Grammys, earned Emmy nominations in the past for her “Lemonade” visual project, her Super Bowl halftime show performance and her “On the Run” tour with Jay-Z. Her nominations this year include outstanding directing for a variety special, outstanding writing for a variety special and outstanding music direction. In the outstanding variety special (pre-recorded) category, she is nominated as an executive producer of “Homecoming.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NEW YORK (AP) — Beyoncé’s “Homecoming” film has scored six Emmy nominations, while documentaries on Michael Jackson, R. Kelly and the disastrous Fyre Festival also picked up nominations.\u003c/p>\n\u003cp>With Netflix’s “Homecoming: A Film by Beyoncé,” the pop star personally earned four of the six nominations Tuesday, including bids for producing, writing, co-directing and musical direction. In the outstanding variety special (pre-recorded) category, “Homecoming” will compete with “Springsteen on Broadway.”\u003c/p>\n\u003cp>“Homecoming” also earned nominations for costumes and production design.\u003c/p>\n\u003cp>HBO’s “Leaving Neverland,” a documentary where two men accused Jackson of molesting them as boys that sparked new scrutiny of years-old claims that the King of Pop preyed on children, earned five nominations, including outstanding documentary or nonfiction special (Jackson’s estate denied the allegations and Jackson long maintained his innocence when he was alive).\u003c/p>\n\u003cp>Lifetime’s “Surviving R. Kelly,” which looks at the R&B singer’s history and allegations that he has sexually abused women and girls, picked up a single nomination for outstanding informational series or special. Kelly, who was acquitted of child pornography charges in 2008, was hit with new criminal charges on the federal and state level following the airing of the docuseries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Netflix’s “FYRE: The Greatest Party That Never Happened” followed the highly publicized and famously failed music bash in the Bahamas and received four nominations. Another documentary on the doomed festival called “Fyre Fraud,” which aired on Hulu, is nominated for outstanding writing for a nonfiction program, where Showtime’s “Wu-Tang Clan: Of Mics And Men” also earned a nomination.\u003c/p>\n\u003cp>“Aretha! A Grammy Celebration For The Queen of Soul,” which aired on CBS and featured Patti LaBelle, John Legend and others honoring the late legend, picked up two nominations.\u003c/p>\n\u003cp>Sara Bareilles — who has been nominated for multiple Grammys and Tonys and earned up her first Emmy nomination last year — shares a nomination this year for outstanding original music and lyrics with Josh Groban for their work on the 72nd annual Tony Awards. Mega-producer T Bone Burnett, who produced Bareilles’ latest album, scored a nomination for his musical score of HBO’s “True Detective.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beyoncé, who has 23 Grammys, earned Emmy nominations in the past for her “Lemonade” visual project, her Super Bowl halftime show performance and her “On the Run” tour with Jay-Z. Her nominations this year include outstanding directing for a variety special, outstanding writing for a variety special and outstanding music direction. In the outstanding variety special (pre-recorded) category, she is nominated as an executive producer of “Homecoming.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Bisbee ’17' Recalls One City's Dark Deportation History",
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"content": "\u003cp>BISBEE, Ariz. (AP) — The darkest, most violent chapter in the history of Bisbee was an open secret for decades in the funky old Arizona copper town 7 miles (11 kilometers) north of the U.S.-Mexico border.\u003c/p>\n\u003cp>But few residents knew the details of how about 1,200 miners, most of them immigrants, were pulled violently from their homes a century ago by a private police force and put on cattle cars for their deportation to a desolate area of New Mexico.\u003c/p>\n\u003cp>The filming of “Bisbee ’17,” a documentary about what happened July 12, 1917, was a history lesson for residents recruited to play historical figures in the production filmed exactly 100 years later that weds documentary and collective performance. It is, at turns, a Western, a musical and a ghost story.\u003c/p>\n\u003cp>https://youtu.be/XSs599e3yZ4\u003c/p>\n\u003cp>The film mixes the town’s past and present, the residents dressed in period clothing but moving through present-day Bisbee. Newly deputized strikebreakers with ancient guns stand in a classroom complete with an overhead projector and modern light figures. “Enjoy the AC while you’ve got it!” a man standing at the front of a modern bus tells residents dressed as miners as they travel to the rail cars for their deportation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After premiering last year at the Sundance Film Festival, “Bisbee ’17” will be nationally broadcast for the first time Monday night on the PBS documentary series POV. In Arizona, it will be shown at 9 p.m.\u003c/p>\n\u003cp>It’s the sixth film for director Robert Greene, filmmaker-in-chief for the Murray Center for Documentary Journalism at the University of Missouri. A previous film “Kate Plays Christine” won a Jury Award for Writing at Sundance 2016. “Owning The Weather,” his first documentary, was screened at the COP15 Climate Change Conference in Copenhagen.\u003c/p>\n\u003cp>Greene said he learned of the town of Bisbee around 15 years ago when he first visited southeastern Arizona to help his then-future mother-in-law fix up an old cabin.\u003c/p>\n\u003cp>“I completely fell in love with the town,” Greene said of the quirky community of old hippies, immigrants, biker mechanics and descendants of miners and company executives. The town today leans to the political left and has an active cultural scene that includes live theatre. It features Victorian-style houses built on hilly terrain, along with other architectural gems. The gaping hole at Bisbee’s edge that was once the Lavender Pit copper mine is a constant reminder the area’s mining history.\u003c/p>\n\u003cp>Greene said he started thinking of ways to make a film about the Bisbee deportation shortly after learning about it. As the 100th anniversary approached two years ago, he said, “we knew it was time.”\u003c/p>\n\u003cp>The documentary tells how the bosses at the Phelps Dodge copper mining operation feared a strike by miners who sympathized with the “Wobblies,” members of the radical Industrial Workers of the World.\u003c/p>\n\u003cfigure id=\"attachment_13861357\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg\" alt=\"Town residents dressed in period costume stand in a modern day classroom in "Bisbee '17," as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-768x432.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Town residents dressed in period costume stand in a modern day classroom in “Bisbee ’17,” as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917. \u003ccite>(Jarred Alterman/4th Row Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. had just entered World War I, and company executives worried that foreign-born miners would try to hamper the war effort.\u003c/p>\n\u003cp>Working with mining bosses, the local sheriff hastily deputized about 2,000 strikebreakers to round up about 1,200 miners, mostly immigrants from Mexico and eastern Europe. They were led by gunpoint to the baseball field in the nearby community of Warren, locked inside train cars and shipped off to Hermanas, New Mexico.\u003c/p>\n\u003cp>The narrative emerges through the residents’ personal stories: a woman whose grandfather deported his brother; a former mining company boss who remains convinced the deportation was justified; and Fernando Serrano, 23, whose mother had been deported back to her native Mexico and jailed on drug charges.\u003c/p>\n\u003cp>Viewers watch Serrano undergo a political awakening as he plays the role of a Mexican miner, singing the Spanish-language version of the union anthem “Solidarity Forever” to the tune of the “Battle Hymn of the Republic.”\u003c/p>\n\u003cp>While exorcising the demons of Bisbee’s past, the townspeople make a statement about today’s treatment of marginalized people, the filmmaker said.\u003c/p>\n\u003cp>“You cannot keep from what is happening at the border when you watch the film,” said Greene, referring to the chaos that has erupted along the U.S.-Mexico border as the Trump administration seeks to keep out a wave of asylum-seekers, mostly from Central America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It echoes other moments in our nation’s history when fear was used to motivate opposition,” he said.\u003c/p>\n\u003cdiv id=\"ntv1097657-0-14501\" class=\"FeedCard WireStory with-image ntv-feed ntv1097657-0-14501 ntvClickOut\">\u003c/div>\n\n",
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"description": "Airing on PBS, "Bisbee '17" tells the story of how some 1,200 miners, most of them immigrants, were pulled violently from their homes in Bisbee, Ariz., by a private police force and put on cattle cars for deportation to a desolate area of New Mexico in 1917.",
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"headline": "'Bisbee ’17' Recalls One City's Dark Deportation History",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>BISBEE, Ariz. (AP) — The darkest, most violent chapter in the history of Bisbee was an open secret for decades in the funky old Arizona copper town 7 miles (11 kilometers) north of the U.S.-Mexico border.\u003c/p>\n\u003cp>But few residents knew the details of how about 1,200 miners, most of them immigrants, were pulled violently from their homes a century ago by a private police force and put on cattle cars for their deportation to a desolate area of New Mexico.\u003c/p>\n\u003cp>The filming of “Bisbee ’17,” a documentary about what happened July 12, 1917, was a history lesson for residents recruited to play historical figures in the production filmed exactly 100 years later that weds documentary and collective performance. It is, at turns, a Western, a musical and a ghost story.\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/XSs599e3yZ4'\n title='//www.youtube.com/embed/XSs599e3yZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film mixes the town’s past and present, the residents dressed in period clothing but moving through present-day Bisbee. Newly deputized strikebreakers with ancient guns stand in a classroom complete with an overhead projector and modern light figures. “Enjoy the AC while you’ve got it!” a man standing at the front of a modern bus tells residents dressed as miners as they travel to the rail cars for their deportation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After premiering last year at the Sundance Film Festival, “Bisbee ’17” will be nationally broadcast for the first time Monday night on the PBS documentary series POV. In Arizona, it will be shown at 9 p.m.\u003c/p>\n\u003cp>It’s the sixth film for director Robert Greene, filmmaker-in-chief for the Murray Center for Documentary Journalism at the University of Missouri. A previous film “Kate Plays Christine” won a Jury Award for Writing at Sundance 2016. “Owning The Weather,” his first documentary, was screened at the COP15 Climate Change Conference in Copenhagen.\u003c/p>\n\u003cp>Greene said he learned of the town of Bisbee around 15 years ago when he first visited southeastern Arizona to help his then-future mother-in-law fix up an old cabin.\u003c/p>\n\u003cp>“I completely fell in love with the town,” Greene said of the quirky community of old hippies, immigrants, biker mechanics and descendants of miners and company executives. The town today leans to the political left and has an active cultural scene that includes live theatre. It features Victorian-style houses built on hilly terrain, along with other architectural gems. The gaping hole at Bisbee’s edge that was once the Lavender Pit copper mine is a constant reminder the area’s mining history.\u003c/p>\n\u003cp>Greene said he started thinking of ways to make a film about the Bisbee deportation shortly after learning about it. As the 100th anniversary approached two years ago, he said, “we knew it was time.”\u003c/p>\n\u003cp>The documentary tells how the bosses at the Phelps Dodge copper mining operation feared a strike by miners who sympathized with the “Wobblies,” members of the radical Industrial Workers of the World.\u003c/p>\n\u003cfigure id=\"attachment_13861357\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg\" alt=\"Town residents dressed in period costume stand in a modern day classroom in "Bisbee '17," as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-768x432.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Town residents dressed in period costume stand in a modern day classroom in “Bisbee ’17,” as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917. \u003ccite>(Jarred Alterman/4th Row Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. had just entered World War I, and company executives worried that foreign-born miners would try to hamper the war effort.\u003c/p>\n\u003cp>Working with mining bosses, the local sheriff hastily deputized about 2,000 strikebreakers to round up about 1,200 miners, mostly immigrants from Mexico and eastern Europe. They were led by gunpoint to the baseball field in the nearby community of Warren, locked inside train cars and shipped off to Hermanas, New Mexico.\u003c/p>\n\u003cp>The narrative emerges through the residents’ personal stories: a woman whose grandfather deported his brother; a former mining company boss who remains convinced the deportation was justified; and Fernando Serrano, 23, whose mother had been deported back to her native Mexico and jailed on drug charges.\u003c/p>\n\u003cp>Viewers watch Serrano undergo a political awakening as he plays the role of a Mexican miner, singing the Spanish-language version of the union anthem “Solidarity Forever” to the tune of the “Battle Hymn of the Republic.”\u003c/p>\n\u003cp>While exorcising the demons of Bisbee’s past, the townspeople make a statement about today’s treatment of marginalized people, the filmmaker said.\u003c/p>\n\u003cp>“You cannot keep from what is happening at the border when you watch the film,” said Greene, referring to the chaos that has erupted along the U.S.-Mexico border as the Trump administration seeks to keep out a wave of asylum-seekers, mostly from Central America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It echoes other moments in our nation’s history when fear was used to motivate opposition,” he said.\u003c/p>\n\u003cdiv id=\"ntv1097657-0-14501\" class=\"FeedCard WireStory with-image ntv-feed ntv1097657-0-14501 ntvClickOut\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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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.",
"airtime": "MON-FRI 2pm-3pm",
"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.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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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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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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