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Criminal justice reform advocates portrayed Brown’s case as an example of the unreasonable incarceration of a teenager who was a victim of sex trafficking.\u003c/p>\n\u003cp>“Did we somehow change the definition of #JUSTICE along the way??” Rihanna asked in \u003ca href=\"https://www.instagram.com/p/Bbwi26PjHf7/?hl=en\">a 2017 Instagram post\u003c/a> about Brown that received nearly 2 million likes. “The system has failed,” Kardashian West \u003ca href=\"https://twitter.com/kimkardashian/status/933001503123554304?lang=en\">tweeted\u003c/a>.\u003c/p>\n\u003cp>While incarcerated, Brown earned her GED, finished a bachelor’s degree and mentored at-risk youth.\u003c/p>\n\u003cp>“Transformation should be accompanied by hope,” Haslam said when commuting her sentence to parole in January.\u003c/p>\n\u003cp>On Tuesday, the National Women’s Law Center \u003ca href=\"https://twitter.com/nwlc/status/1159101177415557123\">celebrated\u003c/a> the long legal battle that led to Brown’s release, but with a cautionary note.\u003c/p>\n\u003cp>“We’re glad Cyntoia has finally been freed — but we must not forget that she never should have been in prison in the first place. We must continue to seek justice for survivors like her,” the group said on Twitter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Her publisher \u003ca href=\"https://catalog.simonandschuster.com/TitleDetails/TitleDetails.aspx?cid=1300&isbn=9781982141103&FilterByName=&FilterBy=&FilterVal=&ob=0&pn=1&ed=&showcart=N&camefrom=&find=&a=\">announced\u003c/a> that Brown will release a memoir in October that will describe her traumatic childhood, how she transformed her life from behind bars and the events that led to her murder conviction and eventual release.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She then fled with Allen’s guns and money. She drove away in his pickup truck.\u003c/p>\n\u003cp>Prosecutors claimed that Brown shot Allen as part of a plan to rob him, but Brown told police she was acting to protect herself. She was convicted and sentenced to life in prison over the killing.\u003c/p>\n\u003cp>The U.S. Supreme Court\u003ca href=\"https://www.npr.org/2016/01/25/464338364/supreme-court-opens-door-to-parole-for-juvenile-lifers\"> has ruled that\u003c/a> mandatory life sentences without parole for juvenile offenders are not constitutional, but Tennessee prosecutors successfully argued that Brown would technically become eligible for parole after 51 years, in 2055.\u003c/p>\n\u003cp>Brown, now 31, was among \u003ca href=\"https://www.tennessean.com/story/news/politics/2019/03/07/tennessee-teen-lifers-tennessean-investigation-cyntoia-brown/3079107002/\">more than 180 inmates\u003c/a> serving life sentences in the state for crimes they committed as teenagers.\u003c/p>\n\u003cp>She never testified during her trial, but during her appeals process, Brown, who had been a teenage runaway, took the stand and described how at the time of the killing, she was ensnared in an abusive relationship with a drug dealer known as Cut Throat who forced her into prostitution.\u003c/p>\n\u003cp>Her case gained new scrutiny with the rise of the #MeToo movement, as her supporters drew attention to the case using the hashtag #FreeCyntoiaBrown. Criminal justice reform advocates portrayed Brown’s case as an example of the unreasonable incarceration of a teenager who was a victim of sex trafficking.\u003c/p>\n\u003cp>“Did we somehow change the definition of #JUSTICE along the way??” Rihanna asked in \u003ca href=\"https://www.instagram.com/p/Bbwi26PjHf7/?hl=en\">a 2017 Instagram post\u003c/a> about Brown that received nearly 2 million likes. “The system has failed,” Kardashian West \u003ca href=\"https://twitter.com/kimkardashian/status/933001503123554304?lang=en\">tweeted\u003c/a>.\u003c/p>\n\u003cp>While incarcerated, Brown earned her GED, finished a bachelor’s degree and mentored at-risk youth.\u003c/p>\n\u003cp>“Transformation should be accompanied by hope,” Haslam said when commuting her sentence to parole in January.\u003c/p>\n\u003cp>On Tuesday, the National Women’s Law Center \u003ca href=\"https://twitter.com/nwlc/status/1159101177415557123\">celebrated\u003c/a> the long legal battle that led to Brown’s release, but with a cautionary note.\u003c/p>\n\u003cp>“We’re glad Cyntoia has finally been freed — but we must not forget that she never should have been in prison in the first place. We must continue to seek justice for survivors like her,” the group said on Twitter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Her publisher \u003ca href=\"https://catalog.simonandschuster.com/TitleDetails/TitleDetails.aspx?cid=1300&isbn=9781982141103&FilterByName=&FilterBy=&FilterVal=&ob=0&pn=1&ed=&showcart=N&camefrom=&find=&a=\">announced\u003c/a> that Brown will release a memoir in October that will describe her traumatic childhood, how she transformed her life from behind bars and the events that led to her murder conviction and eventual release.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Leave it up to Steph Curry to fix a run-down community basketball court in East Oakland—and to do it in style.\u003c/p>\n\u003cp>On Tuesday afternoon at Concordia Park, a large crowd of children cheered loudly as the Warriors guard tossed alley-oops to a squad of young hoopers. While parents watched from the bleachers, Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\n\u003cp>The occasion? A renovation of Concordia Park’s run-down basketball court, made possible by Curry’s philanthropy after just one tweet about the court’s condition, sent from an account with about 80 followers.\u003c/p>\n\u003cp>https://twitter.com/nimfromthaeast/status/1144369613448175616\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13849948/lo-fiction-chases-that-bag-through-east-oakland\" target=\"_blank\" rel=\"noopener\">Nimsins\u003c/a>, an educator, MC and resident of East Oakland, says that it was just after the Warriors lost the finals that he got up the nerve to ask for help.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nimsins is a hooper who uses the court regularly, and had noticed its dilapidated conditions for some time. “One of the backboards went down last year, so we were all sharing one court,” he told me.\u003c/p>\n\u003cp>He initially tried contacting the city about the court’s condition. “I called 311 so many times. I was just on hold,” Nimsins said. “I got the number for a claim, and then they told me they have a backboard. Then they told me it was going to be a process. And then, the third time I called, they acted like they didn’t know what I was talking about.”\u003c/p>\n\u003cfigure id=\"attachment_13863298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg\" alt=\"Conditions at Concordia Park's basketball court in June.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conditions at Concordia Park’s basketball court \u003ccite>(@nimsfromtheeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, with less than 100 followers at the time, he hoisted his metaphorical half-court shot. He sent out \u003ca href=\"https://twitter.com/nimfromthaeast/status/1144369613448175616?s=20\" target=\"_blank\" rel=\"noopener\">a tweet\u003c/a> asking for someone to come and fix the court, tagging the Warriors organization, as well as Kevon Looney, Draymond Green, Alfonzo McKinnie, Jordan Bell.\u003c/p>\n\u003cp>People noticed.\u003c/p>\n\u003cp>Nimsins said he was directly contacted by a number of people, from other concerned residents to Oakland’s own NBA superstar Damian Lillard. But \u003ca href=\"https://twitter.com/bryantabarr\" target=\"_blank\" rel=\"noopener\">Bryant Barr,\u003c/a> who leads Steph Curry’s philanthropy group SC30 Inc., had already began the process of finding a way to help.\u003c/p>\n\u003cp>“He asked me to open my DMs, but I’m new to Twitter, so I didn’t know what that meant!” Nimsins laughed. “For a minute I wasn’t responding, because I didn’t believe him.”\u003c/p>\n\u003cp>After getting in contact, the two discussed design and aesthetic of the forthcoming remodel. “He sent me a pic of the artwork model, and was like, ‘I have some artists in mind.’ I said ‘Cool, I have some artists in mind too.’ ”\u003c/p>\n\u003cp>It turned out that they were both thinking about \u003ca href=\"http://www.illuminaries.net/\" target=\"_blank\" rel=\"noopener\">The Illuminaries\u003c/a>, a Bay Area-based collective of artists composed of Tim Hon, Steve Ha, and Romali Licudan, who’ve painted a number of courts around the US, including one last year in West Oakland \u003ca href=\"https://www.kqed.org/arts/13842893/stars-come-out-for-a-freshly-painted-basketball-court-in-west-oakland\" target=\"_blank\" rel=\"noopener\">at DeFremery Park\u003c/a>. They worked with another well-known Bay Area-based artist, Kufue.\u003c/p>\n\u003cp>“Kufue taught me nine years ago at Fremont High School,” said Nimsins, happy that the artists were local.\u003c/p>\n\u003cfigure id=\"attachment_13863299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg\" alt=\"Steph Curry signs autographs for kids on the completed Concordia Park basketball court.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steph Curry signs autographs for kids on the completed Concordia Park basketball court. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within weeks, with Chase and Under Armour as sponsors, the project was done. In early August, Nimsins got a call to come down and see the court. He lives two minutes away, so it didn’t take him long to see the results of his tweet.\u003c/p>\n\u003cp>On Tuesday, the court opened to the public, with a star-studded grand opening that included the presence of Steph Curry, Dell Curry, and the newest Curry, Canon. Photographer Devin Allen, known for his work in Baltimore during the Freddie Gray uprising, snapped photos. Community activist and former East Oakland kingpin Darryl “Lil D” Reed watched from the bleachers. Steph Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\n\u003cp>https://twitter.com/UAbasketball/status/1159146516998582272\u003c/p>\n\u003cp>“I used to work at Frick Middle School,” said Nimsins of the school right next to the court. “All the people who pulled up, I know them personally.”\u003c/p>\n\u003cp>And then he met Steph. “He’s a nice dude!” Nimsins said. “I didn’t feel a pressure to meet him. He has a very welcoming energy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the park still needs some work—the grass isn’t well-maintained like other parks in Oakland, and the play structure isn’t somewhere Nimsins lets his young daughter play—he says once his daughter learns to walk, she’ll definitely be on that court.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nimsins is a hooper who uses the court regularly, and had noticed its dilapidated conditions for some time. “One of the backboards went down last year, so we were all sharing one court,” he told me.\u003c/p>\n\u003cp>He initially tried contacting the city about the court’s condition. “I called 311 so many times. I was just on hold,” Nimsins said. “I got the number for a claim, and then they told me they have a backboard. Then they told me it was going to be a process. And then, the third time I called, they acted like they didn’t know what I was talking about.”\u003c/p>\n\u003cfigure id=\"attachment_13863298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg\" alt=\"Conditions at Concordia Park's basketball court in June.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Court.Steph_-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conditions at Concordia Park’s basketball court \u003ccite>(@nimsfromtheeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, with less than 100 followers at the time, he hoisted his metaphorical half-court shot. He sent out \u003ca href=\"https://twitter.com/nimfromthaeast/status/1144369613448175616?s=20\" target=\"_blank\" rel=\"noopener\">a tweet\u003c/a> asking for someone to come and fix the court, tagging the Warriors organization, as well as Kevon Looney, Draymond Green, Alfonzo McKinnie, Jordan Bell.\u003c/p>\n\u003cp>People noticed.\u003c/p>\n\u003cp>Nimsins said he was directly contacted by a number of people, from other concerned residents to Oakland’s own NBA superstar Damian Lillard. But \u003ca href=\"https://twitter.com/bryantabarr\" target=\"_blank\" rel=\"noopener\">Bryant Barr,\u003c/a> who leads Steph Curry’s philanthropy group SC30 Inc., had already began the process of finding a way to help.\u003c/p>\n\u003cp>“He asked me to open my DMs, but I’m new to Twitter, so I didn’t know what that meant!” Nimsins laughed. “For a minute I wasn’t responding, because I didn’t believe him.”\u003c/p>\n\u003cp>After getting in contact, the two discussed design and aesthetic of the forthcoming remodel. “He sent me a pic of the artwork model, and was like, ‘I have some artists in mind.’ I said ‘Cool, I have some artists in mind too.’ ”\u003c/p>\n\u003cp>It turned out that they were both thinking about \u003ca href=\"http://www.illuminaries.net/\" target=\"_blank\" rel=\"noopener\">The Illuminaries\u003c/a>, a Bay Area-based collective of artists composed of Tim Hon, Steve Ha, and Romali Licudan, who’ve painted a number of courts around the US, including one last year in West Oakland \u003ca href=\"https://www.kqed.org/arts/13842893/stars-come-out-for-a-freshly-painted-basketball-court-in-west-oakland\" target=\"_blank\" rel=\"noopener\">at DeFremery Park\u003c/a>. They worked with another well-known Bay Area-based artist, Kufue.\u003c/p>\n\u003cp>“Kufue taught me nine years ago at Fremont High School,” said Nimsins, happy that the artists were local.\u003c/p>\n\u003cfigure id=\"attachment_13863299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg\" alt=\"Steph Curry signs autographs for kids on the completed Concordia Park basketball court.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/FullCourt.Steph_.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steph Curry signs autographs for kids on the completed Concordia Park basketball court. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within weeks, with Chase and Under Armour as sponsors, the project was done. In early August, Nimsins got a call to come down and see the court. He lives two minutes away, so it didn’t take him long to see the results of his tweet.\u003c/p>\n\u003cp>On Tuesday, the court opened to the public, with a star-studded grand opening that included the presence of Steph Curry, Dell Curry, and the newest Curry, Canon. Photographer Devin Allen, known for his work in Baltimore during the Freddie Gray uprising, snapped photos. Community activist and former East Oakland kingpin Darryl “Lil D” Reed watched from the bleachers. Steph Curry walked around the court, signing new shoes for many of the young people in attendance.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I used to work at Frick Middle School,” said Nimsins of the school right next to the court. “All the people who pulled up, I know them personally.”\u003c/p>\n\u003cp>And then he met Steph. “He’s a nice dude!” Nimsins said. “I didn’t feel a pressure to meet him. He has a very welcoming energy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the park still needs some work—the grass isn’t well-maintained like other parks in Oakland, and the play structure isn’t somewhere Nimsins lets his young daughter play—he says once his daughter learns to walk, she’ll definitely be on that court.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The doors open wide, you enter, and they close behind you. As the elevator begins its ascent, you realize it’s just you and one other person taking this ride. The silence soon grows uncomfortable.\u003c/p>\n\u003cp>Pop quiz. What’s your go-to move?\u003c/p>\n\u003cp>A) Stare at your shoes.\u003c/p>\n\u003cp>B) Pull out your cellphone.\u003c/p>\n\u003cp>C) Make brief eye contact.\u003c/p>\n\u003cp>D) Initiate chitchat.\u003c/p>\n\u003cp>If your answer was B, you’re like far too many of us, eyes glued to our phones, attention focused on the digital world.\u003c/p>\n\u003cp>Many of us tend to do just about anything to avoid conversation or even eye contact with strangers. And smartphones make it easier than ever to do that. A \u003ca href=\"https://www.sciencedirect.com/science/article/pii/S0747563218304643\">recent study\u003c/a> found that phones can keep us from even exchanging brief smiles with people we meet in public places. But a body of research has shown that we might just be short-changing our own happiness by ignoring opportunities to connect with the people around us.\u003c/p>\n\u003cp>[aside postID='mindshift_49569' hero='https://ww2.kqed.org/wp-content/uploads/sites/23/2017/11/moodmandala-1180x714.png' target='_blank']\u003c/p>\n\u003cp>Several years ago, University of British Columbia psychologist \u003ca href=\"https://dunn.psych.ubc.ca/\">Elizabeth Dunn\u003c/a> and her colleague \u003ca href=\"https://www.essex.ac.uk/people/sands04300/gillian-sandstrom\">Gillian M. Sandstrom\u003c/a>, tested whether \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/1948550613502990\">short conversations with strangers\u003c/a> could lift moods. They asked participants to enter a busy coffee shop and grab a beverage — half would get in and get out, and half would strike up a conversation with the cashier.\u003c/p>\n\u003cp>“We found that people who were randomly assigned to turn this economic transaction into a quick social interaction left Starbucks in a better mood,” Dunn says. “And they even felt a greater sense of belonging in their community.”\u003c/p>\n\u003cp>The same researchers \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0146167214529799\">found\u003c/a> that these seemingly trivial encounters with the minor characters in our lives — the random guy at the dog park or the barista at our local coffee shop — can affect feelings of happiness and human connection on a typical day.\u003c/p>\n\u003cp>Social anxiety, however, could be preventing these types of interactions, says \u003ca href=\"https://www.chicagobooth.edu/faculty/directory/e/nicholas-epley\">Nicholas Epley\u003c/a>, a University of Chicago behavioral scientist.\u003c/p>\n\u003cp>One day, during a daily train ride, he noticed something paradoxical. People — social creatures — were basically ignoring one another. Why, he wondered, if connecting with others makes us happy, do we so often avoid it?\u003c/p>\n\u003cp>Either solitude really is more enjoyable than talking to strangers, he figured, or we have mistaken assumptions holding us back.\u003c/p>\n\u003cp>His curiosity led to \u003ca href=\"https://psycnet.apa.org/doiLanding?doi=10.1037%2Fa0037323\">a series of experiments\u003c/a> revealing that train and bus commuters who interacted with other passengers experienced a more pleasant ride — even when they believed they would prefer the solitude of, say, reading a book.\u003c/p>\n\u003cp>It is fear that the person sitting next to us won’t enjoy talking to us that makes us keep to ourselves, Epley found. But when we do talk to each other, those social interactions with strangers tend to be both less awkward and more enjoyable than most people predict.\u003c/p>\n\u003cp>[aside postID='arts_13847875' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-768x568.jpg' target='_blank']\u003c/p>\n\u003cp>If striking up small talk with a stranger sounds daunting, you might be relieved to hear that even something as simple as making eye contact offers benefits.\u003c/p>\n\u003cp>No one likes feeling invisible when someone walks past. The Germans even have a term for it — \u003cem>wie Luft behandeln\u003c/em>, which means “to be looked at as though air.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.purdue.edu/hhs/psy/directory/faculty/Williams_Kip.html\">Kipling Williams\u003c/a>, a Purdue University psychologist, studied how people felt when a young woman walked by them and either made eye contact, made eye contact while smiling, or completely ignored them. \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0956797611427921\">Even brief eye contact\u003c/a> increased people’s sense of inclusion and belonging.\u003c/p>\n\u003cp>“Just that brief acknowledgment, that brief glance — with or without a smile — made them at least temporarily feel more socially connected,” Williams says. And it works both ways. Those that had been “looked through” felt even more disconnected than the control group.\u003c/p>\n\u003cp>So, how can we dodge the risks of loneliness and stop short-changing our own happiness?\u003c/p>\n\u003cp>It might be easier than you think.\u003c/p>\n\u003cp>“It takes very little to acknowledge somebody’s existence,” Williams says.\u003c/p>\n\u003cp>Start with folks like the cashier in a grocery store or the barista at your local coffee shop, Dunn says. You’ve got to interact with them anyway, so you might as well make an effort to turn it into a friendly exchange.\u003c/p>\n\u003cp>And be mindful that using your smartphone sends a signal that you’re not interested in interacting with the people around you. Put it away and you easily remove that barrier, she says.\u003c/p>\n\u003cp>The mood boost of talking to strangers may seem fleeting, but the research on well-being, Epley says, suggests that a happy life is made up of a high frequency of positive events, and even small positive experiences make a difference.\u003c/p>\n\u003cp>“Happiness seems a little bit like a leaky tire on a car,” Epley explains. “We just sort of have to keep pumping it up a bit to maintain it.”\u003c/p>\n\u003cp>This doesn’t mean we need to set out on some grand quest to connect at every possible turn. Instead, he recommends paying closer attention to those times when the urge to offer a compliment or strike up a conversation arises.\u003c/p>\n\u003cp>Sure, there may be a bit of fear or reluctance holding us back, but it’s worth overcoming.\u003c/p>\n\u003cp>The next time you walk into an elevator, consider leaving the phone in your pocket, acknowledging the presence of that other person, and maybe even saying “hello” or “good morning.”\u003c/p>\n\u003cp>Who knows? It could wind up putting a smile on your face and theirs.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Paul Nicolaus is a Wisconsin-based freelance writer specializing in science, nature, and health. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The doors open wide, you enter, and they close behind you. As the elevator begins its ascent, you realize it’s just you and one other person taking this ride. The silence soon grows uncomfortable.\u003c/p>\n\u003cp>Pop quiz. What’s your go-to move?\u003c/p>\n\u003cp>A) Stare at your shoes.\u003c/p>\n\u003cp>B) Pull out your cellphone.\u003c/p>\n\u003cp>C) Make brief eye contact.\u003c/p>\n\u003cp>D) Initiate chitchat.\u003c/p>\n\u003cp>If your answer was B, you’re like far too many of us, eyes glued to our phones, attention focused on the digital world.\u003c/p>\n\u003cp>Many of us tend to do just about anything to avoid conversation or even eye contact with strangers. And smartphones make it easier than ever to do that. A \u003ca href=\"https://www.sciencedirect.com/science/article/pii/S0747563218304643\">recent study\u003c/a> found that phones can keep us from even exchanging brief smiles with people we meet in public places. But a body of research has shown that we might just be short-changing our own happiness by ignoring opportunities to connect with the people around us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several years ago, University of British Columbia psychologist \u003ca href=\"https://dunn.psych.ubc.ca/\">Elizabeth Dunn\u003c/a> and her colleague \u003ca href=\"https://www.essex.ac.uk/people/sands04300/gillian-sandstrom\">Gillian M. Sandstrom\u003c/a>, tested whether \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/1948550613502990\">short conversations with strangers\u003c/a> could lift moods. They asked participants to enter a busy coffee shop and grab a beverage — half would get in and get out, and half would strike up a conversation with the cashier.\u003c/p>\n\u003cp>“We found that people who were randomly assigned to turn this economic transaction into a quick social interaction left Starbucks in a better mood,” Dunn says. “And they even felt a greater sense of belonging in their community.”\u003c/p>\n\u003cp>The same researchers \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0146167214529799\">found\u003c/a> that these seemingly trivial encounters with the minor characters in our lives — the random guy at the dog park or the barista at our local coffee shop — can affect feelings of happiness and human connection on a typical day.\u003c/p>\n\u003cp>Social anxiety, however, could be preventing these types of interactions, says \u003ca href=\"https://www.chicagobooth.edu/faculty/directory/e/nicholas-epley\">Nicholas Epley\u003c/a>, a University of Chicago behavioral scientist.\u003c/p>\n\u003cp>One day, during a daily train ride, he noticed something paradoxical. People — social creatures — were basically ignoring one another. Why, he wondered, if connecting with others makes us happy, do we so often avoid it?\u003c/p>\n\u003cp>Either solitude really is more enjoyable than talking to strangers, he figured, or we have mistaken assumptions holding us back.\u003c/p>\n\u003cp>His curiosity led to \u003ca href=\"https://psycnet.apa.org/doiLanding?doi=10.1037%2Fa0037323\">a series of experiments\u003c/a> revealing that train and bus commuters who interacted with other passengers experienced a more pleasant ride — even when they believed they would prefer the solitude of, say, reading a book.\u003c/p>\n\u003cp>It is fear that the person sitting next to us won’t enjoy talking to us that makes us keep to ourselves, Epley found. But when we do talk to each other, those social interactions with strangers tend to be both less awkward and more enjoyable than most people predict.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If striking up small talk with a stranger sounds daunting, you might be relieved to hear that even something as simple as making eye contact offers benefits.\u003c/p>\n\u003cp>No one likes feeling invisible when someone walks past. The Germans even have a term for it — \u003cem>wie Luft behandeln\u003c/em>, which means “to be looked at as though air.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.purdue.edu/hhs/psy/directory/faculty/Williams_Kip.html\">Kipling Williams\u003c/a>, a Purdue University psychologist, studied how people felt when a young woman walked by them and either made eye contact, made eye contact while smiling, or completely ignored them. \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0956797611427921\">Even brief eye contact\u003c/a> increased people’s sense of inclusion and belonging.\u003c/p>\n\u003cp>“Just that brief acknowledgment, that brief glance — with or without a smile — made them at least temporarily feel more socially connected,” Williams says. And it works both ways. Those that had been “looked through” felt even more disconnected than the control group.\u003c/p>\n\u003cp>So, how can we dodge the risks of loneliness and stop short-changing our own happiness?\u003c/p>\n\u003cp>It might be easier than you think.\u003c/p>\n\u003cp>“It takes very little to acknowledge somebody’s existence,” Williams says.\u003c/p>\n\u003cp>Start with folks like the cashier in a grocery store or the barista at your local coffee shop, Dunn says. You’ve got to interact with them anyway, so you might as well make an effort to turn it into a friendly exchange.\u003c/p>\n\u003cp>And be mindful that using your smartphone sends a signal that you’re not interested in interacting with the people around you. Put it away and you easily remove that barrier, she says.\u003c/p>\n\u003cp>The mood boost of talking to strangers may seem fleeting, but the research on well-being, Epley says, suggests that a happy life is made up of a high frequency of positive events, and even small positive experiences make a difference.\u003c/p>\n\u003cp>“Happiness seems a little bit like a leaky tire on a car,” Epley explains. “We just sort of have to keep pumping it up a bit to maintain it.”\u003c/p>\n\u003cp>This doesn’t mean we need to set out on some grand quest to connect at every possible turn. Instead, he recommends paying closer attention to those times when the urge to offer a compliment or strike up a conversation arises.\u003c/p>\n\u003cp>Sure, there may be a bit of fear or reluctance holding us back, but it’s worth overcoming.\u003c/p>\n\u003cp>The next time you walk into an elevator, consider leaving the phone in your pocket, acknowledging the presence of that other person, and maybe even saying “hello” or “good morning.”\u003c/p>\n\u003cp>Who knows? It could wind up putting a smile on your face and theirs.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Paul Nicolaus is a Wisconsin-based freelance writer specializing in science, nature, and health. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Not Your Grandma's Big Band: 7th Street Reaches for the Edge of Jazz",
"headTitle": "Not Your Grandma’s Big Band: 7th Street Reaches for the Edge of Jazz | KQED",
"content": "\u003cp>Pretty much the only thing traditional about San Jose’s \u003ca href=\"https://www.7thstreetbigband.com/\">7th Street Big Band\u003c/a> is the instrumentation.\u003c/p>\n\u003cp>At a recent rehearsal, the group’s founder, band leader and drum set player Gabby Horlick, ticked off the personnel.\u003c/p>\n\u003cp>“Today we’ll have four trumpets, four trombones, five saxophones, a flute and a full rhythm section,” said Horlick. “We have a bunch of singers coming today, also.”\u003c/p>\n\u003cp>Horlick said people filter in and out of the band, but there’s usually about 20 members. They barely fit in Horlick’s living room, which she converts to a rehearsal space every other Sunday.\u003c/p>\n\u003cp>Now, if big band makes you think swing music, you might be disappointed with the sound of 7th Street.\u003c/p>\n\u003cfigure id=\"attachment_13862984\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Besides playing the drums in the band, Gabby Horlick organizes band charts and gigs and helps lead rehearsals.\u003c/figcaption>\u003c/figure>\n\u003cp>“Our tagline is ‘we’re not your grandparents big band’,” said Horlick. “ We don’t really play “In the Mood” and “Sing Sing Sing” and these traditional big band songs.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13863049,arts_13804037,arts_10885260' label='More San Jose Jazz']But, Horlick says, they do have the chops to play those songs and they’ve performed standards like those when the group first got together in 2013.\u003c/p>\n\u003cp>Like many musicians today, they feel free to draw from multiple musical traditions. Influences range from pop and funk to hip hop, as well as jazz. And they do covers, like Childish Gambino’s “Redbone”.\u003c/p>\n\u003cp>But the 7th Street Big Band plays a lot of original music, too. Their most streamed song on Spotify, from their 2018 album “Off Cinderella Lane” was written by their tenor saxophone player. It’s called “\u003ca href=\"https://open.spotify.com/track/5L3FLFDJCua5vqhtNe3j5s\" target=\"_blank\" rel=\"noopener\">One Man’s Trash\u003c/a>” and it’s another piece that bucks big band tradition with its heavy tinges of electronic dance music.\u003c/p>\n\u003cp>Most members of the band are recent grads from San Jose State. Hence the band name, a nod to one of the prominent streets adjacent to campus.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=czvmy1qYOis\u003c/p>\n\u003cp>24-year-old band member Brittany Biala studied jazz at San Jose State and graduated last year. Now she teaches music and plays saxophone with the group. Biala said this is not the first time she’s played with a big band.\u003c/p>\n\u003cp>“The typical big bands that I’ve been in definitely have an older generation of people who want to play mostly straight-ahead jazz, which is awesome,” says Biala. “But we definitely play some funkier versions. And we have a rapper.”\u003c/p>\n\u003cp>Biala says the band members, who are almost all in their 20s, enjoy each other’s company and that leads to more musical experimentation. And, of course, jazz is all about experimentation.\u003c/p>\n\u003cp>“It’s survived by mixing with so many genres,” says Biala. “And that’s how it always is turning into something new, creating something new, becoming something new.”\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>\u003c/p>\n\u003cp>\u003cem>The\u003cstrong> 7th Street Big Band\u003c/strong> performs as part of the \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> on August 10, 2019 on the Swing Stage. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pretty much the only thing traditional about San Jose’s \u003ca href=\"https://www.7thstreetbigband.com/\">7th Street Big Band\u003c/a> is the instrumentation.\u003c/p>\n\u003cp>At a recent rehearsal, the group’s founder, band leader and drum set player Gabby Horlick, ticked off the personnel.\u003c/p>\n\u003cp>“Today we’ll have four trumpets, four trombones, five saxophones, a flute and a full rhythm section,” said Horlick. “We have a bunch of singers coming today, also.”\u003c/p>\n\u003cp>Horlick said people filter in and out of the band, but there’s usually about 20 members. They barely fit in Horlick’s living room, which she converts to a rehearsal space every other Sunday.\u003c/p>\n\u003cp>Now, if big band makes you think swing music, you might be disappointed with the sound of 7th Street.\u003c/p>\n\u003cfigure id=\"attachment_13862984\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Besides playing the drums in the band, Gabby Horlick organizes band charts and gigs and helps lead rehearsals.\u003c/figcaption>\u003c/figure>\n\u003cp>“Our tagline is ‘we’re not your grandparents big band’,” said Horlick. “ We don’t really play “In the Mood” and “Sing Sing Sing” and these traditional big band songs.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But, Horlick says, they do have the chops to play those songs and they’ve performed standards like those when the group first got together in 2013.\u003c/p>\n\u003cp>Like many musicians today, they feel free to draw from multiple musical traditions. Influences range from pop and funk to hip hop, as well as jazz. And they do covers, like Childish Gambino’s “Redbone”.\u003c/p>\n\u003cp>But the 7th Street Big Band plays a lot of original music, too. Their most streamed song on Spotify, from their 2018 album “Off Cinderella Lane” was written by their tenor saxophone player. It’s called “\u003ca href=\"https://open.spotify.com/track/5L3FLFDJCua5vqhtNe3j5s\" target=\"_blank\" rel=\"noopener\">One Man’s Trash\u003c/a>” and it’s another piece that bucks big band tradition with its heavy tinges of electronic dance music.\u003c/p>\n\u003cp>Most members of the band are recent grads from San Jose State. Hence the band name, a nod to one of the prominent streets adjacent to campus.\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/czvmy1qYOis'\n title='//www.youtube.com/embed/czvmy1qYOis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>24-year-old band member Brittany Biala studied jazz at San Jose State and graduated last year. Now she teaches music and plays saxophone with the group. Biala said this is not the first time she’s played with a big band.\u003c/p>\n\u003cp>“The typical big bands that I’ve been in definitely have an older generation of people who want to play mostly straight-ahead jazz, which is awesome,” says Biala. “But we definitely play some funkier versions. And we have a rapper.”\u003c/p>\n\u003cp>Biala says the band members, who are almost all in their 20s, enjoy each other’s company and that leads to more musical experimentation. And, of course, jazz is all about experimentation.\u003c/p>\n\u003cp>“It’s survived by mixing with so many genres,” says Biala. “And that’s how it always is turning into something new, creating something new, becoming something new.”\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>\u003c/p>\n\u003cp>\u003cem>The\u003cstrong> 7th Street Big Band\u003c/strong> performs as part of the \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> on August 10, 2019 on the Swing Stage. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Copyrighting the 'Building Blocks' of Music? Why the Katy Perry Case Alarms Producers",
"headTitle": "Copyrighting the ‘Building Blocks’ of Music? Why the Katy Perry Case Alarms Producers | KQED",
"content": "\u003cp>After a seven-day trial, last week’s copyright infringement ruling against Katy Perry came down to four notes from her 2013 hit, “Dark Horse.”\u003c/p>\n\u003cp>On July 29, a \u003ca href=\"https://www.apnews.com/0adf8ac775bd4a3b93ded997e0d58a1b\" target=\"_blank\" rel=\"noopener noreferrer\">jury ruled\u003c/a> in favor of Christian rapper Flame, a.k.a. Marcus Gray, who says that Perry and her collaborators Juicy J, Dr. Luke, Max Martin, Cirkut and Sarah Hudson lifted the looped synth melody from Flame’s 2008 song “Joyful Noise.” Perry, the co-writers and her label, Capitol, now have to pay out $2.8 million dollars in damages. \u003cspan style=\"font-weight: 400\"> (\u003cem>\u003cstrong>Update, Sept. 23, 2021:\u003c/strong>\u003c/em> Although Flame initially prevailed in court, \u003ca href=\"https://www.nytimes.com/2020/03/17/arts/music/katy-perry-dark-horse.html\" target=\"_blank\" rel=\"noopener noreferrer\">a judge tossed the verdict against Perry in 2020\u003c/a>.)\u003c/span>\u003c/p>\n\u003cp>The decision prompted outcries from \u003ca href=\"http://www.musicologize.com/occams-razor-says-this-is-why-dark-horse-is-not-joyous-noise/\" target=\"_blank\" rel=\"noopener noreferrer\">musicologists\u003c/a>, intellectual property experts and music producers, who argue that it sets a dangerous precedent, encouraging self-censorship among composers and more lawsuits over basic similarities. Experts say that the case illuminates the discrepancies between the way copyright law is enforced and the real-life practices of pop music producers, who rely on derivative motifs and genre conventions to make hits.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x-kcPyz78fk\u003c/p>\n\u003ch2>Who gets to own basic songwriting elements?\u003c/h2>\n\u003cp>The issue isn’t that “Joyful Noise” or “Dark Horse” are particularly original: both fuse generic elements of pop, trap and EDM—a style that’s come to define the sound of the 2010s. Though in different keys and tempos, both songs feature a \u003ca href=\"https://www.vox.com/culture/2019/7/30/20747100/katy-perry-dark-horse-joyful-noise-copyright-2-8-million\" target=\"_blank\" rel=\"noopener noreferrer\">descending minor-key progression\u003c/a> with evenly spaced B and C notes.\u003c/p>\n\u003cp>This four-note progression is as basic as the major-scale power-chord riffs in punk, and Perry’s supporters argue that standard songwriting tropes like these should stay in the public domain. Indeed, well-known works like the \u003ca href=\"https://www.youtube.com/watch?v=-RcPZdihrp4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stranger Things\u003c/em> theme\u003c/a> song and LL Cool J’s “\u003ca href=\"https://www.youtube.com/watch?v=9lYhjVI4kLQ\" target=\"_blank\" rel=\"noopener noreferrer\">Doin’ It (Remix)\u003c/a>” use descending minor-scale loops similar to those in “Dark Horse” and “Joyful Noise.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the trial’s closing arguments, Perry’s lawyer Christine Lepera said that the riffs in “Dark Horse” and “Joyful Noise” are so generic that trying to copyright them would be like “trying to own basic building blocks of music, the alphabet of music that should be available to everyone.” Some music producers now fear that the Perry lawsuit lowers the bar for what qualifies as copyright infringement, leaving their industry vulnerable to predatory lawsuits.\u003c/span>\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='J. Michael Keyes, intellectual property lawyer']“You could go back to the days of Palestrina, certainly Bach and Handel. … They all copied from preexisting works and created fantastic works as a result. Why don’t we embrace that reality?”[/pullquote]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ruling surprised Bay Area producer \u003ca href=\"https://soundcloud.com/wax-roof\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Roof\u003c/a>, whose credits include songs by Rexx Life Raj, Jay Prince and Caleborate. He says the riffs of “Dark Horse” and “Joyful Noise” are so simple, they could’ve been made by a machine. “If you plug that into any sequence generator or arpeggiator in a synth, it’s going to spit that back out at you,” says Wax Roof. “Beyond electronic musical instrument programming, those type of exercises are the foundations of classical theory training. When I heard [that melody], it sounded like a minor scale learning exercise.”\u003c/span>\u003c/p>\n\u003cp>“There are so many differences in both songs that it seems like a very far-fetched cry for money,” says L.A. producer \u003ca href=\"https://soundcloud.com/davomakesbeats\" target=\"_blank\" rel=\"noopener noreferrer\">davOmakesbeats\u003c/a>, the founder of Molly House Records whose production credits include tracks by Cakes Da Killa and bbymutha.\u003c/p>\n\u003cp>The Seshen’s \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://soundcloud.com/aki-ehara\" target=\"_blank\" rel=\"noopener noreferrer\">Akiyoshi Ehara\u003c/a>, who produces for rapper Mahawam and pop duo vverewolf, was similarly taken aback. \u003c/span>“\u003cspan style=\"font-weight: 400\">When I heard the two songs, there were similarities, but they were on such a basic level that I don’t think it should be argued that it was lifted,” he says. “In the realm of pop music and diatonic chord progressions, there’s only so much you can do without sounding like existing songs anyways.” [aside postid='arts_13849005']\u003c/span>\u003c/p>\n\u003cp>By their definition, popular musical genres are derivative, with composers building on their predecessors’ legacies as well as current trends. In recording sessions, it’s commonplace for major label artists to play other songs as references with the goal of recreating a certain feel, tone or frequency.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When people ask me for a certain vibe, I try to create my version of that,” says Pinole producer \u003ca href=\"https://soundcloud.com/heartbreakplo\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a>, who has made beats for chart-topping rappers Yo Gotti and Wiz Khalifa. “\u003c/span>\u003cspan style=\"font-weight: 400\">There are only so many notes or chord progressions or bass lines that can be played.”\u003c/span>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">As a creative, you’re always straddling that line between the familiar and the unknown, and that’s where you find new dots to connect and new frontiers of creativity,” says Wax Roof. “If we’re not allowed to access the known, and we’re only allowed to blindly explore the unknown, there’s going to be a huge consequence on quality as a result of that.”\u003c/span>\u003c/p>\n\u003ch2>The disconnect between music production and copyright law\u003c/h2>\n\u003cp>While pop and rap’s detractors may be tempted to argue that producers should simply be more original, that line of reasoning runs counter to the entire history of music’s evolution—not just those genres. \u003cspan style=\"font-weight: 400\">“You could go back to the days of Palestrina, certainly Bach and Handel, to the baroque period, the classical period with Mozart and Beethoven and, even more recently, with Rachmaninoff,” explains intellectual property lawyer J. Michael Keyes of the firm Dorsey & Whitney LLP. “They all copied from preexisting works and created fantastic works as a result. Why don’t we embrace that reality?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keyes points to flaws in the United States’ copyright system, especially when it comes to music. Just as recipes or short phrases aren’t protected by copyright, basic musical conventions also belong in the public domain, he argues. “When it comes to small little musical ideas, standard stock little licks or hooks, those sorts of things should not be subject to copyright,” Keyes says. [aside postid='arts_13903394, arts_13903392,arts_13903568']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Professor Ben Depoorter, a copyright law expert at UC Hastings, points to another flaw in the system: he says that courtroom procedures in these types of cases often bias the jury against defendants. The jury first hears extensive testimony from each side’s musical experts, who argue their case using detailed technical analysis. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“By the time you get to the question the jury really has to answer, which is, ‘Is this too much copying? Is it improper? Should there be payment?’ The defendant is already tainted by this question of copying,” says Depoorter. \u003c/span>\u003c/p>\n\u003cp>[pullquote size='large' citation='Wax Roof, music producer']“As a creative, you’re always straddling that line between the familiar and the unknown. … If we’re not allowed to access the known, and we’re only allowed to blindly explore the unknown, there’s going to be a huge consequence on quality as a result of that.”[/pullquote]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It should really be the reverse,” he continues. “First we should listen to song and ask, ‘Is there something of value being taken?’ And only if we say yes should we do the whole analysis.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Depoorter highlights another problem with copyright litigation in the streaming era: whereas in previous decades, it was hard to prove that a pop star heard a lesser-known artist’s album, it’s now much easier for plaintiffs to claim defendants heard their work if it has enough streams—something Gray’s lawyers argued in the Perry case. “Since the 2000s, since it’s cheaper to make music on your own computer and, more importantly, cheap to put it online, there is more music and more potential for litigation,” says Depoorter. \u003c/span>\u003c/p>\n\u003cp>Still, Depoorter says that he hasn’t observed any direct evidence of more lawsuits since the Perry case and another verdict that surprised onlookers: the 2015 ruling against Pharrell Williams and Robin Thicke, who were found to have copied Marvin Gaye’s “Got To Give it Up” with their “Blurred Lines.” Similarly, that case hinged on Williams replicating the song’s overall feel rather than lifting a melody note-for-note.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I think we’ve seen more high-profile litigation lately, but when I look at the amount of activity in the courts, I think this has been a trend that started after the Michael Bolton decision,” he explains, referencing the 2001 case that penalized Bolton for lifting an Isley Brothers hit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, the Perry verdict may cause record labels to move more cautiously. “It is dangerous that someone would own a certain progression of chords when it’s common,” says Depoorter. “Taking a claim on that does have a chilling effect on creativity, that’s for sure. You can go too far with that.”\u003c/span>\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>After a seven-day trial, last week’s copyright infringement ruling against Katy Perry came down to four notes from her 2013 hit, “Dark Horse.”\u003c/p>\n\u003cp>On July 29, a \u003ca href=\"https://www.apnews.com/0adf8ac775bd4a3b93ded997e0d58a1b\" target=\"_blank\" rel=\"noopener noreferrer\">jury ruled\u003c/a> in favor of Christian rapper Flame, a.k.a. Marcus Gray, who says that Perry and her collaborators Juicy J, Dr. Luke, Max Martin, Cirkut and Sarah Hudson lifted the looped synth melody from Flame’s 2008 song “Joyful Noise.” Perry, the co-writers and her label, Capitol, now have to pay out $2.8 million dollars in damages. \u003cspan style=\"font-weight: 400\"> (\u003cem>\u003cstrong>Update, Sept. 23, 2021:\u003c/strong>\u003c/em> Although Flame initially prevailed in court, \u003ca href=\"https://www.nytimes.com/2020/03/17/arts/music/katy-perry-dark-horse.html\" target=\"_blank\" rel=\"noopener noreferrer\">a judge tossed the verdict against Perry in 2020\u003c/a>.)\u003c/span>\u003c/p>\n\u003cp>The decision prompted outcries from \u003ca href=\"http://www.musicologize.com/occams-razor-says-this-is-why-dark-horse-is-not-joyous-noise/\" target=\"_blank\" rel=\"noopener noreferrer\">musicologists\u003c/a>, intellectual property experts and music producers, who argue that it sets a dangerous precedent, encouraging self-censorship among composers and more lawsuits over basic similarities. Experts say that the case illuminates the discrepancies between the way copyright law is enforced and the real-life practices of pop music producers, who rely on derivative motifs and genre conventions to make hits.\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/x-kcPyz78fk'\n title='//www.youtube.com/embed/x-kcPyz78fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Who gets to own basic songwriting elements?\u003c/h2>\n\u003cp>The issue isn’t that “Joyful Noise” or “Dark Horse” are particularly original: both fuse generic elements of pop, trap and EDM—a style that’s come to define the sound of the 2010s. Though in different keys and tempos, both songs feature a \u003ca href=\"https://www.vox.com/culture/2019/7/30/20747100/katy-perry-dark-horse-joyful-noise-copyright-2-8-million\" target=\"_blank\" rel=\"noopener noreferrer\">descending minor-key progression\u003c/a> with evenly spaced B and C notes.\u003c/p>\n\u003cp>This four-note progression is as basic as the major-scale power-chord riffs in punk, and Perry’s supporters argue that standard songwriting tropes like these should stay in the public domain. Indeed, well-known works like the \u003ca href=\"https://www.youtube.com/watch?v=-RcPZdihrp4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stranger Things\u003c/em> theme\u003c/a> song and LL Cool J’s “\u003ca href=\"https://www.youtube.com/watch?v=9lYhjVI4kLQ\" target=\"_blank\" rel=\"noopener noreferrer\">Doin’ It (Remix)\u003c/a>” use descending minor-scale loops similar to those in “Dark Horse” and “Joyful Noise.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the trial’s closing arguments, Perry’s lawyer Christine Lepera said that the riffs in “Dark Horse” and “Joyful Noise” are so generic that trying to copyright them would be like “trying to own basic building blocks of music, the alphabet of music that should be available to everyone.” Some music producers now fear that the Perry lawsuit lowers the bar for what qualifies as copyright infringement, leaving their industry vulnerable to predatory lawsuits.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ruling surprised Bay Area producer \u003ca href=\"https://soundcloud.com/wax-roof\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Roof\u003c/a>, whose credits include songs by Rexx Life Raj, Jay Prince and Caleborate. He says the riffs of “Dark Horse” and “Joyful Noise” are so simple, they could’ve been made by a machine. “If you plug that into any sequence generator or arpeggiator in a synth, it’s going to spit that back out at you,” says Wax Roof. “Beyond electronic musical instrument programming, those type of exercises are the foundations of classical theory training. When I heard [that melody], it sounded like a minor scale learning exercise.”\u003c/span>\u003c/p>\n\u003cp>“There are so many differences in both songs that it seems like a very far-fetched cry for money,” says L.A. producer \u003ca href=\"https://soundcloud.com/davomakesbeats\" target=\"_blank\" rel=\"noopener noreferrer\">davOmakesbeats\u003c/a>, the founder of Molly House Records whose production credits include tracks by Cakes Da Killa and bbymutha.\u003c/p>\n\u003cp>The Seshen’s \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://soundcloud.com/aki-ehara\" target=\"_blank\" rel=\"noopener noreferrer\">Akiyoshi Ehara\u003c/a>, who produces for rapper Mahawam and pop duo vverewolf, was similarly taken aback. \u003c/span>“\u003cspan style=\"font-weight: 400\">When I heard the two songs, there were similarities, but they were on such a basic level that I don’t think it should be argued that it was lifted,” he says. “In the realm of pop music and diatonic chord progressions, there’s only so much you can do without sounding like existing songs anyways.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>By their definition, popular musical genres are derivative, with composers building on their predecessors’ legacies as well as current trends. In recording sessions, it’s commonplace for major label artists to play other songs as references with the goal of recreating a certain feel, tone or frequency.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When people ask me for a certain vibe, I try to create my version of that,” says Pinole producer \u003ca href=\"https://soundcloud.com/heartbreakplo\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a>, who has made beats for chart-topping rappers Yo Gotti and Wiz Khalifa. “\u003c/span>\u003cspan style=\"font-weight: 400\">There are only so many notes or chord progressions or bass lines that can be played.”\u003c/span>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">As a creative, you’re always straddling that line between the familiar and the unknown, and that’s where you find new dots to connect and new frontiers of creativity,” says Wax Roof. “If we’re not allowed to access the known, and we’re only allowed to blindly explore the unknown, there’s going to be a huge consequence on quality as a result of that.”\u003c/span>\u003c/p>\n\u003ch2>The disconnect between music production and copyright law\u003c/h2>\n\u003cp>While pop and rap’s detractors may be tempted to argue that producers should simply be more original, that line of reasoning runs counter to the entire history of music’s evolution—not just those genres. \u003cspan style=\"font-weight: 400\">“You could go back to the days of Palestrina, certainly Bach and Handel, to the baroque period, the classical period with Mozart and Beethoven and, even more recently, with Rachmaninoff,” explains intellectual property lawyer J. Michael Keyes of the firm Dorsey & Whitney LLP. “They all copied from preexisting works and created fantastic works as a result. Why don’t we embrace that reality?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keyes points to flaws in the United States’ copyright system, especially when it comes to music. Just as recipes or short phrases aren’t protected by copyright, basic musical conventions also belong in the public domain, he argues. “When it comes to small little musical ideas, standard stock little licks or hooks, those sorts of things should not be subject to copyright,” Keyes says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Professor Ben Depoorter, a copyright law expert at UC Hastings, points to another flaw in the system: he says that courtroom procedures in these types of cases often bias the jury against defendants. The jury first hears extensive testimony from each side’s musical experts, who argue their case using detailed technical analysis. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“By the time you get to the question the jury really has to answer, which is, ‘Is this too much copying? Is it improper? Should there be payment?’ The defendant is already tainted by this question of copying,” says Depoorter. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“As a creative, you’re always straddling that line between the familiar and the unknown. … If we’re not allowed to access the known, and we’re only allowed to blindly explore the unknown, there’s going to be a huge consequence on quality as a result of that.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It should really be the reverse,” he continues. “First we should listen to song and ask, ‘Is there something of value being taken?’ And only if we say yes should we do the whole analysis.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Depoorter highlights another problem with copyright litigation in the streaming era: whereas in previous decades, it was hard to prove that a pop star heard a lesser-known artist’s album, it’s now much easier for plaintiffs to claim defendants heard their work if it has enough streams—something Gray’s lawyers argued in the Perry case. “Since the 2000s, since it’s cheaper to make music on your own computer and, more importantly, cheap to put it online, there is more music and more potential for litigation,” says Depoorter. \u003c/span>\u003c/p>\n\u003cp>Still, Depoorter says that he hasn’t observed any direct evidence of more lawsuits since the Perry case and another verdict that surprised onlookers: the 2015 ruling against Pharrell Williams and Robin Thicke, who were found to have copied Marvin Gaye’s “Got To Give it Up” with their “Blurred Lines.” Similarly, that case hinged on Williams replicating the song’s overall feel rather than lifting a melody note-for-note.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I think we’ve seen more high-profile litigation lately, but when I look at the amount of activity in the courts, I think this has been a trend that started after the Michael Bolton decision,” he explains, referencing the 2001 case that penalized Bolton for lifting an Isley Brothers hit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nonetheless, the Perry verdict may cause record labels to move more cautiously. “It is dangerous that someone would own a certain progression of chords when it’s common,” says Depoorter. “Taking a claim on that does have a chilling effect on creativity, that’s for sure. You can go too far with that.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street",
"title": "To ‘Reduce Loitering,’ a Plaza? Downtown Oakland Landlords Plan To Annex a Street",
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"headTitle": "To ‘Reduce Loitering,’ a Plaza? Downtown Oakland Landlords Plan To Annex a Street | KQED",
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"content": "\u003cp>\u003cem>Updated Friday, 12: 30 p.m.\u003c/em>\u003c/p>\n\u003cp>In May, Oakland City Council approved a plan to dramatically transform 13th Street immediately east of Broadway. Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets. Programming, such as live music and yoga, will then “activate” the newly-dubbed “13th Street Commons.”\u003c/p>\n\u003cp>But what looks like an ambitious public infrastructure project led by the City of Oakland was in fact sponsored and proposed by the Downtown Oakland Association (DOA), a consortium of area landlords and realtors, and it will be patrolled by the organization’s private security guards. The association expects the three-year pilot project to break ground by the end of the year.\u003c/p>\n\u003cp>The \u003ca href=\"https://downtownoakland.org/\">Downtown Oakland Association\u003c/a> is subsidized by taxpayers, but it operates independently of city government; councilmembers approved the street-wide overhaul without public discussion. Now its plaza stands to benefit association leadership while threatening some small businesses. And for a “Pavement to Parks” initiative professing to improve the commons, association documents show a seemingly counter-intuitive goal: “Reduce loitering.”\u003c/p>\n\u003cfigure id=\"attachment_13863003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863003 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-800x450.jpg\" alt=\"Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets. \u003ccite>(Community Design + Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The association’s description of the incoming parklets being “for merchants and cafes to use for seating” would seem to contradict the city’s requirement that parklets “remain publicly accessible” and include signs to this effect. But according to an Oakland public information officer, the 13th Street Commons project is not part of the city’s official parklet program and not subject to its rules.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A park that reduces loitering—how ironic,” said Paul Boden of \u003ca href=\"https://wraphome.org/\">Western Regional Advocacy Project\u003c/a>, which sponsored a recent UC Berkeley study exploring how Business Improvement District (BID) organizations including the DOA criminalize homelessness. “It’s about removing the homeless and poor from what the downtown BID wants to be a mall hallway.”\u003c/p>\n\u003cp>The Downtown Oakland Association argues the plaza is needed to deter crime, and some small businesses agree. Critics, however, see a ploy to discourage the homeless and young people who’ve long congregated near Oakland City Center. Regardless the project shows the extraordinary power of the association and other Business Improvement District organizations to shape and police public space with little oversight, even to annex a right-of-way.\u003c/p>\n\u003cfigure id=\"attachment_13863006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Goodwill-gone-800x450.jpg\" alt=\"Burger King and Goodwill recently shuttered on 13th & Broadway.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burger King and Goodwill recently shuttered on 13th & Broadway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Homeless Exclusion Districts’\u003c/strong>\u003c/p>\n\u003cp>The Downtown Oakland Association, like dozens of other organizations contracted with municipalities to run Business Improvement Districts in the Bay Area, is funded by property tax levies on real-estate within its boundaries. The city collects the funds on behalf of the BID, including on government-owned property such as Oakland City Hall. Oakland’s budget earmarks more than $260,000 annually for BIDs, a sizable public subsidy for organizations generally led by wealthy property owners.\u003c/p>\n\u003cp>The Downtown Oakland Association describes its role as marketing and maintaining the district to improve property values, and it organizes events such as live music at Latham Square Plaza. But the association’s most recent annual report shows the bulk of its $1.2 million budget in 2017 went to “security ambassadors” via a contract with Nashville company Block by Block. The private security guards, coordinating with Oakland police, have tasks including providing hospitality, buffing graffiti and “removal of transients,” according to association documents.\u003c/p>\n\u003cp>In a recent example of this work, an association safety report from March boasts of its “biggest victory for 2019 thus far”—serving a three year restraining order to prohibit Melvin Jones, a homeless man, from entering Franklin Square. Jones’ behavior during mental health crises prompted a large proportion of the district’s calls for service. The restraining order seems to undermine the DOA’s claim that its security guards connect homeless people with services.\u003c/p>\n\u003cp>“We are uncertain where Melvin will end up,” reads the report, before worrying aloud that he will return: “Will it be in the district?”\u003c/p>\n\u003cfigure id=\"attachment_13863007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-800x450.jpg\" alt=\"Justin Carder of E.M. Wolfman General Interest Small Bookstore is among the 13th Street merchants skeptical of the incoming plaza.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Carder of E.M. Wolfman General Interest Small Bookstore is among the 13th Street merchants skeptical of the incoming plaza. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2018 UC Berkeley study “\u003ca href=\"https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3221446\">Homeless Exclusion Districts\u003c/a>” surveyed 189 BID organizations in 69 California cities, including Oakland, San Francisco and Berkeley, and found they impose an “additional form of policing, surveillance and harassment” on unsheltered people. The organizations’ policing practices, the study argues, is increasingly based on homeless people’s status rather than behavior.\u003c/p>\n\u003cp>Despite their nonprofit designation, which limits lobbying activities, the study also found BIDs actively advocate for anti-homeless laws. For example, they have expended significant resources supporting ordinances that prohibit sitting or lying on sidewalks, which have been criticized for being selectively enforced against the homeless.\u003c/p>\n\u003cp>Boden of Western Regional Advocacy Project, a coalition of homeless advocacy organizations, said the 13th Street Commons project is a troubling expansion of the Downtown Oakland Association’s territory that connects to a trend of BIDs encompassing city parks. Last year City Council voted to expand the renamed Downtown Oakland Community Benefit District, boosting the DOA’s annual budget to $2 million. \u003c/p>\n\u003cp>“Who else can close a street and call it a park that discourages loitering?” Boden said. “This is public money, public space, but it benefits private property owners, mostly big corporations.”\u003c/p>\n\u003cp>Steve Snider, executive director of the Downtown Oakland Association, called the UC Berkeley study “flawed.” He said the 13th Street Commons will deter what he called worsening downtown crime that authorities are unable to address without help, arguing it will also improve nearby Frank Ogawa Plaza in front of City Hall.\u003c/p>\n\u003cp>“The way to do it is to encourage more hanging out, but with positive things and not all of the prostitution and drug-dealing,” he said. Referring to a January shooting at 13th & Broadway, Snider claimed downtown employers such as Clorox have threatened to leave due to violence. (A Clorox spokesperson denied this: “We are committed to Oakland.”) “It’s not advisable to walk by at night,” Snider said. “People avoid getting off BART at 12th Street.”\u003c/p>\n\u003cfigure id=\"attachment_13863002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-street-empty-800x450.jpg\" alt=\"Downtown Oakland Association leadership says the plaza will deter drug-dealing and prostitution downtown.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Downtown Oakland Association leadership says the plaza will deter drug-dealing and prostitution downtown. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Targeted for Removal’\u003c/strong>\u003c/p>\n\u003cp>On the afternoons and evenings this reporter visited recently, the people at 13th & Broadway appeared to be homeless or waiting for the bus. Once, a handful of people were shooting dice.\u003c/p>\n\u003cp>On one corner is an office building recently acquired by Goldman Sachs. Burger King and Goodwill stand shuttered across the street; a Goodwill spokesperson said the businesses’ leases were recently terminated. A cashier next door at Buongiorno Gourmet Express said the sandwich shop is now on a month to month lease.\u003c/p>\n\u003cp>The plaza is a boon to Downtown Oakland Association leadership. Marketing materials for Burger King and Goodwill’s former units prominently feature the 13th Street Commons; they’re listed by Jamie Flaherty-Evans, a Colliers International realtor who sits on the association’s board. Similarly the plaza sits between the 12th St. BART entrance and an incoming residential tower by Carmel Partners, a developer represented on the DOA board by executive Greg Pasquali.\u003c/p>\n\u003cp>The plaza project also stands to directly benefit Snider, the DOA executive director, because the event programming, he told KQED, will be handled by his own company, Oakland Venue Management. Snider’s company is the Downtown Oakland Association’s second largest contractor (after Block by Block), receiving more than $1 million since 2012, federal tax records show.\u003c/p>\n\u003cfigure id=\"attachment_13863005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-800x450.jpg\" alt=\"The plaza project is a boon to Downtown Oakland Association leadership.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza project is a boon to Downtown Oakland Association leadership. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When City Council approved the 13th Street Commons, the staff report claimed “100 percent” of the block’s merchants, property owners, employers and community members support the project. Some businesses on the block welcome the change—Greg Archer of Archer Bicycles called Burger King a “crime magnet,” and Melissa Axelrod of Mockingbird is excited by the possibility of outdoor seating—but others are concerned it will hasten more establishments’ displacement.\u003c/p>\n\u003cp>Justin Carder opened E.M. Wolfman General Interest Small Bookstore across the street from Tribune Tower in 2013. The adjoining storefronts were empty, but the neighborhood wasn’t. “People hanging out on the corner have always come in to use the bathroom,” Carder said. “We’re down with that.” Over time, Good Mother Gallery opened next door and Unity, a queer skateboarding collective, moved into the loft above the bookshop. Now, it’s not unusual for Wolfman to host a poetry reading while an art show opens at Good Mother, filling the sidewalks.\u003c/p>\n\u003cp>Carder believes the 13th Street Commons is part of sanitizing the area between BART and the Carmel development. People made the block their own when it was perceived as derelict, and now they’re “targeted for removal,” Carder said. “And they have no voice in this process.” Behind the DOA’s vision of a 13th St. free of loitering is an assumption, he believes, that anyone who isn’t a customer is a criminal. “That’s a really shortsighted idea of what makes cities great.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Carder said he wasn’t consulted about 13th Street Commons, and he’s concerned about the programming disrupting readings at Wolfman, an important local literary hub. He’s also worried about what it means for his store’s longevity overall. “Our landlord has been firm about keeping our leases month to month,” Carder said. “Now I feel like our future is on even shakier footing.”\u003c/p>\n\n",
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"headline": "To ‘Reduce Loitering,’ a Plaza? Downtown Oakland Landlords Plan To Annex a Street",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Friday, 12: 30 p.m.\u003c/em>\u003c/p>\n\u003cp>In May, Oakland City Council approved a plan to dramatically transform 13th Street immediately east of Broadway. Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets. Programming, such as live music and yoga, will then “activate” the newly-dubbed “13th Street Commons.”\u003c/p>\n\u003cp>But what looks like an ambitious public infrastructure project led by the City of Oakland was in fact sponsored and proposed by the Downtown Oakland Association (DOA), a consortium of area landlords and realtors, and it will be patrolled by the organization’s private security guards. The association expects the three-year pilot project to break ground by the end of the year.\u003c/p>\n\u003cp>The \u003ca href=\"https://downtownoakland.org/\">Downtown Oakland Association\u003c/a> is subsidized by taxpayers, but it operates independently of city government; councilmembers approved the street-wide overhaul without public discussion. Now its plaza stands to benefit association leadership while threatening some small businesses. And for a “Pavement to Parks” initiative professing to improve the commons, association documents show a seemingly counter-intuitive goal: “Reduce loitering.”\u003c/p>\n\u003cfigure id=\"attachment_13863003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863003 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-800x450.jpg\" alt=\"Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets. \u003ccite>(Community Design + Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The association’s description of the incoming parklets being “for merchants and cafes to use for seating” would seem to contradict the city’s requirement that parklets “remain publicly accessible” and include signs to this effect. But according to an Oakland public information officer, the 13th Street Commons project is not part of the city’s official parklet program and not subject to its rules.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A park that reduces loitering—how ironic,” said Paul Boden of \u003ca href=\"https://wraphome.org/\">Western Regional Advocacy Project\u003c/a>, which sponsored a recent UC Berkeley study exploring how Business Improvement District (BID) organizations including the DOA criminalize homelessness. “It’s about removing the homeless and poor from what the downtown BID wants to be a mall hallway.”\u003c/p>\n\u003cp>The Downtown Oakland Association argues the plaza is needed to deter crime, and some small businesses agree. Critics, however, see a ploy to discourage the homeless and young people who’ve long congregated near Oakland City Center. Regardless the project shows the extraordinary power of the association and other Business Improvement District organizations to shape and police public space with little oversight, even to annex a right-of-way.\u003c/p>\n\u003cfigure id=\"attachment_13863006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Goodwill-gone-800x450.jpg\" alt=\"Burger King and Goodwill recently shuttered on 13th & Broadway.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burger King and Goodwill recently shuttered on 13th & Broadway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Homeless Exclusion Districts’\u003c/strong>\u003c/p>\n\u003cp>The Downtown Oakland Association, like dozens of other organizations contracted with municipalities to run Business Improvement Districts in the Bay Area, is funded by property tax levies on real-estate within its boundaries. The city collects the funds on behalf of the BID, including on government-owned property such as Oakland City Hall. Oakland’s budget earmarks more than $260,000 annually for BIDs, a sizable public subsidy for organizations generally led by wealthy property owners.\u003c/p>\n\u003cp>The Downtown Oakland Association describes its role as marketing and maintaining the district to improve property values, and it organizes events such as live music at Latham Square Plaza. But the association’s most recent annual report shows the bulk of its $1.2 million budget in 2017 went to “security ambassadors” via a contract with Nashville company Block by Block. The private security guards, coordinating with Oakland police, have tasks including providing hospitality, buffing graffiti and “removal of transients,” according to association documents.\u003c/p>\n\u003cp>In a recent example of this work, an association safety report from March boasts of its “biggest victory for 2019 thus far”—serving a three year restraining order to prohibit Melvin Jones, a homeless man, from entering Franklin Square. Jones’ behavior during mental health crises prompted a large proportion of the district’s calls for service. The restraining order seems to undermine the DOA’s claim that its security guards connect homeless people with services.\u003c/p>\n\u003cp>“We are uncertain where Melvin will end up,” reads the report, before worrying aloud that he will return: “Will it be in the district?”\u003c/p>\n\u003cfigure id=\"attachment_13863007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-800x450.jpg\" alt=\"Justin Carder of E.M. Wolfman General Interest Small Bookstore is among the 13th Street merchants skeptical of the incoming plaza.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Carder of E.M. Wolfman General Interest Small Bookstore is among the 13th Street merchants skeptical of the incoming plaza. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2018 UC Berkeley study “\u003ca href=\"https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3221446\">Homeless Exclusion Districts\u003c/a>” surveyed 189 BID organizations in 69 California cities, including Oakland, San Francisco and Berkeley, and found they impose an “additional form of policing, surveillance and harassment” on unsheltered people. The organizations’ policing practices, the study argues, is increasingly based on homeless people’s status rather than behavior.\u003c/p>\n\u003cp>Despite their nonprofit designation, which limits lobbying activities, the study also found BIDs actively advocate for anti-homeless laws. For example, they have expended significant resources supporting ordinances that prohibit sitting or lying on sidewalks, which have been criticized for being selectively enforced against the homeless.\u003c/p>\n\u003cp>Boden of Western Regional Advocacy Project, a coalition of homeless advocacy organizations, said the 13th Street Commons project is a troubling expansion of the Downtown Oakland Association’s territory that connects to a trend of BIDs encompassing city parks. Last year City Council voted to expand the renamed Downtown Oakland Community Benefit District, boosting the DOA’s annual budget to $2 million. \u003c/p>\n\u003cp>“Who else can close a street and call it a park that discourages loitering?” Boden said. “This is public money, public space, but it benefits private property owners, mostly big corporations.”\u003c/p>\n\u003cp>Steve Snider, executive director of the Downtown Oakland Association, called the UC Berkeley study “flawed.” He said the 13th Street Commons will deter what he called worsening downtown crime that authorities are unable to address without help, arguing it will also improve nearby Frank Ogawa Plaza in front of City Hall.\u003c/p>\n\u003cp>“The way to do it is to encourage more hanging out, but with positive things and not all of the prostitution and drug-dealing,” he said. Referring to a January shooting at 13th & Broadway, Snider claimed downtown employers such as Clorox have threatened to leave due to violence. (A Clorox spokesperson denied this: “We are committed to Oakland.”) “It’s not advisable to walk by at night,” Snider said. “People avoid getting off BART at 12th Street.”\u003c/p>\n\u003cfigure id=\"attachment_13863002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-street-empty-800x450.jpg\" alt=\"Downtown Oakland Association leadership says the plaza will deter drug-dealing and prostitution downtown.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Downtown Oakland Association leadership says the plaza will deter drug-dealing and prostitution downtown. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Targeted for Removal’\u003c/strong>\u003c/p>\n\u003cp>On the afternoons and evenings this reporter visited recently, the people at 13th & Broadway appeared to be homeless or waiting for the bus. Once, a handful of people were shooting dice.\u003c/p>\n\u003cp>On one corner is an office building recently acquired by Goldman Sachs. Burger King and Goodwill stand shuttered across the street; a Goodwill spokesperson said the businesses’ leases were recently terminated. A cashier next door at Buongiorno Gourmet Express said the sandwich shop is now on a month to month lease.\u003c/p>\n\u003cp>The plaza is a boon to Downtown Oakland Association leadership. Marketing materials for Burger King and Goodwill’s former units prominently feature the 13th Street Commons; they’re listed by Jamie Flaherty-Evans, a Colliers International realtor who sits on the association’s board. Similarly the plaza sits between the 12th St. BART entrance and an incoming residential tower by Carmel Partners, a developer represented on the DOA board by executive Greg Pasquali.\u003c/p>\n\u003cp>The plaza project also stands to directly benefit Snider, the DOA executive director, because the event programming, he told KQED, will be handled by his own company, Oakland Venue Management. Snider’s company is the Downtown Oakland Association’s second largest contractor (after Block by Block), receiving more than $1 million since 2012, federal tax records show.\u003c/p>\n\u003cfigure id=\"attachment_13863005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-800x450.jpg\" alt=\"The plaza project is a boon to Downtown Oakland Association leadership.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza project is a boon to Downtown Oakland Association leadership. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When City Council approved the 13th Street Commons, the staff report claimed “100 percent” of the block’s merchants, property owners, employers and community members support the project. Some businesses on the block welcome the change—Greg Archer of Archer Bicycles called Burger King a “crime magnet,” and Melissa Axelrod of Mockingbird is excited by the possibility of outdoor seating—but others are concerned it will hasten more establishments’ displacement.\u003c/p>\n\u003cp>Justin Carder opened E.M. Wolfman General Interest Small Bookstore across the street from Tribune Tower in 2013. The adjoining storefronts were empty, but the neighborhood wasn’t. “People hanging out on the corner have always come in to use the bathroom,” Carder said. “We’re down with that.” Over time, Good Mother Gallery opened next door and Unity, a queer skateboarding collective, moved into the loft above the bookshop. Now, it’s not unusual for Wolfman to host a poetry reading while an art show opens at Good Mother, filling the sidewalks.\u003c/p>\n\u003cp>Carder believes the 13th Street Commons is part of sanitizing the area between BART and the Carmel development. People made the block their own when it was perceived as derelict, and now they’re “targeted for removal,” Carder said. “And they have no voice in this process.” Behind the DOA’s vision of a 13th St. free of loitering is an assumption, he believes, that anyone who isn’t a customer is a criminal. “That’s a really shortsighted idea of what makes cities great.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carder said he wasn’t consulted about 13th Street Commons, and he’s concerned about the programming disrupting readings at Wolfman, an important local literary hub. He’s also worried about what it means for his store’s longevity overall. “Our landlord has been firm about keeping our leases month to month,” Carder said. “Now I feel like our future is on even shakier footing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sick of Bay Area Rents? Why Not Move Next Door to Prince William and Kate?",
"headTitle": "Sick of Bay Area Rents? Why Not Move Next Door to Prince William and Kate? | KQED",
"content": "\u003cp>Bay Area prices getting you down? Sick of companies offering you a \u003ca href=\"https://www.mercurynews.com/2019/06/07/rent-a-bunk-bed-for-1200-a-month-idea-sparks-pushback-from-sf-officials/\" target=\"_blank\" rel=\"noopener\">bunk bed for $1200\u003c/a> and acting like they’re doing you a favor? Been \u003ca href=\"https://www.kqed.org/pop/112469/bay-bye-breaking-up-with-san-francisco\" target=\"_blank\" rel=\"noopener\">thinking about leaving\u003c/a> for a while, but just haven’t taken the plunge yet? If the answer is yes to all of the above, and you fancy living in Norfolk, England, the British royal family may just have the place for you. That’s right! The 2-bedroom house opposite Prince William and Duchess Kate’s place is up for rent—and it’s only $850 (£700) a month.\u003c/p>\n\u003cp>Here’s the deal. The royal family has a 20,000-acre estate on the southeast coast of England called \u003ca href=\"https://sandringhamestate.co.uk/\" target=\"_blank\" rel=\"noopener\">Sandringham\u003c/a>. The Queen hangs out in the manor there on and off throughout the year, and, for their 2011 wedding, she gifted Will and Kate a ten-bedroom Georgian house on the property, known as \u003ca href=\"https://en.wikipedia.org/wiki/Anmer_Hall\">Anmer Hall\u003c/a>. Interestingly, there are a bunch of other rentals available on the estate, including (for the non-committal among you) self-catering vacation spots, \u003ca href=\"https://sandringhamestate.co.uk/stay/garden-house\" target=\"_blank\" rel=\"noopener\">Garden House\u003c/a> and \u003ca href=\"https://sandringhamestate.co.uk/stay/the-granary\" target=\"_blank\" rel=\"noopener\">The Granary.\u003c/a>\u003c/p>\n\u003cp>The home currently for rent at 20 Cherry Tree is a bit special though, because it happens to offer a perfect view of Will and Kate’s country abode. (Their primary residence is at London’s \u003ca href=\"https://www.getyourguide.com/-l2716/\" target=\"_blank\" rel=\"noopener\">Kensington Palace\u003c/a>.) The rental listing describes the “newly refurbished, end of terrace two bedroom” as having a “large garden and off-road parking,” but warns of “steep stairs” and a “strict no cats policy” that applies to the entire Sandringham estate. (Presumably because cats kill birds and the royal family \u003ca href=\"https://www.express.co.uk/news/royal/1078292/the-queen-news-sandringham-hunt-royal-family-news\" target=\"_blank\" rel=\"noopener\">like to do that themselves\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13863070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg\" alt=\"The gang hanging out at Sandringham's St Mary Magdalene Church on Christmas Day, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gang hanging out at Sandringham’s St Mary Magdalene Church on Christmas Day, 2018. \u003ccite>(PAUL ELLIS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the first time Prince William has been willing to slum it with what his family refers to as “commoners.” He and his wife Kate Middleton (also technically born a commoner, FYI) used to live on the Welsh island of Anglesey, where they frequented the local pub. Kate was also regularly spotted doing \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a19684172/does-royal-family-go-grocery-shopping/\" target=\"_blank\" rel=\"noopener\">her own grocery shopping\u003c/a> in Tesco, a local plebeian supermarket.\u003c/p>\n\u003cp>All of which means Will and Kate’s new neighbors will probably see the future king and his fam fairly regularly, as well as guests like Harry, Meghan or whichever royal happens to be hanging out at Sandringham’s \u003ca href=\"https://en.wikipedia.org/wiki/St_Mary_Magdalene_Church,_Sandringham\" target=\"_blank\" rel=\"noopener\">St Mary Magdalene Church\u003c/a> that week. (Fun fact: that’s where Princess Diana was baptized!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Should you fail in your quest to move in directly opposite Will and Kate, there are a number of other backups on the royal estate currently available to rent: a two-bedroom semi-detached house for $880; two three-bedroom terraced cottages (one for $911 a month, the other for $1,002); and, if you’re feeling fancy, the gigantic $3,340 Heath Farm House. All of the above appear to offer far more bang for your buck than anywhere in the Bay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sandringham’s website says that potential renters should “live and work locally” and be using the home “as a primary residence,” but that new people moving to the area will also be considered. While the Sandringham properties “are not let on a first come, first served basis, but rather on which prospective tenant is best suited” to the place, it’s possible that the property manager will have softened to the idea of transatlantic guests since Prince Harry put a ring on Meghan Markle’s \u003ca href=\"https://twitter.com/LuminaryBakery/status/1157212584849870848?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed&ref_url=https%3A%2F%2Fwww.newidea.com.au%2Fmeghan-markle-perfect-handwriting-photo\" target=\"_blank\" rel=\"noopener\">calligraphy-loving\u003c/a> finger last year. At this price, it’s worth at least applying.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area prices getting you down? Sick of companies offering you a \u003ca href=\"https://www.mercurynews.com/2019/06/07/rent-a-bunk-bed-for-1200-a-month-idea-sparks-pushback-from-sf-officials/\" target=\"_blank\" rel=\"noopener\">bunk bed for $1200\u003c/a> and acting like they’re doing you a favor? Been \u003ca href=\"https://www.kqed.org/pop/112469/bay-bye-breaking-up-with-san-francisco\" target=\"_blank\" rel=\"noopener\">thinking about leaving\u003c/a> for a while, but just haven’t taken the plunge yet? If the answer is yes to all of the above, and you fancy living in Norfolk, England, the British royal family may just have the place for you. That’s right! The 2-bedroom house opposite Prince William and Duchess Kate’s place is up for rent—and it’s only $850 (£700) a month.\u003c/p>\n\u003cp>Here’s the deal. The royal family has a 20,000-acre estate on the southeast coast of England called \u003ca href=\"https://sandringhamestate.co.uk/\" target=\"_blank\" rel=\"noopener\">Sandringham\u003c/a>. The Queen hangs out in the manor there on and off throughout the year, and, for their 2011 wedding, she gifted Will and Kate a ten-bedroom Georgian house on the property, known as \u003ca href=\"https://en.wikipedia.org/wiki/Anmer_Hall\">Anmer Hall\u003c/a>. Interestingly, there are a bunch of other rentals available on the estate, including (for the non-committal among you) self-catering vacation spots, \u003ca href=\"https://sandringhamestate.co.uk/stay/garden-house\" target=\"_blank\" rel=\"noopener\">Garden House\u003c/a> and \u003ca href=\"https://sandringhamestate.co.uk/stay/the-granary\" target=\"_blank\" rel=\"noopener\">The Granary.\u003c/a>\u003c/p>\n\u003cp>The home currently for rent at 20 Cherry Tree is a bit special though, because it happens to offer a perfect view of Will and Kate’s country abode. (Their primary residence is at London’s \u003ca href=\"https://www.getyourguide.com/-l2716/\" target=\"_blank\" rel=\"noopener\">Kensington Palace\u003c/a>.) The rental listing describes the “newly refurbished, end of terrace two bedroom” as having a “large garden and off-road parking,” but warns of “steep stairs” and a “strict no cats policy” that applies to the entire Sandringham estate. (Presumably because cats kill birds and the royal family \u003ca href=\"https://www.express.co.uk/news/royal/1078292/the-queen-news-sandringham-hunt-royal-family-news\" target=\"_blank\" rel=\"noopener\">like to do that themselves\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13863070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg\" alt=\"The gang hanging out at Sandringham's St Mary Magdalene Church on Christmas Day, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1074773574.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gang hanging out at Sandringham’s St Mary Magdalene Church on Christmas Day, 2018. \u003ccite>(PAUL ELLIS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the first time Prince William has been willing to slum it with what his family refers to as “commoners.” He and his wife Kate Middleton (also technically born a commoner, FYI) used to live on the Welsh island of Anglesey, where they frequented the local pub. Kate was also regularly spotted doing \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a19684172/does-royal-family-go-grocery-shopping/\" target=\"_blank\" rel=\"noopener\">her own grocery shopping\u003c/a> in Tesco, a local plebeian supermarket.\u003c/p>\n\u003cp>All of which means Will and Kate’s new neighbors will probably see the future king and his fam fairly regularly, as well as guests like Harry, Meghan or whichever royal happens to be hanging out at Sandringham’s \u003ca href=\"https://en.wikipedia.org/wiki/St_Mary_Magdalene_Church,_Sandringham\" target=\"_blank\" rel=\"noopener\">St Mary Magdalene Church\u003c/a> that week. (Fun fact: that’s where Princess Diana was baptized!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Should you fail in your quest to move in directly opposite Will and Kate, there are a number of other backups on the royal estate currently available to rent: a two-bedroom semi-detached house for $880; two three-bedroom terraced cottages (one for $911 a month, the other for $1,002); and, if you’re feeling fancy, the gigantic $3,340 Heath Farm House. All of the above appear to offer far more bang for your buck than anywhere in the Bay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sandringham’s website says that potential renters should “live and work locally” and be using the home “as a primary residence,” but that new people moving to the area will also be considered. While the Sandringham properties “are not let on a first come, first served basis, but rather on which prospective tenant is best suited” to the place, it’s possible that the property manager will have softened to the idea of transatlantic guests since Prince Harry put a ring on Meghan Markle’s \u003ca href=\"https://twitter.com/LuminaryBakery/status/1157212584849870848?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed&ref_url=https%3A%2F%2Fwww.newidea.com.au%2Fmeghan-markle-perfect-handwriting-photo\" target=\"_blank\" rel=\"noopener\">calligraphy-loving\u003c/a> finger last year. At this price, it’s worth at least applying.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nobel laureate Toni Morrison, who transformed modern literature with stories centered on black lives, died Monday evening. Her transcendental work \u003cem>Beloved\u003c/em> received a Pulitzer Prize for Fiction in 1988, two years after it published in 1987.\u003c/p>\n\u003cp>In 2012, former President Barack Obama presented her with the Medal of Freedom, the nation’s highest civilian honor, bestowed upon individuals who have made especially meritorious contributions to the security or national interests of the United States, to world peace, or to cultural or other significant public or private endeavors.\u003c/p>\n\u003cp>In her 88 years, Morrison lit the path for generations of future writers and activists with novels about love, loss, power and resistance.\u003c/p>\n\u003cp>Her legacy and impact were felt by many, who shared their reflections at the news of her passing. You can find them below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Toni Morrison was a national treasure. Her writing was not just beautiful but meaningful—a challenge to our conscience and a call to greater empathy. She was as good a storyteller, as captivating, in person as she was on the page. And so even as Michelle and I mourn her loss and send our warmest sympathies to her family and friends, we know that her stories—that our stories—will always be with us, and with those who come after, and on and on, for all time.” — former President Barack Obama, via Twitter.\u003c/p>\n\u003cp>“‘If you surrender to the air, you can ride it.’ Rest in paradise.” — Beyoncé, on her website.\u003c/p>\n\u003cp>“The passing of Toni Morrison is a mandate to all others in the field to fulfill the high calling that her work and her life demonstrated. Her words, her wisdom, her undying love and commitment to her people are forever engraved in the pages of history, but her artistic, remarkable literary voice will be deeply missed.” — Rep. John Lewis, in a statement.\u003c/p>\n\u003cp>“RIP Toni Morrison. This is a devastating loss to the world of words, to our understanding of power and its reach, to the cultivation of empathy, to rich, nuanced, elegant storytelling. Her work was a gift to everyone who had the pleasure of reading her.” — Roxane Gay, via Twitter.\u003c/p>\n\u003cp>“Today, the world lost a storyteller of unmatched empathy, elegance and power. Toni Morrison’s belief that language is the “measure of our lives” leaves an extraordinary, inspiring inheritance, and her beautiful writing will continue to be a blessing for generations to come.” — House Speaker Nancy Pelosi, via Twitter.\u003c/p>\n\u003cp>“Toni Morrison was a towering intellect, a brilliant scribe of our nation’s complex stories, a heartbreaking journalist of our deepest desires, and a groundbreaking author who destroyed precepts, walls and those who dared underestimate her capacity. Rest well and in peace.” — former Georgia Democratic gubernatorial candidate Stacey Abrams, via Twitter.\u003c/p>\n\u003cp>“She was the best of us: our strength, our hope, and most importantly, our history. I grieve her passing though I know she will never, ever be gone.” — Walter Mosley, via Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13863129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-800x552.jpg\" alt=\"Novelist Toni Morrison and U.S. President Barack Obama share a moment after she was presented with a Presidential Medal of Freedom. \" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Novelist Toni Morrison and U.S. President Barack Obama share a moment after she was presented with a Presidential Medal of Freedom. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the passing of Toni Morrison, we lost one of our greatest voices & storytellers. Holding close those touched by her being & her gift. Her work gave us power, hope & freedom. While our world shines a little less bright today, we know “something that is loved is never lost.” — U.S. Sen. Kamala Harris, via Twitter.\u003c/p>\n\u003cp>“My heart hurts. Her greatness was absolute. Her words changed worlds. Her work always belonged to the immortal, and her name will never be forgotten.” — author Elizabeth Gilbert, via Facebook.\u003c/p>\n\u003cp>“‘We die. That may be the meaning of life. But we do language. That may be the measure of our lives.’ Holding all those touched by Toni Morrison in my heart today.” — U.S. Rep. Ilhan Omar, via Twitter.\u003c/p>\n\u003cp>“Genius has moved on. She made me understand “writer” was a fine profession. I grew up wanting to be only her. Dinner with her was a night I will never forget. Rest, Queen.” — Shonda Rhimes, via Twitter.\u003c/p>\n\u003cp>“Aw man Toni Morrison taught me the word Rememory. RIP to a incredibly powerful and impactful woman.” — Chance the Rapper, via Twitter.\u003c/p>\n\u003cp>“Oh, no. So deeply saddened. Thank you for everything, Ms. Morrison.” — Celeste Ng, via Twitter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t8pDyXX1rf0\u003c/p>\n\u003cp>“‘If you are free, you need to free somebody else. If you have some power, then your job is to empower somebody else.’ — Toni Morrison. Today we lost an American legend. May she rest in peace.” — U.S. Sen. Bernie Sanders, via Twitter.\u003c/p>\n\u003cp>“Toni Morrison was the first African-American woman to win a Nobel Prize. May she rest in power. #RememberHerName” — Billie Jean King, via Twitter.\u003c/p>\n\u003cp>“Her words were like mirrors to our collective souls. Like pillows to cushion the blows. Like mothers to wrap us in love. Like friends to hold our hands and see us through the darkness. #RipToniMorrison (heart) you. May we lift her up in the light of goodness and hold her there.” — Gabrielle Union, via Twitter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nobel laureate Toni Morrison, who transformed modern literature with stories centered on black lives, died Monday evening. Her transcendental work \u003cem>Beloved\u003c/em> received a Pulitzer Prize for Fiction in 1988, two years after it published in 1987.\u003c/p>\n\u003cp>In 2012, former President Barack Obama presented her with the Medal of Freedom, the nation’s highest civilian honor, bestowed upon individuals who have made especially meritorious contributions to the security or national interests of the United States, to world peace, or to cultural or other significant public or private endeavors.\u003c/p>\n\u003cp>In her 88 years, Morrison lit the path for generations of future writers and activists with novels about love, loss, power and resistance.\u003c/p>\n\u003cp>Her legacy and impact were felt by many, who shared their reflections at the news of her passing. You can find them below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Toni Morrison was a national treasure. Her writing was not just beautiful but meaningful—a challenge to our conscience and a call to greater empathy. She was as good a storyteller, as captivating, in person as she was on the page. And so even as Michelle and I mourn her loss and send our warmest sympathies to her family and friends, we know that her stories—that our stories—will always be with us, and with those who come after, and on and on, for all time.” — former President Barack Obama, via Twitter.\u003c/p>\n\u003cp>“‘If you surrender to the air, you can ride it.’ Rest in paradise.” — Beyoncé, on her website.\u003c/p>\n\u003cp>“The passing of Toni Morrison is a mandate to all others in the field to fulfill the high calling that her work and her life demonstrated. Her words, her wisdom, her undying love and commitment to her people are forever engraved in the pages of history, but her artistic, remarkable literary voice will be deeply missed.” — Rep. John Lewis, in a statement.\u003c/p>\n\u003cp>“RIP Toni Morrison. This is a devastating loss to the world of words, to our understanding of power and its reach, to the cultivation of empathy, to rich, nuanced, elegant storytelling. Her work was a gift to everyone who had the pleasure of reading her.” — Roxane Gay, via Twitter.\u003c/p>\n\u003cp>“Today, the world lost a storyteller of unmatched empathy, elegance and power. Toni Morrison’s belief that language is the “measure of our lives” leaves an extraordinary, inspiring inheritance, and her beautiful writing will continue to be a blessing for generations to come.” — House Speaker Nancy Pelosi, via Twitter.\u003c/p>\n\u003cp>“Toni Morrison was a towering intellect, a brilliant scribe of our nation’s complex stories, a heartbreaking journalist of our deepest desires, and a groundbreaking author who destroyed precepts, walls and those who dared underestimate her capacity. Rest well and in peace.” — former Georgia Democratic gubernatorial candidate Stacey Abrams, via Twitter.\u003c/p>\n\u003cp>“She was the best of us: our strength, our hope, and most importantly, our history. I grieve her passing though I know she will never, ever be gone.” — Walter Mosley, via Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13863129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-800x552.jpg\" alt=\"Novelist Toni Morrison and U.S. President Barack Obama share a moment after she was presented with a Presidential Medal of Freedom. \" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Novelist Toni Morrison and U.S. President Barack Obama share a moment after she was presented with a Presidential Medal of Freedom. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the passing of Toni Morrison, we lost one of our greatest voices & storytellers. Holding close those touched by her being & her gift. Her work gave us power, hope & freedom. While our world shines a little less bright today, we know “something that is loved is never lost.” — U.S. Sen. Kamala Harris, via Twitter.\u003c/p>\n\u003cp>“My heart hurts. Her greatness was absolute. Her words changed worlds. Her work always belonged to the immortal, and her name will never be forgotten.” — author Elizabeth Gilbert, via Facebook.\u003c/p>\n\u003cp>“‘We die. That may be the meaning of life. But we do language. That may be the measure of our lives.’ Holding all those touched by Toni Morrison in my heart today.” — U.S. Rep. Ilhan Omar, via Twitter.\u003c/p>\n\u003cp>“Genius has moved on. She made me understand “writer” was a fine profession. I grew up wanting to be only her. Dinner with her was a night I will never forget. Rest, Queen.” — Shonda Rhimes, via Twitter.\u003c/p>\n\u003cp>“Aw man Toni Morrison taught me the word Rememory. RIP to a incredibly powerful and impactful woman.” — Chance the Rapper, via Twitter.\u003c/p>\n\u003cp>“Oh, no. So deeply saddened. Thank you for everything, Ms. Morrison.” — Celeste Ng, via Twitter.\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/t8pDyXX1rf0'\n title='//www.youtube.com/embed/t8pDyXX1rf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“‘If you are free, you need to free somebody else. If you have some power, then your job is to empower somebody else.’ — Toni Morrison. Today we lost an American legend. May she rest in peace.” — U.S. Sen. Bernie Sanders, via Twitter.\u003c/p>\n\u003cp>“Toni Morrison was the first African-American woman to win a Nobel Prize. May she rest in power. #RememberHerName” — Billie Jean King, via Twitter.\u003c/p>\n\u003cp>“Her words were like mirrors to our collective souls. Like pillows to cushion the blows. Like mothers to wrap us in love. Like friends to hold our hands and see us through the darkness. #RipToniMorrison (heart) you. May we lift her up in the light of goodness and hold her there.” — Gabrielle Union, via Twitter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Toni Morrison received her Nobel Prize in Literature in 1993, \u003ca href=\"http://www.nobelprize.org/nobel_prizes/literature/laureates/1993/morrison-lecture.html\">her remarks \u003c/a>began with a reflection on the phrase \u003cem>once upon a time. \u003c/em>In her signature, measured cadence, Morrison told the Swedish Academy she believed these were some of the first words we remember from our childhoods. She was 88.\u003c/p>\n\u003cp>Morrison died Monday night at Montefiore Medical Center in New York, according to her publisher Penguin Random House. Her work focused on African-American life and culture, and she dominated an industry in which depictions of black life were often limited and rooted in stereotype.\u003c/p>\n\u003cp>Her masterwork,\u003cem> Beloved,\u003c/em> was awarded the Pulitzer Prize for Fiction in 1988. A decade later, Oprah Winfrey produced and starred in a movie based on the book.\u003c/p>\n\u003cp>Morrison was 56 when \u003cem>Beloved\u003c/em> was published in 1987, but she’d been living with stories since childhood. Born Chloe Wofford, she grew up with tales being told all around her in her hometown of Lorain, Ohio. Her grandparents, like millions of blacks, left the segregated South for the North, during the Great Migration.\u003c/p>\n\u003cp>“I lived in a little, working-class town that had no black neighborhoods at all …” Morrison told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in 2015. “We all played together. Everybody was either somebody from the South or an immigrant from East Europe or from Mexico.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says she wasn’t particularly aware of segregation growing up, but that her father “was very, very serious in his hatred of white people.” Her mother mitigated that. “Everybody was an individual whom she approved of or disapproved of based on her perception of them as individuals,” Morrison recalled.\u003c/p>\n\u003cp>As a child, young Chloe listened when the adults told stories about their southern homes. In a 2010 interview, she said their language stayed with her. Within her own family, she said. “There was street language, there was sermonic language. You know, people actually quoted the Bible to you.”\u003c/p>\n\u003cp>Wofford went to college at Howard University (where she became Toni, using the nickname of her baptismal saint, Anthony). It was there that she experienced, for the first time, a hierarchy of color within the African-American community. “On the campus, where I felt safe and welcome, I began to realize that this idea of the lighter the better and the darker the worse … really had an impact on sororities, on friendships, on all sorts of things, and it was stunning to me,” she said in 2015.\u003c/p>\n\u003cp>She earned her master’s at Cornell, and married architect Harold Morrison, with whom she had two sons. They divorced after seven years.\u003c/p>\n\u003cp>Morrison started her early publishing career as an editor, first in textbooks, then for general circulation books. She told an audience at the 92nd Street Y in New York that she wasn’t happy with how most black books were being edited back then: “I thought the editing was sloppy,” she recalled. “I thought the productions were mishandled, even the great books, like \u003cem>Roots\u003c/em>. … When you read them carefully, you’d see that nobody was paying any attention.”\u003c/p>\n\u003cp>So she consciously sought out excellent black authors, pulling them into what was — and mostly still is — the alabaster publishing industry. She edited Angela Davis, Muhammad Ali and the novelist Gayl Jones during the social upheaval of the late 1960s and early ’70s. Morrison saw this as her contribution to the Civil Rights movement.\u003c/p>\n\u003cp>“I made it my business to collect African-Americans who were vocal, either politically, or just writing wonderful fiction,” she said.\u003c/p>\n\u003cp>Even as she edited, Morrison secretly wrote for herself, getting up before her children were awake. She later said that when she wrote, she was free from pain. “It’s where I have control,” she said. “It’s where nobody tells me what to do. It’s where my imagination is fecund and I am really at my best. … I’m thinking up dangerous, difficult things, but it is also extremely safe for me to be in that place.”\u003c/p>\n\u003cp>Her first book, \u003cem>The Bluest Eye,\u003c/em> was published in 1970. It’s a tale about a dark-skinned little girl who believes blue eyes will make her beautiful and cherished.\u003c/p>\n\u003cp>Piper Huguley, a professor at Spelman College in Atlanta, remembers how she felt when she read \u003cem>The Bluest Eye\u003c/em> as a college student. It helped her see “colorism and its connection to self-loathing, and how deeply embedded that could go,” she says. It was a theme Morrison explored further in her 2015 book \u003cem>God Help the Child.\u003c/em>\u003c/p>\n\u003cp>Huguley says that kind of frankness about race has made Morrison’s work essential reading. “She exists in a class we call Seminal Writers, that every English major must take,” Huguley explains. “That means she belongs for us here at Spelman, and no doubt elsewhere, as part of the African-American literary canon, that is, an author who \u003cem>must\u003c/em> be read.”\u003c/p>\n\u003cp>Morrison’s stories weave between the familiar and the fantastical: In \u003cem>Song of Solomon,\u003c/em> a key element was an ancient folk tale about black people flying away from enslavement and back home to Africa. The theme of mother-daughter love runs through several books, such as \u003cem>Beloved\u003c/em> and \u003cem>A Mercy,\u003c/em> in which women make terrible sacrifices for their children.\u003c/p>\n\u003cp>These are books that focus, without apology or explanation, on black lives. And in 1998, she told talk show host Charlie Rose she had no interest in making white characters more central to her stories.\u003c/p>\n\u003cp>“I’ve spent my entire writing life trying to make sure that the white gaze was not the dominant one in any of my books,” she said.”\u003c/p>\n\u003cp>Morrison was grounded in the black cultural liberationist art of the 1960s, says Richard Yarborough, who teaches African-American literature at UCLA. She and others in that generation “expressed their mission” by focusing on black lives, he says.\u003c/p>\n\u003cp>And generations of black women writers, no matter their genre, have been touched by her: “Morrison is such a monumental figure, that there is no way you could write about black women’s experiences without taking her into account,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She showed, by example, the validity of black, female lives. And through her many “once upon a times,” Morrison’s expansive vision of black humanity now resonates around the globe. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Toni+Morrison%2C+Whose+Soaring+Novels+Were+Rooted+In+Black+Lives%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Morrison was the author of 'Beloved,' 'Song of Solomon' and 'The Bluest Eye.' She was awarded the Nobel Prize in Literature, the Pulitzer Prize for Fiction and the Presidential Medal of Freedom.",
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"title": "Toni Morrison Dies at 88; Author of Soaring Novels Rooted in Black Lives | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Toni Morrison received her Nobel Prize in Literature in 1993, \u003ca href=\"http://www.nobelprize.org/nobel_prizes/literature/laureates/1993/morrison-lecture.html\">her remarks \u003c/a>began with a reflection on the phrase \u003cem>once upon a time. \u003c/em>In her signature, measured cadence, Morrison told the Swedish Academy she believed these were some of the first words we remember from our childhoods. She was 88.\u003c/p>\n\u003cp>Morrison died Monday night at Montefiore Medical Center in New York, according to her publisher Penguin Random House. Her work focused on African-American life and culture, and she dominated an industry in which depictions of black life were often limited and rooted in stereotype.\u003c/p>\n\u003cp>Her masterwork,\u003cem> Beloved,\u003c/em> was awarded the Pulitzer Prize for Fiction in 1988. A decade later, Oprah Winfrey produced and starred in a movie based on the book.\u003c/p>\n\u003cp>Morrison was 56 when \u003cem>Beloved\u003c/em> was published in 1987, but she’d been living with stories since childhood. Born Chloe Wofford, she grew up with tales being told all around her in her hometown of Lorain, Ohio. Her grandparents, like millions of blacks, left the segregated South for the North, during the Great Migration.\u003c/p>\n\u003cp>“I lived in a little, working-class town that had no black neighborhoods at all …” Morrison told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in 2015. “We all played together. Everybody was either somebody from the South or an immigrant from East Europe or from Mexico.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says she wasn’t particularly aware of segregation growing up, but that her father “was very, very serious in his hatred of white people.” Her mother mitigated that. “Everybody was an individual whom she approved of or disapproved of based on her perception of them as individuals,” Morrison recalled.\u003c/p>\n\u003cp>As a child, young Chloe listened when the adults told stories about their southern homes. In a 2010 interview, she said their language stayed with her. Within her own family, she said. “There was street language, there was sermonic language. You know, people actually quoted the Bible to you.”\u003c/p>\n\u003cp>Wofford went to college at Howard University (where she became Toni, using the nickname of her baptismal saint, Anthony). It was there that she experienced, for the first time, a hierarchy of color within the African-American community. “On the campus, where I felt safe and welcome, I began to realize that this idea of the lighter the better and the darker the worse … really had an impact on sororities, on friendships, on all sorts of things, and it was stunning to me,” she said in 2015.\u003c/p>\n\u003cp>She earned her master’s at Cornell, and married architect Harold Morrison, with whom she had two sons. They divorced after seven years.\u003c/p>\n\u003cp>Morrison started her early publishing career as an editor, first in textbooks, then for general circulation books. She told an audience at the 92nd Street Y in New York that she wasn’t happy with how most black books were being edited back then: “I thought the editing was sloppy,” she recalled. “I thought the productions were mishandled, even the great books, like \u003cem>Roots\u003c/em>. … When you read them carefully, you’d see that nobody was paying any attention.”\u003c/p>\n\u003cp>So she consciously sought out excellent black authors, pulling them into what was — and mostly still is — the alabaster publishing industry. She edited Angela Davis, Muhammad Ali and the novelist Gayl Jones during the social upheaval of the late 1960s and early ’70s. Morrison saw this as her contribution to the Civil Rights movement.\u003c/p>\n\u003cp>“I made it my business to collect African-Americans who were vocal, either politically, or just writing wonderful fiction,” she said.\u003c/p>\n\u003cp>Even as she edited, Morrison secretly wrote for herself, getting up before her children were awake. She later said that when she wrote, she was free from pain. “It’s where I have control,” she said. “It’s where nobody tells me what to do. It’s where my imagination is fecund and I am really at my best. … I’m thinking up dangerous, difficult things, but it is also extremely safe for me to be in that place.”\u003c/p>\n\u003cp>Her first book, \u003cem>The Bluest Eye,\u003c/em> was published in 1970. It’s a tale about a dark-skinned little girl who believes blue eyes will make her beautiful and cherished.\u003c/p>\n\u003cp>Piper Huguley, a professor at Spelman College in Atlanta, remembers how she felt when she read \u003cem>The Bluest Eye\u003c/em> as a college student. It helped her see “colorism and its connection to self-loathing, and how deeply embedded that could go,” she says. It was a theme Morrison explored further in her 2015 book \u003cem>God Help the Child.\u003c/em>\u003c/p>\n\u003cp>Huguley says that kind of frankness about race has made Morrison’s work essential reading. “She exists in a class we call Seminal Writers, that every English major must take,” Huguley explains. “That means she belongs for us here at Spelman, and no doubt elsewhere, as part of the African-American literary canon, that is, an author who \u003cem>must\u003c/em> be read.”\u003c/p>\n\u003cp>Morrison’s stories weave between the familiar and the fantastical: In \u003cem>Song of Solomon,\u003c/em> a key element was an ancient folk tale about black people flying away from enslavement and back home to Africa. The theme of mother-daughter love runs through several books, such as \u003cem>Beloved\u003c/em> and \u003cem>A Mercy,\u003c/em> in which women make terrible sacrifices for their children.\u003c/p>\n\u003cp>These are books that focus, without apology or explanation, on black lives. And in 1998, she told talk show host Charlie Rose she had no interest in making white characters more central to her stories.\u003c/p>\n\u003cp>“I’ve spent my entire writing life trying to make sure that the white gaze was not the dominant one in any of my books,” she said.”\u003c/p>\n\u003cp>Morrison was grounded in the black cultural liberationist art of the 1960s, says Richard Yarborough, who teaches African-American literature at UCLA. She and others in that generation “expressed their mission” by focusing on black lives, he says.\u003c/p>\n\u003cp>And generations of black women writers, no matter their genre, have been touched by her: “Morrison is such a monumental figure, that there is no way you could write about black women’s experiences without taking her into account,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She showed, by example, the validity of black, female lives. And through her many “once upon a times,” Morrison’s expansive vision of black humanity now resonates around the globe. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Toni+Morrison%2C+Whose+Soaring+Novels+Were+Rooted+In+Black+Lives%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "San Jose Jazz Summer Fest: In the Pocket at 30",
"headTitle": "San Jose Jazz Summer Fest: In the Pocket at 30 | KQED",
"content": "\u003cp>This weekend, an estimated 40,000 people will descend on downtown San Jose for the 30th anniversary of the \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest\u003c/a>. (And yes, extra security is expected.)\u003c/p>\n\u003cp>As you might expect, the original ambition was decidedly more modest in 1990. So says Artistic & Festival Director Bruce Labadie, there at the creation: “We decided to have it free and outdoors and, basically, was going to be made successful by selling beer.”\u003c/p>\n\u003cp>Of course, a few sponsorship deals helped, as did careful selection of eight headliners, including Bobby Hutcherson, Freddie Hubbard, and Poncho Sánchez. “10,000 people showed up over two days. It was amazing. So we knew it was going to be successful from the beginning.”\u003c/p>\n\u003cp>30 years later, the Summer Fest is much bigger: 14 stages instead of two, 150 acts, or so, instead of eight. But also, the organization itself is much bigger than its annual summer fest.\u003c/p>\n\u003cp>“There’s really nothing else like it in the Bay Area,” says jazz writer Andy Gilbert, who’s covered the organization for KQED over many years. “This takes over downtown San Jose, around the Plaza de Cesar Chavez. You’ve got outdoor stages. It’s a huge street party, with fantastic music.”\u003c/p>\n\u003cfigure id=\"attachment_13863066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg\" alt=\"Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest.\" width=\"1600\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1200x896.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re also active year round. We do a couple hundred performances throughout all of San Jose throughout the year. We also do a Winter Fest and then we’re active in a lot of San Jose schools with different music education programs,” said Executive Director Brendan Rawson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marketing Director Massimo Chisessi adds, “San Jose Jazz has nurtured a local ecology of musicians here, through jams year-round. We also bring them work, gigs at local restaurants. One of the results is there’s a lot more interest now in live music (in downtown San Jose) than there was 30 years ago.”\u003c/p>\n\u003cp>[aside postID='arts_13857655,arts_13804037,arts_10885260' label='More San Jose Jazz']Rawson estimates half of the Summer Fest’s audience is local to Silicon Valley. The other half is split between the greater Bay Area and the world beyond, stretching as far afield as Los Angeles, Chicago and Atlanta.\u003c/p>\n\u003cp>Full disclosure: I grew up in a family full of talented jazz composers, and I love jazz. But like a lot of musical traditions, jazz’s audience is growing frailer and paler, and it’s dropped off the radio dial in many cities.\u003c/p>\n\u003cp>So I had to ask, how has San Jose Jazz survived and thrived? Short answer: like most jazz festivals, with a definition of jazz much more expansive than what insiders call “straight-ahead.” That, along with smooth jazz, makes up only 20 percent of what’s on the roster of San Jose Jazz today. The rest represents gospel, blues, funk, soul, hip hop, R&B, and of course, lots of salsa.\u003c/p>\n\u003cfigure id=\"attachment_13863068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg\" alt=\"Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest.\" width=\"1920\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1200x795.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Bruce Fram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s nothing like seeing a band live onstage, because it’s infectious, it’s contagious, it’s … it’s music that you want to dance to!” said Betto Arcos of KPCC in Los Angeles, one of a host of curators who bring specialized rolodexes with them, along with bigger, broader audiences from the Bay Area and beyond.\u003c/p>\n\u003cp>“This year we’re bringing a band from Columbia (\u003ca href=\"http://www.la-33.com\" target=\"_blank\" rel=\"noopener\">Orquesta La 33\u003c/a>). This is like the top salsa band from Colombia has come into perform to the Jazz Fest,” Arcos adds.\u003c/p>\n\u003cp>Gilbert says San Jose Jazz’s commitment to Latin music has been genuine since the beginning. “Showing how that is woven in to the fabric of jazz. This year is no different.”\u003c/p>\n\u003cp>Labadie say the audiences who come to San Jose Jazz come with big, broad musical appetites, keen to take in the unfamiliar and cheer on the young and the local. Why not, when about 40 percent of music is free?\u003c/p>\n\u003ch2>Jazz is roots music\u003c/h2>\n\u003cp>“There’s a lot of these young artists that come of age in a hip hop generation, but they’re incredibly well-trained jazz artists, and you’re seeing them sort of in sort of informing and shaping a lot of popular music today,” Rawson says.\u003c/p>\n\u003cp>It’s fair to say San Jose Jazz has helped to “inform and shape” by giving an early chance to musicians coming up. Labadie has a lot of stories along these lines…\u003c/p>\n\u003cfigure id=\"attachment_13863069\" class=\"wp-caption aligncenter\" style=\"max-width: 1543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg\" alt=\"John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest.\" width=\"1543\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1543px) 100vw, 1543px\">\u003cfigcaption class=\"wp-caption-text\">John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Years ago, we had the \u003ca href=\"https://www.lulawashington.org\" target=\"_blank\" rel=\"noopener\">Lulu Washington Dance Company\u003c/a>, and the guy that promotes it, the husband of Lulu Washington, said, ‘Oh, my nephew is really a good player!’ I go, ‘Okay, whatever.’ Then I open \u003cem>Rolling Stone\u003c/em> and there he was. \u003ca href=\"https://www.kamasiwashington.com\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>. He didn’t have an agent. We paid him a little bit of money, and then he was charging $50,000 right after that.”\u003c/p>\n\u003cp>“Same with Trombone Shorty, who we found. You know, played at the main stage, and became unaffordable a couple of years after we had him.”\u003c/p>\n\u003cp>Like anybody else, the organizers are partial to headliners. Rawson’s favorite? “I’m really excited that we’re having \u003ca href=\"http://diannereeves.com\" target=\"_blank\" rel=\"noopener\">Dianne Reeves\u003c/a> back. She was named an \u003ca href=\"https://www.arts.gov/honors/jazz/dianne-reeves\" target=\"_blank\" rel=\"noopener\">NEA Jazz Master\u003c/a> last year. She was with us in our second year of the festival. She’s this will be her fourth time appearing with us, and it’s always there’s really a sense of almost homecoming for a lot of our folks that come each year, and she’s just outstanding.”\u003c/p>\n\u003cp>San Jose Jazz doesn’t typically have performance recording rights. The local radio station \u003ca href=\"https://www.kcsm.org\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> broadcasts some of the music live, and they do run a highlight show the following spring. There’s also some live streaming. But generally, you have to be in San Jose to experience Summer Fest in all its multi-faceted, musical glory.\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>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> runs August 9-11, 2019. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "How the venerable South Bay institution San Jose Jazz got from 1990 to today.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, an estimated 40,000 people will descend on downtown San Jose for the 30th anniversary of the \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest\u003c/a>. (And yes, extra security is expected.)\u003c/p>\n\u003cp>As you might expect, the original ambition was decidedly more modest in 1990. So says Artistic & Festival Director Bruce Labadie, there at the creation: “We decided to have it free and outdoors and, basically, was going to be made successful by selling beer.”\u003c/p>\n\u003cp>Of course, a few sponsorship deals helped, as did careful selection of eight headliners, including Bobby Hutcherson, Freddie Hubbard, and Poncho Sánchez. “10,000 people showed up over two days. It was amazing. So we knew it was going to be successful from the beginning.”\u003c/p>\n\u003cp>30 years later, the Summer Fest is much bigger: 14 stages instead of two, 150 acts, or so, instead of eight. But also, the organization itself is much bigger than its annual summer fest.\u003c/p>\n\u003cp>“There’s really nothing else like it in the Bay Area,” says jazz writer Andy Gilbert, who’s covered the organization for KQED over many years. “This takes over downtown San Jose, around the Plaza de Cesar Chavez. You’ve got outdoor stages. It’s a huge street party, with fantastic music.”\u003c/p>\n\u003cfigure id=\"attachment_13863066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg\" alt=\"Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest.\" width=\"1600\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1200x896.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re also active year round. We do a couple hundred performances throughout all of San Jose throughout the year. We also do a Winter Fest and then we’re active in a lot of San Jose schools with different music education programs,” said Executive Director Brendan Rawson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marketing Director Massimo Chisessi adds, “San Jose Jazz has nurtured a local ecology of musicians here, through jams year-round. We also bring them work, gigs at local restaurants. One of the results is there’s a lot more interest now in live music (in downtown San Jose) than there was 30 years ago.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rawson estimates half of the Summer Fest’s audience is local to Silicon Valley. The other half is split between the greater Bay Area and the world beyond, stretching as far afield as Los Angeles, Chicago and Atlanta.\u003c/p>\n\u003cp>Full disclosure: I grew up in a family full of talented jazz composers, and I love jazz. But like a lot of musical traditions, jazz’s audience is growing frailer and paler, and it’s dropped off the radio dial in many cities.\u003c/p>\n\u003cp>So I had to ask, how has San Jose Jazz survived and thrived? Short answer: like most jazz festivals, with a definition of jazz much more expansive than what insiders call “straight-ahead.” That, along with smooth jazz, makes up only 20 percent of what’s on the roster of San Jose Jazz today. The rest represents gospel, blues, funk, soul, hip hop, R&B, and of course, lots of salsa.\u003c/p>\n\u003cfigure id=\"attachment_13863068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg\" alt=\"Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest.\" width=\"1920\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1200x795.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Bruce Fram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s nothing like seeing a band live onstage, because it’s infectious, it’s contagious, it’s … it’s music that you want to dance to!” said Betto Arcos of KPCC in Los Angeles, one of a host of curators who bring specialized rolodexes with them, along with bigger, broader audiences from the Bay Area and beyond.\u003c/p>\n\u003cp>“This year we’re bringing a band from Columbia (\u003ca href=\"http://www.la-33.com\" target=\"_blank\" rel=\"noopener\">Orquesta La 33\u003c/a>). This is like the top salsa band from Colombia has come into perform to the Jazz Fest,” Arcos adds.\u003c/p>\n\u003cp>Gilbert says San Jose Jazz’s commitment to Latin music has been genuine since the beginning. “Showing how that is woven in to the fabric of jazz. This year is no different.”\u003c/p>\n\u003cp>Labadie say the audiences who come to San Jose Jazz come with big, broad musical appetites, keen to take in the unfamiliar and cheer on the young and the local. Why not, when about 40 percent of music is free?\u003c/p>\n\u003ch2>Jazz is roots music\u003c/h2>\n\u003cp>“There’s a lot of these young artists that come of age in a hip hop generation, but they’re incredibly well-trained jazz artists, and you’re seeing them sort of in sort of informing and shaping a lot of popular music today,” Rawson says.\u003c/p>\n\u003cp>It’s fair to say San Jose Jazz has helped to “inform and shape” by giving an early chance to musicians coming up. Labadie has a lot of stories along these lines…\u003c/p>\n\u003cfigure id=\"attachment_13863069\" class=\"wp-caption aligncenter\" style=\"max-width: 1543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg\" alt=\"John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest.\" width=\"1543\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1543px) 100vw, 1543px\">\u003cfigcaption class=\"wp-caption-text\">John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Years ago, we had the \u003ca href=\"https://www.lulawashington.org\" target=\"_blank\" rel=\"noopener\">Lulu Washington Dance Company\u003c/a>, and the guy that promotes it, the husband of Lulu Washington, said, ‘Oh, my nephew is really a good player!’ I go, ‘Okay, whatever.’ Then I open \u003cem>Rolling Stone\u003c/em> and there he was. \u003ca href=\"https://www.kamasiwashington.com\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>. He didn’t have an agent. We paid him a little bit of money, and then he was charging $50,000 right after that.”\u003c/p>\n\u003cp>“Same with Trombone Shorty, who we found. You know, played at the main stage, and became unaffordable a couple of years after we had him.”\u003c/p>\n\u003cp>Like anybody else, the organizers are partial to headliners. Rawson’s favorite? “I’m really excited that we’re having \u003ca href=\"http://diannereeves.com\" target=\"_blank\" rel=\"noopener\">Dianne Reeves\u003c/a> back. She was named an \u003ca href=\"https://www.arts.gov/honors/jazz/dianne-reeves\" target=\"_blank\" rel=\"noopener\">NEA Jazz Master\u003c/a> last year. She was with us in our second year of the festival. She’s this will be her fourth time appearing with us, and it’s always there’s really a sense of almost homecoming for a lot of our folks that come each year, and she’s just outstanding.”\u003c/p>\n\u003cp>San Jose Jazz doesn’t typically have performance recording rights. The local radio station \u003ca href=\"https://www.kcsm.org\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> broadcasts some of the music live, and they do run a highlight show the following spring. There’s also some live streaming. But generally, you have to be in San Jose to experience Summer Fest in all its multi-faceted, musical glory.\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>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> runs August 9-11, 2019. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Former President Barack Obama weighed in on the mass shootings this past weekend in El Paso, Texas, and Dayton, Ohio, saying on Monday that Americans “should soundly reject language coming out of the mouths of any of our leaders that feeds a climate of fear and hatred or normalizes racist sentiments.”\u003c/p>\n\u003cp>In a statement \u003ca href=\"https://twitter.com/BarackObama/status/1158453079035002881\">released on Twitter\u003c/a>, Obama did not mention President Trump by name, but his reference seemed clear.\u003c/p>\n\u003cp>Obama denounced language from “leaders who demonize those who don’t look like us, or suggest that other people, including immigrants, threaten our way of life, or refer to other people as sub-human, or imply that America belongs to just one certain type of people.”\u003c/p>\n\u003cp>Such language, Obama said, “has no place in our politics and our public life.”\u003c/p>\n\u003cp>He added that “it’s time for the overwhelming majority of Americans of goodwill, of every race and faith and political party, to say as much — clearly and unequivocally.”\u003c/p>\n\u003cp>https://twitter.com/BarackObama/status/1158453079035002881\u003c/p>\n\u003cp>Obama’s statement Monday was a rare occasion when the former president, who has generally avoided commenting on politics since leaving office, spoke out.\u003c/p>\n\u003cp>From the time Trump announced his candidacy in June 2015, he has been accused of making racist and anti-immigrant remarks. He accused Mexico of sending “their worst people” to the U.S., people he said who were “bringing drugs. They’re bringing crime. They’re rapists.”\u003c/p>\n\u003cp>More recently he was \u003ca href=\"https://www.npr.org/2019/07/16/742236610/condemnation-of-president-delayed-by-debate-can-lawmakers-call-trump-tweets-raci\">condemned by the House of Representatives\u003c/a> for his remarks about four Democratic members of Congress, all women of color, who he said should “go back” to where they came from. He also launched an attack on House Oversight Committee Chairman Elijah Cummings, D-Md., saying Cummings’ Baltimore-based district was “\u003ca href=\"https://www.npr.org/2019/07/28/746019426/leaders-in-baltimore-and-maryland-denounce-trump-tweets-attacking-elijah-cumming\">a disgusting, rat and rodent infested mess\u003c/a>.”\u003c/p>\n\u003cp>[aside tag='gilroy, gilroy shooting' label='More On Gilroy']\u003c/p>\n\u003cp>In his \u003ca href=\"https://www.npr.org/2019/08/05/748190808/trump-calls-for-strong-background-checks-following-el-paso-and-dayton-shootings\">remarks about the mass shootings\u003c/a> on Monday, Trump said that “hate has no place in our country.”\u003c/p>\n\u003cp>“In one voice,” Trump said, “our nation must condemn racism, bigotry and white supremacy.”\u003c/p>\n\u003cp>At least 31 people were killed in El Paso and Dayton. Texas authorities said they were close to linking the El Paso suspect to an anti-immigrant screed that was posted online shortly before the attack.\u003c/p>\n\u003cp>Trump called for perpetrators of mass shootings to be eligible for the death penalty and for increased attention to mental health. Trump did not repeat calls he tweeted earlier in the day to strengthen background checks for guns.\u003c/p>\n\u003cp>Obama’s statement, released after Trump’s remarks, said no other nation “tolerates the levels of gun violence that we do.”\u003c/p>\n\u003cp>Calling for tighter gun controls, Obama said, “We are not helpless here. And until all of us stand up and insist on holding public officials accountable for changing our gun laws, these tragedies will keep happening.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>Lamont Young has been a DJ for 40 years, and in that time, he’s accumulated thousands of albums, many of which he has on display at his office. But his very his first record, Sylvia Striplin’s “Give Me Your Love”—the one that started him on this path—he keeps in a special place.\u003c/p>\n\u003cp>When I recently walked into the headquarters of his business, \u003ca href=\"http://www.fingersnaps.net/index.html\" target=\"_blank\" rel=\"noopener\">Finger Snaps Media\u003c/a>, on 20th Street in San Francisco’s Mission District, DJ Lamont wasted no time. He showed me around the space, told me how he got started spinning records back in the day and even kicked some quality philosophy on why we need a DJ nowadays, given all the advances in modern technology.\u003c/p>\n\u003cp>And, using his copy of his very first record, tucked away on a specific shelf, he gave me a lesson on how to get down on the ones and twos.\u003c/p>\n\u003cfigure id=\"attachment_13862912\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_5451-800x1067.jpg\" alt=\"DJ Lamont \" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451.jpg 1536w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">DJ Lamont. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what DJ Lamont does: he teaches people how to DJ. He offers classes on all levels, and sometimes even he does classes for free. DJ Lamont, who’s also an on-air host of KPOO’s \u003cem>Fingersnap Music Salon\u003c/em>, says he’s taught DJ classes for the past 15 years.\u003c/p>\n\u003cp>Young classes at his storefront, and sometimes even out on the streets in front of the store. On Sunday, Aug. 18th, he’ll be teaching at \u003ca href=\"http://www.sundaystreetssf.com/sunday-streets-2019/soma081819/?utm_source=Livable+City+%26+Sunday+Streets&utm_campaign=edad8788da-EMAIL_CAMPAIGN_2018_11_12_07_21_COPY_01&utm_medium=email&utm_term=0_d2017db71e-edad8788da-65629073\" target=\"_blank\" rel=\"noopener\">SF Streets\u003c/a>, and every Thursday from now until October, he’ll give free DJ lessons at the newly reopened Salesforce Park.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To get a taste of what DJ Lamont is spinning, click the audio link above and enjoy the music.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lamont Young has been a DJ for 40 years, and in that time, he’s accumulated thousands of albums, many of which he has on display at his office. But his very his first record, Sylvia Striplin’s “Give Me Your Love”—the one that started him on this path—he keeps in a special place.\u003c/p>\n\u003cp>When I recently walked into the headquarters of his business, \u003ca href=\"http://www.fingersnaps.net/index.html\" target=\"_blank\" rel=\"noopener\">Finger Snaps Media\u003c/a>, on 20th Street in San Francisco’s Mission District, DJ Lamont wasted no time. He showed me around the space, told me how he got started spinning records back in the day and even kicked some quality philosophy on why we need a DJ nowadays, given all the advances in modern technology.\u003c/p>\n\u003cp>And, using his copy of his very first record, tucked away on a specific shelf, he gave me a lesson on how to get down on the ones and twos.\u003c/p>\n\u003cfigure id=\"attachment_13862912\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_5451-800x1067.jpg\" alt=\"DJ Lamont \" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_5451.jpg 1536w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">DJ Lamont. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what DJ Lamont does: he teaches people how to DJ. He offers classes on all levels, and sometimes even he does classes for free. DJ Lamont, who’s also an on-air host of KPOO’s \u003cem>Fingersnap Music Salon\u003c/em>, says he’s taught DJ classes for the past 15 years.\u003c/p>\n\u003cp>Young classes at his storefront, and sometimes even out on the streets in front of the store. On Sunday, Aug. 18th, he’ll be teaching at \u003ca href=\"http://www.sundaystreetssf.com/sunday-streets-2019/soma081819/?utm_source=Livable+City+%26+Sunday+Streets&utm_campaign=edad8788da-EMAIL_CAMPAIGN_2018_11_12_07_21_COPY_01&utm_medium=email&utm_term=0_d2017db71e-edad8788da-65629073\" target=\"_blank\" rel=\"noopener\">SF Streets\u003c/a>, and every Thursday from now until October, he’ll give free DJ lessons at the newly reopened Salesforce Park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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