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"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. 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Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\u003c/p>\n\u003cp>https://youtu.be/AqUKOV27tAM\u003c/p>\n\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>Updated at 12:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Federal prosecutors in New York and Chicago unsealed sweeping charges against R&B singer R. Kelly on Friday, accusing him of abusing women and girls for nearly two decades, including kidnapping, forced labor and sending child pornography across state lines.\u003c/p>\n\u003cp>The bombshell charges, the first federal criminal charges Kelly has faced, come a day after he was arrested while walking his dog outside his home in Chicago’s Trump Tower. He faces a total of 18 federal counts.\u003c/p>\n\u003cp>Prosecutors have requested that Kelly be held in detention while he awaits trial, saying he is a danger to the community and a significant flight risk.\u003c/p>\n\u003cp>“The defendant is charged as the leader of a racketeering enterprise engaged in a pattern of racketeering activity spanning two decades involving the sexual exploitation of children, coercing and transporting women and girls to engage in illegal sexual activity, kidnapping and forced labor,” wrote Richard Donoghue, U.S. attorney for the Eastern District of New York.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The indictment in the Northern District of Illinois contains allegations of child pornography and obstruction of justice.\u003c/p>\n\u003cp>Those charges involve five minors. Prosecutors say that beginning in about 1998, Kelly made sexual videos with several of the victims. Also named in the Illinois indictment are two of Kelly’s associates, Derrell McDavid, a manager of Kelly; and Milton “June” Brown, another Kelly employee.\u003c/p>\n\u003cp>[aside postid='arts_13848980']\u003c/p>\n\u003cp>Prosecutors allege Kelly and his associates paid out “hundreds of thousands” of dollars to collect copies of those videos, which had begun circulating, and that Kelly and others paid alleged victims, their parents, other family members and other witnesses to prevent them from testifying in court or otherwise coming forward. Those payoffs were said to include gifts and foreign travel as well as cash, and that Kelly also “used physical abuse, violence, threats of violence, blackmail, and other controlling behaviors” to silence his alleged victims.\u003c/p>\n\u003cp>In the indictment unsealed Friday morning in New York, federal prosecutors charged Kelly with one count of racketeering related to kidnapping and four violations of the Mann Act, which relate to allegations of trafficking victims across state lines for sexual purposes. Kelly abused five victims, including three minors, in incidents as far back as 1999 and as recently as 2018, according to the court document.\u003c/p>\n\u003cp>Prosecutors say Kelly worked with his bodyguards, drivers and personal assistants to form an illegal conspiracy to find and abuse women and girls “to engage in illegal sexual activity with Kelly,” prosecutors wrote. “By promoting R. Kelly’s music and the R. Kelly brand, the members of the Enterprise expected to receive financial opportunities and personal benefits and increased power.”\u003c/p>\n\u003cp>Kelly and his entourage allegedly recruited and groomed women and girls, enticing them with access to the singer and promises of money. Authorities say he confined the victims against their will, forcing them to engage in sex acts and sometimes filming the sexual activity.\u003c/p>\n\u003cp>These incidents are alleged to have taken place in locations including Chicago, Connecticut, California and in Brooklyn, where prosecutors filed the sealed charges on June 20.\u003c/p>\n\u003cp>[aside postid='pop_109568']\u003c/p>\n\u003cp>A law enforcement official tells NPR that Kelly is expected to be arraigned in Illinois on Friday, and that he likely will be arraigned in Brooklyn on the New York charges sometime next week.\u003c/p>\n\u003cp>Kelly, who already faces separate sexual assault charges in Illinois state court as well as activity in multiple ongoing civil cases, is now facing three possible criminal trials following his Thursday night arrest.\u003c/p>\n\u003cp>For decades, Kelly \u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\">has been dogged by\u003c/a> accusations of child pornography and sexual contact with minors. He had previously been prosecuted by Illinois authorities in a child pornography case, but in June 2008 Kelly was acquitted of all charges.\u003c/p>\n\u003cp>Kelly’s attorney, Steve Greenberg, released a statement Friday morning saying his client was arrested while out walking his dog and that Kelly “was aware of the investigations and the charges were not a surprise.” In his statement, Greenberg repeated assertions that he has made previously in connection to the Cook County indictments: namely, that they involve decades-old allegations.\u003c/p>\n\u003cp>https://twitter.com/SGcrimlaw/status/1149672781027540992\u003c/p>\n\u003cp>In recent months, fresh interest has been generated around the longtime accusations against Kelly.\u003c/p>\n\u003cp>An interview Kelly \u003ca href=\"https://www.npr.org/2019/03/06/700657516/r-kelly-gives-first-post-arrest-interview\">did with Gayle King in March\u003c/a> in which he emotionally denied sexual misconduct prompted widespread attention.\u003c/p>\n\u003cp>And Lifetime’s\u003ca href=\"https://www.npr.org/2019/01/03/681851521/lifetimes-series-about-r-kelly-depicts-a-darker-side-to-the-singer\"> recent six-episode\u003c/a> \u003cem>Surviving R. Kelly\u003c/em> documentary included accounts from several women who accused the singer of misconduct, drawing a new focus to the longstanding accusations lodged at him. More accusers began publicly telling their stories about alleged abuse and sexual misconduct perpetrated by him.\u003c/p>\n\u003cp>State prosecutors in Chicago this year have filed sexual assault and abuse charges against him, the latest of which were filed six weeks ago. Kelly, 52, whose real name is Robert Sylvester Kelly, has pleaded not guilty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>WBEZ’s Patrick Smith and NPR’s Colin Dwyer contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+Arrested+On+Federal+Charges%2C+Including+Child+Pornography+And+Kidnapping&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 12:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Federal prosecutors in New York and Chicago unsealed sweeping charges against R&B singer R. Kelly on Friday, accusing him of abusing women and girls for nearly two decades, including kidnapping, forced labor and sending child pornography across state lines.\u003c/p>\n\u003cp>The bombshell charges, the first federal criminal charges Kelly has faced, come a day after he was arrested while walking his dog outside his home in Chicago’s Trump Tower. He faces a total of 18 federal counts.\u003c/p>\n\u003cp>Prosecutors have requested that Kelly be held in detention while he awaits trial, saying he is a danger to the community and a significant flight risk.\u003c/p>\n\u003cp>“The defendant is charged as the leader of a racketeering enterprise engaged in a pattern of racketeering activity spanning two decades involving the sexual exploitation of children, coercing and transporting women and girls to engage in illegal sexual activity, kidnapping and forced labor,” wrote Richard Donoghue, U.S. attorney for the Eastern District of New York.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The indictment in the Northern District of Illinois contains allegations of child pornography and obstruction of justice.\u003c/p>\n\u003cp>Those charges involve five minors. Prosecutors say that beginning in about 1998, Kelly made sexual videos with several of the victims. Also named in the Illinois indictment are two of Kelly’s associates, Derrell McDavid, a manager of Kelly; and Milton “June” Brown, another Kelly employee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prosecutors allege Kelly and his associates paid out “hundreds of thousands” of dollars to collect copies of those videos, which had begun circulating, and that Kelly and others paid alleged victims, their parents, other family members and other witnesses to prevent them from testifying in court or otherwise coming forward. Those payoffs were said to include gifts and foreign travel as well as cash, and that Kelly also “used physical abuse, violence, threats of violence, blackmail, and other controlling behaviors” to silence his alleged victims.\u003c/p>\n\u003cp>In the indictment unsealed Friday morning in New York, federal prosecutors charged Kelly with one count of racketeering related to kidnapping and four violations of the Mann Act, which relate to allegations of trafficking victims across state lines for sexual purposes. Kelly abused five victims, including three minors, in incidents as far back as 1999 and as recently as 2018, according to the court document.\u003c/p>\n\u003cp>Prosecutors say Kelly worked with his bodyguards, drivers and personal assistants to form an illegal conspiracy to find and abuse women and girls “to engage in illegal sexual activity with Kelly,” prosecutors wrote. “By promoting R. Kelly’s music and the R. Kelly brand, the members of the Enterprise expected to receive financial opportunities and personal benefits and increased power.”\u003c/p>\n\u003cp>Kelly and his entourage allegedly recruited and groomed women and girls, enticing them with access to the singer and promises of money. Authorities say he confined the victims against their will, forcing them to engage in sex acts and sometimes filming the sexual activity.\u003c/p>\n\u003cp>These incidents are alleged to have taken place in locations including Chicago, Connecticut, California and in Brooklyn, where prosecutors filed the sealed charges on June 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A law enforcement official tells NPR that Kelly is expected to be arraigned in Illinois on Friday, and that he likely will be arraigned in Brooklyn on the New York charges sometime next week.\u003c/p>\n\u003cp>Kelly, who already faces separate sexual assault charges in Illinois state court as well as activity in multiple ongoing civil cases, is now facing three possible criminal trials following his Thursday night arrest.\u003c/p>\n\u003cp>For decades, Kelly \u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\">has been dogged by\u003c/a> accusations of child pornography and sexual contact with minors. He had previously been prosecuted by Illinois authorities in a child pornography case, but in June 2008 Kelly was acquitted of all charges.\u003c/p>\n\u003cp>Kelly’s attorney, Steve Greenberg, released a statement Friday morning saying his client was arrested while out walking his dog and that Kelly “was aware of the investigations and the charges were not a surprise.” In his statement, Greenberg repeated assertions that he has made previously in connection to the Cook County indictments: namely, that they involve decades-old allegations.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In recent months, fresh interest has been generated around the longtime accusations against Kelly.\u003c/p>\n\u003cp>An interview Kelly \u003ca href=\"https://www.npr.org/2019/03/06/700657516/r-kelly-gives-first-post-arrest-interview\">did with Gayle King in March\u003c/a> in which he emotionally denied sexual misconduct prompted widespread attention.\u003c/p>\n\u003cp>And Lifetime’s\u003ca href=\"https://www.npr.org/2019/01/03/681851521/lifetimes-series-about-r-kelly-depicts-a-darker-side-to-the-singer\"> recent six-episode\u003c/a> \u003cem>Surviving R. Kelly\u003c/em> documentary included accounts from several women who accused the singer of misconduct, drawing a new focus to the longstanding accusations lodged at him. More accusers began publicly telling their stories about alleged abuse and sexual misconduct perpetrated by him.\u003c/p>\n\u003cp>State prosecutors in Chicago this year have filed sexual assault and abuse charges against him, the latest of which were filed six weeks ago. Kelly, 52, whose real name is Robert Sylvester Kelly, has pleaded not guilty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>WBEZ’s Patrick Smith and NPR’s Colin Dwyer contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+Arrested+On+Federal+Charges%2C+Including+Child+Pornography+And+Kidnapping&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'It’s Criminal': Cultural Funding Cuts Frustrate Oakland Artists",
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"content": "\u003cp>At 14th and Alice Streets in downtown Oakland, the “Universal Language” mural traces the city’s black performing arts heritage. The late dancer Ruth Beckford, an influential promoter of Afro-Haitian styles, looms above performers with her mentee Deborah Vaughan’s Dimensions Dance Theater, which operates nearby at the \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>. The center’s namesake, Congolese artist and teacher Malonga Casquelourd, beats a drum at the center of another wall.\u003c/p>\n\u003cp>The arts are but one theme of the 2,500 square foot mural, which also references organized labor and grassroots activism in Oakland’s black and Asian neighborhoods. Lead artists Desi Mundo and Pancho Peskador worked with the nonprofit Community Rejuvenation Project to conduct research and community outreach for six months before beginning to paint—an undertaking significantly buoyed a $40,000 grant from the City of Oakland’s Cultural Funding Program.\u003c/p>\n\u003cp>Fewer than five years after its completion in 2014, though, the mural is disappearing behind a housing development on what was previously a parking lot. At the same time, the city program that supported the mural, plus many individual artists and Malonga tenants, recently had its grant-making budget reduced by 17 percent. “It’s criminal,” said Theo Aytchan Williams, director of Malonga tenant \u003ca href=\"https://sambafunk.com/\">SambaFunk\u003c/a>. “How can that happen while the city is beginning to prosper?”\u003c/p>\n\u003cfigure id=\"attachment_13861188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg\" alt=\""Universal Language," a mural depicting Oakland's black performing arts heritage, will soon be completely obscured.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Universal Language,” a mural depicting Oakland’s black performing arts heritage, will soon be completely obscured. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland artists and activists have long agitated for boosting the Cultural Funding Program’s budget and infrastructure, holding it up as an important front in the fight against displacement. The grant-making operation rates applicants with an equity lens, supporting work that lifts up communities at risk of cultural erasure as the affordability crisis reshapes the city. “The roster of those top-ranked organizations is the backbone of the Oakland arts community,” said Mundo.\u003c/p>\n\u003cp>In 2018, the Cultural Funding Program supported individual artist projects such as murals, performance series and documentaries; art-in-schools programs run by nonprofits including Destiny Arts Center and Women’s Audio Mission; and general operating subsidies for Creative Growth Art Center, Eastside Arts Alliance and the Oakland Ballet, among other institutions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, the program has lately grown: Roberto Bedoya became the first Cultural Affairs Director in 2016, announcing an agenda of redressing historical injustice in the Cultural Plan last year. He also secured funding for a staffer to help reestablish an Art Commission; Oakland City Council approved related legislation Tuesday. And soon Bedoya will announce the first “cultural strategists in government”—artists embedded as “thought partners” in city departments.\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg\" alt=\"Another panel of "Universal Language," showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another panel of “Universal Language,” showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13840996/oakland-introduces-expanded-art-grants-program-announces-2018-awardees\">previously reported\u003c/a>, Oakland Mayor Libby Schaaf has described Bedoya’s initiatives as part of the Cultural Affairs Unit’s rebound from the “devastating cuts of the recession,” but the budget City Council approved last month leaves his agency with more plans and less money: The annual grants budget is approximately 1,030,000, comprised of $730,000 from the general purpose fund and an anticipated $300,000 from hotel tax revenue, compared to $1,243,120 earmarked in 2017.\u003c/p>\n\u003cp>“Organizational support and arts in schools are the cornerstones of the creation of a future for the arts in our beloved city, and given the rapid, dizzying gentrification we’re experiencing it’s fundamental that you remove not one dollar from our cultural funding program,” said Angela Wellman, director of the Oakland Public Conservatory of Music, at the June 24 meeting.\u003c/p>\n\u003cp>The councilmembers included a policy directive in their budget urging city staff to “identify ways to restore and make permanent additional funding for cultural affairs” by May of next year.\u003c/p>\n\u003cp>According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is nearly half of what was in 2001, and in recent years the number of applications has dramatically increased. This year, according to Bedoya, there were 25 percent more grant applicants than in 2018. “People are asking for support,” he said. “We’re still hoping the budget will increase along with the need.”\u003c/p>\n\u003cfigure id=\"attachment_13861183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg\" alt=\"The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mundo, head of the Community Rejuvenation Project, believes declining grant dollars reflects the “privatization of public artwork.” In downtown Oakland, there are more murals than ever; housing developers tout them as amenities, and sports teams sponsor them for promotion in the guise of grassroots fandom. Instead of the deeply-researched “Universal Language” mural, Mundo said, public artwork is increasingly advertisements or corporate commissions.\u003c/p>\n\u003cp>Mundo noted the bureaucracy of the Cultural Funding Program is its own frustration: Artists shouldn’t have to also be lobbyists and nonprofit administrators. Still, he called it a reliable supporter of projects with a point of view and rich cultural texture. The CFP’s support of “Universal Language,” for example, offset the cost of a Cantonese translator to interview neighbors, and to study performances to capture dancers’ expressive gestures on the wall.\u003c/p>\n\u003cp>“Universal Language” also depicts artists at a City Council meeting in 2003 to protest then-Mayor Jerry Brown’s attempt to shutter the Malonga Casquelourd Center for the Arts (then the Alice Arts Center)—content that isn’t likely to appear in public artwork sponsored by the city’s tourism bureau, Visit Oakland. “But now we’re moving towards a patronage system,” Mundo said. “Less cultural stories, less of the struggle, more of the commercial and abstract.”\u003c/p>\n\u003cfigure id=\"attachment_13861182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg\" alt=\"A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The budget passed last month does include a $100,000 “community murals” fund, but it mostly continues a preexisting “graffiti abatement” fund by another name. Mundo’s organization tracked the abatement dollars, finding some councilmembers didn’t use them for public artwork at all. “It’s really a slush fund,” he said. “They’re almost appropriating money from cultural funding.”\u003c/p>\n\u003cp>Bedoya acknowledged the new fund is similarly aimed at deterring graffiti, but said his department will more closely oversee councilmembers’ projects. And Councilmember Dan Kalb said at the June 24 meeting that he welcomes the greater involvement from Bedoya’s department. “It’s better government to do this through cultural affairs,” Kalb said.\u003c/p>\n\u003cp>Also new in the city’s budget is $75,000 for signage and “capacity building” in the Black Arts Movement Business District, which Oakland established downtown in 2016. Ayodele Nzinga, founding director of Lower Bottom Playaz, said it’s the first time the city has funded the district at all. “The point is they created a district three years ago without so much as a plan or budget for a banner,” she said, adding that district stakeholders will use the money to seek private grants.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014. ' width=\"300\" height=\"199\" class=\"size-medium wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as the “Universal Language” mural shows what Oakland stands to lose by reducing its investment in the arts, it also illustrates the power of cultural groups united by a common grievance. In 2016, when the project set to block “Universal Language” was first approved, the mural’s creators joined with neighborhood activists and Malonga tenants to appeal the development, citing concerns that it would further destabilize the scrappy cultural center.\u003c/p>\n\u003cp>They won a community benefits agreement—and modeled a negotiating tactic \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently used\u003c/a> by critics of Orton Development’s plan to renovate the Henry J. Kaiser Convention Center—that required the developer to donate money to the Malonga, and also to help pay for a replacement mural nearby. Eric Arnold, who helped negotiate the deal, said the replacement mural will deal with similar themes, and that it will be on the wall of the Greenlining Institute two blocks away.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To Arnold, the way the mural’s removal spurred a powerful coalition of arts and neighborhood groups is a heartening example of frustrated community members taking matters into their own hands. “Whatever you think is against you, developers, city hall—there’s a way to change the narrative,” he said. The new mural, he added, might incorporate the tale of the old one.\u003c/p>\n\n",
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"title": "'It’s Criminal': Cultural Funding Cuts Frustrate Oakland Artists | KQED",
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"headline": "'It’s Criminal': Cultural Funding Cuts Frustrate Oakland Artists",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 14th and Alice Streets in downtown Oakland, the “Universal Language” mural traces the city’s black performing arts heritage. The late dancer Ruth Beckford, an influential promoter of Afro-Haitian styles, looms above performers with her mentee Deborah Vaughan’s Dimensions Dance Theater, which operates nearby at the \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>. The center’s namesake, Congolese artist and teacher Malonga Casquelourd, beats a drum at the center of another wall.\u003c/p>\n\u003cp>The arts are but one theme of the 2,500 square foot mural, which also references organized labor and grassroots activism in Oakland’s black and Asian neighborhoods. Lead artists Desi Mundo and Pancho Peskador worked with the nonprofit Community Rejuvenation Project to conduct research and community outreach for six months before beginning to paint—an undertaking significantly buoyed a $40,000 grant from the City of Oakland’s Cultural Funding Program.\u003c/p>\n\u003cp>Fewer than five years after its completion in 2014, though, the mural is disappearing behind a housing development on what was previously a parking lot. At the same time, the city program that supported the mural, plus many individual artists and Malonga tenants, recently had its grant-making budget reduced by 17 percent. “It’s criminal,” said Theo Aytchan Williams, director of Malonga tenant \u003ca href=\"https://sambafunk.com/\">SambaFunk\u003c/a>. “How can that happen while the city is beginning to prosper?”\u003c/p>\n\u003cfigure id=\"attachment_13861188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg\" alt=\""Universal Language," a mural depicting Oakland's black performing arts heritage, will soon be completely obscured.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Universal Language,” a mural depicting Oakland’s black performing arts heritage, will soon be completely obscured. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland artists and activists have long agitated for boosting the Cultural Funding Program’s budget and infrastructure, holding it up as an important front in the fight against displacement. The grant-making operation rates applicants with an equity lens, supporting work that lifts up communities at risk of cultural erasure as the affordability crisis reshapes the city. “The roster of those top-ranked organizations is the backbone of the Oakland arts community,” said Mundo.\u003c/p>\n\u003cp>In 2018, the Cultural Funding Program supported individual artist projects such as murals, performance series and documentaries; art-in-schools programs run by nonprofits including Destiny Arts Center and Women’s Audio Mission; and general operating subsidies for Creative Growth Art Center, Eastside Arts Alliance and the Oakland Ballet, among other institutions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, the program has lately grown: Roberto Bedoya became the first Cultural Affairs Director in 2016, announcing an agenda of redressing historical injustice in the Cultural Plan last year. He also secured funding for a staffer to help reestablish an Art Commission; Oakland City Council approved related legislation Tuesday. And soon Bedoya will announce the first “cultural strategists in government”—artists embedded as “thought partners” in city departments.\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg\" alt=\"Another panel of "Universal Language," showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another panel of “Universal Language,” showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13840996/oakland-introduces-expanded-art-grants-program-announces-2018-awardees\">previously reported\u003c/a>, Oakland Mayor Libby Schaaf has described Bedoya’s initiatives as part of the Cultural Affairs Unit’s rebound from the “devastating cuts of the recession,” but the budget City Council approved last month leaves his agency with more plans and less money: The annual grants budget is approximately 1,030,000, comprised of $730,000 from the general purpose fund and an anticipated $300,000 from hotel tax revenue, compared to $1,243,120 earmarked in 2017.\u003c/p>\n\u003cp>“Organizational support and arts in schools are the cornerstones of the creation of a future for the arts in our beloved city, and given the rapid, dizzying gentrification we’re experiencing it’s fundamental that you remove not one dollar from our cultural funding program,” said Angela Wellman, director of the Oakland Public Conservatory of Music, at the June 24 meeting.\u003c/p>\n\u003cp>The councilmembers included a policy directive in their budget urging city staff to “identify ways to restore and make permanent additional funding for cultural affairs” by May of next year.\u003c/p>\n\u003cp>According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is nearly half of what was in 2001, and in recent years the number of applications has dramatically increased. This year, according to Bedoya, there were 25 percent more grant applicants than in 2018. “People are asking for support,” he said. “We’re still hoping the budget will increase along with the need.”\u003c/p>\n\u003cfigure id=\"attachment_13861183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg\" alt=\"The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mundo, head of the Community Rejuvenation Project, believes declining grant dollars reflects the “privatization of public artwork.” In downtown Oakland, there are more murals than ever; housing developers tout them as amenities, and sports teams sponsor them for promotion in the guise of grassroots fandom. Instead of the deeply-researched “Universal Language” mural, Mundo said, public artwork is increasingly advertisements or corporate commissions.\u003c/p>\n\u003cp>Mundo noted the bureaucracy of the Cultural Funding Program is its own frustration: Artists shouldn’t have to also be lobbyists and nonprofit administrators. Still, he called it a reliable supporter of projects with a point of view and rich cultural texture. The CFP’s support of “Universal Language,” for example, offset the cost of a Cantonese translator to interview neighbors, and to study performances to capture dancers’ expressive gestures on the wall.\u003c/p>\n\u003cp>“Universal Language” also depicts artists at a City Council meeting in 2003 to protest then-Mayor Jerry Brown’s attempt to shutter the Malonga Casquelourd Center for the Arts (then the Alice Arts Center)—content that isn’t likely to appear in public artwork sponsored by the city’s tourism bureau, Visit Oakland. “But now we’re moving towards a patronage system,” Mundo said. “Less cultural stories, less of the struggle, more of the commercial and abstract.”\u003c/p>\n\u003cfigure id=\"attachment_13861182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg\" alt=\"A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The budget passed last month does include a $100,000 “community murals” fund, but it mostly continues a preexisting “graffiti abatement” fund by another name. Mundo’s organization tracked the abatement dollars, finding some councilmembers didn’t use them for public artwork at all. “It’s really a slush fund,” he said. “They’re almost appropriating money from cultural funding.”\u003c/p>\n\u003cp>Bedoya acknowledged the new fund is similarly aimed at deterring graffiti, but said his department will more closely oversee councilmembers’ projects. And Councilmember Dan Kalb said at the June 24 meeting that he welcomes the greater involvement from Bedoya’s department. “It’s better government to do this through cultural affairs,” Kalb said.\u003c/p>\n\u003cp>Also new in the city’s budget is $75,000 for signage and “capacity building” in the Black Arts Movement Business District, which Oakland established downtown in 2016. Ayodele Nzinga, founding director of Lower Bottom Playaz, said it’s the first time the city has funded the district at all. “The point is they created a district three years ago without so much as a plan or budget for a banner,” she said, adding that district stakeholders will use the money to seek private grants.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014. ' width=\"300\" height=\"199\" class=\"size-medium wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as the “Universal Language” mural shows what Oakland stands to lose by reducing its investment in the arts, it also illustrates the power of cultural groups united by a common grievance. In 2016, when the project set to block “Universal Language” was first approved, the mural’s creators joined with neighborhood activists and Malonga tenants to appeal the development, citing concerns that it would further destabilize the scrappy cultural center.\u003c/p>\n\u003cp>They won a community benefits agreement—and modeled a negotiating tactic \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently used\u003c/a> by critics of Orton Development’s plan to renovate the Henry J. Kaiser Convention Center—that required the developer to donate money to the Malonga, and also to help pay for a replacement mural nearby. Eric Arnold, who helped negotiate the deal, said the replacement mural will deal with similar themes, and that it will be on the wall of the Greenlining Institute two blocks away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To Arnold, the way the mural’s removal spurred a powerful coalition of arts and neighborhood groups is a heartening example of frustrated community members taking matters into their own hands. “Whatever you think is against you, developers, city hall—there’s a way to change the narrative,” he said. The new mural, he added, might incorporate the tale of the old one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Updated Thursday, 12:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Well past midnight in Oakland City Hall, the revival of a long-dormant landmark came one step closer to reality.\u003c/p>\n\u003cp>In the 11th hour of a meeting that started Tuesday afternoon, Oakland City Council cleared the way for Orton Development to renovate and run the Henry J. Kaiser Convention Center as a vast complex of office and performance space after the developer agreed to a raft of subsidies and benefits for nonprofit and arts groups.\u003c/p>\n\u003cp>A coalition of arts and neighborhood groups had formally appealed the project on the grounds that it lacked sufficient commitments to affordability and accessibility. On Tuesday night, though, the coalition withdrew its challenge after striking an agreement providing what spokesperson Eric Arnold called “permanent affordability” for organizations struggling to remain in Oakland. [aside postID=arts_13859506,arts_13852472]\u003c/p>\n\u003cp>“Our arts and culture scene is under the imminent threat of displacement,” Arnold said. “This agreement doesn’t reverse the tide, but it does offer some mitigation for the foreseeable future.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 215,000-square-foot building, which Orton intends to rechristen the “Oakland Civic,” was completed in 1914 and for the rest of the 20th century provided an important gathering space beside Lake Merritt. But it’s been empty since 2006, a conspicuous monument to disinvestment. \u003c/p>\n\u003cp>Now, four years after Orton first won redevelopment rights, the $64.5 million project is expected to break ground early 2020. Oakland is contributing $3.1 million in grants and as much as $20 million in New Markets Tax Credits, a federal program for spurring investment in poor areas. \u003c/p>\n\u003cp>“We have found our conversations with the coalition very fruitful,” said Orton project manager David Dial. “We look forward to partnering with them as we develop a cultural equity framework for access and find ways to provide additional community benefits through the life of the project.”\u003c/p>\n\u003cp>Orton plans to convert the Kaiser’s cavernous arena into offices, restore the Calvin Simmons Theater as a 1,500-seat performance venue, and provide smaller ballrooms for flexible uses. Part of the idea is to centralize administration, rehearsal and performance for arts outfits including the Oakland Symphony and Oakland Ballet, which currently lack consistent facilities.\u003c/p>\n\u003cp>Graham Lustig, artistic director of the Oakland Ballet, said at the meeting that he’s excited by the potential for collaboration between tenants of the building, which years ago housed the ballet and symphony. He also said the ballet’s rent has increased sixfold in the past four years. \u003c/p>\n\u003cp>The community-benefits agreement, which Councilmember Nikki Fortunato-Bas attached to Orton’s lease, includes subsidies for struggling organizations, particularly in the nearby Chinatown, Eastlake and downtown neighborhoods; various onetime and ongoing payments; and a community oversight structure that empowers members of the appellant coalition. \u003c/p>\n\u003cfigure id=\"attachment_13852543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg\" alt=\"A rendering of Orton Development's proposed north facade of the rechristened "Oakland Civic."\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13852543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1.jpg 1182w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Orton Development’s proposed north facade of the rechristened “Oakland Civic.” \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bas, who mediated the appellant coalition’s intense negotiations with Orton in recent weeks, called the deal equitable, accessible and inclusive in a statement. “The Oakland-based artists and people of color living around the project should not have to be afraid of this development, on public land, perpetuating the record rates of displacement happening in Oakland,” she said. \u003c/p>\n\u003cp>Orton must offer up to 10,000 square feet of office space at between $2.00-$2.80 per square foot to what the agreement calls “equity targets,” broadly meaning small area nonprofits, as well as theater and ballroom usage to the qualifying organizations at the “lowest published” rates. Orton will also maintain an $80,000 endowment, replenished annually with operating revenue, to further offset those groups’ production costs incurred by programming. \u003c/p>\n\u003cp>Because these terms are for the duration of a lease of up to 99 years, Arnold described the agreement as a form of commercial rent control that reflects cultural stabilization strategies recommended by Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force. \u003c/p>\n\u003cfigure id=\"attachment_13859575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg\" alt=\"Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13859575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To ensure community access to the programmatic space, the agreement also establishes an elaborate oversight structure: Orton will create a nonprofit to manage the Calvin Simmons Theater and administer the endowment in collaboration with a community advisory board. The coalition will create a separate entity, Friends of the Calvin Simmons Theatre, to develop a community access program for educational institutions and recommend on-site artwork. \u003c/p>\n\u003cp>Orton is also required to give $100,000 to Friends of the Calvin Simmons Theatre and $75,000 to the coalition’s anti-displacement fund, which is administered by the East Bay Community Fund. The coalition will soon announce a grant application process for the anti-displacement fund, which was created to mitigate gentrification pressures on local businesses. \u003c/p>\n\u003cfigure id=\"attachment_13859580\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg\" alt='A city-sanctioned \"Tuff Shed\" homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland.' width=\"800\" height=\"479\" class=\"size-medium wp-image-13859580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1020x611.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1200x719.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A city-sanctioned “Tuff Shed” homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Community Coalition for Equitable Development includes neighborhood stakeholders such as the Black Arts Movement and Business District, Eastside Arts Alliance, Eastlake United for Justice, Asian Pacific Environmental Network and the Malonga Arts Residents Association. \u003c/p>\n\u003cp>Orton is also required by the agreement to make a donation to the Sogorea Te’ Land Trust, which works to return Chochenyo and Karkin Ohlone land to indigenous stewardship, and acknowledge the location of the building on Ohlone land through a plaque or announcement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13859506/no-public-benefit-arts-groups-challenge-kaiser-auditorium-redevelopment-plan\">previously reported\u003c/a>, the project has attracted criticism for the underlying public-private partnership model, which outsources a civic treasure to a for-profit entity, and from people who’d rather see the arena space restored for performances or more public-facing uses. The offices will serve hundreds of people in a space that for decades served thousands.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Thursday, 12:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Well past midnight in Oakland City Hall, the revival of a long-dormant landmark came one step closer to reality.\u003c/p>\n\u003cp>In the 11th hour of a meeting that started Tuesday afternoon, Oakland City Council cleared the way for Orton Development to renovate and run the Henry J. Kaiser Convention Center as a vast complex of office and performance space after the developer agreed to a raft of subsidies and benefits for nonprofit and arts groups.\u003c/p>\n\u003cp>A coalition of arts and neighborhood groups had formally appealed the project on the grounds that it lacked sufficient commitments to affordability and accessibility. On Tuesday night, though, the coalition withdrew its challenge after striking an agreement providing what spokesperson Eric Arnold called “permanent affordability” for organizations struggling to remain in Oakland. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our arts and culture scene is under the imminent threat of displacement,” Arnold said. “This agreement doesn’t reverse the tide, but it does offer some mitigation for the foreseeable future.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 215,000-square-foot building, which Orton intends to rechristen the “Oakland Civic,” was completed in 1914 and for the rest of the 20th century provided an important gathering space beside Lake Merritt. But it’s been empty since 2006, a conspicuous monument to disinvestment. \u003c/p>\n\u003cp>Now, four years after Orton first won redevelopment rights, the $64.5 million project is expected to break ground early 2020. Oakland is contributing $3.1 million in grants and as much as $20 million in New Markets Tax Credits, a federal program for spurring investment in poor areas. \u003c/p>\n\u003cp>“We have found our conversations with the coalition very fruitful,” said Orton project manager David Dial. “We look forward to partnering with them as we develop a cultural equity framework for access and find ways to provide additional community benefits through the life of the project.”\u003c/p>\n\u003cp>Orton plans to convert the Kaiser’s cavernous arena into offices, restore the Calvin Simmons Theater as a 1,500-seat performance venue, and provide smaller ballrooms for flexible uses. Part of the idea is to centralize administration, rehearsal and performance for arts outfits including the Oakland Symphony and Oakland Ballet, which currently lack consistent facilities.\u003c/p>\n\u003cp>Graham Lustig, artistic director of the Oakland Ballet, said at the meeting that he’s excited by the potential for collaboration between tenants of the building, which years ago housed the ballet and symphony. He also said the ballet’s rent has increased sixfold in the past four years. \u003c/p>\n\u003cp>The community-benefits agreement, which Councilmember Nikki Fortunato-Bas attached to Orton’s lease, includes subsidies for struggling organizations, particularly in the nearby Chinatown, Eastlake and downtown neighborhoods; various onetime and ongoing payments; and a community oversight structure that empowers members of the appellant coalition. \u003c/p>\n\u003cfigure id=\"attachment_13852543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg\" alt=\"A rendering of Orton Development's proposed north facade of the rechristened "Oakland Civic."\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13852543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1.jpg 1182w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Orton Development’s proposed north facade of the rechristened “Oakland Civic.” \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bas, who mediated the appellant coalition’s intense negotiations with Orton in recent weeks, called the deal equitable, accessible and inclusive in a statement. “The Oakland-based artists and people of color living around the project should not have to be afraid of this development, on public land, perpetuating the record rates of displacement happening in Oakland,” she said. \u003c/p>\n\u003cp>Orton must offer up to 10,000 square feet of office space at between $2.00-$2.80 per square foot to what the agreement calls “equity targets,” broadly meaning small area nonprofits, as well as theater and ballroom usage to the qualifying organizations at the “lowest published” rates. Orton will also maintain an $80,000 endowment, replenished annually with operating revenue, to further offset those groups’ production costs incurred by programming. \u003c/p>\n\u003cp>Because these terms are for the duration of a lease of up to 99 years, Arnold described the agreement as a form of commercial rent control that reflects cultural stabilization strategies recommended by Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force. \u003c/p>\n\u003cfigure id=\"attachment_13859575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg\" alt=\"Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13859575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To ensure community access to the programmatic space, the agreement also establishes an elaborate oversight structure: Orton will create a nonprofit to manage the Calvin Simmons Theater and administer the endowment in collaboration with a community advisory board. The coalition will create a separate entity, Friends of the Calvin Simmons Theatre, to develop a community access program for educational institutions and recommend on-site artwork. \u003c/p>\n\u003cp>Orton is also required to give $100,000 to Friends of the Calvin Simmons Theatre and $75,000 to the coalition’s anti-displacement fund, which is administered by the East Bay Community Fund. The coalition will soon announce a grant application process for the anti-displacement fund, which was created to mitigate gentrification pressures on local businesses. \u003c/p>\n\u003cfigure id=\"attachment_13859580\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg\" alt='A city-sanctioned \"Tuff Shed\" homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland.' width=\"800\" height=\"479\" class=\"size-medium wp-image-13859580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1020x611.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1200x719.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A city-sanctioned “Tuff Shed” homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Community Coalition for Equitable Development includes neighborhood stakeholders such as the Black Arts Movement and Business District, Eastside Arts Alliance, Eastlake United for Justice, Asian Pacific Environmental Network and the Malonga Arts Residents Association. \u003c/p>\n\u003cp>Orton is also required by the agreement to make a donation to the Sogorea Te’ Land Trust, which works to return Chochenyo and Karkin Ohlone land to indigenous stewardship, and acknowledge the location of the building on Ohlone land through a plaque or announcement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13859506/no-public-benefit-arts-groups-challenge-kaiser-auditorium-redevelopment-plan\">previously reported\u003c/a>, the project has attracted criticism for the underlying public-private partnership model, which outsources a civic treasure to a for-profit entity, and from people who’d rather see the arena space restored for performances or more public-facing uses. The offices will serve hundreds of people in a space that for decades served thousands.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "actor-rip-torn-who-made-his-mark-on-the-larry-sanders-show-dies-at-88",
"title": "Actor Rip Torn, Who Made His Mark On 'The Larry Sanders Show,' Dies at 88",
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"headTitle": "Actor Rip Torn, Who Made His Mark On ‘The Larry Sanders Show,’ Dies at 88 | KQED",
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"content": "\u003cp>Rip Torn, the eccentric and temperamental Texan actor who won an Emmy Award for his influential role in the 1990s sitcom \u003cem>The Larry Sanders Show\u003c/em>, died Tuesday at the age of 88.\u003c/p>\n\u003cp>In a statement to NPR, Torn’s publicist did not release a cause of death, but said he was at his home surrounded by family in Lakeville, Conn.\u003c/p>\n\u003cp>With a career stretching seven decades, he first began in the theater and acting in dramas before finding his footing playing a bombastic producer on Garry Shandling’s \u003cem>The Larry Sanders Show\u003c/em>, an HBO late-night talk show satire in the mid-1990s credited with providing a comedic template to shows like \u003cem>The Office\u003c/em>, \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>30 Rock\u003c/em>, a show he would later appear on occasionally.\u003c/p>\n\u003cp>Born Elmore Rual Torn Jr. in Temple, Texas, a small city north of Austin, he took on the nickname “Rip” after his dad and uncle.\u003c/p>\n\u003cp>“It’s like baseball players that were named Woods are called Piney. It’s just a nickname,” Torn told Terry Gross on WHYY’s \u003cem>Fresh Air\u003c/em> in 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he first started out in television in the 1950s, some in the industry were wary about the nickname.\u003c/p>\n\u003cp>“They said Elmore sounds like a hick and Rip sounds like a comedian,” he told \u003cem>Fresh Air\u003c/em>. “I never really worried about that.”\u003c/p>\n\u003cp>In Albert Brooks’ movie \u003cem>Defending Your Life\u003c/em>, he played a congenial defense attorney in the afterlife. Brooks \u003ca href=\"https://twitter.com/AlbertBrooks/status/1148784838780080128\">tweeted\u003c/a> Tuesday night: “R.I.P Rip Torn. He was so great in Defending Your Life. I’ll miss you Rip, you were a true original.”\u003c/p>\n\u003cp>Other film credits include \u003cem>Cross Creek\u003c/em>, \u003cem>Men in Black\u003c/em> and \u003cem>DodgeBall: A True Underdog Story\u003c/em>.\u003c/p>\n\u003cp>Over the years, Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life.\u003c/p>\n\u003cp>“He was the kind of performer who won rave reviews for the convincing way he tore doors off hinge,” \u003ca href=\"https://www.nytimes.com/2006/05/07/magazine/rip-torn-wont-go-gentle-into-that-good-night.html\">The New York Times\u003c/a> wrote of Torn in 2006.\u003c/p>\n\u003cp>“Offstage, Torn worked to racially integrate the theater world. He vehemently defended every line, no matter how shocking at the time, of James Baldwin’s unsparingly violent play ‘Blues for Mr. Charlie’ and helped coax Baldwin, who was procrastinating, into finishing it,” the \u003cem>Times \u003c/em>piece added.\u003c/p>\n\u003cp>Ultimately, Torn was dismissed from his role in the London production of Baldwin’s play over his “corrosive attitude.”\u003c/p>\n\u003cp>When confronted with this story by the \u003cem>Times\u003c/em>, Torn scoffed.\u003c/p>\n\u003cp>“What do they say about all the guys that are tremendous actors?” Torn said. “Don’t they say they have a volatile temper and emotions? Yeah, sure they do! They’re not saying they like a nice mild guy. Look at Sean Penn.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=fan8awr2ZOM\">1994 interview\u003c/a> on \u003cem>The Tonight Show With Jay Leno\u003c/em>, actor Dennis Hopper relayed a story about Torn.\u003c/p>\n\u003cp>“Rip and I had a little, um, problem,” Hopper said.\u003c/p>\n\u003cp>At dinner one night, Hopper told Leno that Torn pulled a knife on him at a New York restaurant after Torn found out his role in the film \u003cem>Easy Rider\u003c/em> was going to another actor.\u003c/p>\n\u003cp>A legal feud between Hopper and Torn ensued that ended with Torn being awarded a defamation settlement after saying Hopper’s Leno appearance skewed how the events really took place. Apparently, the utensil-wielding was not one-sided. The two, according to court records from the time, went “at each other with a butter knife and a salad fork.”\u003c/p>\n\u003cfigure id=\"attachment_13861069\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13861069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg\" alt=\"Rip Torn pictured in 1990 in Toronto.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rip Torn pictured in 1990 in Toronto. \u003ccite>(Erin Combs/Toronto Star via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2010, Torn \u003ca href=\"https://nypost.com/2010/03/30/actor-rip-torn-pleads-not-guilty-in-drunken-bank-break-in/\">was arrested\u003c/a> and accused of drunkenly breaking into a bank with a loaded gun and claiming he thought it was his home.\u003c/p>\n\u003cp>On camera, though, Torn was able to parlay his audacious tendencies into compelling acting.\u003c/p>\n\u003cp>In addition to earning six Emmy Award nominations for his acting on \u003cem>The Larry Sanders Show\u003c/em>, Torn was nominated for an Oscar for his performance as a hard-drinking and table-bashing character in the 1983 film \u003cem>Cross Creek\u003c/em>.\u003c/p>\n\u003cp>He attended college in Texas, then enlisted in the military during the Korean War. Torn originally thought he would be a rancher but then decided to hitchhike to Hollywood, where he worked odd jobs and landed minor parts. His first break came after studying acting in New York, when he landed roles on the live TV shows \u003ca href=\"https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Omnibus\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt0048893/?ref_=nm_flmg_act_176https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Playhouse 90\u003c/a>.\u003c/p>\n\u003cp>When asked in 1994 on NPR’s \u003cem>Weekend Edition\u003c/em> what he likes most about his role as Artie on \u003cem>The Larry Sanders Show\u003c/em>, Torn said it had to be Garry Shandling. But the second best thing? The paycheck.\u003c/p>\n\u003cp>“I don’t mind the money. I paid off people who thought I’d forgotten them,” Torn said. “I am not looking around for bill collectors. I’m not, as my father used to say for many years, ‘What’s Rip doing up there?’ He said, ‘Treading water.’ ”\u003c/p>\n\u003cp>Torn’s publicist confirmed that he is survived by his wife, Amy Wright; four daughters: Danae, Katie, Claire and Angelica Page; and twin sons, Tony and Jon Torn.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Torn is also survived by a sister, Patricia Alexander, and four grandchildren: Elijah, Tana, Emeris and Hannah.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org/\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actor+Rip+Torn%2C+Who+Made+His+Mark+On+%27The+Larry+Sanders+Show%2C%27+Dies+at+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life, but his performances also proved influential on scores of successful television shows.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rip Torn, the eccentric and temperamental Texan actor who won an Emmy Award for his influential role in the 1990s sitcom \u003cem>The Larry Sanders Show\u003c/em>, died Tuesday at the age of 88.\u003c/p>\n\u003cp>In a statement to NPR, Torn’s publicist did not release a cause of death, but said he was at his home surrounded by family in Lakeville, Conn.\u003c/p>\n\u003cp>With a career stretching seven decades, he first began in the theater and acting in dramas before finding his footing playing a bombastic producer on Garry Shandling’s \u003cem>The Larry Sanders Show\u003c/em>, an HBO late-night talk show satire in the mid-1990s credited with providing a comedic template to shows like \u003cem>The Office\u003c/em>, \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>30 Rock\u003c/em>, a show he would later appear on occasionally.\u003c/p>\n\u003cp>Born Elmore Rual Torn Jr. in Temple, Texas, a small city north of Austin, he took on the nickname “Rip” after his dad and uncle.\u003c/p>\n\u003cp>“It’s like baseball players that were named Woods are called Piney. It’s just a nickname,” Torn told Terry Gross on WHYY’s \u003cem>Fresh Air\u003c/em> in 1994.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he first started out in television in the 1950s, some in the industry were wary about the nickname.\u003c/p>\n\u003cp>“They said Elmore sounds like a hick and Rip sounds like a comedian,” he told \u003cem>Fresh Air\u003c/em>. “I never really worried about that.”\u003c/p>\n\u003cp>In Albert Brooks’ movie \u003cem>Defending Your Life\u003c/em>, he played a congenial defense attorney in the afterlife. Brooks \u003ca href=\"https://twitter.com/AlbertBrooks/status/1148784838780080128\">tweeted\u003c/a> Tuesday night: “R.I.P Rip Torn. He was so great in Defending Your Life. I’ll miss you Rip, you were a true original.”\u003c/p>\n\u003cp>Other film credits include \u003cem>Cross Creek\u003c/em>, \u003cem>Men in Black\u003c/em> and \u003cem>DodgeBall: A True Underdog Story\u003c/em>.\u003c/p>\n\u003cp>Over the years, Torn developed an unpredictable and stubborn reputation, both on camera and in his personal life.\u003c/p>\n\u003cp>“He was the kind of performer who won rave reviews for the convincing way he tore doors off hinge,” \u003ca href=\"https://www.nytimes.com/2006/05/07/magazine/rip-torn-wont-go-gentle-into-that-good-night.html\">The New York Times\u003c/a> wrote of Torn in 2006.\u003c/p>\n\u003cp>“Offstage, Torn worked to racially integrate the theater world. He vehemently defended every line, no matter how shocking at the time, of James Baldwin’s unsparingly violent play ‘Blues for Mr. Charlie’ and helped coax Baldwin, who was procrastinating, into finishing it,” the \u003cem>Times \u003c/em>piece added.\u003c/p>\n\u003cp>Ultimately, Torn was dismissed from his role in the London production of Baldwin’s play over his “corrosive attitude.”\u003c/p>\n\u003cp>When confronted with this story by the \u003cem>Times\u003c/em>, Torn scoffed.\u003c/p>\n\u003cp>“What do they say about all the guys that are tremendous actors?” Torn said. “Don’t they say they have a volatile temper and emotions? Yeah, sure they do! They’re not saying they like a nice mild guy. Look at Sean Penn.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=fan8awr2ZOM\">1994 interview\u003c/a> on \u003cem>The Tonight Show With Jay Leno\u003c/em>, actor Dennis Hopper relayed a story about Torn.\u003c/p>\n\u003cp>“Rip and I had a little, um, problem,” Hopper said.\u003c/p>\n\u003cp>At dinner one night, Hopper told Leno that Torn pulled a knife on him at a New York restaurant after Torn found out his role in the film \u003cem>Easy Rider\u003c/em> was going to another actor.\u003c/p>\n\u003cp>A legal feud between Hopper and Torn ensued that ended with Torn being awarded a defamation settlement after saying Hopper’s Leno appearance skewed how the events really took place. Apparently, the utensil-wielding was not one-sided. The two, according to court records from the time, went “at each other with a butter knife and a salad fork.”\u003c/p>\n\u003cfigure id=\"attachment_13861069\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13861069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg\" alt=\"Rip Torn pictured in 1990 in Toronto.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-502520529-7cb923590229df473c0abe1c3b8ae88e41f1ae11.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rip Torn pictured in 1990 in Toronto. \u003ccite>(Erin Combs/Toronto Star via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2010, Torn \u003ca href=\"https://nypost.com/2010/03/30/actor-rip-torn-pleads-not-guilty-in-drunken-bank-break-in/\">was arrested\u003c/a> and accused of drunkenly breaking into a bank with a loaded gun and claiming he thought it was his home.\u003c/p>\n\u003cp>On camera, though, Torn was able to parlay his audacious tendencies into compelling acting.\u003c/p>\n\u003cp>In addition to earning six Emmy Award nominations for his acting on \u003cem>The Larry Sanders Show\u003c/em>, Torn was nominated for an Oscar for his performance as a hard-drinking and table-bashing character in the 1983 film \u003cem>Cross Creek\u003c/em>.\u003c/p>\n\u003cp>He attended college in Texas, then enlisted in the military during the Korean War. Torn originally thought he would be a rancher but then decided to hitchhike to Hollywood, where he worked odd jobs and landed minor parts. His first break came after studying acting in New York, when he landed roles on the live TV shows \u003ca href=\"https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Omnibus\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt0048893/?ref_=nm_flmg_act_176https://www.imdb.com/title/tt0044284/?ref_=nm_flmg_act_191\">Playhouse 90\u003c/a>.\u003c/p>\n\u003cp>When asked in 1994 on NPR’s \u003cem>Weekend Edition\u003c/em> what he likes most about his role as Artie on \u003cem>The Larry Sanders Show\u003c/em>, Torn said it had to be Garry Shandling. But the second best thing? The paycheck.\u003c/p>\n\u003cp>“I don’t mind the money. I paid off people who thought I’d forgotten them,” Torn said. “I am not looking around for bill collectors. I’m not, as my father used to say for many years, ‘What’s Rip doing up there?’ He said, ‘Treading water.’ ”\u003c/p>\n\u003cp>Torn’s publicist confirmed that he is survived by his wife, Amy Wright; four daughters: Danae, Katie, Claire and Angelica Page; and twin sons, Tony and Jon Torn.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Torn is also survived by a sister, Patricia Alexander, and four grandchildren: Elijah, Tana, Emeris and Hannah.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org/\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actor+Rip+Torn%2C+Who+Made+His+Mark+On+%27The+Larry+Sanders+Show%2C%27+Dies+at+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Smithsonian Museum Considers Collecting Drawings Made By Detained Migrant Children",
"headTitle": "Smithsonian Museum Considers Collecting Drawings Made By Detained Migrant Children | KQED",
"content": "\u003cp>\u003cstrong>Updated at 1 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The Smithsonian’s National Museum of American History may add drawings made by formerly detained migrant children to its famous collection.\u003c/p>\n\u003cp>The drawings depict time spent in the custody of U.S. Customs and Border Protection. Some of the children’s images appeared to show stick figures with frowns and people on floors under blankets.\u003c/p>\n\u003cp>They \u003ca href=\"https://www.nbcnews.com/news/latino/drawings-migrant-children-detention-show-them-cages-n1026311\">made headlines\u003c/a> last week, after the American Academy of Pediatrics toured CBP facilities at the U.S. southern border and released the images to media outlets.\u003c/p>\n\u003cp>Three children between 10 and 11 years old who had been separated from their parents made the drawings in a Texas facility overseen by the Roman Catholic Church after being released from CBP custody, \u003ca href=\"https://www.cnn.com/2019/07/03/health/migrant-drawings-cbp-children/index.html\">according to CNN.\u003c/a>\u003c/p>\n\u003cp>[aside postID='arts_13859794' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/kronos-trio-da-kali-credit_Lenny_Gonzalez_13_12.7_0450B-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>A spokesperson for the National Museum of American History, Laura Duff, told NPR that the museum is in the early stages of planning.\u003c/p>\n\u003cp>In an emailed \u003ca href=\"https://www.documentcloud.org/documents/6185908-Immigration-Collecting-Statement.html\">statement\u003c/a>, the museum said a curator had contacted the American Academy of Pediatrics and CNN on July 4 to ask about the drawings “as part of an exploratory process.”\u003c/p>\n\u003cp>It went on to explain why the museum was considering acquiring the drawings. “The museum has a long commitment to telling the complex and complicated history of the United States and to documenting that history as it unfolds, such as it did following 9/11 and Hurricane Katrina, and as it does with political campaigns,” the statement read.\u003c/p>\n\u003cp>\u003ca href=\"http://brentdglass.com/our-team\">Brent Glass\u003c/a>, director emeritus of the National Museum of American History, told NPR that the initiative is consistent with the museum’s mission “to inspire people to know more about American history and to hopefully create a more humane society.”\u003c/p>\n\u003cp>He said he thinks the move was not a political decision. Much of the Washington museum’s work “has some political value or some political implication or consequence,” but the curators’ decisions “will be made based on what kind of documentary record they’re trying to create rather than making a political statement,” Glass said.\u003c/p>\n\u003cfigure id=\"attachment_13861011\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861011 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1020x765.jpg\" alt=\"A drawing by a migrant child.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A drawing by a migrant child. \u003ccite>(American Academy of Pediatrics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jas Chana, a spokesperson for New York’s \u003ca href=\"https://www.tenement.org/\">Tenement Museum\u003c/a>, which documents immigrant and refugee stories, says the drawings are future artifacts of history. “The United States has always had a complicated relationship with immigration,” and the drawings “serve as reminder — for current and future generations — that we all have a role to play in reckoning with our fraught immigration history to move forward as a nation,” Chana said via email.\u003c/p>\n\u003cp>The museum’s inquiry about the drawings comes after reports of detained children \u003ca href=\"https://www.npr.org/2019/06/27/736781192/scenes-of-tearful-flu-stricken-and-underfed-migrant-kids-emerge-in-new-accounts\">living in squalor\u003c/a> sparked nationwide outcry. Lawyers and lawmakers have cited appalling conditions at some Border Patrol facilities where basic items, such as soap and running water, are not provided. CBP has denied that children have been mistreated at its facilities.\u003c/p>\n\u003cp>[aside postID='arts_13835709' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.MAIN_-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>In a recent rebuke, U.N. High Commissioner for Human Rights Michelle Bachelet said she was appalled by the conditions children faced. “As a paediatrician, but also as a mother and a former head of State, I am deeply shocked that children are forced to sleep on the floor in overcrowded facilities, without access to adequate healthcare or food, and with poor sanitation conditions,” she said \u003ca href=\"https://www.ohchr.org/EN/NewsEvents/Pages/DisplayNews.aspx?NewsID=24800\">in a statement\u003c/a>.\u003c/p>\n\u003cp>“Detaining a child even for short periods under good conditions can have a serious impact on their health and development — consider the damage being done every day by allowing this alarming situation to continue,” Bachelet added.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/realDonaldTrump/status/1146514575048790019\">President Trump said\u003c/a> last week in a tweet that if migrants were “unhappy with the conditions in the quickly built or refitted detentions centers, just tell them not to come.” He has also \u003ca href=\"https://twitter.com/realDonaldTrump/status/1147955460403859462\">accused\u003c/a> media outlets of writing exaggerated accounts of detention centers and said border patrol agents were doing a “\u003ca href=\"https://twitter.com/realDonaldTrump/status/1147955463201480704\">great job\u003c/a>.”\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>\u003cstrong>Updated at 1 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The Smithsonian’s National Museum of American History may add drawings made by formerly detained migrant children to its famous collection.\u003c/p>\n\u003cp>The drawings depict time spent in the custody of U.S. Customs and Border Protection. Some of the children’s images appeared to show stick figures with frowns and people on floors under blankets.\u003c/p>\n\u003cp>They \u003ca href=\"https://www.nbcnews.com/news/latino/drawings-migrant-children-detention-show-them-cages-n1026311\">made headlines\u003c/a> last week, after the American Academy of Pediatrics toured CBP facilities at the U.S. southern border and released the images to media outlets.\u003c/p>\n\u003cp>Three children between 10 and 11 years old who had been separated from their parents made the drawings in a Texas facility overseen by the Roman Catholic Church after being released from CBP custody, \u003ca href=\"https://www.cnn.com/2019/07/03/health/migrant-drawings-cbp-children/index.html\">according to CNN.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A spokesperson for the National Museum of American History, Laura Duff, told NPR that the museum is in the early stages of planning.\u003c/p>\n\u003cp>In an emailed \u003ca href=\"https://www.documentcloud.org/documents/6185908-Immigration-Collecting-Statement.html\">statement\u003c/a>, the museum said a curator had contacted the American Academy of Pediatrics and CNN on July 4 to ask about the drawings “as part of an exploratory process.”\u003c/p>\n\u003cp>It went on to explain why the museum was considering acquiring the drawings. “The museum has a long commitment to telling the complex and complicated history of the United States and to documenting that history as it unfolds, such as it did following 9/11 and Hurricane Katrina, and as it does with political campaigns,” the statement read.\u003c/p>\n\u003cp>\u003ca href=\"http://brentdglass.com/our-team\">Brent Glass\u003c/a>, director emeritus of the National Museum of American History, told NPR that the initiative is consistent with the museum’s mission “to inspire people to know more about American history and to hopefully create a more humane society.”\u003c/p>\n\u003cp>He said he thinks the move was not a political decision. Much of the Washington museum’s work “has some political value or some political implication or consequence,” but the curators’ decisions “will be made based on what kind of documentary record they’re trying to create rather than making a political statement,” Glass said.\u003c/p>\n\u003cfigure id=\"attachment_13861011\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861011 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1020x765.jpg\" alt=\"A drawing by a migrant child.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ap_19186623361362-a0ed5b608a2160b9c8d034f383503d74821bcb36.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A drawing by a migrant child. \u003ccite>(American Academy of Pediatrics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jas Chana, a spokesperson for New York’s \u003ca href=\"https://www.tenement.org/\">Tenement Museum\u003c/a>, which documents immigrant and refugee stories, says the drawings are future artifacts of history. “The United States has always had a complicated relationship with immigration,” and the drawings “serve as reminder — for current and future generations — that we all have a role to play in reckoning with our fraught immigration history to move forward as a nation,” Chana said via email.\u003c/p>\n\u003cp>The museum’s inquiry about the drawings comes after reports of detained children \u003ca href=\"https://www.npr.org/2019/06/27/736781192/scenes-of-tearful-flu-stricken-and-underfed-migrant-kids-emerge-in-new-accounts\">living in squalor\u003c/a> sparked nationwide outcry. Lawyers and lawmakers have cited appalling conditions at some Border Patrol facilities where basic items, such as soap and running water, are not provided. CBP has denied that children have been mistreated at its facilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a recent rebuke, U.N. High Commissioner for Human Rights Michelle Bachelet said she was appalled by the conditions children faced. “As a paediatrician, but also as a mother and a former head of State, I am deeply shocked that children are forced to sleep on the floor in overcrowded facilities, without access to adequate healthcare or food, and with poor sanitation conditions,” she said \u003ca href=\"https://www.ohchr.org/EN/NewsEvents/Pages/DisplayNews.aspx?NewsID=24800\">in a statement\u003c/a>.\u003c/p>\n\u003cp>“Detaining a child even for short periods under good conditions can have a serious impact on their health and development — consider the damage being done every day by allowing this alarming situation to continue,” Bachelet added.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/realDonaldTrump/status/1146514575048790019\">President Trump said\u003c/a> last week in a tweet that if migrants were “unhappy with the conditions in the quickly built or refitted detentions centers, just tell them not to come.” He has also \u003ca href=\"https://twitter.com/realDonaldTrump/status/1147955460403859462\">accused\u003c/a> media outlets of writing exaggerated accounts of detention centers and said border patrol agents were doing a “\u003ca href=\"https://twitter.com/realDonaldTrump/status/1147955463201480704\">great job\u003c/a>.”\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": "Alaska Native Girl Leads Animated Kids TV Show in U.S. First",
"headTitle": "Alaska Native Girl Leads Animated Kids TV Show in U.S. First | KQED",
"content": "\u003cp>Princess Daazhraii Johnson grew up eating dried salmon and moose-head soup — foods labeled weird by other kids who had no understanding of her culture and traditions.\u003c/p>\n\u003cp>Now the Fairbanks woman and other Alaska Natives are presenting their world to a general audience with “Molly of Denali,” the nation’s first-ever children’s series featuring indigenous leads.\u003c/p>\n\u003cp>The animated show, which premieres July 15 on PBS Kids, highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray. Her family owns the Denali Trading Post in the fictitious community of Qyah, whose residents are both Native and non-Native.\u003c/p>\n\u003cp>“We have an opportunity with this show, with ‘Molly of Denali,’ to inform and to show us in a positive and respectful light,” says Johnson, creative producer of the series and a member of an Athabascan group, Neets’aii Gwich’in.\u003c/p>\n\u003cp>Her family has roots in Arctic Village, Alaska, but she grew up all over the state, she says, including summers spent with her grandmother in the Gwich’in village of Fort Yukon.\u003c/p>\n\u003cp>Native Americans voice the indigenous characters in the series, which is co-produced by Boston-based WGBH and animation partner Atomic Cartoons in collaboration with Alaska Native advisers and scriptwriters.\u003c/p>\n\u003cp>Molly is voiced by 14-year-old Sovereign Bill of Auburn, Washington. Bill, who auditioned for the role after hearing about it through a Seattle-based Native youth theater group, is a member of the Muckleshoot Indian tribe in Washington and the T’ak Dein Taan clan of the Tlingit tribe from the southeast Alaska community of Hoonah.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"'Molly of Denali,' about an Athabascan girl in Alaska, premieres on PBS Kids\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/oXTjRliNcEA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Bill said her mother was deeply touched by one of the stories in the hourlong premiere: a look at Molly’s grandfather, who left his traditional drum with a friend way back in his youth. Molly goes on to find the friend and drum in another community, using clues in an old photo of her grandfather and his friend to search the internet.\u003c/p>\n\u003cp>It turns out the grandfather had given up singing along with the drum after he was sent away — as scores of Native children once were — to boarding school, where students were prohibited from practicing their tribal songs amid language suppression efforts. The story ends with the grandfather reconnecting with those cherished traditions.\u003c/p>\n\u003cfigure id=\"attachment_13860892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg\" alt='This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. ' width=\"800\" height=\"381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-160x76.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-768x366.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series “Molly of Denali.” The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bill said her maternal grandmother also had been sent away to boarding school. Given her family’s background, Bill’s mother was nearly brought to tears because of the story’s “good message,” the teen said.\u003c/p>\n\u003cp>“It’s able to pass on that message through a kind and loving and kid-friendly way,” she said. “But it’s still teaching and it’s still giving those important values.”\u003c/p>\n\u003cp>As for Johnson’s childhood food favorites, dried fish makes an appearance in the show. What about moose-head soup? “Not yet,” Johnson says with a laugh.\u003c/p>\n\u003cp>Following the longer premiere, the 30-minute show will run mornings seven days a week, according to WGBH executive producer Dorothea Gillim. PBS ordered 38 half-hour episodes besides the premiere, with 13 episodes set for the first rotation.\u003c/p>\n\u003cp>Each episode also includes a short video featuring real Alaska Native children living life in a vast state populated by multiple Native groups with their own diverse cultures and languages.\u003c/p>\n\u003cp>Gillim said she long wanted to do a show featuring a store that’s a social center for locals, like a local store of the Rochester, New York-based Wegmans grocery chain was for her growing up in that city. And WGBH co-creator Kathy Waugh always wanted to do one on an outdoorsy girl. The store became a trading post when the creators decided to place it in Alaska after hearing that then-President Barack Obama visited the state in 2015.\u003c/p>\n\u003cp>PBS gave the green light for a pilot on the concept. That prompted the non-Native creators to reach out to indigenous experts in Alaska, creating a team of cultural advisers for the pilot and, ultimately, the series.\u003c/p>\n\u003cp>“We knew immediately that we needed to partner with Alaska Natives to develop it so that it was truly authentic,” Gillim said.\u003c/p>\n\u003cfigure id=\"attachment_13860893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800.jpeg\" alt='This image released by PBS shows characters, from right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids.' width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-768x403.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series “Molly of Denali.” \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those advisers is Anchorage resident Rochelle Adams, a Gwich’in Athabascan linguist who still lives part-time in the tiny Yukon River village of Beaver in Alaska’s interior, where people continue to live a subsistence lifestyle, hunting for moose and black bear.\u003c/p>\n\u003cp>In 2016, Adams and other advisers met with Gillim for two days in Fairbanks in what Adams describes as an intensive time fleshing out the characters and their community. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Princess Daazhraii Johnson grew up eating dried salmon and moose-head soup — foods labeled weird by other kids who had no understanding of her culture and traditions.\u003c/p>\n\u003cp>Now the Fairbanks woman and other Alaska Natives are presenting their world to a general audience with “Molly of Denali,” the nation’s first-ever children’s series featuring indigenous leads.\u003c/p>\n\u003cp>The animated show, which premieres July 15 on PBS Kids, highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray. Her family owns the Denali Trading Post in the fictitious community of Qyah, whose residents are both Native and non-Native.\u003c/p>\n\u003cp>“We have an opportunity with this show, with ‘Molly of Denali,’ to inform and to show us in a positive and respectful light,” says Johnson, creative producer of the series and a member of an Athabascan group, Neets’aii Gwich’in.\u003c/p>\n\u003cp>Her family has roots in Arctic Village, Alaska, but she grew up all over the state, she says, including summers spent with her grandmother in the Gwich’in village of Fort Yukon.\u003c/p>\n\u003cp>Native Americans voice the indigenous characters in the series, which is co-produced by Boston-based WGBH and animation partner Atomic Cartoons in collaboration with Alaska Native advisers and scriptwriters.\u003c/p>\n\u003cp>Molly is voiced by 14-year-old Sovereign Bill of Auburn, Washington. Bill, who auditioned for the role after hearing about it through a Seattle-based Native youth theater group, is a member of the Muckleshoot Indian tribe in Washington and the T’ak Dein Taan clan of the Tlingit tribe from the southeast Alaska community of Hoonah.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"'Molly of Denali,' about an Athabascan girl in Alaska, premieres on PBS Kids\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/oXTjRliNcEA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Bill said her mother was deeply touched by one of the stories in the hourlong premiere: a look at Molly’s grandfather, who left his traditional drum with a friend way back in his youth. Molly goes on to find the friend and drum in another community, using clues in an old photo of her grandfather and his friend to search the internet.\u003c/p>\n\u003cp>It turns out the grandfather had given up singing along with the drum after he was sent away — as scores of Native children once were — to boarding school, where students were prohibited from practicing their tribal songs amid language suppression efforts. The story ends with the grandfather reconnecting with those cherished traditions.\u003c/p>\n\u003cfigure id=\"attachment_13860892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg\" alt='This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. ' width=\"800\" height=\"381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-160x76.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-768x366.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series “Molly of Denali.” The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bill said her maternal grandmother also had been sent away to boarding school. Given her family’s background, Bill’s mother was nearly brought to tears because of the story’s “good message,” the teen said.\u003c/p>\n\u003cp>“It’s able to pass on that message through a kind and loving and kid-friendly way,” she said. “But it’s still teaching and it’s still giving those important values.”\u003c/p>\n\u003cp>As for Johnson’s childhood food favorites, dried fish makes an appearance in the show. What about moose-head soup? “Not yet,” Johnson says with a laugh.\u003c/p>\n\u003cp>Following the longer premiere, the 30-minute show will run mornings seven days a week, according to WGBH executive producer Dorothea Gillim. PBS ordered 38 half-hour episodes besides the premiere, with 13 episodes set for the first rotation.\u003c/p>\n\u003cp>Each episode also includes a short video featuring real Alaska Native children living life in a vast state populated by multiple Native groups with their own diverse cultures and languages.\u003c/p>\n\u003cp>Gillim said she long wanted to do a show featuring a store that’s a social center for locals, like a local store of the Rochester, New York-based Wegmans grocery chain was for her growing up in that city. And WGBH co-creator Kathy Waugh always wanted to do one on an outdoorsy girl. The store became a trading post when the creators decided to place it in Alaska after hearing that then-President Barack Obama visited the state in 2015.\u003c/p>\n\u003cp>PBS gave the green light for a pilot on the concept. That prompted the non-Native creators to reach out to indigenous experts in Alaska, creating a team of cultural advisers for the pilot and, ultimately, the series.\u003c/p>\n\u003cp>“We knew immediately that we needed to partner with Alaska Natives to develop it so that it was truly authentic,” Gillim said.\u003c/p>\n\u003cfigure id=\"attachment_13860893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800.jpeg\" alt='This image released by PBS shows characters, from right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids.' width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-768x403.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series “Molly of Denali.” \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those advisers is Anchorage resident Rochelle Adams, a Gwich’in Athabascan linguist who still lives part-time in the tiny Yukon River village of Beaver in Alaska’s interior, where people continue to live a subsistence lifestyle, hunting for moose and black bear.\u003c/p>\n\u003cp>In 2016, Adams and other advisers met with Gillim for two days in Fairbanks in what Adams describes as an intensive time fleshing out the characters and their community. Adams said she hopes the series educates the world amid so many misconceptions about the state and Alaska Natives.\u003c/p>\n\u003cp>Each episode contains two stories introducing children to various cultures, people and places through Molly, her dog Suki, her Native friend Tooey and African-American friend Trini, whose family moved to Alaska from Texas. To reflect the community’s fictitious location near Denali, North America’s tallest mountain, Molly’s family is Gwich’in, Koyukon and Dena’ina — three Athabascan groups among 11 with ties to the region, Adams said.\u003c/p>\n\u003cp>That level of storyline attention is a long way from Adams’ childhood when she never saw anyone like her or her family depicted in pop culture.\u003c/p>\n\u003cp>“All I saw was people that didn’t look like us,” she said. “So working on this has been such an honor for me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>João Gilberto, one of the principal architects of the Brazilian musical style bossa nova, has died at his home in Rio de Janeiro, according to a Facebook post by his son. João Marcelo Gilberto wrote that his father, who was 88 years old, died following an undisclosed illness.\u003c/p>\n\u003cp>João Gilberto is credited by some Brazilian music historians as writing the first bossa nova, or new beat, a style that drew on the country’s African-influenced samba tradition but was performed without the usual battery of drums and rhythm instruments, and at much lower volumes. Gilberto’s intimate and nuanced style of guitar playing and singing, eventually central to the bossa nova sound, were reportedly developed in 1955 when he sequestered himself inside of a bathroom at his sister’s house so as not to disturb her family and to take advantage of the acoustics provided by the bathroom tiles.\u003c/p>\n\u003cp>“Bim-Bom,” often named as the first bossa nova song, came from that period. Soon thereafter, the style began to sweep Rio’s cafe’s and bars. Gilberto became the center of a vanguard of young Brazilian musicians that included composer Antonio Carlos Jobim and Vinicius de Moraes. Gilberto’s 1958 recording of “Chega de Saudade,” a song written by that pair, became an international hit and launched the bossa nova movement. The two-minute-long song also gave its name to Gilberto’s debut album, released in 1959. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H5-1GwBwZ6U\u003c/p>\n\u003cp>In 1962 American jazz saxophonist Stan Getz heard the style and invited Gilberto to record together. The resulting album Getz/Gilberto became one of the biggest selling jazz albums of all time, winning the 1965 Grammy for album of the year. One of the album’s songs, another composition by Jobim and de Moraes called “Garota de Ipanema (The Girl from Ipanema)” featured Gilberto’s then-wife Astrud on vocals. It was a worldwide hit and won the Grammy for record of the year, helping to cement bossa nova’s soft, lulling beats and intimate vocals across the global musical landscape.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>João Gilberto continued to perform well into the 21st century and has been recognized by every generation since his debut as a Brazilian musical pioneer. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jo%C3%A3o+Gilberto%2C+Master+Of+Bossa+Nova%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>João Gilberto, one of the principal architects of the Brazilian musical style bossa nova, has died at his home in Rio de Janeiro, according to a Facebook post by his son. João Marcelo Gilberto wrote that his father, who was 88 years old, died following an undisclosed illness.\u003c/p>\n\u003cp>João Gilberto is credited by some Brazilian music historians as writing the first bossa nova, or new beat, a style that drew on the country’s African-influenced samba tradition but was performed without the usual battery of drums and rhythm instruments, and at much lower volumes. Gilberto’s intimate and nuanced style of guitar playing and singing, eventually central to the bossa nova sound, were reportedly developed in 1955 when he sequestered himself inside of a bathroom at his sister’s house so as not to disturb her family and to take advantage of the acoustics provided by the bathroom tiles.\u003c/p>\n\u003cp>“Bim-Bom,” often named as the first bossa nova song, came from that period. Soon thereafter, the style began to sweep Rio’s cafe’s and bars. Gilberto became the center of a vanguard of young Brazilian musicians that included composer Antonio Carlos Jobim and Vinicius de Moraes. Gilberto’s 1958 recording of “Chega de Saudade,” a song written by that pair, became an international hit and launched the bossa nova movement. The two-minute-long song also gave its name to Gilberto’s debut album, released in 1959. \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/H5-1GwBwZ6U'\n title='//www.youtube.com/embed/H5-1GwBwZ6U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1962 American jazz saxophonist Stan Getz heard the style and invited Gilberto to record together. The resulting album Getz/Gilberto became one of the biggest selling jazz albums of all time, winning the 1965 Grammy for album of the year. One of the album’s songs, another composition by Jobim and de Moraes called “Garota de Ipanema (The Girl from Ipanema)” featured Gilberto’s then-wife Astrud on vocals. It was a worldwide hit and won the Grammy for record of the year, helping to cement bossa nova’s soft, lulling beats and intimate vocals across the global musical landscape.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The funny, freckled face of Alfred E. Neuman is more or less retiring.\u003c/p>\n\u003cp>One of the last widely circulated print satirical magazines in America will leave newsstands after this year, according to sources at DC Comics, which publishes \u003cem>MAD\u003c/em> magazine.\u003c/p>\n\u003cp>While the \u003cem>Harvard Lampoon\u003c/em> remains in business,\u003cem> The Onion\u003c/em> hasn’t been in print since 2013. The once-influential \u003cem>Spy \u003c/em>was a casualty of the 1990s.\u003c/p>\n\u003cp>At \u003cem>MAD\u003c/em>‘s peak in the early 1970s, more than 2 million people subscribed to it, both for its pungent political humor and deeply adolescent jokes.\u003c/p>\n\u003cp>In 2017, \u003ca href=\"https://www.smithsonianmag.com/history/heyday-mad-magazine-lot-more-than-silly-jokes-180969055/\">that number had reportedly dropped\u003c/a> to 140,000.\u003c/p>\n\u003cp>\u003cem>MAD \u003c/em>isn’t completely shutting down, but it will be radically downsized and changed.\u003c/p>\n\u003cp>Readers will only be able to find the 67-year-old humor magazine at comic book stores and through subscriptions.\u003c/p>\n\u003cp>After issue No. 10 this fall, there will no longer be new content, except for end-of-year specials which will be all new. Starting with issue No. 11, the magazine will feature classic, best-of and nostalgic content, repackaged with new covers.\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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"content": "\u003cp>\u003ci>Updated Thursday, 12:30pm\u003c/i>\u003c/p>\n\u003cp>Canadian artist Liz Magor’s current exhibition at 500 Capp Street will close on Saturday, July 6, just two weeks after it opened. \u003c/p>\n\u003cp>Though \u003ci>TIMESHARE\u003c/i> was originally scheduled to remain on view through Oct. 12, 500 Capp Street Foundation’s \u003ca href=\"https://www.kqed.org/arts/13860412/500-capp-street-lays-off-head-curator-creates-confusion-about-future-exhibitions\" rel=\"noopener\" target=\"_blank\">recent board decision\u003c/a> to lay off its head curator, Bob Linder, coupled with what Magor’s representatives call a lack of communication from the foundation, led the artist to request that her work be removed from 500 Capp Street, a nonprofit arts space and the former home of David Ireland.\u003c/p>\n\u003cp>In a Thursday email to KQED, Berlin-based artist Nina Canell, whose exhibition \u003ci>Drag-Out\u003c/i> is on view in 500 Capp Street’s garage exhibition space, says she will also end her show early. “I have decided to withdraw my exhibition in solidarity with Liz’s and Bob’s departure,” Canell writes. “I remain grateful that I was given the opportunity to work in the context of the truly remarkable house of David Ireland and I am sad to see such a unique and thoughtful curatorial program discontinued.”\u003c/p>\n\u003cp>[aside postID='arts_13860412,arts_13855723' label='Related News']\u003c/p>\n\u003cp>New York artist Matt Connors, whose own exhibition was scheduled to open after Magor’s on Oct. 26, has preemptively canceled his show. Like Magor, he was not contacted by 500 Capp Street prior to learning about Linder’s dismissal. \u003c/p>\n\u003cp>“I took the laying off of Bob Linder and the new direction of the board at 500 Capp Street to effectively mean that my exhibition is cancelled,” Connors says in an email to KQED. As reported by \u003ci>\u003ca href=\"http://www.artnews.com/2019/06/28/500-capp-street-bob-linder-layoff\" rel=\"noopener\" target=\"_blank\">ARTnews\u003c/a>\u003c/i>, 500 Capp Street’s newly appointed board chair Jock Reynolds reached out to Connors on Friday, asking that he continue with the show as planned. Connors declined.\u003c/p>\n\u003cp>Two other planned exhibitions during the run of Connors’ show—with artists Kitty Krauss and B. Wurtz—remain on the books according to 500 Capp Street director Cait Molloy. When asked what plans there are to replace Magor and Connor’s shows, Reynolds says the house will be reinstalled with Ireland’s work.\u003c/p>\n\u003cp>“I don’t ever want an artist to feel his or her work is on display in a situation they’re uncomfortable with,” he says of Magor’s decision to remove her art. \u003c/p>\n\u003cp>Magor is represented by three galleries—\u003ca href=\"http://www.andrewkreps.com/artists/liz-magor\" rel=\"noopener\" target=\"_blank\">Andrew Kreps Gallery\u003c/a> in New York, \u003ca href=\"http://www.susanhobbs.com/artist/30059248-liz-magor\" rel=\"noopener\" target=\"_blank\">Susan Hobbs\u003c/a> in Toronto and Catriona Jeffries in Vancouver. Hobbs, reached by email, says the decision to remove the work was completely Magor’s. \u003c/p>\n\u003cp>“Liz felt strongly that her work has been compromised by the actions of the board,” says Liz Mulholland, director and partner at Andrew Kreps. Combining cast and found objects, Magor’s show imagines itself as a short-term tenant in Ireland’s home—existing furniture is rearranged and covered by moving blankets as if someone is moving in or out of the space. According to the \u003ca href=\"https://500cappstreet.org/current-exhibitions/\" rel=\"noopener\" target=\"_blank\">exhibition description\u003c/a>, “Her artwork bumps David Ireland’s material world out of position, pushes him aside, and does so without apology.” \u003c/p>\n\u003cfigure id=\"attachment_13860639\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015.jpg\" alt=\"Liz Magor, 'Leather Palm,' 2019.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13860639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-1920x1440.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Liz Magor, ‘Leather Palm,’ 2019. \u003ccite>(Courtesy of the artist and Catriona Jeffries, Vancouver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrew Kreps Gallery has previously interacted with 500 Capp Street for a show of Michael E. Smith’s work, whom they also represent. Mulholland characterized that process as “an amazing experience” and lamented how poorly the current situation has been handled, saying it was unclear for several days after Linder’s dismissal whether or not 500 Capp Street would even maintain gallery hours.\u003c/p>\n\u003cp>That confusion plagued outside observers as well; early rumors circulating on social media claimed curator Diego Villalobos had also been laid off. 500 Capp Street did not issue a public press release about the board’s decisions until June 29, three days after Connors first announced Linder’s layoff on social media. \u003c/p>\n\u003cp>The Bay Area arts community continues to vent frustration and outrage at the board’s stated goal of “re-balancing” 500 Capp Street’s exhibition program. Local artists drafted a letter titled “\u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSf4BEq78w4kmwVTsGLrHUEutUvtWQWICOHvqNPhpaNqS3NOrw/viewform\" rel=\"noopener\" target=\"_blank\">Petition to Replace the Board of 500 Capp Street\u003c/a>,” exhorting the board to seek alternative funds—if indeed funding is the main concern—instead of eliminating the head curator position and the current incarnation of its exhibition program. \u003c/p>\n\u003cp>“No one expects [board member Carlie] Wilmans to fund the project alone,” the letter reads. “Everyone understands the stresses of finances, especially those of us in the arts. The undersigned have never been approached to fundraise, either by way of donating artwork to auction, or by being asked to donate money. We believe that the Foundation can support itself if given the opportunity.” The letter further calls for Linder to be reinstated as head curator.\u003c/p>\n\u003cp>In an email sent out to members of the Bay Area arts community on Tuesday, curator Jordan Stein called for people to join him at 500 Capp Street on July 6 for the last day of Magor’s show. “When they open at noon, I wonder if we might gather inside not only to salute Liz, Nina, Bob, Diego, and other staffers,” Stein writes, “but to show support for the type of commercial-free imagination that grows further endangered every afternoon around here.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>New York artist Matt Connors, whose own exhibition was scheduled to open after Magor’s on Oct. 26, has preemptively canceled his show. Like Magor, he was not contacted by 500 Capp Street prior to learning about Linder’s dismissal. \u003c/p>\n\u003cp>“I took the laying off of Bob Linder and the new direction of the board at 500 Capp Street to effectively mean that my exhibition is cancelled,” Connors says in an email to KQED. As reported by \u003ci>\u003ca href=\"http://www.artnews.com/2019/06/28/500-capp-street-bob-linder-layoff\" rel=\"noopener\" target=\"_blank\">ARTnews\u003c/a>\u003c/i>, 500 Capp Street’s newly appointed board chair Jock Reynolds reached out to Connors on Friday, asking that he continue with the show as planned. Connors declined.\u003c/p>\n\u003cp>Two other planned exhibitions during the run of Connors’ show—with artists Kitty Krauss and B. Wurtz—remain on the books according to 500 Capp Street director Cait Molloy. When asked what plans there are to replace Magor and Connor’s shows, Reynolds says the house will be reinstalled with Ireland’s work.\u003c/p>\n\u003cp>“I don’t ever want an artist to feel his or her work is on display in a situation they’re uncomfortable with,” he says of Magor’s decision to remove her art. \u003c/p>\n\u003cp>Magor is represented by three galleries—\u003ca href=\"http://www.andrewkreps.com/artists/liz-magor\" rel=\"noopener\" target=\"_blank\">Andrew Kreps Gallery\u003c/a> in New York, \u003ca href=\"http://www.susanhobbs.com/artist/30059248-liz-magor\" rel=\"noopener\" target=\"_blank\">Susan Hobbs\u003c/a> in Toronto and Catriona Jeffries in Vancouver. Hobbs, reached by email, says the decision to remove the work was completely Magor’s. \u003c/p>\n\u003cp>“Liz felt strongly that her work has been compromised by the actions of the board,” says Liz Mulholland, director and partner at Andrew Kreps. Combining cast and found objects, Magor’s show imagines itself as a short-term tenant in Ireland’s home—existing furniture is rearranged and covered by moving blankets as if someone is moving in or out of the space. According to the \u003ca href=\"https://500cappstreet.org/current-exhibitions/\" rel=\"noopener\" target=\"_blank\">exhibition description\u003c/a>, “Her artwork bumps David Ireland’s material world out of position, pushes him aside, and does so without apology.” \u003c/p>\n\u003cfigure id=\"attachment_13860639\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015.jpg\" alt=\"Liz Magor, 'Leather Palm,' 2019.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13860639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Magor_Leather-Palm_2015-1920x1440.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Liz Magor, ‘Leather Palm,’ 2019. \u003ccite>(Courtesy of the artist and Catriona Jeffries, Vancouver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrew Kreps Gallery has previously interacted with 500 Capp Street for a show of Michael E. Smith’s work, whom they also represent. Mulholland characterized that process as “an amazing experience” and lamented how poorly the current situation has been handled, saying it was unclear for several days after Linder’s dismissal whether or not 500 Capp Street would even maintain gallery hours.\u003c/p>\n\u003cp>That confusion plagued outside observers as well; early rumors circulating on social media claimed curator Diego Villalobos had also been laid off. 500 Capp Street did not issue a public press release about the board’s decisions until June 29, three days after Connors first announced Linder’s layoff on social media. \u003c/p>\n\u003cp>The Bay Area arts community continues to vent frustration and outrage at the board’s stated goal of “re-balancing” 500 Capp Street’s exhibition program. Local artists drafted a letter titled “\u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSf4BEq78w4kmwVTsGLrHUEutUvtWQWICOHvqNPhpaNqS3NOrw/viewform\" rel=\"noopener\" target=\"_blank\">Petition to Replace the Board of 500 Capp Street\u003c/a>,” exhorting the board to seek alternative funds—if indeed funding is the main concern—instead of eliminating the head curator position and the current incarnation of its exhibition program. \u003c/p>\n\u003cp>“No one expects [board member Carlie] Wilmans to fund the project alone,” the letter reads. “Everyone understands the stresses of finances, especially those of us in the arts. The undersigned have never been approached to fundraise, either by way of donating artwork to auction, or by being asked to donate money. We believe that the Foundation can support itself if given the opportunity.” The letter further calls for Linder to be reinstated as head curator.\u003c/p>\n\u003cp>In an email sent out to members of the Bay Area arts community on Tuesday, curator Jordan Stein called for people to join him at 500 Capp Street on July 6 for the last day of Magor’s show. “When they open at noon, I wonder if we might gather inside not only to salute Liz, Nina, Bob, Diego, and other staffers,” Stein writes, “but to show support for the type of commercial-free imagination that grows further endangered every afternoon around here.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.sahbakia.com\">Sahba Aminikia\u003c/a> hadn’t planned on dancing when he stopped by Club Deluxe in the Haight to unwind and hear a little jazz three years ago. But the band was swinging, and before long, he found himself boogieing with a young Italian woman. The Iranian-born composer was in a very good place in his career, teaching at the Academy of Art University while writing music performed by top-flight ensembles around the world, including \u003ca href=\"https://www.youtube.com/watch?v=ksR92_KJaC4\">Kronos Quartet\u003c/a>.\u003c/p>\n\u003cp>During a break in the music, the woman related a fantastical story about an organization teaching circus arts to children who’d fled war and repression in Syria, Iraq and Turkey. Forcefully struck by the unlikely vision, Aminikia set out on a quest that ultimately led him to give up his secure academic day job in San Francisco in order to establish the \u003ca href=\"https://www.mightycause.com/FlyingCarpet2019\">2018 Flying Carpet Festival\u003c/a> in the remote southeastern corner of Turkey.\u003c/p>\n\u003cp>\u003ca href=\"https://muzikhane.org/fcf\">Flying Carpet\u003c/a> returns for its second year Aug. 18-24, and Aminikia isn’t going alone. Drawing on his vast network of friends and colleagues, he’s recruited musicians, composers, and technicians from the Bay Area and far beyond to bring music to children unmoored by some of the world’s most harrowing conflicts.\u003c/p>\n\u003cp>“This young Italian woman started telling me about her sister who was a clown in a refugee camp,” Aminikia recalls. “That wasn’t exactly true. It’s not a refugee camp, but she forwarded me the Instagram account of this NGO called \u003ca href=\"https://heryerdesanat.org\">Sirkhane\u003c/a>, which means ‘House of Circus’ in Turkish and Arabic. I saw this incredible footage of a parade going through the most distant Kurdish villages. It was so mesmerizing and totally out of place, this crazy event happening somewhere where people are dealing with real issues and pain.”\u003c/p>\n\u003cp>Since he was already heading to the region to visit his family for Nowruz (Persian New Year) in March, Aminikia decided to take a detour to Mardin, the ancient town in southeastern Turkey where Sirkhane is based. The situation was tense upon his arrival, with tanks patrolling the streets of a city that was part of the Assyrian Empire in the 14th century BCE. Undaunted by the military presence, children quickly surrounded Aminikia “and every one of them wanted to sing,” he says. “I started to record them, and then I thought, ‘Maybe it’s not a great time for an American citizen to be recording.’ As I was leaving, the children were running after the car, still singing. It wasn’t a choice any more. I wanted to be involved.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=NKF7AF3-QFc\u003c/p>\n\u003cp>Returning to San Francisco, Aminikia left his job at the Academy and put out the word that he was looking for artists to help launch Flying Carpet in September, an absurdly abbreviated schedule for organizing an international arts festival. The plan got a major boost and cash infusion of $100,000 when he won a grant competition from the U.S. Embassy in Ankara, which allowed him to help cover traveling expenses. But it was Aminikia’s guileless wide-eyed pitch, a dream of bringing music to dispossessed kids, that proved most persuasive, says \u003ca href=\"http://www.helennewby.com\">cellist Helen Newby\u003c/a>.\u003c/p>\n\u003cp>A member of the \u003ca href=\"http://www.amaranthquartet.com\">Amaranth Quartet\u003c/a>, Newby got to know Aminikia when hers was one of several groups that performed his music as part of \u003ca href=\"https://kronosquartet.org/kronos-festival-2017\">Kronos Festival 2017: Here and Now\u003c/a>. Dubious about Flying Carpet when he approached her, she agreed to participate but was unsure of whether it would actually come to pass. “Lo and behold, I ended up getting a plane ticket in the mail,” she says. “I went into it not knowing a ton about what was going to happen. I knew it would involve working with kids and some performing, but it was taking a leap a faith. I thought, ‘I’ll regret it if I don’t.’”\u003c/p>\n\u003cp>She spent two weeks in the region, mostly in a village near the border with Syria, working with middle school kids in a choir that Aminikia created. Though there was a translator, the language barrier meant she was “always trying to find activities that didn’t require too much verbal interaction,” she says. “We had an instrument petting zoo. The first week was mostly doing these workshops with the kids, but the second week we were doing a lot more performing and rehearsing, with the occasional surprise concert: ‘By the way, you’re performing tonight for hundreds of people.’”\u003c/p>\n\u003cp>The experience proved impactful: after participating in Flying Carpet last year, Newby is heading back to Turkey again in August. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dGOCeL8uBnw\u003c/p>\n\u003cp>Aminikia’s empathy for displaced children stems partly from his familiarity with unbridled government power. While visiting his family in Iran back in 2012, he was recording sounds for a piece commissioned by Kronos Quartet when three Revolutionary Guards abducted him at gunpoint and accused him of being an American spy. The guards beat him and put a gun in his mouth while forcing him to attest to his Baha’i faith (a religion \u003ca href=\"https://www.hrw.org/news/2018/10/16/iran-arrests-harassment-bahais\">actively repressed\u003c/a> by the Iranian government). Expecting summary execution, Aminikia was instead left on the outskirts of Tehran, stripped of his clothes and his eyes burning with mace.\u003c/p>\n\u003cp>Many of the artists who heeded Aminikia’s call bring their own experiences with dislocation. In the summer of 2017 Yugoslavian-born composer Aleksandra Vrebalov had watched thousands of refugees cross Serbia on their way to Germany. “When you witness it, seeing people sleeping in parks and walking on highways trying to get to a better life, it’s an amazing, painful thing to see,” she says. “I was very motivated to contribute to Flying Carpet.”\u003c/p>\n\u003cp>A world renowned composer with deep ties to the Bay Area, Vrebalov arrived in Mardin with a detailed array of expectations about what she would teach—expectations that she quickly discarded upon taking stock of the bare-bones situation. Traveling to one of three centers run by Sirkhane every day, she learned to adapt to the needs of the children who came to a workshop. The trait they all shared was an overwhelming desire for attention.\u003c/p>\n\u003cp>“When I got there I realized these kids were so energetic and intense,” she says. “They lived through hardships that we only read about, and the amount of energy and kind of connection that they wanted to establish individually with the guest artists was so humbling and moving. You can’t possibly do it. We invented music games where everybody could engage in some communal sense and a lot of energy would be spent. I taught for many years at different levels, and the kind of engagement and creativity that the circumstances demanded, I haven’t had that anywhere else.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XcRBoPANZe8\u003c/p>\n\u003cp>As the open call for artists to participate in this August’s Flying Carpet closes, Aminikia is busy reinventing the festival, looking to make it sustainable. Artists involved this year are paying their own way to Turkey. He’s drawing more on artists who live in the area, so that masters in traditional Kurdish, Turkish and Syrian music are featured in the festival, reflecting back to kids aspects of their own cultures. The festival includes an ensemble from Iran made up of fellow Baha’is “coming by bus 15 hours from Tehran, and first they have to get to Tehran,” he says. There are eight acrobats from Brazil who are fundraising to pay their own way to Turkey, two choreographers from Istanbul and a magician from the U.K. who works in refugee camps.\u003c/p>\n\u003cp>When talking about his vision for the Flying Carpet festival’s future, Aminikia sounds almost blissful to have stepped off the ordained path for a composer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This place kills your ego,” he says. “You see the actual needs of people who are hungry and in need of education. You start analyzing yourself about your expectations. Artists in the West don’t feel appreciated and useful. But in many ways this is a very American idea. Mardin is a house on the hill. And we’re determined to build something that will last.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sahbakia.com\">Sahba Aminikia\u003c/a> hadn’t planned on dancing when he stopped by Club Deluxe in the Haight to unwind and hear a little jazz three years ago. But the band was swinging, and before long, he found himself boogieing with a young Italian woman. The Iranian-born composer was in a very good place in his career, teaching at the Academy of Art University while writing music performed by top-flight ensembles around the world, including \u003ca href=\"https://www.youtube.com/watch?v=ksR92_KJaC4\">Kronos Quartet\u003c/a>.\u003c/p>\n\u003cp>During a break in the music, the woman related a fantastical story about an organization teaching circus arts to children who’d fled war and repression in Syria, Iraq and Turkey. Forcefully struck by the unlikely vision, Aminikia set out on a quest that ultimately led him to give up his secure academic day job in San Francisco in order to establish the \u003ca href=\"https://www.mightycause.com/FlyingCarpet2019\">2018 Flying Carpet Festival\u003c/a> in the remote southeastern corner of Turkey.\u003c/p>\n\u003cp>\u003ca href=\"https://muzikhane.org/fcf\">Flying Carpet\u003c/a> returns for its second year Aug. 18-24, and Aminikia isn’t going alone. Drawing on his vast network of friends and colleagues, he’s recruited musicians, composers, and technicians from the Bay Area and far beyond to bring music to children unmoored by some of the world’s most harrowing conflicts.\u003c/p>\n\u003cp>“This young Italian woman started telling me about her sister who was a clown in a refugee camp,” Aminikia recalls. “That wasn’t exactly true. It’s not a refugee camp, but she forwarded me the Instagram account of this NGO called \u003ca href=\"https://heryerdesanat.org\">Sirkhane\u003c/a>, which means ‘House of Circus’ in Turkish and Arabic. I saw this incredible footage of a parade going through the most distant Kurdish villages. It was so mesmerizing and totally out of place, this crazy event happening somewhere where people are dealing with real issues and pain.”\u003c/p>\n\u003cp>Since he was already heading to the region to visit his family for Nowruz (Persian New Year) in March, Aminikia decided to take a detour to Mardin, the ancient town in southeastern Turkey where Sirkhane is based. The situation was tense upon his arrival, with tanks patrolling the streets of a city that was part of the Assyrian Empire in the 14th century BCE. Undaunted by the military presence, children quickly surrounded Aminikia “and every one of them wanted to sing,” he says. “I started to record them, and then I thought, ‘Maybe it’s not a great time for an American citizen to be recording.’ As I was leaving, the children were running after the car, still singing. It wasn’t a choice any more. I wanted to be involved.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/NKF7AF3-QFc'\n title='//www.youtube.com/embed/NKF7AF3-QFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Returning to San Francisco, Aminikia left his job at the Academy and put out the word that he was looking for artists to help launch Flying Carpet in September, an absurdly abbreviated schedule for organizing an international arts festival. The plan got a major boost and cash infusion of $100,000 when he won a grant competition from the U.S. Embassy in Ankara, which allowed him to help cover traveling expenses. But it was Aminikia’s guileless wide-eyed pitch, a dream of bringing music to dispossessed kids, that proved most persuasive, says \u003ca href=\"http://www.helennewby.com\">cellist Helen Newby\u003c/a>.\u003c/p>\n\u003cp>A member of the \u003ca href=\"http://www.amaranthquartet.com\">Amaranth Quartet\u003c/a>, Newby got to know Aminikia when hers was one of several groups that performed his music as part of \u003ca href=\"https://kronosquartet.org/kronos-festival-2017\">Kronos Festival 2017: Here and Now\u003c/a>. Dubious about Flying Carpet when he approached her, she agreed to participate but was unsure of whether it would actually come to pass. “Lo and behold, I ended up getting a plane ticket in the mail,” she says. “I went into it not knowing a ton about what was going to happen. I knew it would involve working with kids and some performing, but it was taking a leap a faith. I thought, ‘I’ll regret it if I don’t.’”\u003c/p>\n\u003cp>She spent two weeks in the region, mostly in a village near the border with Syria, working with middle school kids in a choir that Aminikia created. Though there was a translator, the language barrier meant she was “always trying to find activities that didn’t require too much verbal interaction,” she says. “We had an instrument petting zoo. The first week was mostly doing these workshops with the kids, but the second week we were doing a lot more performing and rehearsing, with the occasional surprise concert: ‘By the way, you’re performing tonight for hundreds of people.’”\u003c/p>\n\u003cp>The experience proved impactful: after participating in Flying Carpet last year, Newby is heading back to Turkey again in August. \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/dGOCeL8uBnw'\n title='//www.youtube.com/embed/dGOCeL8uBnw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aminikia’s empathy for displaced children stems partly from his familiarity with unbridled government power. While visiting his family in Iran back in 2012, he was recording sounds for a piece commissioned by Kronos Quartet when three Revolutionary Guards abducted him at gunpoint and accused him of being an American spy. The guards beat him and put a gun in his mouth while forcing him to attest to his Baha’i faith (a religion \u003ca href=\"https://www.hrw.org/news/2018/10/16/iran-arrests-harassment-bahais\">actively repressed\u003c/a> by the Iranian government). Expecting summary execution, Aminikia was instead left on the outskirts of Tehran, stripped of his clothes and his eyes burning with mace.\u003c/p>\n\u003cp>Many of the artists who heeded Aminikia’s call bring their own experiences with dislocation. In the summer of 2017 Yugoslavian-born composer Aleksandra Vrebalov had watched thousands of refugees cross Serbia on their way to Germany. “When you witness it, seeing people sleeping in parks and walking on highways trying to get to a better life, it’s an amazing, painful thing to see,” she says. “I was very motivated to contribute to Flying Carpet.”\u003c/p>\n\u003cp>A world renowned composer with deep ties to the Bay Area, Vrebalov arrived in Mardin with a detailed array of expectations about what she would teach—expectations that she quickly discarded upon taking stock of the bare-bones situation. Traveling to one of three centers run by Sirkhane every day, she learned to adapt to the needs of the children who came to a workshop. The trait they all shared was an overwhelming desire for attention.\u003c/p>\n\u003cp>“When I got there I realized these kids were so energetic and intense,” she says. “They lived through hardships that we only read about, and the amount of energy and kind of connection that they wanted to establish individually with the guest artists was so humbling and moving. You can’t possibly do it. We invented music games where everybody could engage in some communal sense and a lot of energy would be spent. I taught for many years at different levels, and the kind of engagement and creativity that the circumstances demanded, I haven’t had that anywhere else.”\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/XcRBoPANZe8'\n title='//www.youtube.com/embed/XcRBoPANZe8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the open call for artists to participate in this August’s Flying Carpet closes, Aminikia is busy reinventing the festival, looking to make it sustainable. Artists involved this year are paying their own way to Turkey. He’s drawing more on artists who live in the area, so that masters in traditional Kurdish, Turkish and Syrian music are featured in the festival, reflecting back to kids aspects of their own cultures. The festival includes an ensemble from Iran made up of fellow Baha’is “coming by bus 15 hours from Tehran, and first they have to get to Tehran,” he says. There are eight acrobats from Brazil who are fundraising to pay their own way to Turkey, two choreographers from Istanbul and a magician from the U.K. who works in refugee camps.\u003c/p>\n\u003cp>When talking about his vision for the Flying Carpet festival’s future, Aminikia sounds almost blissful to have stepped off the ordained path for a composer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This place kills your ego,” he says. “You see the actual needs of people who are hungry and in need of education. You start analyzing yourself about your expectations. Artists in the West don’t feel appreciated and useful. But in many ways this is a very American idea. Mardin is a house on the hill. And we’re determined to build something that will last.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "500 Capp Street Lays Off Head Curator, Creates Confusion About Future Exhibitions",
"headTitle": "500 Capp Street Lays Off Head Curator, Creates Confusion About Future Exhibitions | KQED",
"content": "\u003cp>\u003ci>Updated Thursday, 10:50am\u003c/i>\u003c/p>\n\u003cp>In a decision that shocked the Bay Area art scene, \u003ca href=\"https://500cappstreet.org/\" rel=\"noopener\" target=\"_blank\">500 Capp Street Foundation\u003c/a>’s Board of Directors suddenly laid off the nonprofit arts organization’s head curator, Bob Linder, on Wednesday, creating confusion as to the status of planned exhibitions for the remainder of the year. \u003c/p>\n\u003cp>The board characterized the decision in an official statement as an effort to “re-balance 500 Capp Street future exhibitions and public programs with an enhanced education program.”\u003c/p>\n\u003cfigure id=\"attachment_13860422\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BobLinder_640.jpg\" alt=\"Bob Linder, former head curator of 500 Capp Street.\" width=\"640\" height=\"590\" class=\"size-full wp-image-13860422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BobLinder_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BobLinder_640-160x148.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bob Linder, former head curator of 500 Capp Street. \u003ccite>(Courtesy of 500 Capp Street Foundation website)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 500 Capp Street Foundation, established by arts funder Carlie Wilmans, owns and operates the former residence of late San Francisco artist David Ireland, who treated the home as a constantly changing artwork, rearranging sculpture and two-dimensional works within the space. The foundation \u003ca href=\"https://www.kqed.org/arts/13855723/arts-funder-under-fire-for-evicting-family-next-to-david-ireland-house\" rel=\"noopener\" target=\"_blank\">recently came under fire\u003c/a> for its connection to Wilmans due to her attempts to evict tenants from 3463-3465 20th Street, a property that adjoins 500 Capp Street. \u003c/p>\n\u003cp>Linder, who has held the role of head curator since 2016, was unable to comment for this article due to a nondisclosure clause in his employment contract with 500 Capp Street. Curator Diego Villalobos will remain in his role; the two other staff positions, including director, also remain in place. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to newly appointed board chairman Jock Reynolds, who is about to retire as director of the Yale University Art Gallery, laying off Linder “wasn’t a pleasant thing to have to do, but he’s capable with his track record of getting another position.”\u003c/p>\n\u003cp>Speaking with KQED, Reynolds cites financial concerns as central to the decision of the board, which includes Wilmans and arts funder Ann Hatch. Several grants to which the foundation applied in order to support its much-lauded exhibition program—which brought work by national and international artists into conversation with Ireland’s home and artwork three times a year—did not come through, Reynolds says. Without outside support, the foundation is primarily funded by Wilmans. \u003c/p>\n\u003cfigure id=\"attachment_13860424\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015.jpg\" alt=\"The exterior of 500 Capp Street (corner) and its garage exhibition space.\" width=\"1200\" height=\"959\" class=\"size-full wp-image-13860424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-1020x815.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of 500 Capp Street (corner) and its garage exhibition space. \u003ccite>(Henrik Kam/Courtesy 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve been very happy with the quality of these exhibitions,” Reynolds says, “but the amount of money that was \u003ci>not\u003c/i> coming in, in terms of anticipated revenue—there was a limit to what Carlie Wilmans was willing to do.” He adds that he hopes a shift towards a more educational model will increase funding opportunities in the future. \u003c/p>\n\u003cp>A secondary concern for the board was that Ireland’s own work, some of which remains in storage when not on view in the house, had not been seen often enough, despite the fact that the house itself is also an Ireland work. In their June 24 statement, the board promised “more well balanced representation and frequent rotation of the many Ireland artifacts and artworks that reside in the Foundation’s large collection of his work.” Following a brief closure in February 2020 for conservation and repairs to the home, 500 Capp Street will reopen with a staging of Ireland’s work.\u003c/p>\n\u003cp>Furor over the decision spread quickly on social media channels, especially within the Bay Area arts scene, where 500 Capp Street’s exhibition programming was seen as exciting and ambitious in the midst of an increasingly diminished landscape of arts spaces. Kate Rhoades and Maysoun Wazwaz, co-hosts of the arts and culture podcast \u003cem>\u003ca href=\"http://congratulationspinetree.blogspot.com/\" rel=\"noopener\" target=\"_blank\">Congratulations Pine Tree\u003c/a>\u003c/em> say the decision to fundamentally alter the exhibitions program is very upsetting.\u003c/p>\n\u003cp>“The exhibitions they bring allow David Ireland’s work to continue to be relevant,” says Wazwaz. “To remove that makes it feel like it’s going to become more stale, regardless of how important David Ireland’s work is to contemporary art in general.” For those who visit from out of town and only view 500 Capp Street once, an exhibition of Ireland’s work may suffice, they say, but the exhibition program was a gift to repeat visitors and local audiences.\u003c/p>\n\u003cp>As far as eliminating the role of head curator, Reynolds says he views this as an opportunity to create “some type of curatorial training program.” He is mindful of the \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" rel=\"noopener\" target=\"_blank\">diminishing number of curatorial positions\u003c/a> in the Bay Area, he says, mentioning former jobs at the San Francisco Art Institute and the Contemporary Jewish Museum as examples.\u003c/p>\n\u003cp>If there’s irony in a decision to create a training program for curators while simultaneously eliminating a job that might have been available to them once trained, Reynolds does not mention it. As for Linder, he has a long history with both the house and Ireland, whom he met as an SFAI undergrad in 1998. As head curator at 500 Capp Street, Linder brought his personal knowledge of Ireland and his practice into exhibition planning, which over the past three years included shows with work by Mike Kelley, Felix Gonzales-Torres and Cady Nolad. (Until its last exhibitions closed on April 27, Linder also co-directed the Mission District gallery \u003ca href=\"http://www.capital.gallery/index.html\" rel=\"noopener\" target=\"_blank\">CAPITAL\u003c/a>.) \u003c/p>\n\u003cfigure id=\"attachment_13848030\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200.jpg\" alt=\"Installation view of 'Pushing and pulling, pulling and pushing' at 500 Capp Street Foundation, featuring images from Mike Kelley's 'Extracurricular Activity Projective Reconstruction' series, 2004-2005.\" width=\"1200\" height=\"1041\" class=\"size-full wp-image-13848030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-800x694.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-768x666.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-1020x885.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Pushing and pulling, pulling and pushing’ at 500 Capp Street Foundation, featuring images from Mike Kelley’s ‘Extracurricular Activity Projective Reconstruction’ series, 2004-2005. \u003ccite>(Courtesy of the MIke Kelley Foundation for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>500 Capp Street typically hosts one show in the main house, and a smaller show in the garage, which was converted into an exhibition space when the house was refurbished by Jensen Architects and ARG Conservation Services. Reynolds promises exhibitions for the remainder of 2019 will take place as planned.\u003c/p>\n\u003cp>But New York artist Matt Connors, scheduled to mount the next house exhibition in October, states via email to KQED that he will not be showing with 500 Capp Street. “I officially pulled out of any continuing association with them and have expressed my strong disapproval of their treatment of Mr. Linder as well as the new direction,” Connors says.\u003c/p>\n\u003cp>Precise information about the scheduling of the future “re-balanced” exhibitions program, how contemporary artists will now be involved in those shows, and what potential “curatorial training” might look like are all up in the air. But, Reynolds promises, “no one’s going to be disappointed about what lies ahead.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As for the current shows up at 500 Capp Street, Liz Magor’s \u003ci>TIMESHARE\u003c/i> \u003ca href=\"https://www.kqed.org/arts/13860618/liz-magor-pulls-works-from-500-capp-street-in-response-to-head-curator-layoff\" rel=\"noopener\" target=\"_blank\">will be on view through July 6\u003c/a>, Nina Canell’s \u003ci>Drag-Out\u003c/i>, remain on view through Aug. 17. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated Thursday, 10:50am\u003c/i>\u003c/p>\n\u003cp>In a decision that shocked the Bay Area art scene, \u003ca href=\"https://500cappstreet.org/\" rel=\"noopener\" target=\"_blank\">500 Capp Street Foundation\u003c/a>’s Board of Directors suddenly laid off the nonprofit arts organization’s head curator, Bob Linder, on Wednesday, creating confusion as to the status of planned exhibitions for the remainder of the year. \u003c/p>\n\u003cp>The board characterized the decision in an official statement as an effort to “re-balance 500 Capp Street future exhibitions and public programs with an enhanced education program.”\u003c/p>\n\u003cfigure id=\"attachment_13860422\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BobLinder_640.jpg\" alt=\"Bob Linder, former head curator of 500 Capp Street.\" width=\"640\" height=\"590\" class=\"size-full wp-image-13860422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BobLinder_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BobLinder_640-160x148.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bob Linder, former head curator of 500 Capp Street. \u003ccite>(Courtesy of 500 Capp Street Foundation website)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 500 Capp Street Foundation, established by arts funder Carlie Wilmans, owns and operates the former residence of late San Francisco artist David Ireland, who treated the home as a constantly changing artwork, rearranging sculpture and two-dimensional works within the space. The foundation \u003ca href=\"https://www.kqed.org/arts/13855723/arts-funder-under-fire-for-evicting-family-next-to-david-ireland-house\" rel=\"noopener\" target=\"_blank\">recently came under fire\u003c/a> for its connection to Wilmans due to her attempts to evict tenants from 3463-3465 20th Street, a property that adjoins 500 Capp Street. \u003c/p>\n\u003cp>Linder, who has held the role of head curator since 2016, was unable to comment for this article due to a nondisclosure clause in his employment contract with 500 Capp Street. Curator Diego Villalobos will remain in his role; the two other staff positions, including director, also remain in place. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to newly appointed board chairman Jock Reynolds, who is about to retire as director of the Yale University Art Gallery, laying off Linder “wasn’t a pleasant thing to have to do, but he’s capable with his track record of getting another position.”\u003c/p>\n\u003cp>Speaking with KQED, Reynolds cites financial concerns as central to the decision of the board, which includes Wilmans and arts funder Ann Hatch. Several grants to which the foundation applied in order to support its much-lauded exhibition program—which brought work by national and international artists into conversation with Ireland’s home and artwork three times a year—did not come through, Reynolds says. Without outside support, the foundation is primarily funded by Wilmans. \u003c/p>\n\u003cfigure id=\"attachment_13860424\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015.jpg\" alt=\"The exterior of 500 Capp Street (corner) and its garage exhibition space.\" width=\"1200\" height=\"959\" class=\"size-full wp-image-13860424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/6_DIH_Exterior_HenrikKam_2015-1020x815.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of 500 Capp Street (corner) and its garage exhibition space. \u003ccite>(Henrik Kam/Courtesy 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve been very happy with the quality of these exhibitions,” Reynolds says, “but the amount of money that was \u003ci>not\u003c/i> coming in, in terms of anticipated revenue—there was a limit to what Carlie Wilmans was willing to do.” He adds that he hopes a shift towards a more educational model will increase funding opportunities in the future. \u003c/p>\n\u003cp>A secondary concern for the board was that Ireland’s own work, some of which remains in storage when not on view in the house, had not been seen often enough, despite the fact that the house itself is also an Ireland work. In their June 24 statement, the board promised “more well balanced representation and frequent rotation of the many Ireland artifacts and artworks that reside in the Foundation’s large collection of his work.” Following a brief closure in February 2020 for conservation and repairs to the home, 500 Capp Street will reopen with a staging of Ireland’s work.\u003c/p>\n\u003cp>Furor over the decision spread quickly on social media channels, especially within the Bay Area arts scene, where 500 Capp Street’s exhibition programming was seen as exciting and ambitious in the midst of an increasingly diminished landscape of arts spaces. Kate Rhoades and Maysoun Wazwaz, co-hosts of the arts and culture podcast \u003cem>\u003ca href=\"http://congratulationspinetree.blogspot.com/\" rel=\"noopener\" target=\"_blank\">Congratulations Pine Tree\u003c/a>\u003c/em> say the decision to fundamentally alter the exhibitions program is very upsetting.\u003c/p>\n\u003cp>“The exhibitions they bring allow David Ireland’s work to continue to be relevant,” says Wazwaz. “To remove that makes it feel like it’s going to become more stale, regardless of how important David Ireland’s work is to contemporary art in general.” For those who visit from out of town and only view 500 Capp Street once, an exhibition of Ireland’s work may suffice, they say, but the exhibition program was a gift to repeat visitors and local audiences.\u003c/p>\n\u003cp>As far as eliminating the role of head curator, Reynolds says he views this as an opportunity to create “some type of curatorial training program.” He is mindful of the \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" rel=\"noopener\" target=\"_blank\">diminishing number of curatorial positions\u003c/a> in the Bay Area, he says, mentioning former jobs at the San Francisco Art Institute and the Contemporary Jewish Museum as examples.\u003c/p>\n\u003cp>If there’s irony in a decision to create a training program for curators while simultaneously eliminating a job that might have been available to them once trained, Reynolds does not mention it. As for Linder, he has a long history with both the house and Ireland, whom he met as an SFAI undergrad in 1998. As head curator at 500 Capp Street, Linder brought his personal knowledge of Ireland and his practice into exhibition planning, which over the past three years included shows with work by Mike Kelley, Felix Gonzales-Torres and Cady Nolad. (Until its last exhibitions closed on April 27, Linder also co-directed the Mission District gallery \u003ca href=\"http://www.capital.gallery/index.html\" rel=\"noopener\" target=\"_blank\">CAPITAL\u003c/a>.) \u003c/p>\n\u003cfigure id=\"attachment_13848030\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200.jpg\" alt=\"Installation view of 'Pushing and pulling, pulling and pushing' at 500 Capp Street Foundation, featuring images from Mike Kelley's 'Extracurricular Activity Projective Reconstruction' series, 2004-2005.\" width=\"1200\" height=\"1041\" class=\"size-full wp-image-13848030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-800x694.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-768x666.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/500_Capp_Kelley_installation-20_1200-1020x885.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Pushing and pulling, pulling and pushing’ at 500 Capp Street Foundation, featuring images from Mike Kelley’s ‘Extracurricular Activity Projective Reconstruction’ series, 2004-2005. \u003ccite>(Courtesy of the MIke Kelley Foundation for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>500 Capp Street typically hosts one show in the main house, and a smaller show in the garage, which was converted into an exhibition space when the house was refurbished by Jensen Architects and ARG Conservation Services. Reynolds promises exhibitions for the remainder of 2019 will take place as planned.\u003c/p>\n\u003cp>But New York artist Matt Connors, scheduled to mount the next house exhibition in October, states via email to KQED that he will not be showing with 500 Capp Street. “I officially pulled out of any continuing association with them and have expressed my strong disapproval of their treatment of Mr. Linder as well as the new direction,” Connors says.\u003c/p>\n\u003cp>Precise information about the scheduling of the future “re-balanced” exhibitions program, how contemporary artists will now be involved in those shows, and what potential “curatorial training” might look like are all up in the air. But, Reynolds promises, “no one’s going to be disappointed about what lies ahead.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for the current shows up at 500 Capp Street, Liz Magor’s \u003ci>TIMESHARE\u003c/i> \u003ca href=\"https://www.kqed.org/arts/13860618/liz-magor-pulls-works-from-500-capp-street-in-response-to-head-curator-layoff\" rel=\"noopener\" target=\"_blank\">will be on view through July 6\u003c/a>, Nina Canell’s \u003ci>Drag-Out\u003c/i>, remain on view through Aug. 17. \u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"id": "californiareportmagazine",
"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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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"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",
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"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": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"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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"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": {
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"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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"id": "forum",
"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",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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": {
"id": "how-i-built-this",
"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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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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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": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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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"
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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"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",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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