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"content": "\u003cp>The premiere episode of the final season of \u003cem>Game of Thrones\u003c/em> drew a record 17.4 million viewers across various platforms. But it’s not just HBO’s hit show that’s drawing big numbers. More than 1 million people have signed up to learn High Valyrian, a fictional language spoken in the series.\u003c/p>\n\u003cp>For linguist David Peterson, it all started six years after he graduated from UC Berkeley.\u003c/p>\n\u003cp>The \u003cem>Game of Thrones\u003c/em> producers held a competition looking for someone to create a different language, one for the Dothraki people, the nomadic warriors of Essos.\u003c/p>\n\u003cp>Peterson won, and went on to become the show’s language creator. With just a couple of lines to go on from George R. R. Martin’s books, Peterson also created High Valyrian, the native tongue of Daenerys Stormborn and House Targaryen.\u003c/p>\n\u003cp>Now some 1.2 million people have signed up to learn High Valyrian on the free language-learning app Duolingo. According to Duolingo, High Valyrian \u003ca href=\"https://www.duolingo.com/courses\" target=\"_blank\" rel=\"noopener\">currently has as many active learners as Hebrew\u003c/a>.\u003c/p>\n\u003cp>So why is High Valyrian so popular?\u003c/p>\n\u003cp>“Well first let’s be serious. It’s the dragons. That’s what draws people. I mean Daenerys is cool, but the dragons are awesome. So I’m sure that’s part of it.”\u003c/p>\n\u003cp>Peterson recalls when High Valyrian was first introduced during Season 3, when Daenerys says, “A dragon is not a slave.”\u003c/p>\n\u003cp>“It was a really cool moment for the series, a very memorable moment for the series,” said Peterson. “And unlike many memorable moments of the series, it was a positive one.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bjkVgYZB0aA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED first spoke with Peterson in the summer of 2017 when he was a visiting professor at UC Berkeley, teaching students how to speak and write like characters in \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>He assigned each of his students one language to build from the \u003cem>Game of Thrones\u003c/em> universe. John Clements created one for the people of Sarnor.\u003c/p>\n\u003cp>Clements, who was majoring in computer science at the University of Arkansas, said creating languages has been a hobby of his since he was a kid.\u003c/p>\n\u003cp>“It’s always something I’ve been interested in,” said Clements. “I remember in middle school I would sit at lunch and make up alphabets.”\u003c/p>\n\u003cfigure id=\"attachment_13655084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655084\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg\" alt=\"Student Dash Stevens has a background in linguistics and has been creating his own languages for several years.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Dash Stevens has a background in linguistics and has been creating his own languages for several years. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fellow student Dash Stevens fleshed out the language of the people of Jogos Nhai. Stevens studied linguistics at the University of Hawaii, and has been inventing new tongues for years.\u003c/p>\n\u003cp>“It’s got a base consonant and then from there it has markings for vowels,” said Stevens of his linguistic project. “The closest kind of writing system in existence would be devanagari for Hindi.”\u003c/p>\n\u003cfigure id=\"attachment_13659116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13659116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.C. Berkeley visiting professor David Peterson runs through translation exercises in a recent class. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The class was a crash-course in linguistics through a \u003cem>Game of Thrones\u003c/em> lens, said Peterson.\u003c/p>\n\u003cp>“In learning how to do this stuff you’re basically learning everything that there is to know about language,” Peterson said.\u003c/p>\n\u003cp>As for how that course went in 2017, Peterson said he was pleased with his students’ progress.\u003c/p>\n\u003cp>“There have been lots of theft-worthy ideas that I’ve seen,” said Peterson.\u003c/p>\n\u003cp>Peterson said one of the most essential things the students learn is to make languages that people actually want to use on a daily basis. “That is what all languages are going to have in common,” said Peterson. “They evolve structures that are going to be useful in some way.”\u003c/p>\n\u003cp>For example, a word in English that would not be useful — if it existed — is “cattif.” Peterson made up the word and said it means “17 cats.”\u003c/p>\n\u003cp>Peterson said most people would have very little use for a word that means 17 cats, so it would just fall out of use. “That’s because of the way the human brain works, the way that we live our lives and our experience with cats.”\u003c/p>\n\u003cp>For the students, that meant making several changes to their languages to make them truly practical. Stevens said he went through seven versions of his written system.\u003c/p>\n\u003cp>“If you want something to be even remotely realistic, you have to have that kind of depth to it,” Stevens said.\u003c/p>\n\u003cfigure id=\"attachment_13655086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of many drafts of Dash Stevens’ writing system for the people of Jogos Nhai. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So could one of these students be the next hot new language inventor in Hollywood?\u003c/p>\n\u003cp>The entertainment industry is just starting to develop serious careers for language creators, said Peterson. So the good news for his students: jobs are on the way.\u003c/p>\n\u003cp>Although Peterson calls Orange County home, he watched the Season 8 premiere back on the Berkeley campus with some students Sunday night. And like all fans, he’s bracing himself because he knows a lot is about to go down in whatever language the character speaks.\u003c/p>\n\u003cp>\u003cem>This post includes reporting from KCRW’s Jenny Hamel and KQED’s David Marks. A version of this story was originally published on July 14, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "More than 1 million people have signed up online to learn High Valyrian, a fictional ‘Game of Thrones’ language. For creator David Peterson, it all started after he graduated from UC Berkeley and entered a contest.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premiere episode of the final season of \u003cem>Game of Thrones\u003c/em> drew a record 17.4 million viewers across various platforms. But it’s not just HBO’s hit show that’s drawing big numbers. More than 1 million people have signed up to learn High Valyrian, a fictional language spoken in the series.\u003c/p>\n\u003cp>For linguist David Peterson, it all started six years after he graduated from UC Berkeley.\u003c/p>\n\u003cp>The \u003cem>Game of Thrones\u003c/em> producers held a competition looking for someone to create a different language, one for the Dothraki people, the nomadic warriors of Essos.\u003c/p>\n\u003cp>Peterson won, and went on to become the show’s language creator. With just a couple of lines to go on from George R. R. Martin’s books, Peterson also created High Valyrian, the native tongue of Daenerys Stormborn and House Targaryen.\u003c/p>\n\u003cp>Now some 1.2 million people have signed up to learn High Valyrian on the free language-learning app Duolingo. According to Duolingo, High Valyrian \u003ca href=\"https://www.duolingo.com/courses\" target=\"_blank\" rel=\"noopener\">currently has as many active learners as Hebrew\u003c/a>.\u003c/p>\n\u003cp>So why is High Valyrian so popular?\u003c/p>\n\u003cp>“Well first let’s be serious. It’s the dragons. That’s what draws people. I mean Daenerys is cool, but the dragons are awesome. So I’m sure that’s part of it.”\u003c/p>\n\u003cp>Peterson recalls when High Valyrian was first introduced during Season 3, when Daenerys says, “A dragon is not a slave.”\u003c/p>\n\u003cp>“It was a really cool moment for the series, a very memorable moment for the series,” said Peterson. “And unlike many memorable moments of the series, it was a positive one.”\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/bjkVgYZB0aA'\n title='//www.youtube.com/embed/bjkVgYZB0aA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED first spoke with Peterson in the summer of 2017 when he was a visiting professor at UC Berkeley, teaching students how to speak and write like characters in \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>He assigned each of his students one language to build from the \u003cem>Game of Thrones\u003c/em> universe. John Clements created one for the people of Sarnor.\u003c/p>\n\u003cp>Clements, who was majoring in computer science at the University of Arkansas, said creating languages has been a hobby of his since he was a kid.\u003c/p>\n\u003cp>“It’s always something I’ve been interested in,” said Clements. “I remember in middle school I would sit at lunch and make up alphabets.”\u003c/p>\n\u003cfigure id=\"attachment_13655084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655084\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg\" alt=\"Student Dash Stevens has a background in linguistics and has been creating his own languages for several years.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Dash Stevens has a background in linguistics and has been creating his own languages for several years. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fellow student Dash Stevens fleshed out the language of the people of Jogos Nhai. Stevens studied linguistics at the University of Hawaii, and has been inventing new tongues for years.\u003c/p>\n\u003cp>“It’s got a base consonant and then from there it has markings for vowels,” said Stevens of his linguistic project. “The closest kind of writing system in existence would be devanagari for Hindi.”\u003c/p>\n\u003cfigure id=\"attachment_13659116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13659116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.C. Berkeley visiting professor David Peterson runs through translation exercises in a recent class. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The class was a crash-course in linguistics through a \u003cem>Game of Thrones\u003c/em> lens, said Peterson.\u003c/p>\n\u003cp>“In learning how to do this stuff you’re basically learning everything that there is to know about language,” Peterson said.\u003c/p>\n\u003cp>As for how that course went in 2017, Peterson said he was pleased with his students’ progress.\u003c/p>\n\u003cp>“There have been lots of theft-worthy ideas that I’ve seen,” said Peterson.\u003c/p>\n\u003cp>Peterson said one of the most essential things the students learn is to make languages that people actually want to use on a daily basis. “That is what all languages are going to have in common,” said Peterson. “They evolve structures that are going to be useful in some way.”\u003c/p>\n\u003cp>For example, a word in English that would not be useful — if it existed — is “cattif.” Peterson made up the word and said it means “17 cats.”\u003c/p>\n\u003cp>Peterson said most people would have very little use for a word that means 17 cats, so it would just fall out of use. “That’s because of the way the human brain works, the way that we live our lives and our experience with cats.”\u003c/p>\n\u003cp>For the students, that meant making several changes to their languages to make them truly practical. Stevens said he went through seven versions of his written system.\u003c/p>\n\u003cp>“If you want something to be even remotely realistic, you have to have that kind of depth to it,” Stevens said.\u003c/p>\n\u003cfigure id=\"attachment_13655086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of many drafts of Dash Stevens’ writing system for the people of Jogos Nhai. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So could one of these students be the next hot new language inventor in Hollywood?\u003c/p>\n\u003cp>The entertainment industry is just starting to develop serious careers for language creators, said Peterson. So the good news for his students: jobs are on the way.\u003c/p>\n\u003cp>Although Peterson calls Orange County home, he watched the Season 8 premiere back on the Berkeley campus with some students Sunday night. And like all fans, he’s bracing himself because he knows a lot is about to go down in whatever language the character speaks.\u003c/p>\n\u003cp>\u003cem>This post includes reporting from KCRW’s Jenny Hamel and KQED’s David Marks. A version of this story was originally published on July 14, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>PARIS (AP) — A catastrophic fire engulfed the upper reaches of Paris’ soaring Notre Dame Cathedral as it was undergoing renovations Monday, threatening one of the greatest architectural treasures of the Western world as tourists and Parisians looked on aghast from the streets below.\u003c/p>\n\u003cp>The blaze collapsed the cathedral’s spire and spread to one of its landmark rectangular towers, but Paris fire chief Jean-Claude Gallet said the church’s structure had been saved after firefighters managed to stop the fire spreading to the northern belfry. The 12th-century cathedral is home to incalculable works of art and is one of the world’s most famous tourist attractions, immortalized by Victor Hugo’s 1831 novel “The Hunchback of Notre Dame.”\u003c/p>\n\u003cp>The exact cause of the blaze was not known, but French media quoted the Paris fire brigade as saying the fire is “potentially linked” to a 6 million-euro ($6.8 million) renovation project on the church’s spire and its 250 tons of lead. The Paris prosecutors’ office ruled out arson and possible terror-related motives and said it was treating it as an accident.\u003c/p>\n\u003cp>Flames shot out of the roof behind the nave of the cathedral, among the most visited landmarks in the world. Hundreds of people lined up bridges around the island that houses the church, watching in shock as acrid smoke rose in plumes. Speaking alongside junior Interior minister Laurent Nunez late Monday, police chief Jean-Claude Gallet said “two-thirds of the roofing has been ravaged.” Gallet said firefighters would keep working overnight to cool down the building.\u003c/p>\n\u003cfigure id=\"attachment_13855185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1137431125-800x534.jpg\" alt=\"Flames are doused through the scaffolding erected on the roof of the Notre-Dame de Paris Cathedral after a fire broke out on April 15, 2019, in the French capital Paris. \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Flames are doused through the scaffolding erected on the roof of the Notre-Dame de Paris Cathedral after a fire broke out on April 15, 2019, in the French capital Paris. \u003ccite>(STEPHANE DE SAKUTIN/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late Monday, signs pointed to the fire nearing an end as lights could be seen through the windows moving around the front of the cathedral, apparently, investigators inspecting the scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fire came less than a week before Easter amid Holy Week commemorations. As the cathedral burned, Parisians gathered to pray and sing hymns outside the church of Saint Julien Les Pauvres across the river from Notre Dame while the flames lit the sky behind them.\u003c/p>\n\u003cp>French President Emmanuel Macron was treating the fire as a national emergency, rushing to the scene and straight into meetings at the Paris police headquarters nearby. Paris Archbishop Michel Aupetit invited priests across France to ring church bells in a call for prayers for the beloved Paris cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13855186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855186\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762-800x360.jpg\" alt=\"A colossal fire swept through the famed Notre-Dame Cathedral in central Paris causing the spire to collapse and raising fears over the future of the nearly millenium old building and its precious artworks.\" width=\"800\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762-800x360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762-1020x459.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A colossal fire swept through the famed Notre-Dame Cathedral in central Paris causing the spire to collapse and raising fears over the future of the nearly millenium old building and its precious artworks. \u003ccite>(GEOFFROY VAN DER HASSELT/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deputy mayor Emmanuel Gregoire said emergency services were trying to salvage the famed art pieces stored in the cathedral.\u003c/p>\n\u003cp>Built in the 12th and 13th centuries, Notre Dame is the most famous of the Gothic cathedrals of the Middle Ages as well as one of the most beloved structures in the world. Situated on the Ile de la Cite, an island in the Seine river, its architecture is famous for, among other things, its many gargoyles and its iconic flying buttresses.\u003c/p>\n\u003cp>Among the most celebrated artworks inside are its three stained-glass rose windows, placed high up on the west, north and south faces of the cathedral. Its priceless treasures also include a Catholic relic, the crown of thorns, which is only occasionally displayed, including on Fridays during Lent.\u003c/p>\n\u003cp>French historian Camille Pascal told BFM broadcast channel the blaze marked “the destruction of invaluable heritage.”\u003c/p>\n\u003cfigure id=\"attachment_13855187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-800x531.jpg\" alt=\"A gargoyle of the Notre Dame Cathedral is seen on July 8, 2014 in Paris.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A gargoyle of the Notre Dame Cathedral is seen on July 8, 2014 in Paris. \u003ccite>(PABLO PORCIUNCULA/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s been 800 years that the Cathedral watches over Paris”, Pascal said. “Happy and unfortunate events for centuries have been marked by the bells of Notre Dame.”\u003c/p>\n\u003cp>He added: “We can be only horrified by what we see.”\u003c/p>\n\u003cp>Associated Press reporters at the scene saw massive plumes of yellow-brown smoke filling the air above the Cathedral and ash falling on the island that houses Notre Dame and marks the center of Paris. As the spire fell, the sky lit up orange.\u003c/p>\n\u003cp>Paris Mayor Anne Hidalgo said in a Twitter message that Paris firefighters were still trying to limit the fire and urged Paris citizens to respect the security perimeter that has been set around the cathedral.\u003c/p>\n\u003cp>Hidalgo said Paris authorities are in touch with the Paris diocese.\u003c/p>\n\u003cp>Reactions from around the world came swiftly including from the Vatican, which released a statement expressing shock and sadness for the “terrible fire that has devastated the Cathedral of Notre Dame, symbol of Christianity in France and in the world.”\u003c/p>\n\u003cp>In Washington, Trump tweeted: “So horrible to watch the massive fire at Notre Dame Cathedral in Paris” and suggested first responders use “flying water tankers” to put it out.\u003c/p>\n\u003cp>Cardinal Timothy Dolan, the archbishop of New York, said he was praying “to ask the intercession of Notre Dame, our Lady, for the Cathedral at the heart of Paris, and of civilization, now in flames! God preserve this splendid house of prayer, and protect those battling the blaze.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writers Elaine Ganley and Sylvie Corbet contributed to this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>PARIS (AP) — A catastrophic fire engulfed the upper reaches of Paris’ soaring Notre Dame Cathedral as it was undergoing renovations Monday, threatening one of the greatest architectural treasures of the Western world as tourists and Parisians looked on aghast from the streets below.\u003c/p>\n\u003cp>The blaze collapsed the cathedral’s spire and spread to one of its landmark rectangular towers, but Paris fire chief Jean-Claude Gallet said the church’s structure had been saved after firefighters managed to stop the fire spreading to the northern belfry. The 12th-century cathedral is home to incalculable works of art and is one of the world’s most famous tourist attractions, immortalized by Victor Hugo’s 1831 novel “The Hunchback of Notre Dame.”\u003c/p>\n\u003cp>The exact cause of the blaze was not known, but French media quoted the Paris fire brigade as saying the fire is “potentially linked” to a 6 million-euro ($6.8 million) renovation project on the church’s spire and its 250 tons of lead. The Paris prosecutors’ office ruled out arson and possible terror-related motives and said it was treating it as an accident.\u003c/p>\n\u003cp>Flames shot out of the roof behind the nave of the cathedral, among the most visited landmarks in the world. Hundreds of people lined up bridges around the island that houses the church, watching in shock as acrid smoke rose in plumes. Speaking alongside junior Interior minister Laurent Nunez late Monday, police chief Jean-Claude Gallet said “two-thirds of the roofing has been ravaged.” Gallet said firefighters would keep working overnight to cool down the building.\u003c/p>\n\u003cfigure id=\"attachment_13855185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1137431125-800x534.jpg\" alt=\"Flames are doused through the scaffolding erected on the roof of the Notre-Dame de Paris Cathedral after a fire broke out on April 15, 2019, in the French capital Paris. \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Flames are doused through the scaffolding erected on the roof of the Notre-Dame de Paris Cathedral after a fire broke out on April 15, 2019, in the French capital Paris. \u003ccite>(STEPHANE DE SAKUTIN/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late Monday, signs pointed to the fire nearing an end as lights could be seen through the windows moving around the front of the cathedral, apparently, investigators inspecting the scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fire came less than a week before Easter amid Holy Week commemorations. As the cathedral burned, Parisians gathered to pray and sing hymns outside the church of Saint Julien Les Pauvres across the river from Notre Dame while the flames lit the sky behind them.\u003c/p>\n\u003cp>French President Emmanuel Macron was treating the fire as a national emergency, rushing to the scene and straight into meetings at the Paris police headquarters nearby. Paris Archbishop Michel Aupetit invited priests across France to ring church bells in a call for prayers for the beloved Paris cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13855186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855186\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762-800x360.jpg\" alt=\"A colossal fire swept through the famed Notre-Dame Cathedral in central Paris causing the spire to collapse and raising fears over the future of the nearly millenium old building and its precious artworks.\" width=\"800\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762-800x360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762-1020x459.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1137430762.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A colossal fire swept through the famed Notre-Dame Cathedral in central Paris causing the spire to collapse and raising fears over the future of the nearly millenium old building and its precious artworks. \u003ccite>(GEOFFROY VAN DER HASSELT/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deputy mayor Emmanuel Gregoire said emergency services were trying to salvage the famed art pieces stored in the cathedral.\u003c/p>\n\u003cp>Built in the 12th and 13th centuries, Notre Dame is the most famous of the Gothic cathedrals of the Middle Ages as well as one of the most beloved structures in the world. Situated on the Ile de la Cite, an island in the Seine river, its architecture is famous for, among other things, its many gargoyles and its iconic flying buttresses.\u003c/p>\n\u003cp>Among the most celebrated artworks inside are its three stained-glass rose windows, placed high up on the west, north and south faces of the cathedral. Its priceless treasures also include a Catholic relic, the crown of thorns, which is only occasionally displayed, including on Fridays during Lent.\u003c/p>\n\u003cp>French historian Camille Pascal told BFM broadcast channel the blaze marked “the destruction of invaluable heritage.”\u003c/p>\n\u003cfigure id=\"attachment_13855187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-800x531.jpg\" alt=\"A gargoyle of the Notre Dame Cathedral is seen on July 8, 2014 in Paris.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-452865818.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A gargoyle of the Notre Dame Cathedral is seen on July 8, 2014 in Paris. \u003ccite>(PABLO PORCIUNCULA/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s been 800 years that the Cathedral watches over Paris”, Pascal said. “Happy and unfortunate events for centuries have been marked by the bells of Notre Dame.”\u003c/p>\n\u003cp>He added: “We can be only horrified by what we see.”\u003c/p>\n\u003cp>Associated Press reporters at the scene saw massive plumes of yellow-brown smoke filling the air above the Cathedral and ash falling on the island that houses Notre Dame and marks the center of Paris. As the spire fell, the sky lit up orange.\u003c/p>\n\u003cp>Paris Mayor Anne Hidalgo said in a Twitter message that Paris firefighters were still trying to limit the fire and urged Paris citizens to respect the security perimeter that has been set around the cathedral.\u003c/p>\n\u003cp>Hidalgo said Paris authorities are in touch with the Paris diocese.\u003c/p>\n\u003cp>Reactions from around the world came swiftly including from the Vatican, which released a statement expressing shock and sadness for the “terrible fire that has devastated the Cathedral of Notre Dame, symbol of Christianity in France and in the world.”\u003c/p>\n\u003cp>In Washington, Trump tweeted: “So horrible to watch the massive fire at Notre Dame Cathedral in Paris” and suggested first responders use “flying water tankers” to put it out.\u003c/p>\n\u003cp>Cardinal Timothy Dolan, the archbishop of New York, said he was praying “to ask the intercession of Notre Dame, our Lady, for the Cathedral at the heart of Paris, and of civilization, now in flames! God preserve this splendid house of prayer, and protect those battling the blaze.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writers Elaine Ganley and Sylvie Corbet contributed to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Songwriters Are Not Treated Fairly': Nile Rodgers On Streaming's Present And Future",
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"content": "\u003cp>Earlier this week, a large group of successful songwriters sent Daniel Ek, the co-founder and chief executive of Spotify, a short and pointed letter in which they wrote of being “hurt and disappointed” and accusing Spotify of having “used us and tried to divide us.”\u003c/p>\n\u003cp>In order to understand why that letter was sent, we need to go back to early February. It was then that a byzantine, but important, \u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">decision\u003c/a> arrived which would see songwriters’ royalties from streaming services increase dramatically over the next five years. But Spotify and several other music streaming services — except for Apple Music — then began appealing that decision. Thus, the letter (which, when asked by NPR, Spotify declined to comment on).\u003c/p>\n\u003cp>Immediately after that appeal was filed, Spotify was roundly derided, accused of “\u003ca href=\"https://www.theverge.com/2019/3/15/18267288/apple-music-spotify-suing-songwriters-eu-antitrust\">suing songwriters\u003c/a>.” The National Music Publishers Association, which represents the companies that manage songwriters’ business interests, scathingly \u003ca href=\"http://nmpa.org/press_release/amazon-spotify-appeal-crb-decision/\">observed\u003c/a> that “no amount of insincere and hollow public relations gestures such as throwing parties or buying billboards of congratulations or naming songwriters ‘geniuses’ can hide the fact that these big tech bullies do not respect or value the songwriters who make their businesses possible.” It’s a characterization which Spotify disagreed with \u003ca href=\"https://artists.spotify.com/blog/you-might-have-heard-about-the-streaming-industry's-crb-appeal-here's-what\">and tried to explain\u003c/a> away.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/652120918/nile-rodgers-chic\">Nile Rodgers\u003c/a>, the leader of Chic and recently appointed chairman of the Songwriters Hall of Fame, was one of the signatories to the vexed letter. Speaking as both an artist and an advocate on behalf of them, Rodgers gave NPR a brief overview of what’s going on from his perspective.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>NPR Music: Who came up with the idea to send this letter to Spotify and Daniel Ek? What was the process of putting it together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nile Rodgers:\u003c/strong> I was asked by my manager to participate because of my position in the songwriting community, and I felt it was an important message to put out immediately and to support vocally. I think it’s intelligently presented and the message is very simple. Spotify, Amazon, et al.: Do not bite the hand that brings you your subscribers.\u003c/p>\n\u003cp>\u003cstrong>You’re the chairman of the Songwriters Hall of Fame – I have to assume that part of that role is advocacy on behalf of all those who \u003c/strong>\u003cstrong>\u003cem>don’t\u003c/em>\u003c/strong>\u003cstrong> make it into the Hall. What are the issues causing you the most concern?\u003c/strong>\u003c/p>\n\u003cp>I think it’s important, first, to acknowledge that thanks to streaming and companies like Apple, Spotify and Amazon delivering our songs to the consumer conveniently, the best days for music and its creators are once again in front of it. We need to help them succeed, while ensuring we get our fair and equitable slice of the growing pie. Tremendous credit goes to Apple for acknowledging the songwriter’s value and affirming the [Copyright Royalty Board] ruling! [\u003cem>Ed. note: Rodgers is referring to \u003c/em>\u003ca href=\"https://www.apple.com/uk/newsroom/2019/03/addressing-spotifys-claims/\">\u003cem>Apple’s decision\u003c/em>\u003c/a>\u003cem> not to appeal the decision raising songwriters’ royalties from streaming.\u003c/em>]\u003c/p>\n\u003cp>\u003cstrong>Do you think artists’ best interests are front-of-mind for Spotify, or any streaming service?\u003c/strong>\u003c/p>\n\u003cp>Daniel Ek and Jeff Bezos are highly intelligent people. They understand that people do not pay $10 a month to be able to push buttons on their technology — they spend their money to listen to The Beatles, Dua Lipa, Led Zeppelin, Beyoncé.\u003c/p>\n\u003cp>If great artists and songs start to disappear from these services, the money will then evaporate and go to whomever can deliver them. I suspect Spotify and Amazon now realize they have handled this badly, and I hope for a swift resolution that has no impact on their growth.\u003c/p>\n\u003cp>\u003cstrong>Are songwriters treated fairly in this brave new world of streaming? Or — is streaming even the root of the problem?\u003c/strong>\u003c/p>\n\u003cp>Songwriters are not treated fairly! In the U.K., we have created a £350 million publicly listed fund — the \u003ca href=\"https://www.hipgnosissongs.com/about\">Hipgnosis Songs Fund\u003c/a> — that has demonstrated to the financial community that hit songs are as investable financial instruments as gold or oil. Our ultimate aim is to use the leverage of that fund to place the songwriter at the top, rather than bottom, of the economic equation. Songs are the currency of the music industry and these creators should be acknowledged and rewarded.\u003c/p>\n\u003cp>\u003cstrong>Can streaming as it’s structured now ever be equitable, or even profitable, for songwriters – particularly low- and mid-tier independent songwriters, who are often the performers as well? If not, what could a possible solution look like?\u003c/strong>\u003c/p>\n\u003cp>There is no question that streaming will become equitable for all involved. History has many answers, and if you look at The Beatles, when they signed their record deal in 1962 [their per-single royalties were fractions of a cent]. By the time they break up, it’s over 20 times that. Part of that is because they are The Beatles, but a big part of it is that the business of the long-playing record became more sophisticated, and artists started getting a fairer share of the pie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We are in the early days of streaming and in due course, with a lot of “discussion” and advocacy, we will get what we deserve. For now, Daniel Ek and Jeff Bezos should immediately withdraw their appeal and demonstrate to songwriters that this was an error in judgement and that they value [songwriters’] contributions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Songwriters+Are+Not+Treated+Fairly%27%3A+Nile+Rodgers+On+Streaming%27s+Present+And+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, a large group of successful songwriters sent Daniel Ek, the co-founder and chief executive of Spotify, a short and pointed letter in which they wrote of being “hurt and disappointed” and accusing Spotify of having “used us and tried to divide us.”\u003c/p>\n\u003cp>In order to understand why that letter was sent, we need to go back to early February. It was then that a byzantine, but important, \u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">decision\u003c/a> arrived which would see songwriters’ royalties from streaming services increase dramatically over the next five years. But Spotify and several other music streaming services — except for Apple Music — then began appealing that decision. Thus, the letter (which, when asked by NPR, Spotify declined to comment on).\u003c/p>\n\u003cp>Immediately after that appeal was filed, Spotify was roundly derided, accused of “\u003ca href=\"https://www.theverge.com/2019/3/15/18267288/apple-music-spotify-suing-songwriters-eu-antitrust\">suing songwriters\u003c/a>.” The National Music Publishers Association, which represents the companies that manage songwriters’ business interests, scathingly \u003ca href=\"http://nmpa.org/press_release/amazon-spotify-appeal-crb-decision/\">observed\u003c/a> that “no amount of insincere and hollow public relations gestures such as throwing parties or buying billboards of congratulations or naming songwriters ‘geniuses’ can hide the fact that these big tech bullies do not respect or value the songwriters who make their businesses possible.” It’s a characterization which Spotify disagreed with \u003ca href=\"https://artists.spotify.com/blog/you-might-have-heard-about-the-streaming-industry's-crb-appeal-here's-what\">and tried to explain\u003c/a> away.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/652120918/nile-rodgers-chic\">Nile Rodgers\u003c/a>, the leader of Chic and recently appointed chairman of the Songwriters Hall of Fame, was one of the signatories to the vexed letter. Speaking as both an artist and an advocate on behalf of them, Rodgers gave NPR a brief overview of what’s going on from his perspective.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>NPR Music: Who came up with the idea to send this letter to Spotify and Daniel Ek? What was the process of putting it together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nile Rodgers:\u003c/strong> I was asked by my manager to participate because of my position in the songwriting community, and I felt it was an important message to put out immediately and to support vocally. I think it’s intelligently presented and the message is very simple. Spotify, Amazon, et al.: Do not bite the hand that brings you your subscribers.\u003c/p>\n\u003cp>\u003cstrong>You’re the chairman of the Songwriters Hall of Fame – I have to assume that part of that role is advocacy on behalf of all those who \u003c/strong>\u003cstrong>\u003cem>don’t\u003c/em>\u003c/strong>\u003cstrong> make it into the Hall. What are the issues causing you the most concern?\u003c/strong>\u003c/p>\n\u003cp>I think it’s important, first, to acknowledge that thanks to streaming and companies like Apple, Spotify and Amazon delivering our songs to the consumer conveniently, the best days for music and its creators are once again in front of it. We need to help them succeed, while ensuring we get our fair and equitable slice of the growing pie. Tremendous credit goes to Apple for acknowledging the songwriter’s value and affirming the [Copyright Royalty Board] ruling! [\u003cem>Ed. note: Rodgers is referring to \u003c/em>\u003ca href=\"https://www.apple.com/uk/newsroom/2019/03/addressing-spotifys-claims/\">\u003cem>Apple’s decision\u003c/em>\u003c/a>\u003cem> not to appeal the decision raising songwriters’ royalties from streaming.\u003c/em>]\u003c/p>\n\u003cp>\u003cstrong>Do you think artists’ best interests are front-of-mind for Spotify, or any streaming service?\u003c/strong>\u003c/p>\n\u003cp>Daniel Ek and Jeff Bezos are highly intelligent people. They understand that people do not pay $10 a month to be able to push buttons on their technology — they spend their money to listen to The Beatles, Dua Lipa, Led Zeppelin, Beyoncé.\u003c/p>\n\u003cp>If great artists and songs start to disappear from these services, the money will then evaporate and go to whomever can deliver them. I suspect Spotify and Amazon now realize they have handled this badly, and I hope for a swift resolution that has no impact on their growth.\u003c/p>\n\u003cp>\u003cstrong>Are songwriters treated fairly in this brave new world of streaming? Or — is streaming even the root of the problem?\u003c/strong>\u003c/p>\n\u003cp>Songwriters are not treated fairly! In the U.K., we have created a £350 million publicly listed fund — the \u003ca href=\"https://www.hipgnosissongs.com/about\">Hipgnosis Songs Fund\u003c/a> — that has demonstrated to the financial community that hit songs are as investable financial instruments as gold or oil. Our ultimate aim is to use the leverage of that fund to place the songwriter at the top, rather than bottom, of the economic equation. Songs are the currency of the music industry and these creators should be acknowledged and rewarded.\u003c/p>\n\u003cp>\u003cstrong>Can streaming as it’s structured now ever be equitable, or even profitable, for songwriters – particularly low- and mid-tier independent songwriters, who are often the performers as well? If not, what could a possible solution look like?\u003c/strong>\u003c/p>\n\u003cp>There is no question that streaming will become equitable for all involved. History has many answers, and if you look at The Beatles, when they signed their record deal in 1962 [their per-single royalties were fractions of a cent]. By the time they break up, it’s over 20 times that. Part of that is because they are The Beatles, but a big part of it is that the business of the long-playing record became more sophisticated, and artists started getting a fairer share of the pie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We are in the early days of streaming and in due course, with a lot of “discussion” and advocacy, we will get what we deserve. For now, Daniel Ek and Jeff Bezos should immediately withdraw their appeal and demonstrate to songwriters that this was an error in judgement and that they value [songwriters’] contributions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Songwriters+Are+Not+Treated+Fairly%27%3A+Nile+Rodgers+On+Streaming%27s+Present+And+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Capitol Steps Find the Musical Comedy in American Politics",
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"content": "\u003cp>The \u003ca href=\"http://www.capsteps.com\" target=\"_blank\" rel=\"noopener\">Capitol Steps\u003c/a> began almost 40 years ago as a Christmas party stunt by U.S. Senate staffers in Washington, D.C. The apocryphal story: their first idea was to stage a nativity play, but in the whole of Congress, they couldn’t find three wise men or a virgin.\u003c/p>\n\u003cp>If that made you groan, you can stop reading here. Or maybe that’s your thing. If so, prepare for a night of jokes musical and otherwise that make you groan and guffaw in equal measure. Hey, when was the last time you found yourself laughing at politics? I’m not laughing watching John Oliver. I’m crying. You?\u003c/p>\n\u003cp>The troop (some of them actual veterans of politics) tours with a set list of 30 or so familiar songs set to fresh lyrics ripped from the headlines. Word is there’s a new one about Congresswoman Alexandria Ocasio-Cortez, which has to make you curious about the rhyming, just to start.\u003c/p>\n\u003cp>Mark Eaton, who manages as well as writes and performs for the Capitol Steps, says the Trump Era has been exhausting.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=NYFVqqgONv4]\u003c/p>\n\u003cp>“It is the best of times. It is the worst of times. There’s almost a story daily. Then the next day, people have already forgotten about it and moved on to something else,” said Eaton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13854680,pop_109574,forum_2010101870525' label='Related Coverage']\u003c/p>\n\u003cp>There’s a fair bit of truth in that. Who’s still talking about Paul Ryan? Or Hillary Clinton? Well, President Donald Trump is, suggesting some of these songs can become relevant again if you wait just a minute or two.\u003c/p>\n\u003cp>Have Americans become too politically polarized to appreciate the way the Steps lampoon everyone on the national stage? People with no sense of humor about politics tend to steer clear of their shows. “People who see our show, they know what we’re doing,” said Eaton. But they still get complaints, mostly about their costumes.\u003c/p>\n\u003cp>“We had a bit where a person comes through in a shark outfit, and somebody said ‘Oh, it’s not cool, because they’re endangered.’ So typically, it’s not the abuse of politicians that people complain about. It’s something bizarre.”\u003c/p>\n\u003cp>Humans, on the other hand, are fair game. Take the aging liberals on the U.S. Supreme Court bench.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=PwU_r7q9nTQ]\u003c/p>\n\u003cp>Since they began, the satirical comedy troupe has recorded more than 30 albums, including \u003cem>Campaign and Suffering\u003c/em>, \u003cem>Take the Money and Run for President\u003c/em>, and \u003cem>I’m So Indicted\u003c/em>. They’ve been featured on public radio stations nationwide during their \u003ca href=\"http://www.capsteps.com/radio/\" target=\"_blank\" rel=\"noopener\">Politics Takes a Holiday\u003c/a> radio specials. But most of their live performances take place in (where else?) Washington, D.C. Thankfully, they do travel beyond the Beltway on occasion. So take advantage.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>Capitol Steps\u003c/strong> perform ‘Make America Grin Again’ at the \u003ca href=\"http://montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a> on Sunday, April 14, 2019. For more information, click \u003ca href=\"http://montalvoarts.org/events/capitolsteps_2019/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.capsteps.com\" target=\"_blank\" rel=\"noopener\">Capitol Steps\u003c/a> began almost 40 years ago as a Christmas party stunt by U.S. Senate staffers in Washington, D.C. The apocryphal story: their first idea was to stage a nativity play, but in the whole of Congress, they couldn’t find three wise men or a virgin.\u003c/p>\n\u003cp>If that made you groan, you can stop reading here. Or maybe that’s your thing. If so, prepare for a night of jokes musical and otherwise that make you groan and guffaw in equal measure. Hey, when was the last time you found yourself laughing at politics? I’m not laughing watching John Oliver. I’m crying. You?\u003c/p>\n\u003cp>The troop (some of them actual veterans of politics) tours with a set list of 30 or so familiar songs set to fresh lyrics ripped from the headlines. Word is there’s a new one about Congresswoman Alexandria Ocasio-Cortez, which has to make you curious about the rhyming, just to start.\u003c/p>\n\u003cp>Mark Eaton, who manages as well as writes and performs for the Capitol Steps, says the Trump Era has been exhausting.\u003c/p>\n\u003cp>\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/NYFVqqgONv4'\n title='//www.youtube.com/embed/NYFVqqgONv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It is the best of times. It is the worst of times. There’s almost a story daily. Then the next day, people have already forgotten about it and moved on to something else,” said Eaton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a fair bit of truth in that. Who’s still talking about Paul Ryan? Or Hillary Clinton? Well, President Donald Trump is, suggesting some of these songs can become relevant again if you wait just a minute or two.\u003c/p>\n\u003cp>Have Americans become too politically polarized to appreciate the way the Steps lampoon everyone on the national stage? People with no sense of humor about politics tend to steer clear of their shows. “People who see our show, they know what we’re doing,” said Eaton. But they still get complaints, mostly about their costumes.\u003c/p>\n\u003cp>“We had a bit where a person comes through in a shark outfit, and somebody said ‘Oh, it’s not cool, because they’re endangered.’ So typically, it’s not the abuse of politicians that people complain about. It’s something bizarre.”\u003c/p>\n\u003cp>Humans, on the other hand, are fair game. Take the aging liberals on the U.S. Supreme Court bench.\u003c/p>\n\u003cp>\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/PwU_r7q9nTQ'\n title='//www.youtube.com/embed/PwU_r7q9nTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since they began, the satirical comedy troupe has recorded more than 30 albums, including \u003cem>Campaign and Suffering\u003c/em>, \u003cem>Take the Money and Run for President\u003c/em>, and \u003cem>I’m So Indicted\u003c/em>. They’ve been featured on public radio stations nationwide during their \u003ca href=\"http://www.capsteps.com/radio/\" target=\"_blank\" rel=\"noopener\">Politics Takes a Holiday\u003c/a> radio specials. But most of their live performances take place in (where else?) Washington, D.C. Thankfully, they do travel beyond the Beltway on occasion. So take advantage.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>Capitol Steps\u003c/strong> perform ‘Make America Grin Again’ at the \u003ca href=\"http://montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a> on Sunday, April 14, 2019. For more information, click \u003ca href=\"http://montalvoarts.org/events/capitolsteps_2019/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Now in its 19th year, the \u003ca href=\"https://www.youtube.com/user/coachella\">Coachella Valley Music and Arts Festival\u003c/a> is more than a music festival, or even a lifestyle. It’s a capital-M moment that seems to stop the world. (And not \u003cem>entirely\u003c/em> because Beyoncé willed it so last year.) Beyond the experience of bearing witness to celebrities of the A- and D-lists as they drench themselves in sweat and dust while gorging on trendy cuisine and novelty cocktails, Coachella’s influence extends far beyond the festival grounds of Indio, California.\u003c/p>\n\u003cp>Even Coachella seems to be aware of this: For the first time ever, it’s doubling down on its festival streams by showcasing both weekends of the festival. Emergent K-pop group BLACKPINK is set to broadcast its message of sensory-overload pop music \u003ca href=\"https://www.latimes.com/business/hollywood/la-fi-ct-youtube-coachella-times-square-20190408-story.html\">in Times Square\u003c/a> this weekend. Childish Gambino and Rihanna premiered a new film, and with the aid of Amazon and YouTube, will premiere it globally this weekend for free.\u003c/p>\n\u003cp>For those looking to avoid the hefty price tag of a festival pass — or reluctant to experience Coachella anywhere but on a couch — we’ve got you covered. The only catch: You’ll need to watch it \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">live on YouTube\u003c/a>, as Coachella does not make its sets available after the fact as on-demand videos.\u003c/p>\n\u003cp>So, without further ado, here are 10 Coachella 2019 acts worth planning your weekend around, in chronological order. And if you’re the adventurous sort, you can scan and skip between a whopping 83 live performances across three channels at \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">youtube.com/user/coachella/coachellalive\u003c/a>.\u003c/p>\n\u003ch3 class=\"hed\">10 Coachella Sets We’re Watching This Weekend\u003c/h3>\n\u003ch4>Kacey Musgraves\u003c/h4>\n\u003cfigure id=\"attachment_13854931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1134354848-5b17415d54e71f6f69f45040c5d07f81a6ccbdb2-800x600.jpg\" alt=\"Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>Even if it’s not quite golden hour elsewhere, getting to see Kacey Musgraves perform as the sun wanes in Coachella might just be worth the price of admission. (Lucky for you, it only requires access to a device that streams YouTube.)\u003c/p>\n\u003ch4>BLACKPINK\u003c/h4>\n\u003cfigure id=\"attachment_13854934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1098327268-f3b5abd610964c14e98248532cca79ff9f4ae201-800x600.jpg\" alt=\"Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 11:30 p.m. ET / 8:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>BLACKPINK’s Coachella set is one for the books: It’s the first ever K-pop group to perform at the hallowed festival grounds — and quite possibly the first act ever to simulcast a Coachella set from Times Square. If BLACKPINK is good enough for Times Square, it’s good enough for your living room, right?\u003c/p>\n\u003ch4>Janelle Monáe\u003c/h4>\n\u003cfigure id=\"attachment_13854936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1130408167-8985f8827768a01762d9a72ab6d2806afbba0377-800x600.jpg\" alt=\"Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\u003c/figcaption>\u003c/figure>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:30 a.m. ET / 10:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>No introduction needed: Janelle Monáe is an electric presence live. Come for her excellent music; stay for what will surely be a spectacle when she breaks out “Pynk.”\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003ch4>Billie Eilish\u003c/h4>\n\u003cfigure id=\"attachment_13855014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855014 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Billie-Eilish-800x600.jpg\" alt=\"Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California. \u003ccite>(Kevin Winter/Getty Images for KROQ/Entercom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:50 a.m. ET / 9:50 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>The one time this author saw Billie Eilish, her gloomy pop whipped a sold-out club full of Gen Z-ers into a total frenzy — and that was months before the release of her star-making album \u003cem>When We All Fall Asleep, Where Do We Go?\u003c/em> If anything, this one’s worth throwing on in the event you’re struggling to keep up with the kids.\u003c/p>\n\u003ch3>Tame Impala\u003c/h3>\n\u003cfigure id=\"attachment_13854940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-596739456-9da84f4f754005b4bf7b56124b7a03d4d521e356-800x600.jpg\" alt=\"Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 2:00 a.m. ET / 11:00 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>There probably won’t be a better nightcap for your Saturday than Tame Impala’s groovy psychedelia. Bandleader Kevin Parker will almost certainly break out a few new songs, too.\u003c/p>\n\u003ch3>Little Simz\u003c/h3>\n\u003cfigure id=\"attachment_13854942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-947860284-37ee00888c22a0d5f9342d6ad03d06115098c9f5-800x600.jpg\" alt=\"Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England. \u003ccite>(John Phillips/Getty Images for Global Citizen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 3:00 a.m. ET / 12:00 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 3\u003c/p>\n\u003cp>…but if you’re looking to stay up, U.K. rapper Little Simz put out a stellar album this year titled \u003cem>GREY Area\u003c/em>. At 25, she’s a commanding, already-seasoned stage presence.\u003c/p>\n\u003c/div>\n\u003ch4>Bad Bunny\u003c/h4>\n\u003cfigure id=\"attachment_13854944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1128323097-2fc7c2e7e7ee1dc244489d901fbc47a064a089dd-800x600.jpg\" alt=\"Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019. \u003ccite>(Claudio Reyes/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>You’d be remiss to skip Bad Bunny, \u003cem>urbano\u003c/em>‘s Puerto Rican goofball prince, live. Still riding the wave of his immaculate, long-awaited debut \u003cem>X 100PRE\u003c/em>, Bad Bunny has charisma and charm for days.\u003c/p>\n\u003ch3>Pusha T\u003c/h3>\n\u003cfigure id=\"attachment_13854946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-976138098-70fb8236baf65585d64ef5f3bd680737cb46666e-800x600.jpg\" alt=\"Rapper Pusha T performs during the debut of his residency at Drai's Beach Club - Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pusha T performs during the debut of his residency at Drai’s Beach Club – Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:35 a.m. ET / 9:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>King Push decreed himself the steel-eyed sorcerer of rap with \u003cem>DAYTONA\u003c/em>. Come witness his proper coronation.\u003c/p>\n\u003ch4>Lizzo\u003c/h4>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13854957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-800x599.jpg\" alt=\"Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California. \u003ccite>(Matt Winkelmeyer/Getty Images for GLAAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:40 a.m. ET / 10:40 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>We don’t know what to tell you: If \u003ca href=\"https://www.youtube.com/watch?v=XaCrQL_8eMY\">the “Juice” video\u003c/a> won’t convince you to watch, maybe the promise of Lizzo twerking whilst playing the flute will.\u003c/p>\n\u003ch4>Ariana Grande\u003c/h4>\n\u003cfigure id=\"attachment_13854955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-800x599.jpg\" alt=\"Ariana Grande\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande \u003ccite>(Bennett Raglin/Getty Images for FIJI Water)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:35 a.m. ET / 10:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To cap off the whole festival, come witness one of pop music’s biggest stars as she caps off a stunning run of music. (And, for what it’s worth, tickets for her ongoing tour sold out months in advance. This might be your only chance to see her.)\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+Coachella+Performances+Worth+Watching+On+YouTube+This+Weekend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 19th year, the \u003ca href=\"https://www.youtube.com/user/coachella\">Coachella Valley Music and Arts Festival\u003c/a> is more than a music festival, or even a lifestyle. It’s a capital-M moment that seems to stop the world. (And not \u003cem>entirely\u003c/em> because Beyoncé willed it so last year.) Beyond the experience of bearing witness to celebrities of the A- and D-lists as they drench themselves in sweat and dust while gorging on trendy cuisine and novelty cocktails, Coachella’s influence extends far beyond the festival grounds of Indio, California.\u003c/p>\n\u003cp>Even Coachella seems to be aware of this: For the first time ever, it’s doubling down on its festival streams by showcasing both weekends of the festival. Emergent K-pop group BLACKPINK is set to broadcast its message of sensory-overload pop music \u003ca href=\"https://www.latimes.com/business/hollywood/la-fi-ct-youtube-coachella-times-square-20190408-story.html\">in Times Square\u003c/a> this weekend. Childish Gambino and Rihanna premiered a new film, and with the aid of Amazon and YouTube, will premiere it globally this weekend for free.\u003c/p>\n\u003cp>For those looking to avoid the hefty price tag of a festival pass — or reluctant to experience Coachella anywhere but on a couch — we’ve got you covered. The only catch: You’ll need to watch it \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">live on YouTube\u003c/a>, as Coachella does not make its sets available after the fact as on-demand videos.\u003c/p>\n\u003cp>So, without further ado, here are 10 Coachella 2019 acts worth planning your weekend around, in chronological order. And if you’re the adventurous sort, you can scan and skip between a whopping 83 live performances across three channels at \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">youtube.com/user/coachella/coachellalive\u003c/a>.\u003c/p>\n\u003ch3 class=\"hed\">10 Coachella Sets We’re Watching This Weekend\u003c/h3>\n\u003ch4>Kacey Musgraves\u003c/h4>\n\u003cfigure id=\"attachment_13854931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1134354848-5b17415d54e71f6f69f45040c5d07f81a6ccbdb2-800x600.jpg\" alt=\"Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>Even if it’s not quite golden hour elsewhere, getting to see Kacey Musgraves perform as the sun wanes in Coachella might just be worth the price of admission. (Lucky for you, it only requires access to a device that streams YouTube.)\u003c/p>\n\u003ch4>BLACKPINK\u003c/h4>\n\u003cfigure id=\"attachment_13854934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1098327268-f3b5abd610964c14e98248532cca79ff9f4ae201-800x600.jpg\" alt=\"Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 11:30 p.m. ET / 8:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>BLACKPINK’s Coachella set is one for the books: It’s the first ever K-pop group to perform at the hallowed festival grounds — and quite possibly the first act ever to simulcast a Coachella set from Times Square. If BLACKPINK is good enough for Times Square, it’s good enough for your living room, right?\u003c/p>\n\u003ch4>Janelle Monáe\u003c/h4>\n\u003cfigure id=\"attachment_13854936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1130408167-8985f8827768a01762d9a72ab6d2806afbba0377-800x600.jpg\" alt=\"Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\u003c/figcaption>\u003c/figure>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:30 a.m. ET / 10:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>No introduction needed: Janelle Monáe is an electric presence live. Come for her excellent music; stay for what will surely be a spectacle when she breaks out “Pynk.”\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003ch4>Billie Eilish\u003c/h4>\n\u003cfigure id=\"attachment_13855014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855014 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Billie-Eilish-800x600.jpg\" alt=\"Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California. \u003ccite>(Kevin Winter/Getty Images for KROQ/Entercom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:50 a.m. ET / 9:50 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>The one time this author saw Billie Eilish, her gloomy pop whipped a sold-out club full of Gen Z-ers into a total frenzy — and that was months before the release of her star-making album \u003cem>When We All Fall Asleep, Where Do We Go?\u003c/em> If anything, this one’s worth throwing on in the event you’re struggling to keep up with the kids.\u003c/p>\n\u003ch3>Tame Impala\u003c/h3>\n\u003cfigure id=\"attachment_13854940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-596739456-9da84f4f754005b4bf7b56124b7a03d4d521e356-800x600.jpg\" alt=\"Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 2:00 a.m. ET / 11:00 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>There probably won’t be a better nightcap for your Saturday than Tame Impala’s groovy psychedelia. Bandleader Kevin Parker will almost certainly break out a few new songs, too.\u003c/p>\n\u003ch3>Little Simz\u003c/h3>\n\u003cfigure id=\"attachment_13854942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-947860284-37ee00888c22a0d5f9342d6ad03d06115098c9f5-800x600.jpg\" alt=\"Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England. \u003ccite>(John Phillips/Getty Images for Global Citizen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 3:00 a.m. ET / 12:00 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 3\u003c/p>\n\u003cp>…but if you’re looking to stay up, U.K. rapper Little Simz put out a stellar album this year titled \u003cem>GREY Area\u003c/em>. At 25, she’s a commanding, already-seasoned stage presence.\u003c/p>\n\u003c/div>\n\u003ch4>Bad Bunny\u003c/h4>\n\u003cfigure id=\"attachment_13854944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1128323097-2fc7c2e7e7ee1dc244489d901fbc47a064a089dd-800x600.jpg\" alt=\"Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019. \u003ccite>(Claudio Reyes/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>You’d be remiss to skip Bad Bunny, \u003cem>urbano\u003c/em>‘s Puerto Rican goofball prince, live. Still riding the wave of his immaculate, long-awaited debut \u003cem>X 100PRE\u003c/em>, Bad Bunny has charisma and charm for days.\u003c/p>\n\u003ch3>Pusha T\u003c/h3>\n\u003cfigure id=\"attachment_13854946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-976138098-70fb8236baf65585d64ef5f3bd680737cb46666e-800x600.jpg\" alt=\"Rapper Pusha T performs during the debut of his residency at Drai's Beach Club - Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pusha T performs during the debut of his residency at Drai’s Beach Club – Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:35 a.m. ET / 9:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>King Push decreed himself the steel-eyed sorcerer of rap with \u003cem>DAYTONA\u003c/em>. Come witness his proper coronation.\u003c/p>\n\u003ch4>Lizzo\u003c/h4>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13854957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-800x599.jpg\" alt=\"Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California. \u003ccite>(Matt Winkelmeyer/Getty Images for GLAAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:40 a.m. ET / 10:40 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>We don’t know what to tell you: If \u003ca href=\"https://www.youtube.com/watch?v=XaCrQL_8eMY\">the “Juice” video\u003c/a> won’t convince you to watch, maybe the promise of Lizzo twerking whilst playing the flute will.\u003c/p>\n\u003ch4>Ariana Grande\u003c/h4>\n\u003cfigure id=\"attachment_13854955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-800x599.jpg\" alt=\"Ariana Grande\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande \u003ccite>(Bennett Raglin/Getty Images for FIJI Water)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:35 a.m. ET / 10:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To cap off the whole festival, come witness one of pop music’s biggest stars as she caps off a stunning run of music. (And, for what it’s worth, tickets for her ongoing tour sold out months in advance. This might be your only chance to see her.)\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+Coachella+Performances+Worth+Watching+On+YouTube+This+Weekend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Flintstone House Owner Hires Lawyers to Fight Hillsborough Lawsuit",
"headTitle": "Flintstone House Owner Hires Lawyers to Fight Hillsborough Lawsuit | KQED",
"content": "\u003cp>She’s not going down without a fight.\u003c/p>\n\u003cp>At 85 years old, Florence Fang says she bought her bright orange, non-rectilinear “Flintstone House” in Hillsborough (after it \u003ca href=\"https://www.kqed.org/news/11350365/whats-that-thing-off-280-the-flintstone-house\" target=\"_blank\" rel=\"noopener\">sat on the market\u003c/a> for two years) because she loved its cartoonish unconventionality. So much so, in fact, that the retired publisher installed 15-foot dinosaur statues in the backyard and a “Yabba Dabba Do” sign in the front, among other things, to add to its festive feeling visible from the freeway.\u003c/p>\n\u003cp>“This house needed somebody to care! I take care of this house! I make the house live again! I make Flintstone live again!” Fang told a crowd of roughly 30 reporters who’d gathered to hear from her and her high-profile lawyer, Angela Alioto, on Thursday.\u003c/p>\n\u003cp>[aside postID='arts_11733850,arts_11350365'label='Related Coverage']“The \u003ca href=\"https://www.hud.gov/program_offices/fair_housing_equal_opp/fair_housing_act_overview\" target=\"_blank\" rel=\"noopener\">Federal Housing Act\u003c/a> doesn’t allow this kind of discrimination, doesn’t allow this kind of harassment in your own backyard,” Alioto added, “She got the permit for the front of the house. She got the permit for the driveway. She got the permit for the retaining wall. They came out to close those permits and OK them, and while they were out here, they took a walk to the backyard. That same day, they wrote a stop order.”\u003c/p>\n\u003cp>Alioto described the restrictions from the city’s planning department as changing goal posts. “First, they wanted her to paint the mushrooms. They wanted the mushrooms to be brown. They didn’t want colorful mushrooms,” Alioto said.\u003c/p>\n\u003cfigure id=\"attachment_13854852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-800x600.jpg\" alt=\"From left to right: architect William Nicholson, Flinstone House owner Florence Fang, and attorney Angela Alioto.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: architect William Nicholson, Flinstone House owner Florence Fang, and attorney Angela Alioto. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was never good enough. There’s also an inspector there who seems to think that the people who live in the town of Hillsborough ‘need to speak English.’ I want to take his deposition,” Alioto said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fang said the international publicity of her battle with Hillsborough has led thousands of supporters to write her to express their support. “American spirit is you dare to dream,” she said. “You dare to challenge. You dare to make a difference. You dare to make a change.”\u003c/p>\n\u003cp>Fang said she’s a law-abiding citizen keen to enjoy a “peaceful happy retired life.”\u003c/p>\n\u003cp>That’s not how Hillsborough Assistant City Attorney Mark Hudak describes it. “This project was first seen by one of our town employees driving in on 280,” he said, referencing the nearby freeway. “The permit she had at the time was for a very low wall in the front yard.”\u003c/p>\n\u003cp>He added that Fang racked up three stop work notices and a code citation before the city proceeded to sue. “Mrs. Fang began a very large project which required a design review and building permits she didn’t have. If we let people build projects of this kind without getting permits, how can we ask others to get permits?”\u003c/p>\n\u003cfigure id=\"attachment_13854854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-800x600.jpg\" alt=\"Most of Florence Fang's eclectic landscaping choices cannot be seen from the street, including this installation facing the front of her house.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Most of Florence Fang’s eclectic landscaping choices cannot be seen from the street, including this installation facing the front of her house. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hudak said a settlement is possible “if she’s willing to make compromises that she has not so far been willing to make.” Those include installing trees big enough to break up “the very blunt visual impact of this project… imposing the totality of her point of view on everybody else.”\u003c/p>\n\u003ch2>Can City Employees Deny Permits Based on Aesthetics?\u003c/h2>\n\u003cp>Although Fang’s landscaping can’t be seen from her residential street, only from I-280, Hillsborough’s suit claims it constitutes a “highly visible eyesore … out of keeping with community standards.”\u003c/p>\n\u003cp>Fang was told to plant tree cover around the dinosaurs to hide them at least partially from public view. Hudak insisted, “It’s the same process whether you’re installing dinosaur statues or Rodin statutes. With proper screening, she can get approval or more of what she has up there.”\u003c/p>\n\u003cp>But he added her property is in a \u003ca href=\"http://www.dot.ca.gov/hq/LandArch/16_livability/scenic_highways/guidelines/scenic_hwy_guidelines_04-12-2012.pdf\" target=\"_blank\" rel=\"noopener\">designated scenic highway corridor\u003c/a> along the Crystal Springs Lake. San Mateo County has not raised concerns with Hillsborough, Hudak said, but Hillsborough will require Fang to demonstrate her backyard complies with the county’s requirements just the same.\u003c/p>\n\u003cfigure id=\"attachment_13854855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854855\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-800x568.jpg\" alt='\"De gustibus non est disputandum\" is a Latin maxim meaning \"In matters of taste, there can be no disputes.\" However, it has no bearing on the municipal permitting process in American cities.' width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-1200x851.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“De gustibus non est disputandum” is a Latin maxim meaning “In matters of taste, there can be no disputes.” However, it has no bearing on the municipal permitting process in American cities. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the press conference, the architect of the house, William Nicholson, said he’s proud of Fang and characterized city officials as bullies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Why shouldn’t our architecture and our living environments be fun?” he said. “She is so strong and so resilient. The town officials don’t know what they’ve gone up against.”\u003c/p>\n\n",
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"title": "Flintstone House Owner Hires Lawyers to Fight Hillsborough Lawsuit | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She’s not going down without a fight.\u003c/p>\n\u003cp>At 85 years old, Florence Fang says she bought her bright orange, non-rectilinear “Flintstone House” in Hillsborough (after it \u003ca href=\"https://www.kqed.org/news/11350365/whats-that-thing-off-280-the-flintstone-house\" target=\"_blank\" rel=\"noopener\">sat on the market\u003c/a> for two years) because she loved its cartoonish unconventionality. So much so, in fact, that the retired publisher installed 15-foot dinosaur statues in the backyard and a “Yabba Dabba Do” sign in the front, among other things, to add to its festive feeling visible from the freeway.\u003c/p>\n\u003cp>“This house needed somebody to care! I take care of this house! I make the house live again! I make Flintstone live again!” Fang told a crowd of roughly 30 reporters who’d gathered to hear from her and her high-profile lawyer, Angela Alioto, on Thursday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The \u003ca href=\"https://www.hud.gov/program_offices/fair_housing_equal_opp/fair_housing_act_overview\" target=\"_blank\" rel=\"noopener\">Federal Housing Act\u003c/a> doesn’t allow this kind of discrimination, doesn’t allow this kind of harassment in your own backyard,” Alioto added, “She got the permit for the front of the house. She got the permit for the driveway. She got the permit for the retaining wall. They came out to close those permits and OK them, and while they were out here, they took a walk to the backyard. That same day, they wrote a stop order.”\u003c/p>\n\u003cp>Alioto described the restrictions from the city’s planning department as changing goal posts. “First, they wanted her to paint the mushrooms. They wanted the mushrooms to be brown. They didn’t want colorful mushrooms,” Alioto said.\u003c/p>\n\u003cfigure id=\"attachment_13854852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-800x600.jpg\" alt=\"From left to right: architect William Nicholson, Flinstone House owner Florence Fang, and attorney Angela Alioto.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36482_Photo-Apr-11-11-17-24-AM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: architect William Nicholson, Flinstone House owner Florence Fang, and attorney Angela Alioto. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was never good enough. There’s also an inspector there who seems to think that the people who live in the town of Hillsborough ‘need to speak English.’ I want to take his deposition,” Alioto said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fang said the international publicity of her battle with Hillsborough has led thousands of supporters to write her to express their support. “American spirit is you dare to dream,” she said. “You dare to challenge. You dare to make a difference. You dare to make a change.”\u003c/p>\n\u003cp>Fang said she’s a law-abiding citizen keen to enjoy a “peaceful happy retired life.”\u003c/p>\n\u003cp>That’s not how Hillsborough Assistant City Attorney Mark Hudak describes it. “This project was first seen by one of our town employees driving in on 280,” he said, referencing the nearby freeway. “The permit she had at the time was for a very low wall in the front yard.”\u003c/p>\n\u003cp>He added that Fang racked up three stop work notices and a code citation before the city proceeded to sue. “Mrs. Fang began a very large project which required a design review and building permits she didn’t have. If we let people build projects of this kind without getting permits, how can we ask others to get permits?”\u003c/p>\n\u003cfigure id=\"attachment_13854854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-800x600.jpg\" alt=\"Most of Florence Fang's eclectic landscaping choices cannot be seen from the street, including this installation facing the front of her house.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Photo-Apr-11-11-47-50-AM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Most of Florence Fang’s eclectic landscaping choices cannot be seen from the street, including this installation facing the front of her house. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hudak said a settlement is possible “if she’s willing to make compromises that she has not so far been willing to make.” Those include installing trees big enough to break up “the very blunt visual impact of this project… imposing the totality of her point of view on everybody else.”\u003c/p>\n\u003ch2>Can City Employees Deny Permits Based on Aesthetics?\u003c/h2>\n\u003cp>Although Fang’s landscaping can’t be seen from her residential street, only from I-280, Hillsborough’s suit claims it constitutes a “highly visible eyesore … out of keeping with community standards.”\u003c/p>\n\u003cp>Fang was told to plant tree cover around the dinosaurs to hide them at least partially from public view. Hudak insisted, “It’s the same process whether you’re installing dinosaur statues or Rodin statutes. With proper screening, she can get approval or more of what she has up there.”\u003c/p>\n\u003cp>But he added her property is in a \u003ca href=\"http://www.dot.ca.gov/hq/LandArch/16_livability/scenic_highways/guidelines/scenic_hwy_guidelines_04-12-2012.pdf\" target=\"_blank\" rel=\"noopener\">designated scenic highway corridor\u003c/a> along the Crystal Springs Lake. San Mateo County has not raised concerns with Hillsborough, Hudak said, but Hillsborough will require Fang to demonstrate her backyard complies with the county’s requirements just the same.\u003c/p>\n\u003cfigure id=\"attachment_13854855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854855\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-800x568.jpg\" alt='\"De gustibus non est disputandum\" is a Latin maxim meaning \"In matters of taste, there can be no disputes.\" However, it has no bearing on the municipal permitting process in American cities.' width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut-1200x851.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/RS36487_Photo-Apr-11-11-49-10-AM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“De gustibus non est disputandum” is a Latin maxim meaning “In matters of taste, there can be no disputes.” However, it has no bearing on the municipal permitting process in American cities. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the press conference, the architect of the house, William Nicholson, said he’s proud of Fang and characterized city officials as bullies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Why shouldn’t our architecture and our living environments be fun?” he said. “She is so strong and so resilient. The town officials don’t know what they’ve gone up against.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Keak Da Sneak Begins Prison Sentence After Lengthy Legal Battle",
"headTitle": "Keak Da Sneak Begins Prison Sentence After Lengthy Legal Battle | KQED",
"content": "\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak da Sneak began a 16-month prison sentence today after being taken into custody in Amador County.\u003c/p>\n\u003cp>In January, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that the rapper faced a prison sentence for possession of a firearm as a convicted felon. In a lengthy, \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">exclusive interview\u003c/a>, Keak, whose real name is Charles Kente Williams, went into detail about surviving two shootings which rendered him wheelchair-bound and in need of regular medical care for bed sores that could result in a life-threatening infection if left untended.\u003c/p>\n\u003cp>“I know they’re not gonna give me the treatment I need in prison,” he told me in January. “I’ve been to jail before, and once you get behind these walls, they have no compassion. You have to be on your dying bed for them to give you some assistance.”\u003c/p>\n\u003cp>Because of the extent of Williams’ disabilities, his legal team had lobbied for an alternative sentence of house arrest. The judge on the case delayed his sentencing date twice as he completed several medical procedures. Though Williams and his legal team had hoped for another outcome, today, Williams went into custody to begin his sentence, Amador County District Attorney Todd Riebe confirmed. He faces three years of parole once released.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We spoke with folks from the California Department of Corrections and Rehabilitation,” Riebe said. “There are plenty of facilities that can take individuals in wheelchairs that need medical assistance on a daily basis.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I know the court has made orders for accommodations ahead of time, that any transportation is going to be medically complaint, that he has an adequate bed,” said Chief Assistant District Attorney Robert Trudgen. “I know efforts are at least being made.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13854824\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg\" alt=\"Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13854824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disability rights advocates, however, paint a different picture of the California state prison system. The California Department of Corrections and Rehabilitation’s medical system has been under federal monitoring since 2006, when a federal judge ruled it unconstitutionally inadequate and in violation of the 8th Amendment. \u003c/p>\n\u003cp>According to the ACLU, California state prisons are overcrowded, at 136.6 percent capacity. Quality of life for inmates with disabilities varies widely from facility to facility, and they often spend lengthy periods of time in highly restrictive reception centers—where they don’t have phone privileges and can only interact with visitors through glass—while the state assesses their medical needs and places them in an adequate facility. \u003c/p>\n\u003cp>“We are concerned how the state system would treat him because the CDCR is under a mandate, and are being monitored for not treating the prisoners well,” says Williams’ lawyer, Joanne Biernacki. “I’ve read reports on prisoners not doing well in the state prison system. The last thing I want is for him to go in and get sicker.”\u003c/p>\n\u003cp>“We were hoping for something better,” says Williams’ close collaborator Dontrell Mayfield, a.k.a. 4Rax of the production duo the Mekanix. “We talked to him yesterday and what was really the focal point was, ‘I’m ready to put this behind me.’ The clock is ticking and we gon’ pray for him and wait for him to come on out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Prior to starting his sentence, Williams worked on music and a documentary set to be released sometime during his term. As he explained in January, “It got me doing a lot of recording right now, so while I’m gone I can be dropping music to take care of my family.”\u003c/p>\n\n",
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"excerpt": "Keak da Sneak began his 16-month sentence in California state prison today after lobbying for alternative sentencing due to his disabilities.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak da Sneak began a 16-month prison sentence today after being taken into custody in Amador County.\u003c/p>\n\u003cp>In January, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that the rapper faced a prison sentence for possession of a firearm as a convicted felon. In a lengthy, \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">exclusive interview\u003c/a>, Keak, whose real name is Charles Kente Williams, went into detail about surviving two shootings which rendered him wheelchair-bound and in need of regular medical care for bed sores that could result in a life-threatening infection if left untended.\u003c/p>\n\u003cp>“I know they’re not gonna give me the treatment I need in prison,” he told me in January. “I’ve been to jail before, and once you get behind these walls, they have no compassion. You have to be on your dying bed for them to give you some assistance.”\u003c/p>\n\u003cp>Because of the extent of Williams’ disabilities, his legal team had lobbied for an alternative sentence of house arrest. The judge on the case delayed his sentencing date twice as he completed several medical procedures. Though Williams and his legal team had hoped for another outcome, today, Williams went into custody to begin his sentence, Amador County District Attorney Todd Riebe confirmed. He faces three years of parole once released.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We spoke with folks from the California Department of Corrections and Rehabilitation,” Riebe said. “There are plenty of facilities that can take individuals in wheelchairs that need medical assistance on a daily basis.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I know the court has made orders for accommodations ahead of time, that any transportation is going to be medically complaint, that he has an adequate bed,” said Chief Assistant District Attorney Robert Trudgen. “I know efforts are at least being made.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13854824\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg\" alt=\"Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13854824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disability rights advocates, however, paint a different picture of the California state prison system. The California Department of Corrections and Rehabilitation’s medical system has been under federal monitoring since 2006, when a federal judge ruled it unconstitutionally inadequate and in violation of the 8th Amendment. \u003c/p>\n\u003cp>According to the ACLU, California state prisons are overcrowded, at 136.6 percent capacity. Quality of life for inmates with disabilities varies widely from facility to facility, and they often spend lengthy periods of time in highly restrictive reception centers—where they don’t have phone privileges and can only interact with visitors through glass—while the state assesses their medical needs and places them in an adequate facility. \u003c/p>\n\u003cp>“We are concerned how the state system would treat him because the CDCR is under a mandate, and are being monitored for not treating the prisoners well,” says Williams’ lawyer, Joanne Biernacki. “I’ve read reports on prisoners not doing well in the state prison system. The last thing I want is for him to go in and get sicker.”\u003c/p>\n\u003cp>“We were hoping for something better,” says Williams’ close collaborator Dontrell Mayfield, a.k.a. 4Rax of the production duo the Mekanix. “We talked to him yesterday and what was really the focal point was, ‘I’m ready to put this behind me.’ The clock is ticking and we gon’ pray for him and wait for him to come on out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Prior to starting his sentence, Williams worked on music and a documentary set to be released sometime during his term. As he explained in January, “It got me doing a lot of recording right now, so while I’m gone I can be dropping music to take care of my family.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "lenn-keller-keeping-the-bay-areas-black-lesbian-history-alive",
"title": "Lenn Keller: Keeping the Bay Area’s Black Lesbian History Alive",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>arching down Market Street, \u003ca href=\"http://www.lennkeller.com/\" target=\"_blank\" rel=\"noopener\">Lenn Keller\u003c/a> knew she was experiencing an extraordinary moment in history. With her housemates, holding protest signs made in their Berkeley apartment, Keller joined a lesbian contingent that refused to go unacknowledged in San Francisco’s 1976 Gay Freedom Day (as the Pride Parade was then called). At a time when “gay community” was synonymous with white men, the message was clear: “We lesbians are here, too.”\u003c/p>\n\u003cp>That 1976 march is just one of many rallies, celebrations and demonstrations that galvanized the Bay Area’s lesbian community—gatherings Keller diligently photographed with a camera she was known for carrying everywhere.\u003c/p>\n\u003cp>[pullquote size='medium']‘I grew up barely being aware that lesbian and gay people even existed.’[/pullquote]\u003c/p>\n\u003cp>“I knew what was going on was unprecedented,” she says. “And I wanted to not just document it, but to capture more intimate moments.”\u003c/p>\n\u003cp>Keller’s black-and-white photographs of anonymous activists and musicians (just a handful of the hundreds of images she took of Bay Area lesbian life) welcome viewers into the Oakland Museum of California’s \u003ci>\u003ca href=\"http://museumca.org/gallery/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Queer California: Untold Stories\u003c/a>\u003c/i> exhibition, on view April 13–Aug. 11. The placement is strategic: Her “documentary portraits” of black lesbians introduce a show that concerns itself with what’s been left out of most presentations of California’s LGBTQ+ narrative.\u003c/p>\n\u003cp>“Early on when I began to survey the available histories, I felt like one of the things I was searching for and not finding a lot of was material related to women and people of color,” says \u003ci>Queer California\u003c/i> curator Christina Linden. “I knew immediately that I really wanted to include [Keller’s photography] in the exhibition.”\u003c/p>\n\u003cfigure id=\"attachment_13854654\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200.jpg\" alt=\"Lenn Keller, 'Sistah Book jam after SF Pride,' June 1982. \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lenn Keller, ‘Sistah Boom jam after SF Pride,’ June 1982. \u003ccite>(Courtesy of H. Lenn Keller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For far too long, Keller, now 67, has watched the stories and accomplishments of her community fade from both memory and view. “Any time you’re queer, you’re marginalized automatically, but then there are all these different levels of marginalization within that,” she says. “I’m black, I’m a lesbian, I’m gender non-conforming, a.k.a. butch. People are taught there are certain people who are considered throwaway people.” And that, she says, stems in part from a lack of representation within media.\u003c/p>\n\u003cp>Growing up in the North Shore suburbs of Chicago in the 1950s and ’60s (she was one of four black students in her high school graduating class of 1,200), all this was clear to Keller at a very early age. “I didn’t see myself reflected in hardly any place at all,” she says. “I was aware that authors did not anticipate that I would be reading their books.”\u003c/p>\n\u003cp>And as for representations of homosexuality? “I grew up barely being aware that lesbian and gay people even existed,” she remembers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Documenting and Preserving a Movement\u003c/h2>\n\u003cp>Keller, who now lives in Oakland as an artist, curator, community archivist and all-around Bay Area historian, can point to several “a-ha” moments in her life. The first came at age 17, when she ran away from home with a friend and found communities of artists and black radicals in New York City.\u003c/p>\n\u003cp>She met photographers, filmmakers and musicians. “That was a real eye-opener for me,” she says. “It was like, ‘Wow, they’re actually doing this stuff.’”\u003c/p>\n\u003cfigure id=\"attachment_13854748\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/lenn_camera-web.jpg\" alt=\"Lenn Keller with her ubiquitous camera in the 1980s.\" width=\"864\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/lenn_camera-web.jpg 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/lenn_camera-web-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/lenn_camera-web-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/lenn_camera-web-768x508.jpg 768w\" sizes=\"auto, (max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Lenn Keller with her ubiquitous camera in the 1980s. \u003ccite>(Courtesy of H. Lenn Keller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She soon realized, however, that men were the only ones making art. “In fact, we heard many disparaging things about Angela Davis,” Keller recalls. She remembers one self-proclaimed radical saying, “‘That sister needs to learn how to support the brothers in the right way.’ Angela Davis had just a little bit too much intelligence and agency for some people’s comfort. They were kind of holding on to this whole patriarchal way of being.”\u003c/p>\n\u003cp>It wasn’t until she was in her 20s, when she moved to California in 1975, that she started thinking of herself as an artist. The New York artists’ collective had introduced her to photography and filmmaking, and here she taught herself the skills, graduating from Mills College with a degree in visual communication in 1984. She and her camera became inseparable.\u003c/p>\n\u003cp>“If I didn’t have my camera, people would often remark,” she says.\u003c/p>\n\u003cp>Keller developed a style that was intimate, yet still full of the energy and exuberance of the events she documented. A photograph included in \u003ci>Queer California\u003c/i>, taken at a 1983 Pride parade, shows a woman identified by the image’s title as a “black lesbian glockenspiel player” with the SF Lesbian & Gay Freedom Band. Embedded in the rows of musicians, San Francisco’s City Hall out of focus in the distance, Keller catches the parade marching in formation like an advancing, joyous army. Specifically pinning down the glockenspiel player’s identity, Keller affirms her place in the moment and movement, creating a record for future audiences.\u003c/p>\n\u003cfigure id=\"attachment_13854653\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200.jpg\" alt=\"Lenn Keller, 'Black lesbian glockenspiel player w/ SF Lesbian & Gay Freedom Band, SF Pride Parade,' June 1983. \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lenn Keller, ‘Black lesbian glockenspiel player w/ SF Lesbian & Gay Freedom Band, SF Pride Parade,’ June 1983. \u003ccite>(Courtesy of H. Lenn Keller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the decades, in addition to her photographs, Keller has amassed an extensive personal archive of materials related to Bay Area lesbian life: art, books, correspondence, flyers, posters, postcards, T-shirts, buttons, magazines and journals, pamphlets, audio, film, video and things that fall into the category of “miscellaneous ephemera.” In 2014, Keller surveyed this collection—maintained through more moves than she cares to enumerate—and wondered, “Where do I want to put my stuff?”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.bayarealesbianarchives.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Lesbian Archives\u003c/a> (BALA) was born out of this question, establishing a repository for the “at risk” history of Bay Area lesbians. With the help of fellow archivists Rebecca Silverstein and Sharon Davenport, BALA achieved nonprofit status in 2018, with a focus on rescuing collections in danger of being thrown away or destroyed.\u003c/p>\n\u003cp>The archives are not yet open to the public, but the organizers hope to soon house BALA in an accessible location where others can peruse the growing collection. In the meantime, digitizing the material is the top priority.\u003c/p>\n\u003cp>[pullquote size='medium']‘This is what we think people need and what we want to have. So let’s create it.’[/pullquote]\u003c/p>\n\u003cp>According to Linden, who spent months culling through various archives in the process of curating \u003ci>Queer California\u003c/i>, collections such as BALA are rare. San Francisco’s \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">GLBT Historical Society\u003c/a> and Los Angeles’ \u003ca href=\"https://one.usc.edu/\" target=\"_blank\" rel=\"noopener\">ONE Archives\u003c/a> are the two largest LGBTQ+ archives in the state, but the majority of the material they contain is related to cisgender gay white men—in part because so much material was donated during the AIDS crisis. Other factors contribute to the imbalance, Linden says, like who has a history of privilege and who has the means to form a collection, or even the space to accumulate things.\u003c/p>\n\u003cp>“I think [BALA] holds a great deal of material and information that’s related to histories that are definitely underrepresented in these larger archives,” says Linden.\u003c/p>\n\u003cp>Within this landscape, BALA is a continuation of the same documentary impulse that spurred Keller’s photography—and later, her films: a desire to record the contributions of the underrecognized individuals participating in an extraordinary moment in history.\u003c/p>\n\u003ch2>A Different World\u003c/h2>\n\u003cp>Today, the Bay Area of the past that Keller describes sounds like an alternate reality. “There were a lot of institutions and small businesses that made lesbians very visible,” she says. “There were lesbian coffee houses, and women’s bookstores, the women’s skill center… Lesbians at the time were trying to create a different kind of world. And they were saying, ‘This is what we think people need and what we want to have. So let’s create it.’”\u003c/p>\n\u003cp>Keller captured some of these spots, and their tangible sense of community in her first short film, \u003ci>\u003ca href=\"https://www.frameline.org/distribution/distribution-catalog/distribution-film-index/ife\" target=\"_blank\" rel=\"noopener\">Ifé\u003c/a>\u003c/i>, which she describes as “a funky little 5-minute black-and-white film shot on 16mm.” Now distributed by Frameline, the film follows a day in the life of a black French lesbian in San Francisco. It won best short at the Madrid Women’s International Film Festival, and Keller still gets an occasional royalty check in the mail.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Egg1hgVM6fo\u003c/p>\n\u003cp>“There’s a little piece of magic in there, I guess, because it touched a lot of people,” she says.\u003c/p>\n\u003cp>Soon after, she set out to make a longer, more complicated short—with multiple shooting locations, a two-person cast, greater technical challenges and a bigger budget. In a \u003ca href=\"http://www.lennkeller.com/makeyourown2.html\" target=\"_blank\" rel=\"noopener\">delightful production journal\u003c/a>, Keller itemizes the thrills and difficulties of making a film on a shoestring budget in 1994 San Francisco.\u003c/p>\n\u003cp>(You couldn’t, for instance, simply put out a casting call on the internet. One entry reads, “I saw a young black woman in one of the local dyke magazines today—she would be perfect for one of my leads. I called the magazine and left a message.”)\u003c/p>\n\u003cp>In the notes, Keller’s politics take shape in both content and crew. \u003ci>Sightings\u003c/i>, released in 1995 as a 14-minute 16mm color film, continued Keller’s interest in creating “new film images of African American lesbians.” She worked with a production crew of mostly women. And the entire experience was electrifying.\u003c/p>\n\u003cp>“I want you to know, making this film wrecked my last nerves,” she writes in the production journal, “and I can’t wait to do it again.”\u003c/p>\n\u003cfigure id=\"attachment_13854749\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/sightings_pr_stillweb.jpg\" alt=\"A still from Lenn Keller's 'Sightings,' 1995.\" width=\"864\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/sightings_pr_stillweb.jpg 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/sightings_pr_stillweb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/sightings_pr_stillweb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/sightings_pr_stillweb-768x512.jpg 768w\" sizes=\"auto, (max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">A still from Lenn Keller’s ‘Sightings,’ 1995. \u003ccite>(Courtesy of H. Lenn Keller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>BALA Looks to the Future\u003c/h2>\n\u003cp>The vibrant scene Keller documented in photographs and moving image began to fade after the ’90s. “People were displaced, gentrification, people scattered, a lot of people fell through the cracks,” she says of the Bay Area’s black lesbian community. “And we’re definitely not visible anymore.”\u003c/p>\n\u003cp>With the loss of its lesbian customers, the physical spaces that catered to the community began to disappear too. The Lexington—San Francisco’s last lesbian bar—closed in 2015. The non-bar spaces Keller once knew as lesbian gathering spots had closed long before.\u003c/p>\n\u003cp>Now, part of BALA’s goal is to establish opportunities for lesbians to meet face to face. The archive holds community meetings on Sunday afternoons every other month, as well as organizing readings, talks and other gatherings.\u003c/p>\n\u003cp>At a recent BALA fundraising event, Keller \u003ca href=\"https://www.facebook.com/258893197621455/photos/a.262775177233257/1138112706366162/?type=3&theater\" target=\"_blank\" rel=\"noopener\">passed an actual torch\u003c/a> to a member of the next generation. At its core, the archive is about bridging that gap. The work of visionary lesbians of the ’70s and ’80s, BALA believes, is just as relevant today; documentation of past struggles can provide road maps to address the challenges current progressive activists face. “Now that I’m here and looking back, all of this kind of unfolded very organically,” she says. “I get it that this is what I was supposed to do.”\u003c/p>\n\u003cp>“If we don’t know different perspectives, if you don’t know histories, you are missing a lot of very valuable information,” she says. “If you don’t understand what got us here, you are going to have a more difficult time to change it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13343400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Camera_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break-520x51.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>See more of Lenn Keller’s work in ‘Queer California: Untold Stories,’ on view at the Oakland Museum of California April 13–Aug. 11, 2019. \u003ca href=\"http://museumca.org/exhibit/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Lenn Keller: Keeping the Bay Area’s Black Lesbian History Alive | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>arching down Market Street, \u003ca href=\"http://www.lennkeller.com/\" target=\"_blank\" rel=\"noopener\">Lenn Keller\u003c/a> knew she was experiencing an extraordinary moment in history. With her housemates, holding protest signs made in their Berkeley apartment, Keller joined a lesbian contingent that refused to go unacknowledged in San Francisco’s 1976 Gay Freedom Day (as the Pride Parade was then called). At a time when “gay community” was synonymous with white men, the message was clear: “We lesbians are here, too.”\u003c/p>\n\u003cp>That 1976 march is just one of many rallies, celebrations and demonstrations that galvanized the Bay Area’s lesbian community—gatherings Keller diligently photographed with a camera she was known for carrying everywhere.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I knew what was going on was unprecedented,” she says. “And I wanted to not just document it, but to capture more intimate moments.”\u003c/p>\n\u003cp>Keller’s black-and-white photographs of anonymous activists and musicians (just a handful of the hundreds of images she took of Bay Area lesbian life) welcome viewers into the Oakland Museum of California’s \u003ci>\u003ca href=\"http://museumca.org/gallery/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Queer California: Untold Stories\u003c/a>\u003c/i> exhibition, on view April 13–Aug. 11. The placement is strategic: Her “documentary portraits” of black lesbians introduce a show that concerns itself with what’s been left out of most presentations of California’s LGBTQ+ narrative.\u003c/p>\n\u003cp>“Early on when I began to survey the available histories, I felt like one of the things I was searching for and not finding a lot of was material related to women and people of color,” says \u003ci>Queer California\u003c/i> curator Christina Linden. “I knew immediately that I really wanted to include [Keller’s photography] in the exhibition.”\u003c/p>\n\u003cfigure id=\"attachment_13854654\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200.jpg\" alt=\"Lenn Keller, 'Sistah Book jam after SF Pride,' June 1982. \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Sistah-Boom-jam-after-SF-Pride_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lenn Keller, ‘Sistah Boom jam after SF Pride,’ June 1982. \u003ccite>(Courtesy of H. Lenn Keller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For far too long, Keller, now 67, has watched the stories and accomplishments of her community fade from both memory and view. “Any time you’re queer, you’re marginalized automatically, but then there are all these different levels of marginalization within that,” she says. “I’m black, I’m a lesbian, I’m gender non-conforming, a.k.a. butch. People are taught there are certain people who are considered throwaway people.” And that, she says, stems in part from a lack of representation within media.\u003c/p>\n\u003cp>Growing up in the North Shore suburbs of Chicago in the 1950s and ’60s (she was one of four black students in her high school graduating class of 1,200), all this was clear to Keller at a very early age. “I didn’t see myself reflected in hardly any place at all,” she says. “I was aware that authors did not anticipate that I would be reading their books.”\u003c/p>\n\u003cp>And as for representations of homosexuality? “I grew up barely being aware that lesbian and gay people even existed,” she remembers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Documenting and Preserving a Movement\u003c/h2>\n\u003cp>Keller, who now lives in Oakland as an artist, curator, community archivist and all-around Bay Area historian, can point to several “a-ha” moments in her life. The first came at age 17, when she ran away from home with a friend and found communities of artists and black radicals in New York City.\u003c/p>\n\u003cp>She met photographers, filmmakers and musicians. “That was a real eye-opener for me,” she says. “It was like, ‘Wow, they’re actually doing this stuff.’”\u003c/p>\n\u003cfigure id=\"attachment_13854748\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/lenn_camera-web.jpg\" alt=\"Lenn Keller with her ubiquitous camera in the 1980s.\" width=\"864\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/lenn_camera-web.jpg 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/lenn_camera-web-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/lenn_camera-web-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/lenn_camera-web-768x508.jpg 768w\" sizes=\"auto, (max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Lenn Keller with her ubiquitous camera in the 1980s. \u003ccite>(Courtesy of H. Lenn Keller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She soon realized, however, that men were the only ones making art. “In fact, we heard many disparaging things about Angela Davis,” Keller recalls. She remembers one self-proclaimed radical saying, “‘That sister needs to learn how to support the brothers in the right way.’ Angela Davis had just a little bit too much intelligence and agency for some people’s comfort. They were kind of holding on to this whole patriarchal way of being.”\u003c/p>\n\u003cp>It wasn’t until she was in her 20s, when she moved to California in 1975, that she started thinking of herself as an artist. The New York artists’ collective had introduced her to photography and filmmaking, and here she taught herself the skills, graduating from Mills College with a degree in visual communication in 1984. She and her camera became inseparable.\u003c/p>\n\u003cp>“If I didn’t have my camera, people would often remark,” she says.\u003c/p>\n\u003cp>Keller developed a style that was intimate, yet still full of the energy and exuberance of the events she documented. A photograph included in \u003ci>Queer California\u003c/i>, taken at a 1983 Pride parade, shows a woman identified by the image’s title as a “black lesbian glockenspiel player” with the SF Lesbian & Gay Freedom Band. Embedded in the rows of musicians, San Francisco’s City Hall out of focus in the distance, Keller catches the parade marching in formation like an advancing, joyous army. Specifically pinning down the glockenspiel player’s identity, Keller affirms her place in the moment and movement, creating a record for future audiences.\u003c/p>\n\u003cfigure id=\"attachment_13854653\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200.jpg\" alt=\"Lenn Keller, 'Black lesbian glockenspiel player w/ SF Lesbian & Gay Freedom Band, SF Pride Parade,' June 1983. \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Lenn-Keller-Black-lesbian-glockenspiel-player_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lenn Keller, ‘Black lesbian glockenspiel player w/ SF Lesbian & Gay Freedom Band, SF Pride Parade,’ June 1983. \u003ccite>(Courtesy of H. Lenn Keller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the decades, in addition to her photographs, Keller has amassed an extensive personal archive of materials related to Bay Area lesbian life: art, books, correspondence, flyers, posters, postcards, T-shirts, buttons, magazines and journals, pamphlets, audio, film, video and things that fall into the category of “miscellaneous ephemera.” In 2014, Keller surveyed this collection—maintained through more moves than she cares to enumerate—and wondered, “Where do I want to put my stuff?”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.bayarealesbianarchives.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Lesbian Archives\u003c/a> (BALA) was born out of this question, establishing a repository for the “at risk” history of Bay Area lesbians. With the help of fellow archivists Rebecca Silverstein and Sharon Davenport, BALA achieved nonprofit status in 2018, with a focus on rescuing collections in danger of being thrown away or destroyed.\u003c/p>\n\u003cp>The archives are not yet open to the public, but the organizers hope to soon house BALA in an accessible location where others can peruse the growing collection. In the meantime, digitizing the material is the top priority.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Linden, who spent months culling through various archives in the process of curating \u003ci>Queer California\u003c/i>, collections such as BALA are rare. San Francisco’s \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">GLBT Historical Society\u003c/a> and Los Angeles’ \u003ca href=\"https://one.usc.edu/\" target=\"_blank\" rel=\"noopener\">ONE Archives\u003c/a> are the two largest LGBTQ+ archives in the state, but the majority of the material they contain is related to cisgender gay white men—in part because so much material was donated during the AIDS crisis. Other factors contribute to the imbalance, Linden says, like who has a history of privilege and who has the means to form a collection, or even the space to accumulate things.\u003c/p>\n\u003cp>“I think [BALA] holds a great deal of material and information that’s related to histories that are definitely underrepresented in these larger archives,” says Linden.\u003c/p>\n\u003cp>Within this landscape, BALA is a continuation of the same documentary impulse that spurred Keller’s photography—and later, her films: a desire to record the contributions of the underrecognized individuals participating in an extraordinary moment in history.\u003c/p>\n\u003ch2>A Different World\u003c/h2>\n\u003cp>Today, the Bay Area of the past that Keller describes sounds like an alternate reality. “There were a lot of institutions and small businesses that made lesbians very visible,” she says. “There were lesbian coffee houses, and women’s bookstores, the women’s skill center… Lesbians at the time were trying to create a different kind of world. And they were saying, ‘This is what we think people need and what we want to have. So let’s create it.’”\u003c/p>\n\u003cp>Keller captured some of these spots, and their tangible sense of community in her first short film, \u003ci>\u003ca href=\"https://www.frameline.org/distribution/distribution-catalog/distribution-film-index/ife\" target=\"_blank\" rel=\"noopener\">Ifé\u003c/a>\u003c/i>, which she describes as “a funky little 5-minute black-and-white film shot on 16mm.” Now distributed by Frameline, the film follows a day in the life of a black French lesbian in San Francisco. It won best short at the Madrid Women’s International Film Festival, and Keller still gets an occasional royalty check in the mail.\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/Egg1hgVM6fo'\n title='//www.youtube.com/embed/Egg1hgVM6fo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“There’s a little piece of magic in there, I guess, because it touched a lot of people,” she says.\u003c/p>\n\u003cp>Soon after, she set out to make a longer, more complicated short—with multiple shooting locations, a two-person cast, greater technical challenges and a bigger budget. In a \u003ca href=\"http://www.lennkeller.com/makeyourown2.html\" target=\"_blank\" rel=\"noopener\">delightful production journal\u003c/a>, Keller itemizes the thrills and difficulties of making a film on a shoestring budget in 1994 San Francisco.\u003c/p>\n\u003cp>(You couldn’t, for instance, simply put out a casting call on the internet. One entry reads, “I saw a young black woman in one of the local dyke magazines today—she would be perfect for one of my leads. I called the magazine and left a message.”)\u003c/p>\n\u003cp>In the notes, Keller’s politics take shape in both content and crew. \u003ci>Sightings\u003c/i>, released in 1995 as a 14-minute 16mm color film, continued Keller’s interest in creating “new film images of African American lesbians.” She worked with a production crew of mostly women. And the entire experience was electrifying.\u003c/p>\n\u003cp>“I want you to know, making this film wrecked my last nerves,” she writes in the production journal, “and I can’t wait to do it again.”\u003c/p>\n\u003cfigure id=\"attachment_13854749\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/sightings_pr_stillweb.jpg\" alt=\"A still from Lenn Keller's 'Sightings,' 1995.\" width=\"864\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/sightings_pr_stillweb.jpg 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/sightings_pr_stillweb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/sightings_pr_stillweb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/sightings_pr_stillweb-768x512.jpg 768w\" sizes=\"auto, (max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">A still from Lenn Keller’s ‘Sightings,’ 1995. \u003ccite>(Courtesy of H. Lenn Keller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>BALA Looks to the Future\u003c/h2>\n\u003cp>The vibrant scene Keller documented in photographs and moving image began to fade after the ’90s. “People were displaced, gentrification, people scattered, a lot of people fell through the cracks,” she says of the Bay Area’s black lesbian community. “And we’re definitely not visible anymore.”\u003c/p>\n\u003cp>With the loss of its lesbian customers, the physical spaces that catered to the community began to disappear too. The Lexington—San Francisco’s last lesbian bar—closed in 2015. The non-bar spaces Keller once knew as lesbian gathering spots had closed long before.\u003c/p>\n\u003cp>Now, part of BALA’s goal is to establish opportunities for lesbians to meet face to face. The archive holds community meetings on Sunday afternoons every other month, as well as organizing readings, talks and other gatherings.\u003c/p>\n\u003cp>At a recent BALA fundraising event, Keller \u003ca href=\"https://www.facebook.com/258893197621455/photos/a.262775177233257/1138112706366162/?type=3&theater\" target=\"_blank\" rel=\"noopener\">passed an actual torch\u003c/a> to a member of the next generation. At its core, the archive is about bridging that gap. The work of visionary lesbians of the ’70s and ’80s, BALA believes, is just as relevant today; documentation of past struggles can provide road maps to address the challenges current progressive activists face. “Now that I’m here and looking back, all of this kind of unfolded very organically,” she says. “I get it that this is what I was supposed to do.”\u003c/p>\n\u003cp>“If we don’t know different perspectives, if you don’t know histories, you are missing a lot of very valuable information,” she says. “If you don’t understand what got us here, you are going to have a more difficult time to change it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13343400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Camera_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Camera_Break-520x51.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>See more of Lenn Keller’s work in ‘Queer California: Untold Stories,’ on view at the Oakland Museum of California April 13–Aug. 11, 2019. \u003ca href=\"http://museumca.org/exhibit/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Trump Posted A Video With Music From A Batman Movie. Warner Bros. Had It Taken Down",
"headTitle": "Trump Posted A Video With Music From A Batman Movie. Warner Bros. Had It Taken Down | KQED",
"content": "\u003cp>On Tuesday, President Trump tweeted out a video. He gave no explanation of what it was or where it came from — just \u003ca href=\"https://www.bbc.com/news/world-us-canada-47878038\">an exhortation\u003c/a> to “MAKE AMERICA GREAT AGAIN!”\u003c/p>\n\u003cp>The video was odd — it opened with footage of various Washington landmarks interspersed with clips of Barack Obama and Hillary and Bill Clinton. Then came clips of Trump visiting a factory, Trump meeting with Kim Jong Un, the Brett Kavanaugh confirmation hearing, and clips of actors Rosie O’Donnell, Bryan Cranston and Amy Schumer, mixed in with shots of Trump at campaign rallies.\u003c/p>\n\u003cp>As a dramatic score played, words appeared on the screen: “First they ignore you. Then they laugh at you. Then they call you racist. Donald J. Trump. Your vote. Proved them all wrong. Trump: The Great Victory 2020.”\u003c/p>\n\u003cp>Just a few hours later, the video was taken down from YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13854764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png\" alt=\"The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a.png 905w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright. \u003ccite>(Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue was that dramatic score: It is music composed by Hans Zimmer for the soundtrack to the Warner Bros. 2012 Batman film \u003cem>The Dark Knight Rises\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement, Warner Bros. said that the video’s use of its music was unauthorized: “We are working through the appropriate legal channels to have it removed.”\u003c/p>\n\u003cp>Trump later deleted the tweet. As of Wednesday afternoon, \u003ca href=\"https://www.youtube.com/watch?v=adu9nKQtGv0\">near-copies of the video\u003c/a> were still on YouTube.\u003c/p>\n\u003cp>The video was apparently not created by the Trump campaign but rather by a fan. “The video was made by a supporter,” a campaign aide \u003ca href=\"https://www.cnn.com/2019/04/10/politics/warner-bros-copyright-trump-2020-dark-knight-rises/index.html\">told CNN\u003c/a>. “We like to share content from diehard supporters, and this is just another example of how hard Trump supporters fight for the President.”\u003c/p>\n\u003cp>The video was \u003ca href=\"https://www.reddit.com/r/The_Donald/comments/b9m5do/trump_2020_coming_soon_keep_america_great/\">posted \u003c/a>to a pro-Trump Reddit channel last week. The account that posted the video to the r/The_Donald subreddit \u003ca href=\"https://www.reddit.com/user/knock-nevisTDF\">wrote\u003c/a> Tuesday that the video was made a couple of weeks ago, and its creator was shocked and delighted when Trump shared it.\u003c/p>\n\u003cp>“I’m honored,” the person wrote. “My dad has [Trump’s] tweet printed so I can frame it.”\u003c/p>\n\u003cp>Artists including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/06/17/415158962/neil-young-is-displeased-that-donald-trump-was-rockin-in-the-free-world\">Neil Young\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/30/662168950/after-pittburgh-pharrell-demands-trump-never-play-happy-again\">Pharrell Williams\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/prince-estate-donald-trump-purple-rain-rally-737428/\">the estate of Prince\u003c/a> have all previously demanded that the Trump campaign stop playing their music, complaining that their songs had been used without permission.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Brandon Carter contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "As a dramatic score plays, words appear on the screen: \"First they ignore you. Then they laugh at you. Then they call you racist.\" The video used music from 'The Dark Knight Rises' without permission.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, President Trump tweeted out a video. He gave no explanation of what it was or where it came from — just \u003ca href=\"https://www.bbc.com/news/world-us-canada-47878038\">an exhortation\u003c/a> to “MAKE AMERICA GREAT AGAIN!”\u003c/p>\n\u003cp>The video was odd — it opened with footage of various Washington landmarks interspersed with clips of Barack Obama and Hillary and Bill Clinton. Then came clips of Trump visiting a factory, Trump meeting with Kim Jong Un, the Brett Kavanaugh confirmation hearing, and clips of actors Rosie O’Donnell, Bryan Cranston and Amy Schumer, mixed in with shots of Trump at campaign rallies.\u003c/p>\n\u003cp>As a dramatic score played, words appeared on the screen: “First they ignore you. Then they laugh at you. Then they call you racist. Donald J. Trump. Your vote. Proved them all wrong. Trump: The Great Victory 2020.”\u003c/p>\n\u003cp>Just a few hours later, the video was taken down from YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13854764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png\" alt=\"The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a.png 905w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright. \u003ccite>(Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue was that dramatic score: It is music composed by Hans Zimmer for the soundtrack to the Warner Bros. 2012 Batman film \u003cem>The Dark Knight Rises\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement, Warner Bros. said that the video’s use of its music was unauthorized: “We are working through the appropriate legal channels to have it removed.”\u003c/p>\n\u003cp>Trump later deleted the tweet. As of Wednesday afternoon, \u003ca href=\"https://www.youtube.com/watch?v=adu9nKQtGv0\">near-copies of the video\u003c/a> were still on YouTube.\u003c/p>\n\u003cp>The video was apparently not created by the Trump campaign but rather by a fan. “The video was made by a supporter,” a campaign aide \u003ca href=\"https://www.cnn.com/2019/04/10/politics/warner-bros-copyright-trump-2020-dark-knight-rises/index.html\">told CNN\u003c/a>. “We like to share content from diehard supporters, and this is just another example of how hard Trump supporters fight for the President.”\u003c/p>\n\u003cp>The video was \u003ca href=\"https://www.reddit.com/r/The_Donald/comments/b9m5do/trump_2020_coming_soon_keep_america_great/\">posted \u003c/a>to a pro-Trump Reddit channel last week. The account that posted the video to the r/The_Donald subreddit \u003ca href=\"https://www.reddit.com/user/knock-nevisTDF\">wrote\u003c/a> Tuesday that the video was made a couple of weeks ago, and its creator was shocked and delighted when Trump shared it.\u003c/p>\n\u003cp>“I’m honored,” the person wrote. “My dad has [Trump’s] tweet printed so I can frame it.”\u003c/p>\n\u003cp>Artists including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/06/17/415158962/neil-young-is-displeased-that-donald-trump-was-rockin-in-the-free-world\">Neil Young\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/30/662168950/after-pittburgh-pharrell-demands-trump-never-play-happy-again\">Pharrell Williams\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/prince-estate-donald-trump-purple-rain-rally-737428/\">the estate of Prince\u003c/a> have all previously demanded that the Trump campaign stop playing their music, complaining that their songs had been used without permission.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Brandon Carter contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Rare Footage of Black Panthers, California Activism Digitized by Oakland Library",
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"content": "\u003cp>Farmworkers harvesting onions. Picketing Teamsters rejecting student sympathizers. Oakland high-schoolers protesting the police shooting their peer. Black Panthers serving breakfast.\u003c/p>\n\u003cp>They’re just a few scenes from a newly digitized \u003ca href=\"http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland\">African American Museum & Library Oakland\u003c/a> collection of scarcely if ever seen footage documenting California activism and organized labor in the 1960s and 1970s. AAMLO, a reference library and exhibition space, last year received a grant to catalog and transfer the films. Now nearly seven hours of footage is freely available \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22\">online\u003c/a>.\u003c/p>\n\u003cp>Unearthed footage includes outtakes from documentaries by the radical Newsreel film collective focused on the Black Panther Party, showing figures such as Kathleen Cleaver and Bobby Seale speaking at Oakland Auditorium and DeFremery Park. According to AAMLO, the hours of b-roll from these films—\u003cem>Off the Pig\u003c/em>, \u003cem>MayDay\u003c/em> and \u003cem>Repression\u003c/em>—were previously unknown.\u003c/p>\n\u003cfigure id=\"attachment_13854713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png\" alt=\"A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"575\" class=\"size-medium wp-image-13854713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x552.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x733.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Newsreel, known for forerunning citizen journalism and its rapport with Black Panther leadership, worked in a montage style, and much of the footage is brief clips of rallies and street clashes, some set to pop music. Other clips document labor struggles and a 1970 anti-Vietnam march in Los Angeles organized by the National Chicano Moratorium Committee.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/MS1950076H264\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Footage from the late 1970s anticipates contemporary struggles against displacement and police shootings: Protesters confronting San Francisco Mayor George Moscone over the mass eviction of the International Hotel, considered the last outpost of Filipino Manilatown; and Oakland High School students marching after Oakland police killed 14-year-old Melvin Black.\u003c/p>\n\u003cp>AAMLO last year received $19,590 from the Council on Library and Information Resources for “recordings at risk” to preserve and share the collection (many of the acetate reels were deteriorating), aiming to the surface material relevant to the Black Panthers’ 50-year anniversary as well as contemporary social-justice movements.\u003c/p>\n\u003cfigure id=\"attachment_13854714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png\" alt=\"Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"597\" class=\"size-medium wp-image-13854714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x762.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The library, said archives assistant Sean Dickerson, hopes to draw attention to its holdings not only of interest to researchers, but also to the Oakland public. AAMLO, housed in a striking 1902 Carnegie building, has an upstairs exhibition and event space that will host a public screening-and-talks series drawing on the film collection and its modern-day resonance.\u003c/p>\n\u003cp>Dickerson also hopes to spur interest in AAMLO’s 163 processed collections; recent acquisitions include the archives of storied KPFA gospel director Emitt Powell and television host Jay Payton, whose 1970s \u003cem>Jay Payton Show\u003c/em> has been likened to an Oakland \u003cem>Soul Train\u003c/em>. “The best thing to come out of this is not only increased awareness of collections of national interest, but also showing the Oakland community what we’re here to preserve,” Dickerson said.\u003c/p>\n\u003cp>By posting the collection \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22&page=2\">online\u003c/a>, AAMLO is also trying to learn from the public. Sean Heyliger, until recently an archivist at AAMLO, said the origin and contents of the Henry J. Williams Jr. Film Collection, which contains more than 100 recordings altogether, are still “mysterious.” Little is known about its namesake, a Los Angeles man who donated the material in 1992, and AAMLO has yet to identify some speakers and locations, let alone the filmmakers.\u003c/p>\n\u003cfigure id=\"attachment_13854715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png\" alt=\"Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection.\" width=\"800\" height=\"595\" class=\"size-medium wp-image-13854715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library.png 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years ago, Heyliger said, he encountered a piece of paper, the result of a 1994 cataloging effort, indicating AAMLO had received a Black Panther film donation. But his colleagues hadn’t seen them. “None of the former directors or employees knew they existed,” he said. Then Heyliger found a box of film canisters in off-site storage, some marked “Bobby Seale” or “Kathleen Cleaver.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>AAMLO doesn’t have playback equipment, so the archivists gleaned information from canister markings and looked at individual frames on a light table, eventually posting a cursory inventory online. “We hoped someone, maybe even Williams, would come out of the woodwork with the story, but no one did,” Heyliger said. “We still don’t really know how Williams got ahold of these films. We think he knew someone at Newsreel. But he could’ve found them at the flea market.”\u003c/p>\n\n",
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"excerpt": "The African American Museum & Library Oakland has posted nearly seven hours of California activism and organized labor footage from the 1960s and 1970s for free online. ",
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"title": "Rare Footage of Black Panthers, California Activism Digitized by Oakland Library | KQED",
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"headline": "Rare Footage of Black Panthers, California Activism Digitized by Oakland Library",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Farmworkers harvesting onions. Picketing Teamsters rejecting student sympathizers. Oakland high-schoolers protesting the police shooting their peer. Black Panthers serving breakfast.\u003c/p>\n\u003cp>They’re just a few scenes from a newly digitized \u003ca href=\"http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland\">African American Museum & Library Oakland\u003c/a> collection of scarcely if ever seen footage documenting California activism and organized labor in the 1960s and 1970s. AAMLO, a reference library and exhibition space, last year received a grant to catalog and transfer the films. Now nearly seven hours of footage is freely available \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22\">online\u003c/a>.\u003c/p>\n\u003cp>Unearthed footage includes outtakes from documentaries by the radical Newsreel film collective focused on the Black Panther Party, showing figures such as Kathleen Cleaver and Bobby Seale speaking at Oakland Auditorium and DeFremery Park. According to AAMLO, the hours of b-roll from these films—\u003cem>Off the Pig\u003c/em>, \u003cem>MayDay\u003c/em> and \u003cem>Repression\u003c/em>—were previously unknown.\u003c/p>\n\u003cfigure id=\"attachment_13854713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png\" alt=\"A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"575\" class=\"size-medium wp-image-13854713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x575.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x552.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x733.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/A-farmworker-depicted-in-a-film-from-the-newly-digitized-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A farmworker depicted in a film from the newly digitized Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Newsreel, known for forerunning citizen journalism and its rapport with Black Panther leadership, worked in a montage style, and much of the footage is brief clips of rallies and street clashes, some set to pop music. Other clips document labor struggles and a 1970 anti-Vietnam march in Los Angeles organized by the National Chicano Moratorium Committee.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/MS1950076H264\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Footage from the late 1970s anticipates contemporary struggles against displacement and police shootings: Protesters confronting San Francisco Mayor George Moscone over the mass eviction of the International Hotel, considered the last outpost of Filipino Manilatown; and Oakland High School students marching after Oakland police killed 14-year-old Melvin Black.\u003c/p>\n\u003cp>AAMLO last year received $19,590 from the Council on Library and Information Resources for “recordings at risk” to preserve and share the collection (many of the acetate reels were deteriorating), aiming to the surface material relevant to the Black Panthers’ 50-year anniversary as well as contemporary social-justice movements.\u003c/p>\n\u003cfigure id=\"attachment_13854714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png\" alt=\"Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection.\" width=\"800\" height=\"597\" class=\"size-medium wp-image-13854714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-1020x762.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Cleaver shown in a film from the Henry J. Williams Jr. Film Collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The library, said archives assistant Sean Dickerson, hopes to draw attention to its holdings not only of interest to researchers, but also to the Oakland public. AAMLO, housed in a striking 1902 Carnegie building, has an upstairs exhibition and event space that will host a public screening-and-talks series drawing on the film collection and its modern-day resonance.\u003c/p>\n\u003cp>Dickerson also hopes to spur interest in AAMLO’s 163 processed collections; recent acquisitions include the archives of storied KPFA gospel director Emitt Powell and television host Jay Payton, whose 1970s \u003cem>Jay Payton Show\u003c/em> has been likened to an Oakland \u003cem>Soul Train\u003c/em>. “The best thing to come out of this is not only increased awareness of collections of national interest, but also showing the Oakland community what we’re here to preserve,” Dickerson said.\u003c/p>\n\u003cp>By posting the collection \u003ca href=\"https://archive.org/search.php?query=subject%3A%22Henry+Williams+Jr.+Film+Collection%22&page=2\">online\u003c/a>, AAMLO is also trying to learn from the public. Sean Heyliger, until recently an archivist at AAMLO, said the origin and contents of the Henry J. Williams Jr. Film Collection, which contains more than 100 recordings altogether, are still “mysterious.” Little is known about its namesake, a Los Angeles man who donated the material in 1992, and AAMLO has yet to identify some speakers and locations, let alone the filmmakers.\u003c/p>\n\u003cfigure id=\"attachment_13854715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png\" alt=\"Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection.\" width=\"800\" height=\"595\" class=\"size-medium wp-image-13854715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Bobby-Seale-at-the-Oakland-Auditorium-in-a-film-from-the-Henry-J.-Williams-Jr.-collection.-Courtesy-African-American-Museum-Library-Oakland-Public-Library.png 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Seale at the Oakland Auditorium in a film from the Henry J. Williams Jr. collection. \u003ccite>(Courtesy African American Museum & Library, Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years ago, Heyliger said, he encountered a piece of paper, the result of a 1994 cataloging effort, indicating AAMLO had received a Black Panther film donation. But his colleagues hadn’t seen them. “None of the former directors or employees knew they existed,” he said. Then Heyliger found a box of film canisters in off-site storage, some marked “Bobby Seale” or “Kathleen Cleaver.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>AAMLO doesn’t have playback equipment, so the archivists gleaned information from canister markings and looked at individual frames on a light table, eventually posting a cursory inventory online. “We hoped someone, maybe even Williams, would come out of the woodwork with the story, but no one did,” Heyliger said. “We still don’t really know how Williams got ahold of these films. We think he knew someone at Newsreel. But he could’ve found them at the flea market.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "beyond-the-summer-of-love-get-together-is-an-anthem-for-every-season",
"title": "Beyond The Summer Of Love, 'Get Together' Is An Anthem For Every Season",
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"headTitle": "Beyond The Summer Of Love, ‘Get Together’ Is An Anthem For Every Season | KQED",
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"content": "\u003cp>The song sometimes called the “hippie national anthem” can be found in all kinds of places. It’s been used on \u003cem>The Simpsons\u003c/em> and in \u003cem>Forrest Gump,\u003c/em> recorded dozens of times by the likes of The Kingston Trio, The Dave Clark Five, Jefferson Airplane, The Staples Singers and the Carpenters (twice). You may have even heard it \u003ca href=\"https://www.youtube.com/watch?v=ha15CfHe3FI\">in a Walmart commercial\u003c/a> a few years ago.\u003c/p>\n\u003cp>The song has gone by a few different names: “Let’s Get Together,” Everybody Get Together.” But the best-known version is called, simply, “\u003ca href=\"https://www.youtube.com/watch?v=7xGxQXmu7Os\">Get Together\u003c/a>.” It was recorded by The Youngbloods in 1967 — the same year as the Summer of Love, where it would become a constant presence.\u003c/p>\n\u003cp>https://youtu.be/7xGxQXmu7Os\u003c/p>\n\u003cp>In 1967, the Vietnam War was raging. The Youngbloods’ lead singer, Jesse Colin Young, remembers, “Back then we were all subject to the draft. That made everything more life and death. And hope is what comes out of that song.”\u003c/p>\n\u003cp>Young was a folk singer and guitarist with two albums under his belt when he met guitarist Jerry Corbitt on the folk scene in Cambridge, Mass. They put The Youngbloods together in New York City with drummer Joe Bauer and multi-instrumentalist Lowell Levinger, known as Banana. The band rehearsed in Greenwich Village’s Café au Go Go when there wasn’t a show happening, and that’s where Young first heard “Get Together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was a Sunday afternoon and I was walking through the Village and thought, ‘Oh, the Go Go’s gonna be dark. I’ll call the band; we can rehearse,’ ” Young recalls. “I walked down the stairs and it turned out to be an open mic. I thought I would turn around and go home. But Buzzy Linhart was onstage singing ‘Get Together.’ That song just stopped me in my tracks.”\u003c/p>\n\u003cp>[aside postID='arts_13806888' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/08/AceofCups_KQEDthumb.jpg'* target='_blank']\u003c/p>\n\u003cp>Young says it was the lyrics that really grabbed him. ” ‘\u003cem>Love is but a song we sing / Fear’s the way we die\u003c/em>.’ Wow — the human condition in two lines.”\u003c/p>\n\u003cp>The lyrics grabbed \u003ca href=\"https://www.npr.org/artists/14948570/lizz-wright\">Lizz Wright\u003c/a>, too: The jazz and gospel singer recorded “Get Together” in 2004 for her album \u003cem>Dreaming Wide Awake\u003c/em>. She’s a fan of one verse in particular:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>If you hear the song I sing\u003cbr>\nYou will understand\u003cbr>\nYou hold the key to love and fear\u003cbr>\nAll in your trembling hand\u003cbr>\nJust one key unlocks them both\u003cbr>\nIt’s there at your command\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“It’s so clear, and the imagery is fantastic,” Wright says. “In our uncertainty, in our not fully knowing, we are still holding so much power and choosing to learn by love or to learn by fear as we go. And I just love how this verse puts it back in our in our court as individuals.”\u003c/p>\n\u003cp>https://youtu.be/OnNEBAU_NYo\u003c/p>\n\u003cp>The song was written in the early 1960s by Chester Powers, who performed under the name Dino Valenti. The son of carnival performers, he made a name for himself in the folk clubs of Greenwich Village. Though he had already left for the West Coast when The Youngbloods formed, Young did meet him years later.\u003c/p>\n\u003cp>“I met him at a motorcycle shop in Marin County — we were both living in the Bay Area,” Young says. “I was surprised Dino was kind of a tough guy. I thought to myself, ‘Wow, the angels just took a hold of you one day and put this song in your head, and you brought it to us.'”\u003c/p>\n\u003cp>David Freiberg of Jefferson Starship puts the song’s origin around 1964. He was in Los Angeles visiting a friend, “and in pops Dino Valenti driving in like a crazy [man] and says, ‘Hey man, listen to this song I just wrote!’ ” Freiberg recalls. “And we listened to it and went, ‘Oh my goodness! How great that song is.’ And we’re quickly writing down the lyrics to it.”\u003c/p>\n\u003cp>He also remembers hearing Valenti perform for the first time. “He stomped his foot so hard on the stage it was like there were drums playing with him,” he says. “A lot of energy, very fiery kind of guy, but he was so talented.” Freiberg eventually got to know Valenti well when they played together in Quicksilver Messenger Service.\u003c/p>\n\u003cp>When the Youngbloods’ version of Valenti’s song came out, it became part of the soundtrack for the Summer of Love in San Francisco, making Valenti something of a local celebrity. But when he got busted for drug possession, he had to sell the rights to “Get Together” to pay for a lawyer and avoid a possible 10-year prison sentence, according to music journalist \u003ca href=\"http://www.benfongtorres.com/\">Ben Fong-Torres\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13444149' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/06/920x920-001.jpg'* target='_blank']\u003c/p>\n\u003cp>“As he famously said,” Fong-Torres recalls, ” ‘For 10 years of my life? Man, I can write another song.’ ” Valenti did eventually recover the rights later in life, before his death in 1994.\u003c/p>\n\u003cp>Valenti’s most famous song went on to have a life of its own. Though it didn’t get much national attention in 1967, two years later The Youngbloods’ version was used in a public service announcement for the \u003ca href=\"https://nccj.org/about/our-story\">National Conference of Christians and Jews\u003c/a>. People started calling their radio stations requesting the song. Young remembers what happened next.\u003c/p>\n\u003cp>“Augie Blum, the head of promotion at RCA, went to his boss and said, ‘I want this song again. Now’s the time for it.’ And they told him, ‘Now Augie, we don’t do that. You know we released it once. That’s it.’ And he said, ‘You release a song again or I’m out of here.’ He was too valuable for them to lose,” Young explains. “So they put it out again, and he was right, of course. The country was ready.”\u003c/p>\n\u003cp>The Youngbloods’ version of “Get Together” went to No. 5 on \u003cem>Billboard\u003c/em>‘s Hot 100 chart. Fong-Torres says it captured the zeitgeist of the time, albeit in a roundabout way: “It took a band from New York City to give San Francisco and the Haight-Ashbury generation its anthem.”\u003c/p>\n\u003cp>One meaning of the word “anthem” is a psalm or hymn. “Get Together” definitely carries that message for Young, who was a born-again Christian in his teens.\u003c/p>\n\u003cp>“I think Dino must have had some church upbringing, because he’s talking about, ‘Some may come and some may go. We will surely pass.’ This is very Eastern philosophy, and new to some of us at that point,” Young says. ” ‘When the one that left us here returns for us at last / We are just a moment’s sunlight fading in the grass.’ Wow.”\u003c/p>\n\u003cp>Freiberg, however, points out a word change: “The Youngbloods’ version says, ‘When the \u003cem>one\u003c/em> that left us here returns for us at last.’ Dino said the lyric was supposed to be, ‘When the \u003cem>wind\u003c/em> that left us here.’ I like that best ’cause it symbolizes the cosmic wind and the interconnection of everything.” He adds, “But then, I’m a Buddhist.”\u003c/p>\n\u003cp>An early review of the song even asked why it’s not sung in church. Wright thinks it should be. “There was just all this imagery, some of it even edging on biblical imagery,” Wright says. “I just felt like this is one of those songs that helped me speak better, speak everything else better. And when I first heard it, I knew that it would make me better as a messenger.”\u003c/p>\n\u003cp>And Young says it still carries a message — for our times.\u003c/p>\n\u003cp>“Every night I sing it, it’s my favorite part of the show because the people sing,” he says. “I played it in Central Park this past summer, and that was on the first anniversary of Charlottesville. Those people sang it stronger than I’ve ever heard it sung. Some people were pumping their fists, and I realized they were saying, ‘We choose love.’ ”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/711545679/711693301\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. To see more, visit .\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyond+The+Summer+Of+Love%2C+%27Get+Together%27+Is+An+Anthem+For+Every+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The song sometimes called the “hippie national anthem” can be found in all kinds of places. It’s been used on \u003cem>The Simpsons\u003c/em> and in \u003cem>Forrest Gump,\u003c/em> recorded dozens of times by the likes of The Kingston Trio, The Dave Clark Five, Jefferson Airplane, The Staples Singers and the Carpenters (twice). You may have even heard it \u003ca href=\"https://www.youtube.com/watch?v=ha15CfHe3FI\">in a Walmart commercial\u003c/a> a few years ago.\u003c/p>\n\u003cp>The song has gone by a few different names: “Let’s Get Together,” Everybody Get Together.” But the best-known version is called, simply, “\u003ca href=\"https://www.youtube.com/watch?v=7xGxQXmu7Os\">Get Together\u003c/a>.” It was recorded by The Youngbloods in 1967 — the same year as the Summer of Love, where it would become a constant presence.\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/7xGxQXmu7Os'\n title='//www.youtube.com/embed/7xGxQXmu7Os'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1967, the Vietnam War was raging. The Youngbloods’ lead singer, Jesse Colin Young, remembers, “Back then we were all subject to the draft. That made everything more life and death. And hope is what comes out of that song.”\u003c/p>\n\u003cp>Young was a folk singer and guitarist with two albums under his belt when he met guitarist Jerry Corbitt on the folk scene in Cambridge, Mass. They put The Youngbloods together in New York City with drummer Joe Bauer and multi-instrumentalist Lowell Levinger, known as Banana. The band rehearsed in Greenwich Village’s Café au Go Go when there wasn’t a show happening, and that’s where Young first heard “Get Together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was a Sunday afternoon and I was walking through the Village and thought, ‘Oh, the Go Go’s gonna be dark. I’ll call the band; we can rehearse,’ ” Young recalls. “I walked down the stairs and it turned out to be an open mic. I thought I would turn around and go home. But Buzzy Linhart was onstage singing ‘Get Together.’ That song just stopped me in my tracks.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Young says it was the lyrics that really grabbed him. ” ‘\u003cem>Love is but a song we sing / Fear’s the way we die\u003c/em>.’ Wow — the human condition in two lines.”\u003c/p>\n\u003cp>The lyrics grabbed \u003ca href=\"https://www.npr.org/artists/14948570/lizz-wright\">Lizz Wright\u003c/a>, too: The jazz and gospel singer recorded “Get Together” in 2004 for her album \u003cem>Dreaming Wide Awake\u003c/em>. She’s a fan of one verse in particular:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>If you hear the song I sing\u003cbr>\nYou will understand\u003cbr>\nYou hold the key to love and fear\u003cbr>\nAll in your trembling hand\u003cbr>\nJust one key unlocks them both\u003cbr>\nIt’s there at your command\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“It’s so clear, and the imagery is fantastic,” Wright says. “In our uncertainty, in our not fully knowing, we are still holding so much power and choosing to learn by love or to learn by fear as we go. And I just love how this verse puts it back in our in our court as individuals.”\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/OnNEBAU_NYo'\n title='//www.youtube.com/embed/OnNEBAU_NYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The song was written in the early 1960s by Chester Powers, who performed under the name Dino Valenti. The son of carnival performers, he made a name for himself in the folk clubs of Greenwich Village. Though he had already left for the West Coast when The Youngbloods formed, Young did meet him years later.\u003c/p>\n\u003cp>“I met him at a motorcycle shop in Marin County — we were both living in the Bay Area,” Young says. “I was surprised Dino was kind of a tough guy. I thought to myself, ‘Wow, the angels just took a hold of you one day and put this song in your head, and you brought it to us.'”\u003c/p>\n\u003cp>David Freiberg of Jefferson Starship puts the song’s origin around 1964. He was in Los Angeles visiting a friend, “and in pops Dino Valenti driving in like a crazy [man] and says, ‘Hey man, listen to this song I just wrote!’ ” Freiberg recalls. “And we listened to it and went, ‘Oh my goodness! How great that song is.’ And we’re quickly writing down the lyrics to it.”\u003c/p>\n\u003cp>He also remembers hearing Valenti perform for the first time. “He stomped his foot so hard on the stage it was like there were drums playing with him,” he says. “A lot of energy, very fiery kind of guy, but he was so talented.” Freiberg eventually got to know Valenti well when they played together in Quicksilver Messenger Service.\u003c/p>\n\u003cp>When the Youngbloods’ version of Valenti’s song came out, it became part of the soundtrack for the Summer of Love in San Francisco, making Valenti something of a local celebrity. But when he got busted for drug possession, he had to sell the rights to “Get Together” to pay for a lawyer and avoid a possible 10-year prison sentence, according to music journalist \u003ca href=\"http://www.benfongtorres.com/\">Ben Fong-Torres\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As he famously said,” Fong-Torres recalls, ” ‘For 10 years of my life? Man, I can write another song.’ ” Valenti did eventually recover the rights later in life, before his death in 1994.\u003c/p>\n\u003cp>Valenti’s most famous song went on to have a life of its own. Though it didn’t get much national attention in 1967, two years later The Youngbloods’ version was used in a public service announcement for the \u003ca href=\"https://nccj.org/about/our-story\">National Conference of Christians and Jews\u003c/a>. People started calling their radio stations requesting the song. Young remembers what happened next.\u003c/p>\n\u003cp>“Augie Blum, the head of promotion at RCA, went to his boss and said, ‘I want this song again. Now’s the time for it.’ And they told him, ‘Now Augie, we don’t do that. You know we released it once. That’s it.’ And he said, ‘You release a song again or I’m out of here.’ He was too valuable for them to lose,” Young explains. “So they put it out again, and he was right, of course. The country was ready.”\u003c/p>\n\u003cp>The Youngbloods’ version of “Get Together” went to No. 5 on \u003cem>Billboard\u003c/em>‘s Hot 100 chart. Fong-Torres says it captured the zeitgeist of the time, albeit in a roundabout way: “It took a band from New York City to give San Francisco and the Haight-Ashbury generation its anthem.”\u003c/p>\n\u003cp>One meaning of the word “anthem” is a psalm or hymn. “Get Together” definitely carries that message for Young, who was a born-again Christian in his teens.\u003c/p>\n\u003cp>“I think Dino must have had some church upbringing, because he’s talking about, ‘Some may come and some may go. We will surely pass.’ This is very Eastern philosophy, and new to some of us at that point,” Young says. ” ‘When the one that left us here returns for us at last / We are just a moment’s sunlight fading in the grass.’ Wow.”\u003c/p>\n\u003cp>Freiberg, however, points out a word change: “The Youngbloods’ version says, ‘When the \u003cem>one\u003c/em> that left us here returns for us at last.’ Dino said the lyric was supposed to be, ‘When the \u003cem>wind\u003c/em> that left us here.’ I like that best ’cause it symbolizes the cosmic wind and the interconnection of everything.” He adds, “But then, I’m a Buddhist.”\u003c/p>\n\u003cp>An early review of the song even asked why it’s not sung in church. Wright thinks it should be. “There was just all this imagery, some of it even edging on biblical imagery,” Wright says. “I just felt like this is one of those songs that helped me speak better, speak everything else better. And when I first heard it, I knew that it would make me better as a messenger.”\u003c/p>\n\u003cp>And Young says it still carries a message — for our times.\u003c/p>\n\u003cp>“Every night I sing it, it’s my favorite part of the show because the people sing,” he says. “I played it in Central Park this past summer, and that was on the first anniversary of Charlottesville. Those people sang it stronger than I’ve ever heard it sung. Some people were pumping their fists, and I realized they were saying, ‘We choose love.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
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"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
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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",
"meta": {
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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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",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
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"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"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": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"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"
}
},
"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.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "npr"
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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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"here-and-now": {
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"title": "Here & Now",
"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": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"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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},
"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",
"meta": {
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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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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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