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"content": "\u003cp>\u003cem>\u003cstrong>Update, May 30:\u003c/strong> Kronos Performing Arts Association (KPAA) announced that Hawa Kassé Mady Diabaté canceled her appearance at Kronos Festival due to visa delays. According to KPAA, the United States embassy in Mali subjected her to the Trump administration’s “extreme vetting” procedure that will delay her visa indefinitely. San Francisco Girls Chorus and Valerie Sainte-Agathe will still perform her piece, Tegere Tulon, on June 1.\u003c/em>\u003c/p>\n\u003cp>\u003cem>“It is deeply upsetting that such an amazing vocalist would be prevented from sharing her unique artistry here,” said KPAA Managing Director Janet Cowperthwaite. “What a missed opportunity for Kronos, the San Francisco Girls Chorus, and our audiences.”\u003c/em>\u003c/p>\n\u003cp>When it comes to collaboration, the members of Kronos Quartet don’t seem too concerned with a musician’s genre—or age, or language or musical instrument, for that matter. Instead, the contemporary-classical powerhouse tends to tap people whose work is emotionally moving, intellectually stimulating and technically impressive as hell.\u003c/p>\n\u003cp>To give one example: last year, at the quartet’s annual festival at SFJAZZ, Kronos’ delicate string playing accompanied a surrealist, sorrowful sailor song by freak-folk duo \u003ca href=\"https://www.cocorosiemusic.com/\" target=\"_blank\" rel=\"noopener\">CocoRosie\u003c/a>. As CocoRosie’s operatic vocals swelled, the quartet’s bows went flying as they shredded on their violins, cello and viola. Soon, tabla master \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a> joined in, beating a pitter-patter rhythm on his drums with the intuitive touch of a reiki healer. The musicians locked in step with the agility of the Warriors’ starting squad, and the whole performance vibrated toward an epic crescendo, leaving the audience with their jaws on the floor.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='medium' align='right'] The music may be all over the map, but Kronos Quartet’s enduring belief that folk, experimental and classical music belong in conversation, on the same stage, unites the event’s disparate programming. [/pullquote]\u003c/span>\u003c/p>\n\u003cp>That musical sorcery returns to SFJAZZ on May 30–June 1, when this year’s \u003ca href=\"https://www.kronosquartet.org/kronos-festival-2019\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a> brings a program of four genre-agnostic concerts designed to inspire, challenge and delight—plus several artist talks and a film screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s kind of like a fresco: a lot of it is getting put \u003c/span>\u003cspan style=\"font-weight: 400\">together even as we speak,” Kronos Quartet’s \u003c/span>\u003cspan style=\"font-weight: 400\">founding violinist and creative director David Harrington says over the phone. \u003c/span>\u003c/p>\n\u003ch2>Premiering New, Experimental Works\u003c/h2>\n\u003cp>The centerpiece of the festival is the premiere of three new works from Kronos’ \u003ca href=\"https://kronosquartet.org/fifty-for-the-future\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a> project, an ongoing initiative that commissions pieces from diverse, international composers. Kronos Quartet performs the resulting works at prestigious institutions such as Carnegie Hall, introducing the emerging composers to the upper echelons of the classical world, and deposits the Fifty for the Future scores and multimedia resources into an online archive that’s free for all to use.\u003c/p>\n\u003cp>At SFJAZZ on June 1, singer-composer Hawa Kassé Mady Diabaté of Malian group \u003ca href=\"http://triodakali-kronosquartet.com/\" target=\"_blank\" rel=\"noopener\">Trio Da Kali\u003c/a> performs her new Fifty for the Future piece inspired by \u003ca href=\"https://vimeo.com/73866734\" target=\"_blank\" rel=\"noopener\">\u003cem>tegere tulon\u003c/em>\u003c/a>, the impromptu hand-clapping songs and dances Malian girls create in the countryside. Ethnomusicologist \u003ca href=\"https://en.wikipedia.org/wiki/Lucy_Dur%C3%A1n\" target=\"_blank\" rel=\"noopener\">Lucy Duran\u003c/a>, who specializes in African music, will give a pre-show talk contextualizing Diabaté’s performance.\u003c/p>\n\u003cp>https://youtu.be/9ttsz6j6bjM\u003c/p>\n\u003cp>On May 30, the quartet will also premiere a Fifty for the Future piece by Stanford professor \u003ca href=\"https://music.stanford.edu/people/mark-applebaum\" target=\"_blank\" rel=\"noopener\">Mark Applebaum\u003c/a>, whose playful compositions have been known to include junk-as-instruments, non-musical players such as florists and even a piece for three conductors and no musicians. Plus, there’s a new work Fifty for the Future work by \u003ca href=\"http://www.missymazzoli.com/\" target=\"_blank\" rel=\"noopener\">Missy Mazzoli\u003c/a>, a boundary-pushing rising star of the classical world and the Chicago Symphony’s current composer-in-residence.\u003c/p>\n\u003cp>Also on May 30, Kronos Quartet pays homage to the work of left-wing historian Howard Zinn. Ethio-jazz singer-songwriter \u003ca href=\"https://www.meklitmusic.com/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a>, cultural critic \u003ca href=\"http://rebeccasolnit.net/\" target=\"_blank\" rel=\"noopener\">Rebecca Solnit\u003c/a>, folk musician \u003ca href=\"http://www.leeknightmusic.com/\" target=\"_blank\" rel=\"noopener\">Lee Knight\u003c/a> and poet/actor \u003ca href=\"https://michaelthe3rd.weebly.com/\" target=\"_blank\" rel=\"noopener\">Michael Wayne Turner III\u003c/a> will accompany the musicians with readings from works by Zinn and Martin Luther King, Jr. (Zinn’s \u003cem>A People’s History of the United States \u003c/em>highlights how abolitionists, labor organizers, feminists, civil rights leaders and other dissenters shaped American history.) Meklit performs with Kronos once again on June 1. [aside postid='pop_111696']\u003c/p>\n\u003ch2>Paying Homage to a Folk Music Great\u003c/h2>\n\u003cp>This year’s Kronos Festival also features tributes to \u003ca href=\"https://www.peteseegermusic.com/\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, the folk musician and activist who would have turned 100 this year. Harrington considers him one of the all-time greatest American composers.\u003c/p>\n\u003cp>“I grew up listening to his music, we played it for our kids and we played it for our grandkids,” says Harrington. “Now, Kronos is playing it for our audience.”\u003c/p>\n\u003cp>At a pre-festival event at the Exploratorium on May 29, there’s a screening of rare footage from Seeger’s travels. And on June 1 at SFJAZZ, folk music historian Todd Harvey of the \u003ca href=\"https://www.loc.gov/folklife/index.html\" target=\"_blank\" rel=\"noopener\">American Folklife Center\u003c/a> gives a talk about Seeger’s impact and environmental and civil rights activism. Composer Jacob Garchik, of the Balkan brass band Slavic Soul Party, composed an homage to Seeger that Kronos will perform.\u003c/p>\n\u003cp>Contemporary folk artists following in Seeger’s footsteps also perform with Kronos throughout the festival, including \u003ca href=\"http://www.samamidon.com/\" target=\"_blank\" rel=\"noopener\">Sam Amidon\u003c/a>, a multi-instrumentalist who grew up playing in a family band and has since been featured on albums by Tune-Yards and the National, as well as Lee Knight, a keeper of traditional Appalachian folk music.\u003c/p>\n\u003cp>https://youtu.be/eYCEzdOOrjE\u003c/p>\n\u003cp>CocoRosie joins Kronos once again on May 30, as does \u003ca href=\"https://www.jherekbischoff.com/#home\" target=\"_blank\" rel=\"noopener\">Jherek Bischoff\u003c/a>, a horn and string player whose solo career emerged from a successful one as a side man in the influential experimental band Xiu Xiu. Bischoff performs his original compositions for Kronos and bass guitar.\u003c/p>\n\u003cp>“I’m energized by what I hear CocoRosie doing,” says Harrington of the lineup. “And every time we’re around Jherek Bischoff—he’s one of the most ‘up’ persons that I know of. He brings everyone to a higher realm.”\u003c/p>\n\u003ch2>Giving Students a Chance to Shine\u003c/h2>\n\u003cp>This year’s artist-in-residence, opera singer and San Francisco Girls Chorus artistic director \u003ca href=\"https://www.sfgirlschorus.org/valerie-sainte-agathe\" target=\"_blank\" rel=\"noopener\">Valérie Sainte-Agathe\u003c/a>, joins Kronos for all three evenings along with singers from the \u003ca href=\"https://www.sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. Student musicians from the Ruth Asawa San Francisco School of the Arts also perform works from Fifty for the Future on May 30 and 31. [aside postid='arts_13855947']\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">e think it’s a good idea that our audience knows that music is happening in the public schools in San Francisco,” says Harrington. “We’re able to give young performers a chance to perform and to have an audience and to learn what it’s like to get out there.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Kronos Festival is more than eclectic, with multiple trains of thought that may not have obvious connections until one arrives and hears the master musicians in their element. The music may be all over the map—literally, as it comes from all over the globe—but Kronos Quartet’s enduring belief that folk, experimental and classical music belong in conversation, on the same stage, unites the event’s disparate programming. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Harrington sums it up best: “I look at the Kronos Festival 2019 is opportunity for all of us to be reinvigorated, to learn more about what surrounds us and maybe to find things we didn’t know are happening.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The full schedule of events and more information on the Kronos Festival can be found \u003ca href=\"https://www.kronosquartet.org/kronos-festival-2019\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>That musical sorcery returns to SFJAZZ on May 30–June 1, when this year’s \u003ca href=\"https://www.kronosquartet.org/kronos-festival-2019\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a> brings a program of four genre-agnostic concerts designed to inspire, challenge and delight—plus several artist talks and a film screening.\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\">“It’s kind of like a fresco: a lot of it is getting put \u003c/span>\u003cspan style=\"font-weight: 400\">together even as we speak,” Kronos Quartet’s \u003c/span>\u003cspan style=\"font-weight: 400\">founding violinist and creative director David Harrington says over the phone. \u003c/span>\u003c/p>\n\u003ch2>Premiering New, Experimental Works\u003c/h2>\n\u003cp>The centerpiece of the festival is the premiere of three new works from Kronos’ \u003ca href=\"https://kronosquartet.org/fifty-for-the-future\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a> project, an ongoing initiative that commissions pieces from diverse, international composers. Kronos Quartet performs the resulting works at prestigious institutions such as Carnegie Hall, introducing the emerging composers to the upper echelons of the classical world, and deposits the Fifty for the Future scores and multimedia resources into an online archive that’s free for all to use.\u003c/p>\n\u003cp>At SFJAZZ on June 1, singer-composer Hawa Kassé Mady Diabaté of Malian group \u003ca href=\"http://triodakali-kronosquartet.com/\" target=\"_blank\" rel=\"noopener\">Trio Da Kali\u003c/a> performs her new Fifty for the Future piece inspired by \u003ca href=\"https://vimeo.com/73866734\" target=\"_blank\" rel=\"noopener\">\u003cem>tegere tulon\u003c/em>\u003c/a>, the impromptu hand-clapping songs and dances Malian girls create in the countryside. Ethnomusicologist \u003ca href=\"https://en.wikipedia.org/wiki/Lucy_Dur%C3%A1n\" target=\"_blank\" rel=\"noopener\">Lucy Duran\u003c/a>, who specializes in African music, will give a pre-show talk contextualizing Diabaté’s performance.\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/9ttsz6j6bjM'\n title='//www.youtube.com/embed/9ttsz6j6bjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On May 30, the quartet will also premiere a Fifty for the Future piece by Stanford professor \u003ca href=\"https://music.stanford.edu/people/mark-applebaum\" target=\"_blank\" rel=\"noopener\">Mark Applebaum\u003c/a>, whose playful compositions have been known to include junk-as-instruments, non-musical players such as florists and even a piece for three conductors and no musicians. Plus, there’s a new work Fifty for the Future work by \u003ca href=\"http://www.missymazzoli.com/\" target=\"_blank\" rel=\"noopener\">Missy Mazzoli\u003c/a>, a boundary-pushing rising star of the classical world and the Chicago Symphony’s current composer-in-residence.\u003c/p>\n\u003cp>Also on May 30, Kronos Quartet pays homage to the work of left-wing historian Howard Zinn. Ethio-jazz singer-songwriter \u003ca href=\"https://www.meklitmusic.com/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a>, cultural critic \u003ca href=\"http://rebeccasolnit.net/\" target=\"_blank\" rel=\"noopener\">Rebecca Solnit\u003c/a>, folk musician \u003ca href=\"http://www.leeknightmusic.com/\" target=\"_blank\" rel=\"noopener\">Lee Knight\u003c/a> and poet/actor \u003ca href=\"https://michaelthe3rd.weebly.com/\" target=\"_blank\" rel=\"noopener\">Michael Wayne Turner III\u003c/a> will accompany the musicians with readings from works by Zinn and Martin Luther King, Jr. (Zinn’s \u003cem>A People’s History of the United States \u003c/em>highlights how abolitionists, labor organizers, feminists, civil rights leaders and other dissenters shaped American history.) Meklit performs with Kronos once again on June 1. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Paying Homage to a Folk Music Great\u003c/h2>\n\u003cp>This year’s Kronos Festival also features tributes to \u003ca href=\"https://www.peteseegermusic.com/\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, the folk musician and activist who would have turned 100 this year. Harrington considers him one of the all-time greatest American composers.\u003c/p>\n\u003cp>“I grew up listening to his music, we played it for our kids and we played it for our grandkids,” says Harrington. “Now, Kronos is playing it for our audience.”\u003c/p>\n\u003cp>At a pre-festival event at the Exploratorium on May 29, there’s a screening of rare footage from Seeger’s travels. And on June 1 at SFJAZZ, folk music historian Todd Harvey of the \u003ca href=\"https://www.loc.gov/folklife/index.html\" target=\"_blank\" rel=\"noopener\">American Folklife Center\u003c/a> gives a talk about Seeger’s impact and environmental and civil rights activism. Composer Jacob Garchik, of the Balkan brass band Slavic Soul Party, composed an homage to Seeger that Kronos will perform.\u003c/p>\n\u003cp>Contemporary folk artists following in Seeger’s footsteps also perform with Kronos throughout the festival, including \u003ca href=\"http://www.samamidon.com/\" target=\"_blank\" rel=\"noopener\">Sam Amidon\u003c/a>, a multi-instrumentalist who grew up playing in a family band and has since been featured on albums by Tune-Yards and the National, as well as Lee Knight, a keeper of traditional Appalachian folk music.\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/eYCEzdOOrjE'\n title='//www.youtube.com/embed/eYCEzdOOrjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>CocoRosie joins Kronos once again on May 30, as does \u003ca href=\"https://www.jherekbischoff.com/#home\" target=\"_blank\" rel=\"noopener\">Jherek Bischoff\u003c/a>, a horn and string player whose solo career emerged from a successful one as a side man in the influential experimental band Xiu Xiu. Bischoff performs his original compositions for Kronos and bass guitar.\u003c/p>\n\u003cp>“I’m energized by what I hear CocoRosie doing,” says Harrington of the lineup. “And every time we’re around Jherek Bischoff—he’s one of the most ‘up’ persons that I know of. He brings everyone to a higher realm.”\u003c/p>\n\u003ch2>Giving Students a Chance to Shine\u003c/h2>\n\u003cp>This year’s artist-in-residence, opera singer and San Francisco Girls Chorus artistic director \u003ca href=\"https://www.sfgirlschorus.org/valerie-sainte-agathe\" target=\"_blank\" rel=\"noopener\">Valérie Sainte-Agathe\u003c/a>, joins Kronos for all three evenings along with singers from the \u003ca href=\"https://www.sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. Student musicians from the Ruth Asawa San Francisco School of the Arts also perform works from Fifty for the Future on May 30 and 31. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">e think it’s a good idea that our audience knows that music is happening in the public schools in San Francisco,” says Harrington. “We’re able to give young performers a chance to perform and to have an audience and to learn what it’s like to get out there.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Kronos Festival is more than eclectic, with multiple trains of thought that may not have obvious connections until one arrives and hears the master musicians in their element. The music may be all over the map—literally, as it comes from all over the globe—but Kronos Quartet’s enduring belief that folk, experimental and classical music belong in conversation, on the same stage, unites the event’s disparate programming. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Harrington sums it up best: “I look at the Kronos Festival 2019 is opportunity for all of us to be reinvigorated, to learn more about what surrounds us and maybe to find things we didn’t know are happening.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The full schedule of events and more information on the Kronos Festival can be found \u003ca href=\"https://www.kronosquartet.org/kronos-festival-2019\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Actress And Singer Doris Day, Hollywood's Girl Next Door, Dies At 97",
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"content": "\u003cp>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97.\u003c/p>\n\u003cp>Day remains one of the most successful female movie stars of all time. She embodied the “girl next door” even in her 40s, which is probably why her films with Rock Hudson were so successful. A scene from 1959’s \u003cem>Pillow Talk\u003c/em> shows a split screen with Day and Hudson in their separate bathtubs, only it \u003cem>looks\u003c/em> like they’re in the same one — with their feet touching. Kind of risqué for 1959.\u003c/p>\n\u003cp>That was Day at the height of her film success, but her career began as a big band “girl singer,” and with Les Brown’s big band she had one of the biggest hits of World War II: “\u003ca href=\"http://www.youtube.com/watch?v=PUw125JMVFI\">A Sentimental Journey\u003c/a>.” For many GIs, Doris Day represented the kind of girl you’d want to fight for and come home to.\u003c/p>\n\u003cp>The end of the war brought the end of the big band era and the beginning of Day’s film career. Alfred Hitchcock used Day’s voice as a plot device in \u003cem>The Man Who Knew Too Much\u003c/em>, in which a distraught Day sings a distress signal, “\u003ca href=\"https://www.youtube.com/watch?v=xZbKHDPPrrc\">Que Sera, Sera\u003c/a>,” to her kidnapped son. It became her signature tune and went to the No. 2 spot on the charts.\u003c/p>\n\u003cp>Will Friedwald wrote \u003ca href=\"http://www.npr.org/2010/12/12/131972175/whether-famous-or-forgotten-they-all-sang-standards\">a book\u003c/a> on jazz singing. He said Day’s success with pop and novelty songs overshadowed a simple fact: She was a phenomenal singer, both technically and artistically.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She really is sort of the mother of all tuneful, sunny blondes,” he said, “but at the same time there’s definitely a dark side to her. You know, she can explore that kind of emotion very effectively in song.”\u003c/p>\n\u003cp>In the musical drama \u003cem>Love Me or Leave Me\u003c/em>, Day played ’30s torch singer Ruth Etting opposite Jimmy Cagney, who plays her jilted mobster husband. And throughout the ’50s, Day took on similarly meaty roles in films like \u003cem>Calamity Jane\u003c/em>, \u003cem>The Pajama Game\u003c/em> and \u003cem>The Man Who Knew Too Much\u003c/em>. But at the end of the decade, she settled into romantic comedies and a persona that would stick — the girl next door.\u003c/p>\n\u003cp>But David Kaufman, one of Day’s biographers, said the real Day was anything but the girl next door.\u003c/p>\n\u003cp>“She’s was a woman who was an extremely sensual woman,” he said. “She had affairs with a number of people. She was never happily married. She had a son but was never really a mother; he was more like a brother to her. She in many ways was the opposite to the girl next door.”\u003c/p>\n\u003cp>Day’s husband and manager, Martin Melcher, died suddenly in 1968. But before that, he lost her entire fortune and signed her to a television series without her knowledge. Day slogged through the five seasons of \u003cem>The Doris Day Show\u003c/em> and then left Hollywood. And after a very long legal battle, she eventually won back some of her money.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tabloids often caught Day doing simple things in retirement: going to the grocery store, caring for scores of abandoned pets or dining out with friends. And it seems if she couldn’t be the girl next door in her youth, as the years passed, she came close — sort of.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She really is sort of the mother of all tuneful, sunny blondes,” he said, “but at the same time there’s definitely a dark side to her. You know, she can explore that kind of emotion very effectively in song.”\u003c/p>\n\u003cp>In the musical drama \u003cem>Love Me or Leave Me\u003c/em>, Day played ’30s torch singer Ruth Etting opposite Jimmy Cagney, who plays her jilted mobster husband. And throughout the ’50s, Day took on similarly meaty roles in films like \u003cem>Calamity Jane\u003c/em>, \u003cem>The Pajama Game\u003c/em> and \u003cem>The Man Who Knew Too Much\u003c/em>. But at the end of the decade, she settled into romantic comedies and a persona that would stick — the girl next door.\u003c/p>\n\u003cp>But David Kaufman, one of Day’s biographers, said the real Day was anything but the girl next door.\u003c/p>\n\u003cp>“She’s was a woman who was an extremely sensual woman,” he said. “She had affairs with a number of people. She was never happily married. She had a son but was never really a mother; he was more like a brother to her. She in many ways was the opposite to the girl next door.”\u003c/p>\n\u003cp>Day’s husband and manager, Martin Melcher, died suddenly in 1968. But before that, he lost her entire fortune and signed her to a television series without her knowledge. Day slogged through the five seasons of \u003cem>The Doris Day Show\u003c/em> and then left Hollywood. And after a very long legal battle, she eventually won back some of her money.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tabloids often caught Day doing simple things in retirement: going to the grocery store, caring for scores of abandoned pets or dining out with friends. And it seems if she couldn’t be the girl next door in her youth, as the years passed, she came close — sort of.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97. This \u003c/em>Fresh Air\u003cem> interview was first broadcast on April 2, 2012. \u003c/em>\u003c/p>\n\u003cp>The biggest female box-office star in Hollywood history, Doris Day started singing and dancing when she was a teenager, and made her first film when she was 24. After nearly 40 movies, she walked away from that part of her life in 1968, and started rescuing and caring for animals.\u003c/p>\n\u003cp>Now 87, the actress lives in Carmel-by-the-Sea, Calif. Last year, she released \u003cem>My Heart\u003c/em>, her first record since 1967’s \u003cem>The Love Album\u003c/em>. She’s also the subject of a new four-DVD box set of her films — and was named TCM’s star of the month for April, which means 28 of her movies will air during prime time this week on the network.\u003c/p>\n\u003cp>\u003cstrong>The Making Of A Star\u003c/strong>\u003c/p>\n\u003cp>Day started her career as a teenage dancer in Cincinnati. She was spotted by a Paramount Pictures talent scout who wanted to fly her out to Hollywood, but a car accident on the night of her going-away party shattered her leg and her dreams of being a professional dancer. As Day recovered from her injuries, she listened to the radio and discovered she had a talent for singing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had to lie down, and I was just laying down all the time, and a couple of years went by. And the bones in my right leg from the knee down were not healing,” she tells \u003cem>Fresh Air\u003c/em>‘s Terry Gross. “And that went on for a few years. … And [then] when I started to heal, that’s when I started to sing — by myself — in a beautiful club in Cincinnati at the age of 16.”\u003c/p>\n\u003cp>The club was 18-and-up, so Day’s bandleader lied to the club owners and told them that his young singer was, in fact, a legal adult.\u003c/p>\n\u003cp>“I kept forgetting that I wasn’t two years older for years,” she says. “As the years go on, and my mother said to me, ‘You know what, it just occurred to me. You’re not really 30. You’re 28.’ And I looked at her and said, ‘Oh my gosh, I forgot all about that.'”\u003c/p>\n\u003cp>\u003cstrong>‘Romance On The High Seas’\u003c/strong>\u003c/p>\n\u003cp>Day’s singing career eventually led her to Hollywood, where she got a part in the 1948 film \u003cem>Romance on the High Seas,\u003c/em> without knowing she was auditioning for the role.\u003c/p>\n\u003cp>“I was just out in Hollywood singing, and my manager was with me, and we were going to have lunch,” she says. “And he drove out to the studio, and I knew nothing about that. We were standing around, and I said, ‘What are we doing?’ and he said, ‘I’m arranging something.'”\u003c/p>\n\u003cp>Day’s manager told her that a young man was auditioning for a role in a movie and she needed to help him out. That man, unbeknownst to Day, was actually the film’s director.\u003c/p>\n\u003cp>“So I read my lines, and after that, he came up and took my hands and said, ‘Darling, you were very good’ and I thought, ‘How funny’ and said, ‘Thank you so much, it was nice to meet you.’ And with that, we left,” she says.\u003c/p>\n\u003cp>Day was due to leave Los Angeles the following morning, but received a phone call in her hotel room. It was actor Jack Carson.\u003c/p>\n\u003cp>“And he said, ‘Miss Day, this is Jack Carson. I know it’s early in the day to be calling you, and I heard that you were leaving for New York. I want to tell you something — you are going to be in the best part, the most important part, in the movie I’m doing next. And I want you to be in it,'” she says.\u003c/p>\n\u003cp>Day accepted the offer and soon began working on the film. On her second day of work, she was invited into a studio to watch herself on the screen for the first time.\u003c/p>\n\u003cp>“I went in and I just stood there, and Jack came up to me and he put his arms around me,” she says. “And he said, ‘Everything is just perfect. And you’re the one. And I really enjoyed it today.’ And he gave me a big hug.”\u003c/p>\n\u003cp>In the ’50s and ’60s, Day starred in a string of romantic comedies, but frequently played an independent working woman. In 1959’s \u003cem>Pillow Talk\u003c/em>, she played an independent interior designer opposite Rock Hudson. In \u003cem>Love Come Back\u003c/em>, she worked in the advertising world. In \u003cem>Touch of Mink\u003c/em>, with Cary Grant, she played a career woman.\u003c/p>\n\u003cp>“I didn’t feel different in any of them,” she says, “even though they were different. I loved being married, and I loved not being married but working on it. And doing what I was supposed to do and be. That’s the way I worked.”\u003c/p>\n\u003cp>\u003cstrong>Working With Animals\u003c/strong>\u003c/p>\n\u003cp>Day stopped making movies in 1968, in part because she wanted a quieter lifestyle than what was available in Los Angeles.\u003c/p>\n\u003cp>“I came out to Carmel and it was so nice, and I have so many doggies,” she says. “And I thought that this would really be nice.”\u003c/p>\n\u003cp>In 1971, Day co-founded Actors and Others for Animals, and began to take an active role in animal rescue work with the SPCA. She placed dozens of rescue dogs in people’s homes and rescued many on her own. At one point, she had 30 dogs living in her house.\u003c/p>\n\u003cp>“It was another area of the house,” she says. “There was a lovely outside place to eat, and it was so pretty and lovely with the fountain and everything. And on the other side of that was where I had the dogs. And they had a big area to run and they had a huge area to play. They were just fabulous and I kept them all.”\u003c/p>\n\u003cp>Day currently has six dogs and four cats.\u003c/p>\n\u003cp>“If I come across a doggie who needs a home, that’s when I take them,” she says. “They’re in a special area — an outdoor area — but the ceiling is all glass and they look up there and see the trees. They have two big rooms inside and then one outside. They just love it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13857152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg\" alt=\"\" width=\"780\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-768x882.jpg 768w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003c/p>\n\u003chr>\n\u003ch3>\u003c/h3>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Singing ‘Que Sera Sera’ In \u003cem>The Man Who Knew Too Much\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>“The first time somebody told me it was going to be in that movie, I thought, ‘Why?’ I didn’t think there was a place to put that song. … I thought, ‘I’m not crazy about that. Where are they going to put it? For what?’ … I didn’t think it was a good song.”\u003c/p>\n\u003cp>\u003cstrong>On The Popularity Of ‘Que Sera Sera’\u003c/strong>\u003c/p>\n\u003cp>“I thought that was wonderful, because it became that because of children. And then I understood it. Because it was for our child in the movie. Then I realized, maybe it isn’t a favorite song of mine, but people loved it. And kids loved it. And it was perfect for the film. So I can’t say that it’s a favorite song of mine, but, boy, it sure did something.”\u003c/p>\n\u003cp>\u003cstrong>On What She Likes To Sing \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I like to sing love songs. I like to sing others, too. There’s so many that I love. I love them and I love singing them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Doris+Day%3A+A+Hollywood+Legend+Reflects+On+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Day started singing and dancing when she was a teenager, and made her first film at 24. After nearly 40 movies, she walked away from that part of her life in 1968, and started rescuing and caring for animals. From the archives, Day speaks to Terry Gross in a lengthy interview about her career in film and music.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97. This \u003c/em>Fresh Air\u003cem> interview was first broadcast on April 2, 2012. \u003c/em>\u003c/p>\n\u003cp>The biggest female box-office star in Hollywood history, Doris Day started singing and dancing when she was a teenager, and made her first film when she was 24. After nearly 40 movies, she walked away from that part of her life in 1968, and started rescuing and caring for animals.\u003c/p>\n\u003cp>Now 87, the actress lives in Carmel-by-the-Sea, Calif. Last year, she released \u003cem>My Heart\u003c/em>, her first record since 1967’s \u003cem>The Love Album\u003c/em>. She’s also the subject of a new four-DVD box set of her films — and was named TCM’s star of the month for April, which means 28 of her movies will air during prime time this week on the network.\u003c/p>\n\u003cp>\u003cstrong>The Making Of A Star\u003c/strong>\u003c/p>\n\u003cp>Day started her career as a teenage dancer in Cincinnati. She was spotted by a Paramount Pictures talent scout who wanted to fly her out to Hollywood, but a car accident on the night of her going-away party shattered her leg and her dreams of being a professional dancer. As Day recovered from her injuries, she listened to the radio and discovered she had a talent for singing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had to lie down, and I was just laying down all the time, and a couple of years went by. And the bones in my right leg from the knee down were not healing,” she tells \u003cem>Fresh Air\u003c/em>‘s Terry Gross. “And that went on for a few years. … And [then] when I started to heal, that’s when I started to sing — by myself — in a beautiful club in Cincinnati at the age of 16.”\u003c/p>\n\u003cp>The club was 18-and-up, so Day’s bandleader lied to the club owners and told them that his young singer was, in fact, a legal adult.\u003c/p>\n\u003cp>“I kept forgetting that I wasn’t two years older for years,” she says. “As the years go on, and my mother said to me, ‘You know what, it just occurred to me. You’re not really 30. You’re 28.’ And I looked at her and said, ‘Oh my gosh, I forgot all about that.'”\u003c/p>\n\u003cp>\u003cstrong>‘Romance On The High Seas’\u003c/strong>\u003c/p>\n\u003cp>Day’s singing career eventually led her to Hollywood, where she got a part in the 1948 film \u003cem>Romance on the High Seas,\u003c/em> without knowing she was auditioning for the role.\u003c/p>\n\u003cp>“I was just out in Hollywood singing, and my manager was with me, and we were going to have lunch,” she says. “And he drove out to the studio, and I knew nothing about that. We were standing around, and I said, ‘What are we doing?’ and he said, ‘I’m arranging something.'”\u003c/p>\n\u003cp>Day’s manager told her that a young man was auditioning for a role in a movie and she needed to help him out. That man, unbeknownst to Day, was actually the film’s director.\u003c/p>\n\u003cp>“So I read my lines, and after that, he came up and took my hands and said, ‘Darling, you were very good’ and I thought, ‘How funny’ and said, ‘Thank you so much, it was nice to meet you.’ And with that, we left,” she says.\u003c/p>\n\u003cp>Day was due to leave Los Angeles the following morning, but received a phone call in her hotel room. It was actor Jack Carson.\u003c/p>\n\u003cp>“And he said, ‘Miss Day, this is Jack Carson. I know it’s early in the day to be calling you, and I heard that you were leaving for New York. I want to tell you something — you are going to be in the best part, the most important part, in the movie I’m doing next. And I want you to be in it,'” she says.\u003c/p>\n\u003cp>Day accepted the offer and soon began working on the film. On her second day of work, she was invited into a studio to watch herself on the screen for the first time.\u003c/p>\n\u003cp>“I went in and I just stood there, and Jack came up to me and he put his arms around me,” she says. “And he said, ‘Everything is just perfect. And you’re the one. And I really enjoyed it today.’ And he gave me a big hug.”\u003c/p>\n\u003cp>In the ’50s and ’60s, Day starred in a string of romantic comedies, but frequently played an independent working woman. In 1959’s \u003cem>Pillow Talk\u003c/em>, she played an independent interior designer opposite Rock Hudson. In \u003cem>Love Come Back\u003c/em>, she worked in the advertising world. In \u003cem>Touch of Mink\u003c/em>, with Cary Grant, she played a career woman.\u003c/p>\n\u003cp>“I didn’t feel different in any of them,” she says, “even though they were different. I loved being married, and I loved not being married but working on it. And doing what I was supposed to do and be. That’s the way I worked.”\u003c/p>\n\u003cp>\u003cstrong>Working With Animals\u003c/strong>\u003c/p>\n\u003cp>Day stopped making movies in 1968, in part because she wanted a quieter lifestyle than what was available in Los Angeles.\u003c/p>\n\u003cp>“I came out to Carmel and it was so nice, and I have so many doggies,” she says. “And I thought that this would really be nice.”\u003c/p>\n\u003cp>In 1971, Day co-founded Actors and Others for Animals, and began to take an active role in animal rescue work with the SPCA. She placed dozens of rescue dogs in people’s homes and rescued many on her own. At one point, she had 30 dogs living in her house.\u003c/p>\n\u003cp>“It was another area of the house,” she says. “There was a lovely outside place to eat, and it was so pretty and lovely with the fountain and everything. And on the other side of that was where I had the dogs. And they had a big area to run and they had a huge area to play. They were just fabulous and I kept them all.”\u003c/p>\n\u003cp>Day currently has six dogs and four cats.\u003c/p>\n\u003cp>“If I come across a doggie who needs a home, that’s when I take them,” she says. “They’re in a special area — an outdoor area — but the ceiling is all glass and they look up there and see the trees. They have two big rooms inside and then one outside. They just love it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13857152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg\" alt=\"\" width=\"780\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-768x882.jpg 768w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003c/p>\n\u003chr>\n\u003ch3>\u003c/h3>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Singing ‘Que Sera Sera’ In \u003cem>The Man Who Knew Too Much\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>“The first time somebody told me it was going to be in that movie, I thought, ‘Why?’ I didn’t think there was a place to put that song. … I thought, ‘I’m not crazy about that. Where are they going to put it? For what?’ … I didn’t think it was a good song.”\u003c/p>\n\u003cp>\u003cstrong>On The Popularity Of ‘Que Sera Sera’\u003c/strong>\u003c/p>\n\u003cp>“I thought that was wonderful, because it became that because of children. And then I understood it. Because it was for our child in the movie. Then I realized, maybe it isn’t a favorite song of mine, but people loved it. And kids loved it. And it was perfect for the film. So I can’t say that it’s a favorite song of mine, but, boy, it sure did something.”\u003c/p>\n\u003cp>\u003cstrong>On What She Likes To Sing \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I like to sing love songs. I like to sing others, too. There’s so many that I love. I love them and I love singing them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Doris+Day%3A+A+Hollywood+Legend+Reflects+On+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "guided-by-ghosts-tells-the-story-of-chinatowns-born-of-racism-then-lost-to-history",
"title": "'Guided by Ghosts' Tells of Chinatowns Born of Racism, Then Lost to History",
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"content": "\u003cp>The last Chinatown of Santa Cruz disappeared after the great San Lorenzo River flood of 1955, known as the “\u003ca href=\"https://history.santacruzpl.org/omeka/files/original/b0c92c90026c6f75f8e4cf74f1230666.pdf\" target=\"_blank\" rel=\"noopener\">Christmas Flood\u003c/a>” because it hit on December 22 of that year. Despite the fact there were four Chinatowns in Santa Cruz, they all disappeared into history, destroyed by flood and fire, their inhabitants scattered to other places more welcoming.\u003c/p>\n\u003cp>An exhibition called \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cem>Guided by Ghosts\u003c/em>\u003c/a> brings that story back to life on the walls of the Santa Cruz Museum of Art and History. Chinese-American artist \u003ca href=\"https://tessahulls.com/home.html\" target=\"_blank\" rel=\"noopener\">Tessa Hulls\u003c/a>\u003ci> \u003c/i>weaves multiple strands of history together with photographs, newspaper clippings, and water colors. It looks like a graphic novel. (As it happens, Hulls, who’s home base is in Seattle, has gone off the grid to finish a graphic novel focused on related material.)\u003c/p>\n\u003cp>At MAH, Hulls has put up a giant, wall-to-wall timeline with a color-coded key: maroon for “Tessa’s Story,” aqua green for the “Monterey Bay Region,” and yellow for “National/International,” starting with the first Spanish Galleon to cross the Pacific from the Philippines in 1565.\u003c/p>\n\u003cfigure id=\"attachment_13857075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg\" alt=\"'Guided by Ghosts' by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-160x116.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-768x555.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-1020x737.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM.jpeg 1029w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Guided by Ghosts’ by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors. \u003ccite>(Photo: Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline pops with quotes from people like George Ow, a kind of unofficial mayor for this community of ghosts. Hulls quotes him saying, “In Chinese folklore, if something is not settled during a lifetime, you have hungry ghosts, like angry spirits. By acknowledging these spirits, we’re kind of like feeding them.”\u003c/p>\n\u003cp>Ow, who grew up in that last Chinatown by the river, said the spirits would approve of Hulls joining the short list of those who’ve honored the history of Chinese-Americans in the Santa Cruz area. Ow’s uncle, George Lee, published a seminal collection of photographs, \u003ca href=\"http://tph.ucpress.edu/content/27/2/156.article-info\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinatown Dreams\u003c/em>\u003c/a>. Historian \u003ca href=\"http://www.sandylydon.com\" target=\"_blank\" rel=\"noopener\">Sandy Lyden\u003c/a> wrote \u003ca href=\"http://www.capitolabook.com/chinese.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinese Gold: The Chinese in the Monterey Bay Region\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Guided by Ghosts\u003c/em> ends with a replica of the artist’s studio in Port Townsend, Washington. An empty desk and chair beckons visitors, and a deck of cards asks about our own family histories. It’s a common motif at the Museum of Art & History, which often concludes its exhibitions with some kind of participatory element.\u003c/p>\n\u003cfigure id=\"attachment_13857076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg\" alt=\"'Lost Chinatowns' a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lost Chinatowns’ a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \u003ccite>(Photo: Courtesy of Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hulls may not have grown up in Santa Cruz, but the story still feels like hers. The journey her grandmother took to flee China, and the journey her mother took to get to the United States, are of a piece with her timeline, literally, as well as metaphorically.\u003c/p>\n\u003cp>When UC Santa Cruz Theatre Arts Assistant Professor \u003ca href=\"http://theater.ucsc.edu/faculty/cynthia-ling-lee\" target=\"_blank\" rel=\"noopener\">Cynthia Ling Lee\u003c/a> arrived in the area three years ago, she was surprised to discover how little Chinese influence remains. Lee couldn’t even find an Asian grocery store. “You have to drive all the way to San Jose. There’s this whole history of racism that drove out all the Chinese people. So, evidently, that’s why!” she said.\u003c/p>\n\u003cp>[aside postID='arts_12200341,news_11626850,forum_2010101869250' label='Related Coverage']Lee choreographed \u003ca href=\"http://www.cynthialinglee.com/lost-chinatowns/\" target=\"_blank\" rel=\"noopener\">\u003ci>Lost Chinatowns\u003c/i>\u003c/a>, a dance piece she performed at the museum in conjunction with \u003cem>Guided by Ghosts\u003c/em>. An ensemble version of the work has been performed in San Francisco as well. “While anti-Chinese racism now is not the same as it was in the early 1900s, we are in an era of, like, virulent, radicalized xenophobia, so it’s all super relevant.”\u003c/p>\n\u003cp>It’s a story Ow sees echoing through the centuries: “The labor is needed, but the people aren’t necessarily welcomed. From the Native Americans, to the Chinese, to the Japanese, to the Filipinos, to the people from the Dustbowl, and Mexico, and the countries south of Mexico. It’s the same old story. It’s still going on,” Ow said.\u003c/p>\n\u003cp>Today, Ow’s a real estate developer. Take a moment with that. Because of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener\">Chinese Exclusion Act\u003c/a> of 1882, it wasn’t until 1943 Chinese-Americans were allowed to own land in California. That makes Ow a living embodiment of the idea the personal is political.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Guided by Ghosts \u003c/strong>continues through June 23, 2019 at the Santa Cruz Museum of Art and History. For more information, click \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'Guided by Ghosts' Tells of Chinatowns Born of Racism, Then Lost to History | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last Chinatown of Santa Cruz disappeared after the great San Lorenzo River flood of 1955, known as the “\u003ca href=\"https://history.santacruzpl.org/omeka/files/original/b0c92c90026c6f75f8e4cf74f1230666.pdf\" target=\"_blank\" rel=\"noopener\">Christmas Flood\u003c/a>” because it hit on December 22 of that year. Despite the fact there were four Chinatowns in Santa Cruz, they all disappeared into history, destroyed by flood and fire, their inhabitants scattered to other places more welcoming.\u003c/p>\n\u003cp>An exhibition called \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cem>Guided by Ghosts\u003c/em>\u003c/a> brings that story back to life on the walls of the Santa Cruz Museum of Art and History. Chinese-American artist \u003ca href=\"https://tessahulls.com/home.html\" target=\"_blank\" rel=\"noopener\">Tessa Hulls\u003c/a>\u003ci> \u003c/i>weaves multiple strands of history together with photographs, newspaper clippings, and water colors. It looks like a graphic novel. (As it happens, Hulls, who’s home base is in Seattle, has gone off the grid to finish a graphic novel focused on related material.)\u003c/p>\n\u003cp>At MAH, Hulls has put up a giant, wall-to-wall timeline with a color-coded key: maroon for “Tessa’s Story,” aqua green for the “Monterey Bay Region,” and yellow for “National/International,” starting with the first Spanish Galleon to cross the Pacific from the Philippines in 1565.\u003c/p>\n\u003cfigure id=\"attachment_13857075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg\" alt=\"'Guided by Ghosts' by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-160x116.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-768x555.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-1020x737.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM.jpeg 1029w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Guided by Ghosts’ by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors. \u003ccite>(Photo: Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline pops with quotes from people like George Ow, a kind of unofficial mayor for this community of ghosts. Hulls quotes him saying, “In Chinese folklore, if something is not settled during a lifetime, you have hungry ghosts, like angry spirits. By acknowledging these spirits, we’re kind of like feeding them.”\u003c/p>\n\u003cp>Ow, who grew up in that last Chinatown by the river, said the spirits would approve of Hulls joining the short list of those who’ve honored the history of Chinese-Americans in the Santa Cruz area. Ow’s uncle, George Lee, published a seminal collection of photographs, \u003ca href=\"http://tph.ucpress.edu/content/27/2/156.article-info\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinatown Dreams\u003c/em>\u003c/a>. Historian \u003ca href=\"http://www.sandylydon.com\" target=\"_blank\" rel=\"noopener\">Sandy Lyden\u003c/a> wrote \u003ca href=\"http://www.capitolabook.com/chinese.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinese Gold: The Chinese in the Monterey Bay Region\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Guided by Ghosts\u003c/em> ends with a replica of the artist’s studio in Port Townsend, Washington. An empty desk and chair beckons visitors, and a deck of cards asks about our own family histories. It’s a common motif at the Museum of Art & History, which often concludes its exhibitions with some kind of participatory element.\u003c/p>\n\u003cfigure id=\"attachment_13857076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg\" alt=\"'Lost Chinatowns' a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lost Chinatowns’ a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \u003ccite>(Photo: Courtesy of Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hulls may not have grown up in Santa Cruz, but the story still feels like hers. The journey her grandmother took to flee China, and the journey her mother took to get to the United States, are of a piece with her timeline, literally, as well as metaphorically.\u003c/p>\n\u003cp>When UC Santa Cruz Theatre Arts Assistant Professor \u003ca href=\"http://theater.ucsc.edu/faculty/cynthia-ling-lee\" target=\"_blank\" rel=\"noopener\">Cynthia Ling Lee\u003c/a> arrived in the area three years ago, she was surprised to discover how little Chinese influence remains. Lee couldn’t even find an Asian grocery store. “You have to drive all the way to San Jose. There’s this whole history of racism that drove out all the Chinese people. So, evidently, that’s why!” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lee choreographed \u003ca href=\"http://www.cynthialinglee.com/lost-chinatowns/\" target=\"_blank\" rel=\"noopener\">\u003ci>Lost Chinatowns\u003c/i>\u003c/a>, a dance piece she performed at the museum in conjunction with \u003cem>Guided by Ghosts\u003c/em>. An ensemble version of the work has been performed in San Francisco as well. “While anti-Chinese racism now is not the same as it was in the early 1900s, we are in an era of, like, virulent, radicalized xenophobia, so it’s all super relevant.”\u003c/p>\n\u003cp>It’s a story Ow sees echoing through the centuries: “The labor is needed, but the people aren’t necessarily welcomed. From the Native Americans, to the Chinese, to the Japanese, to the Filipinos, to the people from the Dustbowl, and Mexico, and the countries south of Mexico. It’s the same old story. It’s still going on,” Ow said.\u003c/p>\n\u003cp>Today, Ow’s a real estate developer. Take a moment with that. Because of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener\">Chinese Exclusion Act\u003c/a> of 1882, it wasn’t until 1943 Chinese-Americans were allowed to own land in California. That makes Ow a living embodiment of the idea the personal is political.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Guided by Ghosts \u003c/strong>continues through June 23, 2019 at the Santa Cruz Museum of Art and History. For more information, click \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dave-chappelle-to-be-awarded-mark-twain-prize-for-american-humor",
"title": "Dave Chappelle To Be Awarded Mark Twain Prize For American Humor",
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"headTitle": "Dave Chappelle To Be Awarded Mark Twain Prize For American Humor | KQED",
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"content": "\u003cp>Comedian Dave Chappelle will be awarded the Mark Twain Prize for American Humor this year, the John F. Kennedy Center for the Performing Arts has announced.\u003c/p>\n\u003cp>The stand-up comic, actor, producer and director joins a prestigious group of comedians to receive the award. Among them are Carol Burnett, Whoopi Goldberg, Bob Newhart and Richard Pryor — who won the very first Twain Prize in 1998.\u003c/p>\n\u003cp>“Dave is one of the truly original voices in comedy — the definition of a creative artist,” Matthew Winer, director of comedy and special programming at the Kennedy Center, said to NPR. “He’s a modern day sociologist, skewering stereotypes, defying boundaries and showing us that laughter can be a way to contextualize issues that we struggle to understand.”\u003c/p>\n\u003cp>“Dave is the embodiment of Mark Twain’s observation that ‘against the assault of humor, nothing can stand,’ ” Deborah F. Rutter, president of the Kennedy Center, said in a prepared statement. “For three decades, Dave has challenged us to see hot-button issues from his entirely original yet relatable perspective.”\u003c/p>\n\u003cp>The prize will be awarded at a Kennedy Center gala on Oct. 27, 2019, and a TV special of the evening will be broadcast on PBS stations Jan. 6, 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edgy, politically incorrect and occasionally scatological, Chappelle’s career skyrocketed with three seasons of \u003cem>Chappelle’s Show\u003c/em> (2003-2006), one of the most popular comedy shows on TV. Co-created \u003ca href=\"https://www.npr.org/2017/02/23/516739139/chappelles-show-co-creator-moves-into-the-limelight-with-3-mics\">with Neal Brennan\u003c/a>, the sketches on Comedy Central spared no one.\u003c/p>\n\u003cp>Chappelle’s impersonations of \u003ca href=\"http://www.cc.com/video-clips/e748yj/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---prince---uncensored\">Prince\u003c/a>, \u003ca href=\"http://www.cc.com/video-clips/iuegla/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---rick-james-pt--1---uncensored\">Rick James\u003c/a> and \u003ca href=\"http://www.cc.com/video-clips/m7u3o1/chappelle-s-show-a-moment-in-the-life-of-lil-jon---injury\">Lil Jon\u003c/a> are now legendary. In a sketch that stretched the imagination and boundaries of racial satire, Chappelle \u003ca href=\"https://www.youtube.com/watch?v=JBC-9k3y1ew\">played Clayton Bigsby\u003c/a>, a blind white supremacist who doesn’t know he’s black.\u003c/p>\n\u003cp>It was “revolutionary,” must-see TV, \u003ca href=\"http://grantland.com/features/a-battle-best-chappelle-show-sketch-ever/\">wrote Rembert Browne\u003c/a>, who was a teenager when \u003cem>Chappelle’s Show\u003c/em> aired: “It was unacceptable to show up to high school the next day without knowing all the material from the previous night’s episode.”\u003c/p>\n\u003cp>\u003cem>Chappelle’s Show\u003c/em> earned three Emmy nominations and became a bestseller on DVD. But after signing a reported $50 million deal for Seasons 3 and 4, Chappelle famously and abruptly disappeared from entertainment altogether. He spent two weeks in South Africa and then moved to Yellow Springs, Ohio, with his family.\u003c/p>\n\u003cp>“I felt in a lot of instances I was deliberately being put through stress because when you’re a guy who generates money, people have a vested interest in controlling you,” \u003ca href=\"https://www.today.com/popculture/chappelle-tells-oprah-i-wasn-t-crazy-wbna11163322\">he told Oprah Winfrey\u003c/a>.\u003c/p>\n\u003cp>Chappelle eventually returned to stand-up. He signed a multimillion-dollar deal with Netflix. Last year, two of his Netflix comedy specials — \u003cem>Equanimity\u003c/em> and \u003cem>The Bird Revelation\u003c/em> — won a Grammy Award (packaged together) for best comedy album. \u003cem>Equanimity \u003c/em>also won an Emmy for outstanding variety special.\u003c/p>\n\u003cp>His latest specials address hot-button issues such as race, class, gender, President Trump and the #MeToo movement. Chappelle compared the current women’s movement to African Americans’ long struggle for equal rights, and even suggests South Africa’s Truth and Reconciliation Commission as a model for inspiration.\u003c/p>\n\u003cp>Not all of the jokes in his recent specials have landed well with all audiences. Critics have repeatedly objected to his \u003ca href=\"https://medium.com/@tylergfoster/i-wrote-dave-chappelle-a-letter-about-his-terrible-transgender-jokes-55478970b9f\">jokes about people who are transgender\u003c/a> and the \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/television/dave-chappelle-netflix-special.html\">#MeToo movement\u003c/a>.\u003c/p>\n\u003cp>Setting aside his fondness for dirty and transgressive material, Chappelle is socially conscious to his core. His father was a professor at Antioch College. His mother taught at Howard University. For high school, Chappelle attended the Duke Ellington School of the Arts in Washington.\u003c/p>\n\u003cp>“Dave is a hometown hero here in Washington, D.C., where he grew up,” Rutter also said. “We’re so looking forward to welcoming him back home [at the Kennedy Center].”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/13/501883403/snl-reflects-a-nations-emotional-tone-in-post-election-episode\">His appearance on\u003c/a> \u003cem>Saturday Night Live\u003c/em>, days after Donald Trump won the 2016 presidential election, also received an Emmy. His opening monologue took jabs at the president-elect, and skewered black and white stereotypes, before turning more serious at the end, as he reflected on a BET party he’d attended at the White House during the Obama administration.\u003c/p>\n\u003cp>“So, in that spirit, I’m wishing Donald Trump luck,” Chappelle said. “And I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.” He has, however, \u003ca href=\"https://thegrapevine.theroot.com/dave-chappelle-apologizes-for-snl-monologue-saying-to-1795253351\">since apologized for that remark.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/–IS0XiNdpk\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Chappelle+To+Be+Awarded+Mark+Twain+Prize+For+American+Humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Dave Chappelle will be awarded the Mark Twain Prize for American Humor this year, the John F. Kennedy Center for the Performing Arts has announced.\u003c/p>\n\u003cp>The stand-up comic, actor, producer and director joins a prestigious group of comedians to receive the award. Among them are Carol Burnett, Whoopi Goldberg, Bob Newhart and Richard Pryor — who won the very first Twain Prize in 1998.\u003c/p>\n\u003cp>“Dave is one of the truly original voices in comedy — the definition of a creative artist,” Matthew Winer, director of comedy and special programming at the Kennedy Center, said to NPR. “He’s a modern day sociologist, skewering stereotypes, defying boundaries and showing us that laughter can be a way to contextualize issues that we struggle to understand.”\u003c/p>\n\u003cp>“Dave is the embodiment of Mark Twain’s observation that ‘against the assault of humor, nothing can stand,’ ” Deborah F. Rutter, president of the Kennedy Center, said in a prepared statement. “For three decades, Dave has challenged us to see hot-button issues from his entirely original yet relatable perspective.”\u003c/p>\n\u003cp>The prize will be awarded at a Kennedy Center gala on Oct. 27, 2019, and a TV special of the evening will be broadcast on PBS stations Jan. 6, 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edgy, politically incorrect and occasionally scatological, Chappelle’s career skyrocketed with three seasons of \u003cem>Chappelle’s Show\u003c/em> (2003-2006), one of the most popular comedy shows on TV. Co-created \u003ca href=\"https://www.npr.org/2017/02/23/516739139/chappelles-show-co-creator-moves-into-the-limelight-with-3-mics\">with Neal Brennan\u003c/a>, the sketches on Comedy Central spared no one.\u003c/p>\n\u003cp>Chappelle’s impersonations of \u003ca href=\"http://www.cc.com/video-clips/e748yj/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---prince---uncensored\">Prince\u003c/a>, \u003ca href=\"http://www.cc.com/video-clips/iuegla/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---rick-james-pt--1---uncensored\">Rick James\u003c/a> and \u003ca href=\"http://www.cc.com/video-clips/m7u3o1/chappelle-s-show-a-moment-in-the-life-of-lil-jon---injury\">Lil Jon\u003c/a> are now legendary. In a sketch that stretched the imagination and boundaries of racial satire, Chappelle \u003ca href=\"https://www.youtube.com/watch?v=JBC-9k3y1ew\">played Clayton Bigsby\u003c/a>, a blind white supremacist who doesn’t know he’s black.\u003c/p>\n\u003cp>It was “revolutionary,” must-see TV, \u003ca href=\"http://grantland.com/features/a-battle-best-chappelle-show-sketch-ever/\">wrote Rembert Browne\u003c/a>, who was a teenager when \u003cem>Chappelle’s Show\u003c/em> aired: “It was unacceptable to show up to high school the next day without knowing all the material from the previous night’s episode.”\u003c/p>\n\u003cp>\u003cem>Chappelle’s Show\u003c/em> earned three Emmy nominations and became a bestseller on DVD. But after signing a reported $50 million deal for Seasons 3 and 4, Chappelle famously and abruptly disappeared from entertainment altogether. He spent two weeks in South Africa and then moved to Yellow Springs, Ohio, with his family.\u003c/p>\n\u003cp>“I felt in a lot of instances I was deliberately being put through stress because when you’re a guy who generates money, people have a vested interest in controlling you,” \u003ca href=\"https://www.today.com/popculture/chappelle-tells-oprah-i-wasn-t-crazy-wbna11163322\">he told Oprah Winfrey\u003c/a>.\u003c/p>\n\u003cp>Chappelle eventually returned to stand-up. He signed a multimillion-dollar deal with Netflix. Last year, two of his Netflix comedy specials — \u003cem>Equanimity\u003c/em> and \u003cem>The Bird Revelation\u003c/em> — won a Grammy Award (packaged together) for best comedy album. \u003cem>Equanimity \u003c/em>also won an Emmy for outstanding variety special.\u003c/p>\n\u003cp>His latest specials address hot-button issues such as race, class, gender, President Trump and the #MeToo movement. Chappelle compared the current women’s movement to African Americans’ long struggle for equal rights, and even suggests South Africa’s Truth and Reconciliation Commission as a model for inspiration.\u003c/p>\n\u003cp>Not all of the jokes in his recent specials have landed well with all audiences. Critics have repeatedly objected to his \u003ca href=\"https://medium.com/@tylergfoster/i-wrote-dave-chappelle-a-letter-about-his-terrible-transgender-jokes-55478970b9f\">jokes about people who are transgender\u003c/a> and the \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/television/dave-chappelle-netflix-special.html\">#MeToo movement\u003c/a>.\u003c/p>\n\u003cp>Setting aside his fondness for dirty and transgressive material, Chappelle is socially conscious to his core. His father was a professor at Antioch College. His mother taught at Howard University. For high school, Chappelle attended the Duke Ellington School of the Arts in Washington.\u003c/p>\n\u003cp>“Dave is a hometown hero here in Washington, D.C., where he grew up,” Rutter also said. “We’re so looking forward to welcoming him back home [at the Kennedy Center].”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/13/501883403/snl-reflects-a-nations-emotional-tone-in-post-election-episode\">His appearance on\u003c/a> \u003cem>Saturday Night Live\u003c/em>, days after Donald Trump won the 2016 presidential election, also received an Emmy. His opening monologue took jabs at the president-elect, and skewered black and white stereotypes, before turning more serious at the end, as he reflected on a BET party he’d attended at the White House during the Obama administration.\u003c/p>\n\u003cp>“So, in that spirit, I’m wishing Donald Trump luck,” Chappelle said. “And I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.” He has, however, \u003ca href=\"https://thegrapevine.theroot.com/dave-chappelle-apologizes-for-snl-monologue-saying-to-1795253351\">since apologized for that remark.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>null\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Chappelle+To+Be+Awarded+Mark+Twain+Prize+For+American+Humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With condo plans dashed, the longtime site of Mission District haunt the Elbo Room will reopen this month as the Valencia Room, a bar and venue geared toward electronic music, \u003ca href=\"https://sf.eater.com/2019/5/2/18526925/the-valencia-room-elbo-room-sf-bar-opening-music-venue\">Eater reports\u003c/a>. \u003c/p>\n\u003cp>The Elbo Room, a dimly lit dive with an upstairs venue that opened in 1991 at 647 Valencia Street, was mourned for years before its doors closed at the end of 2018, with many lamenting the property owners’ ongoing plans to raze the historic two-story building in favor of new housing. \u003c/p>\n\u003cp>But city officials ultimately denied the landlords’ development plans. So while Elbo Room operators Matt Shapiro and Erik Cantu launched Elbo Room Jack London in Oakland, Susan and Dennis Ring sold the building to Steve Schefsky, owner of Playland and Topsy’s Fun House.\u003c/p>\n\u003cp>Schefsky in turn partnered with Sylvia Holden and David Che, who’d been running a bar in Brooklyn called Mary’s, to create and operate the Valencia Room. Che told Eater that changes to the bar, which started in January, stress “restoration over renovation.” There will be newspaper and magazine collages on the walls as well as a new bathroom upstairs. \u003c/p>\n\u003cp>Music fans will note several more speakers downstairs and a new Void Acoustics sound-system in the upstairs venue, a setup reflecting the Valencia Room operators’ stated plans to prioritize DJs and electronic music over the rock fare associated with the Elbo Room.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Valencia St. address previously housed lesbian bar Amelia’s and, before that, cowboy-themed watering hole Luke & Larry’s. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With condo plans dashed, the longtime site of Mission District haunt the Elbo Room will reopen this month as the Valencia Room, a bar and venue geared toward electronic music, \u003ca href=\"https://sf.eater.com/2019/5/2/18526925/the-valencia-room-elbo-room-sf-bar-opening-music-venue\">Eater reports\u003c/a>. \u003c/p>\n\u003cp>The Elbo Room, a dimly lit dive with an upstairs venue that opened in 1991 at 647 Valencia Street, was mourned for years before its doors closed at the end of 2018, with many lamenting the property owners’ ongoing plans to raze the historic two-story building in favor of new housing. \u003c/p>\n\u003cp>But city officials ultimately denied the landlords’ development plans. So while Elbo Room operators Matt Shapiro and Erik Cantu launched Elbo Room Jack London in Oakland, Susan and Dennis Ring sold the building to Steve Schefsky, owner of Playland and Topsy’s Fun House.\u003c/p>\n\u003cp>Schefsky in turn partnered with Sylvia Holden and David Che, who’d been running a bar in Brooklyn called Mary’s, to create and operate the Valencia Room. Che told Eater that changes to the bar, which started in January, stress “restoration over renovation.” There will be newspaper and magazine collages on the walls as well as a new bathroom upstairs. \u003c/p>\n\u003cp>Music fans will note several more speakers downstairs and a new Void Acoustics sound-system in the upstairs venue, a setup reflecting the Valencia Room operators’ stated plans to prioritize DJs and electronic music over the rock fare associated with the Elbo Room.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp dir=\"ltr\">In today’s enlightened age, polite people would never admit talking about mental illness is taboo. But it is. If you have a psychiatric illness, or someone you love does, you know it’s awkward to talk about. Raise the subject, and people mutter something vaguely sympathetic and find a way to move away from you or change the subject.\u003c/p>\n\u003cp dir=\"ltr\">Then there’s the taboo you feel within yourself. That was the experience of fourth-year Stanford Ph.D. Student \u003ca href=\"https://earth.stanford.edu/people/zack-burton#gs.9bv9by\" target=\"_blank\" rel=\"noopener\">Zack Burton,\u003c/a> now a couple of years past his first psychotic break and diagnosis of bipolar disorder.\u003c/p>\n\u003cp>“Some of the stigma, that even I myself had toward mental illness, really made that recovery somewhat more difficult than the psychosis itself and the actual events surrounding my diagnosis,” Burton said.\u003c/p>\n\u003cp dir=\"ltr\">Searching online for information and community didn’t help. “There’s this lack of relatable stories out there, which is very frightening when you’re sort of WebMDing symptoms and saying ‘Will life ever be the same?’ A lot of responses are saying ‘No, life will never be the same again.’”\u003c/p>\n\u003cp dir=\"ltr\">Burton and his girlfriend, psychiatric clinical research coordinator \u003ca href=\"https://profiles.stanford.edu/elisa-hofmeister\" target=\"_blank\" rel=\"noopener\">Elisa Hofmeister\u003c/a>, were willing to talk openly about what they were experiencing—only to discover people they thought they knew had been hiding their own experiences. “It was something like three or four of our closest friends who either had mental illness or had a parent who had mental illness. But we had never realized that before, even amongst very close friends,” marveled Burton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp dir=\"ltr\">That’s when they hit on the idea of doing the mental-illness version of \u003ca href=\"https://www.eveensler.org/plays/the-vagina-monologues/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Vagina Monologues\u003c/em>\u003c/a>, Eve Ensler’s classic collection of first-person stories about female sexuality.\u003c/p>\n\u003cp dir=\"ltr\">[youtube https://www.youtube.com/watch?v=_eKbur64CdA]Roughly 20 years ago, the blockbuster theater piece blasted a longstanding taboo to smithereens with devastating humor and pathos. Ensler did all the research and writing.\u003c/p>\n\u003cp dir=\"ltr\">For \u003cem>\u003ca href=\"https://www.themanicmonologues.org/\" target=\"_blank\" rel=\"noopener\">Manic Monologues\u003c/a>\u003c/em>, Burton and Hofmeister reached out to a wide variety of people to get first-person stories. There are fifteen altogether, ranging from the funny to the heartbreaking, performed by actors and the authors themselves.\u003c/p>\n\u003cp dir=\"ltr\">Hofmeister drew a parallel between mental illness and cancer. “Back in the 1950s, cancer was really stigmatized. People did not want to talk about it. It was seen as kind of a shameful thing to receive a diagnosis of cancer. It’s frightening, of course, but there’s no reason to be ashamed of it,” Hofmeister said.\u003c/p>\n\u003cp dir=\"ltr\">The two enlisted the help of a wide-ranging advisory team, including \u003ca href=\"https://stanfordhealthcare.org/doctors/h/rona-hu.html\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a Clinical Associate Professor in Psychiatry and Behavioral Sciences who launched \u003ca href=\"https://www.kqed.org/arts/13113401/stanford-psychiatrists-take-to-the-stage\" target=\"_blank\" rel=\"noopener\">a series of theatrical vignettes\u003c/a> designed to help Asian-Americans and Latinos confront a variety of parenting and mental health issues.\u003c/p>\n\u003cp dir=\"ltr\">She even wrote a monologue about her own experience that she’s performing in \u003cem>Manic Monologues\u003c/em>.\u003c/p>\n\u003cp dir=\"ltr\">Back when Hu was a college student, she didn’t understand her boyfriend had bipolar disorder. She was so freaked out by his behavior, she actually ghosted him.\u003c/p>\n\u003cfigure id=\"attachment_13856444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856444 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg\" alt='The cast of \"Manic Monologues,\" a theatre piece exploring 15 different perspectives on mental illness, not unlike \"Vagina Monologues\" did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of “Manic Monologues,” a theatre piece exploring 15 different perspectives on mental illness, not unlike “Vagina Monologues” did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee \u003ccite>(Photo: Courtesy of Vianno Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">“Lucky for me, it was getting to be the end of the school year, and I had summer plans in another country, in Paris. These were plans I kept to myself. So when June rolled around, I just sort of got on the plane and disappeared,” Ru says in her monologue, baring that awkward chapter from her past in the hopes of reaching people in pain who are afraid to admit it.\u003c/p>\n\u003cp dir=\"ltr\">[aside postID='arts_13113401,news_10524319,arts_13851676' label='Related Coverage']Today, Hu is Medical Director of the Acute Psychiatric Inpatient Unit at Stanford Hospital, where she treats lots of people with bipolar disorder, schizophrenia, and depression.\u003c/p>\n\u003cp>Hu knows what mental illness looks like today. But she encounters lots of people who don’t, who misinterpret their loved ones’ behavior, “almost like a moral weakness. Or something that people are doing on purpose,” she said.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.nimh.nih.gov/health/statistics/mental-illness.shtml\" target=\"_blank\" rel=\"noopener\">National Institute of Mental Health\u003c/a>, nearly one in five U.S. adults live with a mental illness (46.6 million in 2017).\u003c/p>\n\u003cp>“Stigma is such a dangerous thing. It keeps people from getting help. It keeps people from even realizing that there’s an issue that there are solutions for,” Hu said. She’s enthusiastic about encouraging people to talk openly about mental illness, even if it means talking about the misgivings many people have about getting or staying emotionally involved with a person on a mental health roller coaster.\u003c/p>\n\u003cp dir=\"ltr\">“If that young man had had just a few fewer episodes, or had hidden them from me better, than maybe I would have several very attractive children with him right now, and be tracking him down through his credit card receipts, and asking the highway patrol if they’d seen him. Things that I’ve had patients tell me about, and patients’ family members tell me about,” Hu said.\u003c/p>\n\u003cp dir=\"ltr\">All three \u003cem>Manic Monologues\u003c/em> shows at Stanford are sold out, but the hope is that the show travels the way \u003cem>Vagina Monologues\u003c/em> did, and has the same cultural impact.\u003c/p>\n\u003cp>“We would really like to help high school, college, and community theaters put on their own versions of the show,” Burton said, and to that effect, he added, “All proceeds of the show, as well as our \u003ca href=\"https://www.gofundme.com/the-manic-monologues-destigmatizing-mental-health\" target=\"_blank\" rel=\"noopener\">gofundme\u003c/a> campaign, will go toward seed funding for other theaters to perform the show.”\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manic Monologues’ runs Thursday through Saturday, May 2–4, at Stanford’s Pigott Theater. \u003ca href=\"https://arts.stanford.edu/event/82535/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'Manic Monologues' Seeks to Disrupt the Stigma Around Mental Illness | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">In today’s enlightened age, polite people would never admit talking about mental illness is taboo. But it is. If you have a psychiatric illness, or someone you love does, you know it’s awkward to talk about. Raise the subject, and people mutter something vaguely sympathetic and find a way to move away from you or change the subject.\u003c/p>\n\u003cp dir=\"ltr\">Then there’s the taboo you feel within yourself. That was the experience of fourth-year Stanford Ph.D. Student \u003ca href=\"https://earth.stanford.edu/people/zack-burton#gs.9bv9by\" target=\"_blank\" rel=\"noopener\">Zack Burton,\u003c/a> now a couple of years past his first psychotic break and diagnosis of bipolar disorder.\u003c/p>\n\u003cp>“Some of the stigma, that even I myself had toward mental illness, really made that recovery somewhat more difficult than the psychosis itself and the actual events surrounding my diagnosis,” Burton said.\u003c/p>\n\u003cp dir=\"ltr\">Searching online for information and community didn’t help. “There’s this lack of relatable stories out there, which is very frightening when you’re sort of WebMDing symptoms and saying ‘Will life ever be the same?’ A lot of responses are saying ‘No, life will never be the same again.’”\u003c/p>\n\u003cp dir=\"ltr\">Burton and his girlfriend, psychiatric clinical research coordinator \u003ca href=\"https://profiles.stanford.edu/elisa-hofmeister\" target=\"_blank\" rel=\"noopener\">Elisa Hofmeister\u003c/a>, were willing to talk openly about what they were experiencing—only to discover people they thought they knew had been hiding their own experiences. “It was something like three or four of our closest friends who either had mental illness or had a parent who had mental illness. But we had never realized that before, even amongst very close friends,” marveled Burton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">That’s when they hit on the idea of doing the mental-illness version of \u003ca href=\"https://www.eveensler.org/plays/the-vagina-monologues/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Vagina Monologues\u003c/em>\u003c/a>, Eve Ensler’s classic collection of first-person stories about female sexuality.\u003c/p>\n\u003cp dir=\"ltr\">\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/_eKbur64CdA'\n title='//www.youtube.com/embed/_eKbur64CdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Roughly 20 years ago, the blockbuster theater piece blasted a longstanding taboo to smithereens with devastating humor and pathos. Ensler did all the research and writing.\u003c/p>\n\u003cp dir=\"ltr\">For \u003cem>\u003ca href=\"https://www.themanicmonologues.org/\" target=\"_blank\" rel=\"noopener\">Manic Monologues\u003c/a>\u003c/em>, Burton and Hofmeister reached out to a wide variety of people to get first-person stories. There are fifteen altogether, ranging from the funny to the heartbreaking, performed by actors and the authors themselves.\u003c/p>\n\u003cp dir=\"ltr\">Hofmeister drew a parallel between mental illness and cancer. “Back in the 1950s, cancer was really stigmatized. People did not want to talk about it. It was seen as kind of a shameful thing to receive a diagnosis of cancer. It’s frightening, of course, but there’s no reason to be ashamed of it,” Hofmeister said.\u003c/p>\n\u003cp dir=\"ltr\">The two enlisted the help of a wide-ranging advisory team, including \u003ca href=\"https://stanfordhealthcare.org/doctors/h/rona-hu.html\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a Clinical Associate Professor in Psychiatry and Behavioral Sciences who launched \u003ca href=\"https://www.kqed.org/arts/13113401/stanford-psychiatrists-take-to-the-stage\" target=\"_blank\" rel=\"noopener\">a series of theatrical vignettes\u003c/a> designed to help Asian-Americans and Latinos confront a variety of parenting and mental health issues.\u003c/p>\n\u003cp dir=\"ltr\">She even wrote a monologue about her own experience that she’s performing in \u003cem>Manic Monologues\u003c/em>.\u003c/p>\n\u003cp dir=\"ltr\">Back when Hu was a college student, she didn’t understand her boyfriend had bipolar disorder. She was so freaked out by his behavior, she actually ghosted him.\u003c/p>\n\u003cfigure id=\"attachment_13856444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856444 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg\" alt='The cast of \"Manic Monologues,\" a theatre piece exploring 15 different perspectives on mental illness, not unlike \"Vagina Monologues\" did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of “Manic Monologues,” a theatre piece exploring 15 different perspectives on mental illness, not unlike “Vagina Monologues” did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee \u003ccite>(Photo: Courtesy of Vianno Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">“Lucky for me, it was getting to be the end of the school year, and I had summer plans in another country, in Paris. These were plans I kept to myself. So when June rolled around, I just sort of got on the plane and disappeared,” Ru says in her monologue, baring that awkward chapter from her past in the hopes of reaching people in pain who are afraid to admit it.\u003c/p>\n\u003cp dir=\"ltr\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Today, Hu is Medical Director of the Acute Psychiatric Inpatient Unit at Stanford Hospital, where she treats lots of people with bipolar disorder, schizophrenia, and depression.\u003c/p>\n\u003cp>Hu knows what mental illness looks like today. But she encounters lots of people who don’t, who misinterpret their loved ones’ behavior, “almost like a moral weakness. Or something that people are doing on purpose,” she said.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.nimh.nih.gov/health/statistics/mental-illness.shtml\" target=\"_blank\" rel=\"noopener\">National Institute of Mental Health\u003c/a>, nearly one in five U.S. adults live with a mental illness (46.6 million in 2017).\u003c/p>\n\u003cp>“Stigma is such a dangerous thing. It keeps people from getting help. It keeps people from even realizing that there’s an issue that there are solutions for,” Hu said. She’s enthusiastic about encouraging people to talk openly about mental illness, even if it means talking about the misgivings many people have about getting or staying emotionally involved with a person on a mental health roller coaster.\u003c/p>\n\u003cp dir=\"ltr\">“If that young man had had just a few fewer episodes, or had hidden them from me better, than maybe I would have several very attractive children with him right now, and be tracking him down through his credit card receipts, and asking the highway patrol if they’d seen him. Things that I’ve had patients tell me about, and patients’ family members tell me about,” Hu said.\u003c/p>\n\u003cp dir=\"ltr\">All three \u003cem>Manic Monologues\u003c/em> shows at Stanford are sold out, but the hope is that the show travels the way \u003cem>Vagina Monologues\u003c/em> did, and has the same cultural impact.\u003c/p>\n\u003cp>“We would really like to help high school, college, and community theaters put on their own versions of the show,” Burton said, and to that effect, he added, “All proceeds of the show, as well as our \u003ca href=\"https://www.gofundme.com/the-manic-monologues-destigmatizing-mental-health\" target=\"_blank\" rel=\"noopener\">gofundme\u003c/a> campaign, will go toward seed funding for other theaters to perform the show.”\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manic Monologues’ runs Thursday through Saturday, May 2–4, at Stanford’s Pigott Theater. \u003ca href=\"https://arts.stanford.edu/event/82535/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "John Singleton's Groundbreaking Legacy, and How 'Boyz N the Hood' Changed the Game",
"headTitle": "John Singleton’s Groundbreaking Legacy, and How ‘Boyz N the Hood’ Changed the Game | KQED",
"content": "\u003cp>Less than two weeks after John Singleton suffered a massive stroke, the trailblazing filmmaker has died in Los Angeles at the age of 51. The director, who made history with 1991’s \u003cem>Boyz n the Hood\u003c/em> as the youngest person and first African American ever nominated for a best director Oscar, died Monday at Cedars-Sinai Hospital after his family took him off life support.\u003c/p>\n\u003cp>“This was an agonizing decision, one that our family made, over a number of days, with the careful counsel of John’s doctors,” the family said in a statement released to NPR, adding that he “passed away peacefully, surrounded by his family and friends.”\u003c/p>\n\u003cp>“John Singleton is a prolific, ground-breaking director,” they said, “who changed the game and opened doors in Hollywood, a world that was just a few miles away, yet worlds away, from the neighborhood in which he grew up.”\u003c/p>\n\u003cp>[aside postID='arts_13856230' *hero='GettyImages-84985966_1920_JohnS-1020x834.jpg'* target='_blank']\u003c/p>\n\u003cp>Singleton wasted little time leaving his mark on the film industry. At just 23 years old, fresh out of the University of Southern California’s film school, the young filmmaker launched into the project that would become his signature achievement: \u003cem>Boyz n the Hood\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film was an ode to the neighborhood where he grew up, South Central LA, an area notorious for its pervasive poverty and gang violence. The film’s stars grapple with that environment onscreen, trying to make sense of the community tensions that helped catalyze the riots that \u003ca href=\"https://www.npr.org/series/525773617/the-los-angeles-riots-25-years-on\">erupted in LA\u003c/a> the following year.\u003c/p>\n\u003cfigure id=\"attachment_13856251\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ap_9107130115_custom-69a3f7e58140f3986a7a6280919e812c9bb513ee-800x1186.jpg\" alt=\"John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations.\" width=\"800\" height=\"1186\">\u003cfigcaption class=\"wp-caption-text\">John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations. \u003ccite>(Bob Galbraith/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those characters is Doughboy, played by rapper Ice Cube. Doughboy’s half-brother is gunned down — a fate that Singleton himself feared while growing up, as he told NPR around the time the film was released.\u003c/p>\n\u003cp>But Singleton, the son of a pharmaceutical sales rep and a mortgage broker, also explained that he probably shared more in common with Tre Styles — played by a young Cuba Gooding Jr. Like the character, his mother sent him to live with his father to keep him out of trouble.\u003c/p>\n\u003cp>“My father, you know, just did what he could do to set me straight, and you know, because it’s only so far you can go, you know, with your mom. Moms just like will rationalize what she [asks] — but Pops will say, ‘No, you do this because I said do this,’ you know?” he said in 1991. “And a lot of my friends didn’t have that.”\u003c/p>\n\u003cp>What they had instead, Singleton added, was a model rooted in the hopelessness of life in the ‘hood.\u003c/p>\n\u003cp>“It’s like: ‘My brother went to jail. My daddy went to jail. I know I’m going to go to jail.’ You know what I’m saying? That’s the mentality,” he said. “It’s like it’s a given. It’s like there’s no future.”\u003c/p>\n\u003cp>The film earned him Oscar nods for director and screenplay. Singleton was the first African American to be nominated for directing, and at just 24, he was the youngest nominee in that category’s history — a record that stands today.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bws8Rssl9Ex/\u003c/p>\n\u003cp>In 2002, more than a decade after the film’s release, Singleton reflected on the sincerity of his project — and how that differed from some of the imitators born of its success — on NPR’s \u003cem>The Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>“If you see the films I make and if they are in an urban setting, I basically have an agenda to not only entertain, but for you to feel something and to say something. Because this is where I’m from, you know what I mean?” he explained. “I’m making you feel something for this environment. I’m not exploiting it.”\u003c/p>\n\u003cp>His seminal first film was far from his last.\u003c/p>\n\u003cp>Among other films, Singleton went on to direct 1993’s \u003cem>Poetic Justice,\u003c/em> starring \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> and a 22-year-old \u003ca href=\"https://www.npr.org/artists/88479205/tupac-shakur\">Tupac Shakur\u003c/a>, and the 2000 blockbuster remake of \u003cem>Shaft\u003c/em>. More recently, he shifted his attention to the small screen, directing episodes of \u003ca href=\"https://www.npr.org/tags/442559771/empire\">Empire \u003c/a>and \u003ca href=\"https://www.npr.org/2016/02/01/465136955/the-people-v-o-j-simpson-bursts-with-sharp-scenes-powerful-performances\">The People v. O.J. Simpson: American Crime Story\u003c/a>. He also co-created \u003ca href=\"https://www.npr.org/2017/07/02/535281096/-snowfall-fx-s-new-drama-about-the-crack-epidemic-in-los-angeles\">Snowfall\u003c/a>, an FX drama about the crack cocaine epidemic that returned Singleton to his roots in South Central LA.\u003c/p>\n\u003cp>Throughout, he continued to challenge the film industry to tell the kinds of stories — and see the kinds of faces — he never had the opportunity to see when he was a film student. And he didn’t forget to enjoy himself while he was at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been in this business for over 26 years, and I haven’t lost my soul.” Singleton \u003ca href=\"https://interviews.televisionacademy.com/interviews/john-singleton?clip=88433#about\">told the Television Academy Foundation\u003c/a> in 2016. “There are a whole lot of people who are very, very successful that they don’t even know which way is up anymore, right? And I feel really cool that I’ve had my highs and my lows and stuff — and I’m happy, you know what I mean?”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than two weeks after John Singleton suffered a massive stroke, the trailblazing filmmaker has died in Los Angeles at the age of 51. The director, who made history with 1991’s \u003cem>Boyz n the Hood\u003c/em> as the youngest person and first African American ever nominated for a best director Oscar, died Monday at Cedars-Sinai Hospital after his family took him off life support.\u003c/p>\n\u003cp>“This was an agonizing decision, one that our family made, over a number of days, with the careful counsel of John’s doctors,” the family said in a statement released to NPR, adding that he “passed away peacefully, surrounded by his family and friends.”\u003c/p>\n\u003cp>“John Singleton is a prolific, ground-breaking director,” they said, “who changed the game and opened doors in Hollywood, a world that was just a few miles away, yet worlds away, from the neighborhood in which he grew up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Singleton wasted little time leaving his mark on the film industry. At just 23 years old, fresh out of the University of Southern California’s film school, the young filmmaker launched into the project that would become his signature achievement: \u003cem>Boyz n the Hood\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film was an ode to the neighborhood where he grew up, South Central LA, an area notorious for its pervasive poverty and gang violence. The film’s stars grapple with that environment onscreen, trying to make sense of the community tensions that helped catalyze the riots that \u003ca href=\"https://www.npr.org/series/525773617/the-los-angeles-riots-25-years-on\">erupted in LA\u003c/a> the following year.\u003c/p>\n\u003cfigure id=\"attachment_13856251\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ap_9107130115_custom-69a3f7e58140f3986a7a6280919e812c9bb513ee-800x1186.jpg\" alt=\"John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations.\" width=\"800\" height=\"1186\">\u003cfigcaption class=\"wp-caption-text\">John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations. \u003ccite>(Bob Galbraith/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those characters is Doughboy, played by rapper Ice Cube. Doughboy’s half-brother is gunned down — a fate that Singleton himself feared while growing up, as he told NPR around the time the film was released.\u003c/p>\n\u003cp>But Singleton, the son of a pharmaceutical sales rep and a mortgage broker, also explained that he probably shared more in common with Tre Styles — played by a young Cuba Gooding Jr. Like the character, his mother sent him to live with his father to keep him out of trouble.\u003c/p>\n\u003cp>“My father, you know, just did what he could do to set me straight, and you know, because it’s only so far you can go, you know, with your mom. Moms just like will rationalize what she [asks] — but Pops will say, ‘No, you do this because I said do this,’ you know?” he said in 1991. “And a lot of my friends didn’t have that.”\u003c/p>\n\u003cp>What they had instead, Singleton added, was a model rooted in the hopelessness of life in the ‘hood.\u003c/p>\n\u003cp>“It’s like: ‘My brother went to jail. My daddy went to jail. I know I’m going to go to jail.’ You know what I’m saying? That’s the mentality,” he said. “It’s like it’s a given. It’s like there’s no future.”\u003c/p>\n\u003cp>The film earned him Oscar nods for director and screenplay. Singleton was the first African American to be nominated for directing, and at just 24, he was the youngest nominee in that category’s history — a record that stands today.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2002, more than a decade after the film’s release, Singleton reflected on the sincerity of his project — and how that differed from some of the imitators born of its success — on NPR’s \u003cem>The Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>“If you see the films I make and if they are in an urban setting, I basically have an agenda to not only entertain, but for you to feel something and to say something. Because this is where I’m from, you know what I mean?” he explained. “I’m making you feel something for this environment. I’m not exploiting it.”\u003c/p>\n\u003cp>His seminal first film was far from his last.\u003c/p>\n\u003cp>Among other films, Singleton went on to direct 1993’s \u003cem>Poetic Justice,\u003c/em> starring \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> and a 22-year-old \u003ca href=\"https://www.npr.org/artists/88479205/tupac-shakur\">Tupac Shakur\u003c/a>, and the 2000 blockbuster remake of \u003cem>Shaft\u003c/em>. More recently, he shifted his attention to the small screen, directing episodes of \u003ca href=\"https://www.npr.org/tags/442559771/empire\">Empire \u003c/a>and \u003ca href=\"https://www.npr.org/2016/02/01/465136955/the-people-v-o-j-simpson-bursts-with-sharp-scenes-powerful-performances\">The People v. O.J. Simpson: American Crime Story\u003c/a>. He also co-created \u003ca href=\"https://www.npr.org/2017/07/02/535281096/-snowfall-fx-s-new-drama-about-the-crack-epidemic-in-los-angeles\">Snowfall\u003c/a>, an FX drama about the crack cocaine epidemic that returned Singleton to his roots in South Central LA.\u003c/p>\n\u003cp>Throughout, he continued to challenge the film industry to tell the kinds of stories — and see the kinds of faces — he never had the opportunity to see when he was a film student. And he didn’t forget to enjoy himself while he was at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been in this business for over 26 years, and I haven’t lost my soul.” Singleton \u003ca href=\"https://interviews.televisionacademy.com/interviews/john-singleton?clip=88433#about\">told the Television Academy Foundation\u003c/a> in 2016. “There are a whole lot of people who are very, very successful that they don’t even know which way is up anymore, right? And I feel really cool that I’ve had my highs and my lows and stuff — and I’m happy, you know what I mean?”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>NEW YORK (AP) — Filmmaker John Singleton, who debuted with the Oscar-nominated “Boyz N the Hood” and continued making movies that probed the lives of black communities in his native Los Angeles and beyond, has died. He was 51.\u003c/p>\n\u003cp>Singleton’s family said Monday that he died after being taken off life support, about two weeks after the director suffered a major stroke.\u003c/p>\n\u003cp>“Boyz N the Hood” was based on Singleton’s upbringing and shot in his old neighborhood. It starred Cuba Gooding Jr. as a rebellious teen whose single mother sends him to live with his father in South Central Los Angeles.\u003c/p>\n\u003cp>Singleton became the first black director to receive an Academy Award nomination, and the youngest to do so, and also received a screenplay nomination. His other films included “Poetic Justice,” “Rosewood” and “Shaft.”\u003c/p>\n\u003cp>Condolences lit up on social media Monday in remembrance of the celebrated filmmaker who, at just 24 years old, made his first feature film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/ava/status/1122965289526792195\u003c/p>\n\u003cp>https://twitter.com/icecube/status/1123001802780098561\u003c/p>\n\u003cp>https://twitter.com/RepBarbaraLee/status/1122976182193008641\u003c/p>\n\u003cp>https://twitter.com/MatthewACherry/status/1123005428126720000\u003c/p>\n\u003cp>https://twitter.com/TheAcademy/status/1122960988569985024\u003c/p>\n\u003cp>https://twitter.com/violadavis/status/1122974494178435072\u003c/p>\n\u003cp>https://twitter.com/SamuelLJackson/status/1122964730983985154\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/Passionweiss/status/1122972793161650176\u003c/p>\n\n",
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"content": "\u003cp>Woodstock 50, a wide-ranging festival that had hoped to bring the spirit of 1969 to a new generation this August, has been canceled. Tim O’Hearn, the administrator for Schuyler County, New York, where the event was to take place, confirmed the cancellation to NPR; he said he had been contacted by Dentsu Aegis Network, which had been bankrolling the planned festival.\u003c/p>\n\u003cp>The festival, which was supposed to run Aug. 16-18 in Watkins Glen, N.Y. — a different location than its namesake event — boasted an impressive \u003ca href=\"https://www.woodstock.com/\">lineup\u003c/a> that was meant to bridge multiple generations and musical genres, from Santana, David Crosby and John Fogerty to Jay-Z, Chance The Rapper and Miley Cyrus. One of the \u003ca href=\"https://www.npr.org/2019/01/09/683575133/woodstock-will-return-this-summer-for-its-50th-anniversary\">primary organizers\u003c/a> of Woodstock 50, promoter Michael Lang, was also a co-founder of the original Woodstock event in 1969.\u003c/p>\n\u003cp>On Monday morning, \u003cem>Billboard \u003c/em>\u003ca href=\"https://www.billboard.com/articles/news/festivals/8509091/woodstock-50-festival-cancelled\">published\u003c/a> a statement from Amplifi Live, a Dentsu Aegis division, that read in part: “Despite our tremendous investment of time, effort and commitment, we don’t believe the production of the festival can be executed as an event worthy of the Woodstock Brand name while also ensuring the health and safety of the artists, partners and attendees. As a result and after careful consideration, Dentsu Aegis Network’s Amplifi Live, a partner of Woodstock 50, has decided to cancel the festival. As difficult as it is, we believe this is the most prudent decision for all parties involved.”\u003c/p>\n\u003cp>Since the 50th anniversary event was announced in January, there have been multiple signs that the festival’s organizers did not have matters in order. Originally, organizers announced that tickets would initially go on sale in late January, and that the artist roster would be released in February. The festival missed both of those dates, as well as a plan to release tickets for sale on April 22. Tickets were still not on sale as of Monday afternoon.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em> also reported on Monday that the Woodstock 50 team reached out last week to both Live Nation and AEG — two giants in the touring industry — to broach a $20 million investment in the festival, but both companies declined. O’Hearn told NPR that while it would not be impossible for the festival to be resuscitated in time for the planned August dates, it would be very difficult.\u003c/p>\n\u003cp>Last week, \u003cem>Variety\u003c/em> reported the delay in ticket sales were due to a need to “\u003ca href=\"https://variety.com/2019/music/news/woodstock-50-promoters-issue-statement-on-ticket-on-sale-delay-1203197745/\">refine logistical plans\u003c/a>,” according to the event’s organizers. There have also been \u003ca href=\"https://www.vulture.com/2019/04/woodstock-50-canceled-by-investors-festival-denies-it.html\">media reports\u003c/a> that the festival organizers had trouble dealing with issues related to audience capacity and sanitation, which Lang dismissed as “rumors” to \u003cem>Variety\u003c/em>.\u003c/p>\n\u003cp>Neither Woodstock 50 nor Dentsu Aegis returned NPR’s requests for comments, but a Woodstock 50 representative told Vulture on Monday, “Woodstock 50 is currently on a call with Dentsu and Woodstock 50 vehemently denies the cancellation of the festival and will be seeking legal remedy to the comments.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Woodstock 50, a wide-ranging festival that had hoped to bring the spirit of 1969 to a new generation this August, has been canceled. Tim O’Hearn, the administrator for Schuyler County, New York, where the event was to take place, confirmed the cancellation to NPR; he said he had been contacted by Dentsu Aegis Network, which had been bankrolling the planned festival.\u003c/p>\n\u003cp>The festival, which was supposed to run Aug. 16-18 in Watkins Glen, N.Y. — a different location than its namesake event — boasted an impressive \u003ca href=\"https://www.woodstock.com/\">lineup\u003c/a> that was meant to bridge multiple generations and musical genres, from Santana, David Crosby and John Fogerty to Jay-Z, Chance The Rapper and Miley Cyrus. One of the \u003ca href=\"https://www.npr.org/2019/01/09/683575133/woodstock-will-return-this-summer-for-its-50th-anniversary\">primary organizers\u003c/a> of Woodstock 50, promoter Michael Lang, was also a co-founder of the original Woodstock event in 1969.\u003c/p>\n\u003cp>On Monday morning, \u003cem>Billboard \u003c/em>\u003ca href=\"https://www.billboard.com/articles/news/festivals/8509091/woodstock-50-festival-cancelled\">published\u003c/a> a statement from Amplifi Live, a Dentsu Aegis division, that read in part: “Despite our tremendous investment of time, effort and commitment, we don’t believe the production of the festival can be executed as an event worthy of the Woodstock Brand name while also ensuring the health and safety of the artists, partners and attendees. As a result and after careful consideration, Dentsu Aegis Network’s Amplifi Live, a partner of Woodstock 50, has decided to cancel the festival. As difficult as it is, we believe this is the most prudent decision for all parties involved.”\u003c/p>\n\u003cp>Since the 50th anniversary event was announced in January, there have been multiple signs that the festival’s organizers did not have matters in order. Originally, organizers announced that tickets would initially go on sale in late January, and that the artist roster would be released in February. The festival missed both of those dates, as well as a plan to release tickets for sale on April 22. Tickets were still not on sale as of Monday afternoon.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em> also reported on Monday that the Woodstock 50 team reached out last week to both Live Nation and AEG — two giants in the touring industry — to broach a $20 million investment in the festival, but both companies declined. O’Hearn told NPR that while it would not be impossible for the festival to be resuscitated in time for the planned August dates, it would be very difficult.\u003c/p>\n\u003cp>Last week, \u003cem>Variety\u003c/em> reported the delay in ticket sales were due to a need to “\u003ca href=\"https://variety.com/2019/music/news/woodstock-50-promoters-issue-statement-on-ticket-on-sale-delay-1203197745/\">refine logistical plans\u003c/a>,” according to the event’s organizers. There have also been \u003ca href=\"https://www.vulture.com/2019/04/woodstock-50-canceled-by-investors-festival-denies-it.html\">media reports\u003c/a> that the festival organizers had trouble dealing with issues related to audience capacity and sanitation, which Lang dismissed as “rumors” to \u003cem>Variety\u003c/em>.\u003c/p>\n\u003cp>Neither Woodstock 50 nor Dentsu Aegis returned NPR’s requests for comments, but a Woodstock 50 representative told Vulture on Monday, “Woodstock 50 is currently on a call with Dentsu and Woodstock 50 vehemently denies the cancellation of the festival and will be seeking legal remedy to the comments.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Tony Awards announced Monday that TheatreWorks Silicon Valley will receive the 2019 Regional Theatre Tony Award on the recommendation of the American Theatre Critics Association.\u003c/p>\n\u003cp>The non-competitive honorary award, which generally recognizes excellence in incubating new productions, includes a $25,000 grant. The news comes as Robert Kelley, TheatreWorks’ founding artistic director, launches his 50th and final season with the company he created as a new Stanford University graduate in 1970.\u003c/p>\n\u003cp>[aside tag='theatreworks-silicon-valley' label='TheatreWorks Silicon Valley']\u003c/p>\n\u003cp>“I can think of no better way to begin TheatreWorks’s 50th Anniversary Season than with this highest honor, a testament to the passion and imaginative spirit of the artists whose work has been presented on TheatreWorks’s stages,” Kelley said in a statement. “There is a joy here, a warmth to the creative process that many have found inspiring. For me, that joy has been worth a lifetime.” \u003c/p>\n\u003cp>In a joint statement, Broadway League president Charlotte St. Martin and American Theatre Wing president Heather Hitchens lauded TheatreWorks for celebrating the human spirit. \u003c/p>\n\u003cp>“They have helped develop hundreds of vibrant new plays and musicals that are now being performed in theaters across America, and they have pioneered education programs that inspire thousands of students each year, creating future generations of creative artists and enthusiastic audiences,” said St. Martin and Hitchens. \u003c/p>\n\u003cp>\u003ca href=\"https://www.theatreworks.org/\">TheatreWorks Silicon Valley\u003c/a> produced 13 wholly original works in its first three years, staging them in unconventional venues, including warehouses, basements and a parking garage. The company developed a reputation for diverse programming and savvy use of a limited budget.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the organization grew, it continued to stress new works by emerging artists, staging smaller productions alongside its main season. In the 1990s, TheatreWorks started producing shows at the Mountain View Center for the Performing Arts as well as the Lucie Stern Theatre in Palo Alto, and opened a new black-box theatre at the Cubberley Center.\u003c/p>\n\u003cp>Today, the organization is one of California’s largest theaters, with 40 staff members, more than 8,000 subscribers and an annual budget exceeding $8 million. Its New Works Initiative, which includes an annual writers’ retreat and festival, is central to the organization’s identity. \u003c/p>\n\u003cp>TheatreWorks Silicon Valley is the first Bay Area company to receive the Regional Theatre Tony Award since Berkeley Repertory Theatre, in 1997. Last year the award went to La MaMa Experimental Theatre Club, an Off-Off-Broadway theatre in New York city. \u003c/p>\n\u003cp>The Tony Awards will broadcast live from Radio City Music Hall in New York City on Sunday, June 9. \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I can think of no better way to begin TheatreWorks’s 50th Anniversary Season than with this highest honor, a testament to the passion and imaginative spirit of the artists whose work has been presented on TheatreWorks’s stages,” Kelley said in a statement. “There is a joy here, a warmth to the creative process that many have found inspiring. For me, that joy has been worth a lifetime.” \u003c/p>\n\u003cp>In a joint statement, Broadway League president Charlotte St. Martin and American Theatre Wing president Heather Hitchens lauded TheatreWorks for celebrating the human spirit. \u003c/p>\n\u003cp>“They have helped develop hundreds of vibrant new plays and musicals that are now being performed in theaters across America, and they have pioneered education programs that inspire thousands of students each year, creating future generations of creative artists and enthusiastic audiences,” said St. Martin and Hitchens. \u003c/p>\n\u003cp>\u003ca href=\"https://www.theatreworks.org/\">TheatreWorks Silicon Valley\u003c/a> produced 13 wholly original works in its first three years, staging them in unconventional venues, including warehouses, basements and a parking garage. The company developed a reputation for diverse programming and savvy use of a limited budget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the organization grew, it continued to stress new works by emerging artists, staging smaller productions alongside its main season. In the 1990s, TheatreWorks started producing shows at the Mountain View Center for the Performing Arts as well as the Lucie Stern Theatre in Palo Alto, and opened a new black-box theatre at the Cubberley Center.\u003c/p>\n\u003cp>Today, the organization is one of California’s largest theaters, with 40 staff members, more than 8,000 subscribers and an annual budget exceeding $8 million. Its New Works Initiative, which includes an annual writers’ retreat and festival, is central to the organization’s identity. \u003c/p>\n\u003cp>TheatreWorks Silicon Valley is the first Bay Area company to receive the Regional Theatre Tony Award since Berkeley Repertory Theatre, in 1997. Last year the award went to La MaMa Experimental Theatre Club, an Off-Off-Broadway theatre in New York city. \u003c/p>\n\u003cp>The Tony Awards will broadcast live from Radio City Music Hall in New York City on Sunday, June 9. \u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For decades, Mythili Kumar, co-founder and artistic director of the \u003ca href=\"https://abhinaya.org\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance Company\u003c/a> of San Jose, has used the classic South Indian dance form of Bharatanatyam to talk about contemporary topics, like social justice. Because I was in the Bay Area, I’m doing certain things!” she exclaims with enthusiasm.\u003c/p>\n\u003cp>Over the years, Kumar has choreographed dance pieces exploring the work and stories of voices as varied as the Indian author \u003ca href=\"http://www.chitradivakaruni.com\" target=\"_blank\" rel=\"noopener\">Chitra Banerjee Divakaruni\u003c/a>, Nelson Mandela, and Cesar Chavez. The company has also collaborated with modern dance troupes, Japanese Taiko drummers and a Balinese gamelan ensemble\u003c/p>\n\u003cp>Today, Abhinaya Dance performs \u003cem>I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr\u003c/em>. at the \u003ca href=\"http://oacc.cc\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>. It’s a restaging of excerpts from \u003cem>Stories of Justice\u003c/em>, presented in November 2018 in San Jose.\u003c/p>\n\u003cp>Watch Kumar’s daughter, dancer and choreographer Rasika Kumar, perform her work exploring the Rosa Parks’ story:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=VmR9ewSehz8]\u003c/p>\n\u003cp>[aside postID='arts_10545681,arts_13837387,arts_11511800' label='Related Coverage']When you think about it, there’s no reason the ancient stylistic vocabulary has to stick to stories of Hindu gods and goddesses. Kumar notes Bharatanatyam is a natural and flexible story-telling medium. “The dancer takes the form of the character, takes the expressions of the character, and with the hands, the story is narrated.”\u003c/p>\n\u003cp>Contemporary costumes and music help, too. Working with original music by \u003ca href=\"https://www.youtube.com/watch?v=izisDG8BpI0\" target=\"_blank\" rel=\"noopener\">Asha Ramesh\u003c/a> of San Jose that blends the Carnatic tradition with jazz, the dancers tackle topics ranging from Rosa Parks refusing to give up her seat on a bus in 1955 Montgomery to the arrest just last year of two African-American men at a Philadelphia Starbucks.\u003c/p>\n\u003cp>To Kumar, it’s all part of a continuum stretching back to the start of civil rights as we understand it today: Mahatma Gandhi’s campaign to free India from British rule.\u003c/p>\n\u003cfigure id=\"attachment_13856072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg\" alt=\"Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez. \u003ccite>(Photo: Courtesy of Santhosh Selvaraj)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Civil resistance came as a result of them following the principle of ahimsa, or non violence that Ghandi propagated in his fight against the British. So we start with Ghandi’s inspiration. Ghandi’s inspiration comes from the Bhagavad Gita. So the spiritual aspect is always there in our dance, in some form or the other,” Kumar said.\u003c/p>\n\u003cp>The company has traveled to New Jersey, New York, Chicago and St. Louis, but Kumar prefers to stay close to home, serving audiences in the San Francisco Bay Area.\u003c/p>\n\u003cp>This region is rich with dance troupes serving up the classics to Indian-Americans who want a taste of home, and want their children to be exposed to this part of their cultural heritage. Kumar says there is also an appetite for dance that reflects the audience’s American heritage, reflected and elevated through the sights and souths of Bharatanatyam.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>Abhinaya Dance Company\u003c/strong> performs\u003cstrong> I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr.\u003c/strong> at the Oakland Asian Cultural Center April 27, 2019. For more info, click \u003cstrong>\u003ca href=\"http://www.abhinaya.org/portfolio-item/i-have-a-dream\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>. Also, at the Cowell Theater as part of the SF International Arts Festival on May 25, 2019. For more info, click \u003ca href=\"https://abhinaya.org/portfolio-item/2019-events/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "The Civil Rights Struggle in America Brought to Life With Classic Indian Dance? Yes! | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, Mythili Kumar, co-founder and artistic director of the \u003ca href=\"https://abhinaya.org\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance Company\u003c/a> of San Jose, has used the classic South Indian dance form of Bharatanatyam to talk about contemporary topics, like social justice. Because I was in the Bay Area, I’m doing certain things!” she exclaims with enthusiasm.\u003c/p>\n\u003cp>Over the years, Kumar has choreographed dance pieces exploring the work and stories of voices as varied as the Indian author \u003ca href=\"http://www.chitradivakaruni.com\" target=\"_blank\" rel=\"noopener\">Chitra Banerjee Divakaruni\u003c/a>, Nelson Mandela, and Cesar Chavez. The company has also collaborated with modern dance troupes, Japanese Taiko drummers and a Balinese gamelan ensemble\u003c/p>\n\u003cp>Today, Abhinaya Dance performs \u003cem>I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr\u003c/em>. at the \u003ca href=\"http://oacc.cc\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>. It’s a restaging of excerpts from \u003cem>Stories of Justice\u003c/em>, presented in November 2018 in San Jose.\u003c/p>\n\u003cp>Watch Kumar’s daughter, dancer and choreographer Rasika Kumar, perform her work exploring the Rosa Parks’ story:\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/VmR9ewSehz8'\n title='//www.youtube.com/embed/VmR9ewSehz8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When you think about it, there’s no reason the ancient stylistic vocabulary has to stick to stories of Hindu gods and goddesses. Kumar notes Bharatanatyam is a natural and flexible story-telling medium. “The dancer takes the form of the character, takes the expressions of the character, and with the hands, the story is narrated.”\u003c/p>\n\u003cp>Contemporary costumes and music help, too. Working with original music by \u003ca href=\"https://www.youtube.com/watch?v=izisDG8BpI0\" target=\"_blank\" rel=\"noopener\">Asha Ramesh\u003c/a> of San Jose that blends the Carnatic tradition with jazz, the dancers tackle topics ranging from Rosa Parks refusing to give up her seat on a bus in 1955 Montgomery to the arrest just last year of two African-American men at a Philadelphia Starbucks.\u003c/p>\n\u003cp>To Kumar, it’s all part of a continuum stretching back to the start of civil rights as we understand it today: Mahatma Gandhi’s campaign to free India from British rule.\u003c/p>\n\u003cfigure id=\"attachment_13856072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg\" alt=\"Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Chaitanya_Gotur-Manisha_Roy-Hemavathy_Arumugam-Rekha_Nagarajan-Vaishali_Ramachandran-photo-by-Santhosh-Selvaraj.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaitanya Gotur, Manisha Roy, Hemavathy Arumugam, Rekha Nagarajan, and Vaishali Ramachandran perform Si Se Puede — “Yes We Can,” the United Farm Workers’ motto — about the life and activism of Cesar Chavez. \u003ccite>(Photo: Courtesy of Santhosh Selvaraj)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Civil resistance came as a result of them following the principle of ahimsa, or non violence that Ghandi propagated in his fight against the British. So we start with Ghandi’s inspiration. Ghandi’s inspiration comes from the Bhagavad Gita. So the spiritual aspect is always there in our dance, in some form or the other,” Kumar said.\u003c/p>\n\u003cp>The company has traveled to New Jersey, New York, Chicago and St. Louis, but Kumar prefers to stay close to home, serving audiences in the San Francisco Bay Area.\u003c/p>\n\u003cp>This region is rich with dance troupes serving up the classics to Indian-Americans who want a taste of home, and want their children to be exposed to this part of their cultural heritage. Kumar says there is also an appetite for dance that reflects the audience’s American heritage, reflected and elevated through the sights and souths of Bharatanatyam.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>Abhinaya Dance Company\u003c/strong> performs\u003cstrong> I Have A Dream: Stories of Rosa Parks and Martin Luther King, Jr.\u003c/strong> at the Oakland Asian Cultural Center April 27, 2019. For more info, click \u003cstrong>\u003ca href=\"http://www.abhinaya.org/portfolio-item/i-have-a-dream\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>. Also, at the Cowell Theater as part of the SF International Arts Festival on May 25, 2019. For more info, click \u003ca href=\"https://abhinaya.org/portfolio-item/2019-events/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 1
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"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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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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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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"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",
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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"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",
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"order": 15
},
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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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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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