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"content": "\u003cp>\u003cstrong>Updated at 2:07 p.m. PST\u003c/strong>\u003c/p>\n\u003cp>Thirteen parents and one coach charged in the college admissions scandal will plead guilty, federal prosecutors \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">announced \u003c/a>Monday. One of the parents is Felicity Huffman, the actress who is among the best known of the wealthy individuals arrested in the cheating case that broke last month.\u003c/p>\n\u003cp>The 14 defendants were all charged with conspiracy to commit mail fraud and honest-services mail fraud. They have agreed to plead guilty in accordance with plea agreements.\u003c/p>\n\u003cp>Authorities charged 50 people in the scheme, in which parents allegedly paid millions of dollars in a conspiracy with William “Rick” Singer to have their children’s test scores and athletic achievements falsified to secure admission to elite colleges. \u003c/p>\n\u003cp>At least two of those colleges, Yale University and \u003ca href=\"https://news.stanford.edu/2019/03/14/admission-case-info/\">Stanford University\u003c/a>, have since \u003ca href=\"https://www.latimes.com/local/lanow/la-me-ln-college-admissions-scandal-stanford-discipline-20190408-story.html\">revoked their offers of admission\u003c/a> to students involved in the case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Michael Center, 54, the former head men’s tennis coach at the University of Texas at Austin, is among those slated to plead guilty. Prosecutors say he accepted $60,000 in cash from Singer, as well as $40,000 earmarked for the University of Texas’ tennis program, in exchange for designating one of Singer’s clients as a tennis recruit.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">Department of Justice says\u003c/a> 11 of the defendants will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud:\u003c/p>\n\u003col>\n\u003c/ol>\n\u003cblockquote>\n\u003cp>1. Gregory Abbott, 68, of New York, N.Y., together with his wife, Marcia, agreed to pay Singer $125,000 to participate in the college entrance exam cheating scheme for their daughter;\u003c/p>\n\u003cp>2. Marcia Abbott, 59, of New York, N.Y.;\u003c/p>\n\u003cp>3. Jane Buckingham, 50, of Beverly Hills, Calif., agreed to pay Singer $50,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>4. Gordon Caplan, 52, of Greenwich, Conn., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>5. Robert Flaxman, 62, of Laguna Beach, Calif., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>6. Felicity Huffman, 56, of Los Angeles, Calif., agreed to pay Singer at least $15,000 to participate in the college entrance exam cheating scheme for her oldest daughter;\u003c/p>\n\u003cp>7. Agustin Huneeus Jr., 53, of San Francisco, Calif., agreed to pay Singer $300,000 to participate in both the college entrance exam cheating scheme and the college recruitment scheme for his daughter;\u003c/p>\n\u003cp>8. Marjorie Klapper, 50, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>9. Peter Jan Sartorio, 53, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>10. Stephen Semprevivo, 53, of Los Angeles, Calif., agreed to pay Singer $400,000 to participate in the college recruitment scheme for his son; and\u003c/p>\n\u003cp>11. Devin Sloane, 53, of Los Angeles, Calif., agreed to pay Singer $250,000 to participate in the college recruitment scheme for his son.\u003c/p>\n\u003c/blockquote>\n\u003cp>Two other defendants, Bruce Isackson, 61, and Davina Isackson, 55, of Hillsborough, Calif., will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud. Bruce Isackson will also plead guilty to a count of money laundering conspiracy and one count of conspiracy to defraud the IRS. The Isacksons allegedly paid Singer $600,000 in schemes for both of their daughters and then deducted the bribes as charitable donations.\u003c/p>\n\u003cp>While the mail fraud charge carries a maximum sentence of 20 years in prison, three years of supervised release and a fine of $250,000 or more, the plea deals make clear that the defendants are unlikely to face penalties so severe.\u003c/p>\n\u003cp>In Huffman’s case, \u003ca href=\"https://www.justice.gov/usao-ma/press-release/file/1152521/download\">prosecutors recommended\u003c/a> incarceration at the “low end” of the sentencing guidelines, a $20,000 fine, 12 months of probation and restitution in an amount to be determined.\u003c/p>\n\u003cp>The court is not required to follow the calculations laid out in the deal, and the plea agreement dictates that Huffman may not withdraw her guilty plea if she disagrees with the court’s ultimate calculations or sentence.\u003c/p>\n\u003cp>Huffman released a statement of apology on Monday in which she said she is “ashamed” of the pain she caused her daughter and others: \u003c/p>\n\u003cblockquote>\n\u003cp>“I am in full acceptance of my guilt, and with deep regret and shame over what I have done, I accept full responsibility for my actions and will accept the consequences that stem from those actions.\u003c/p>\n\u003cp>“I am ashamed of the pain I have caused my daughter, my family, my friends, my colleagues and the educational community. I want to apologize to them and, especially, I want to apologize to the students who work hard every day to get into college, and to their parents who make tremendous sacrifices to support their children and do so honestly. \u003c/p>\n\u003cp>“My daughter knew absolutely nothing about my actions, and in my misguided and profoundly wrong way, I have betrayed her. This transgression toward her and the public I will carry for the rest of my life. My desire to help my daughter is no excuse to break the law or engage in dishonesty.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Plea hearings in the case have not yet been scheduled. The defendants who improperly took tax deductions for the bribes they paid have agreed to cooperate with the IRS to pay back taxes, prosecutors say. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Felicity+Huffman+And+12+Other+Parents+To+Plead+Guilty+In+College+Cheating+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michael Center, 54, the former head men’s tennis coach at the University of Texas at Austin, is among those slated to plead guilty. Prosecutors say he accepted $60,000 in cash from Singer, as well as $40,000 earmarked for the University of Texas’ tennis program, in exchange for designating one of Singer’s clients as a tennis recruit.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">Department of Justice says\u003c/a> 11 of the defendants will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud:\u003c/p>\n\u003col>\n\u003c/ol>\n\u003cblockquote>\n\u003cp>1. Gregory Abbott, 68, of New York, N.Y., together with his wife, Marcia, agreed to pay Singer $125,000 to participate in the college entrance exam cheating scheme for their daughter;\u003c/p>\n\u003cp>2. Marcia Abbott, 59, of New York, N.Y.;\u003c/p>\n\u003cp>3. Jane Buckingham, 50, of Beverly Hills, Calif., agreed to pay Singer $50,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>4. Gordon Caplan, 52, of Greenwich, Conn., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>5. Robert Flaxman, 62, of Laguna Beach, Calif., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>6. Felicity Huffman, 56, of Los Angeles, Calif., agreed to pay Singer at least $15,000 to participate in the college entrance exam cheating scheme for her oldest daughter;\u003c/p>\n\u003cp>7. Agustin Huneeus Jr., 53, of San Francisco, Calif., agreed to pay Singer $300,000 to participate in both the college entrance exam cheating scheme and the college recruitment scheme for his daughter;\u003c/p>\n\u003cp>8. Marjorie Klapper, 50, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>9. Peter Jan Sartorio, 53, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>10. Stephen Semprevivo, 53, of Los Angeles, Calif., agreed to pay Singer $400,000 to participate in the college recruitment scheme for his son; and\u003c/p>\n\u003cp>11. Devin Sloane, 53, of Los Angeles, Calif., agreed to pay Singer $250,000 to participate in the college recruitment scheme for his son.\u003c/p>\n\u003c/blockquote>\n\u003cp>Two other defendants, Bruce Isackson, 61, and Davina Isackson, 55, of Hillsborough, Calif., will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud. Bruce Isackson will also plead guilty to a count of money laundering conspiracy and one count of conspiracy to defraud the IRS. The Isacksons allegedly paid Singer $600,000 in schemes for both of their daughters and then deducted the bribes as charitable donations.\u003c/p>\n\u003cp>While the mail fraud charge carries a maximum sentence of 20 years in prison, three years of supervised release and a fine of $250,000 or more, the plea deals make clear that the defendants are unlikely to face penalties so severe.\u003c/p>\n\u003cp>In Huffman’s case, \u003ca href=\"https://www.justice.gov/usao-ma/press-release/file/1152521/download\">prosecutors recommended\u003c/a> incarceration at the “low end” of the sentencing guidelines, a $20,000 fine, 12 months of probation and restitution in an amount to be determined.\u003c/p>\n\u003cp>The court is not required to follow the calculations laid out in the deal, and the plea agreement dictates that Huffman may not withdraw her guilty plea if she disagrees with the court’s ultimate calculations or sentence.\u003c/p>\n\u003cp>Huffman released a statement of apology on Monday in which she said she is “ashamed” of the pain she caused her daughter and others: \u003c/p>\n\u003cblockquote>\n\u003cp>“I am in full acceptance of my guilt, and with deep regret and shame over what I have done, I accept full responsibility for my actions and will accept the consequences that stem from those actions.\u003c/p>\n\u003cp>“I am ashamed of the pain I have caused my daughter, my family, my friends, my colleagues and the educational community. 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"title": "Mural Critiquing Slavery, Manifest Destiny Draws Controversy in San Francisco",
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"content": "\u003cp>A Great Depression-era mural depicting George Washington as a slave owner and promoter of the United States’ genocidal westward expansion is the latest public artwork to draw controversy in San Francisco.\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>, a 13-panel fresco by Russian-born painter Victor Arnautoff, has greeted visitors to the lobby of George Washington High School in the Outer Richmond district since 1936. Now it’s complicating a nationwide referendum on public monuments to past exploitation.\u003c/p>\n\u003cp>Two panels of the Works Progress Administration-funded mural are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another, the country’s first president directs white men with guns westward, over the body of an apparently slain Native American. Artaunoff, a committed communist, intended the artwork as a corrective rebuke to the United States’ origin story.\u003c/p>\n\u003cp>Opponents of the mural, including the school board president and students, say it offensively shows oppressed minorities in an undignified light. Their criticism echoes activists’ \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">successful call\u003c/a> last year to remove “Early Days,” a statue depicting a Native American kneeling beneath a Spanish colonizer, from the \u003cem>Pioneer Monument\u003c/em> sculptural group near San Francisco City Hall.\u003c/p>\n\u003cp>But supporters of the mural, including the George Washington High School Alumni Association and art scholars and critics, argue that \u003cem>Life of Washington\u003c/em> clearly critiques, instead of glorifies, colonization and racism. Arnautoff’s “daring murals,” \u003ca href=\"https://livingnewdeal.org/new-deal-murals-spur-controversy/\">wrote\u003c/a> New Deal scholar Gray Brechin, “depict the father of our country as also being the father of a genocide later claimed by the victors as Manifest Destiny.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brechin noted that Anton Refregier, another Russian-born leftist painter, received intense pushback for his relatively tame handling of similar themes in his Rincon Annex Post Office mural. \u003cem>Life of Washington\u003c/em> is “so contrary to the national mythology of the time that I have often wondered how the artist got away with such criticism in a public place,” Brechin wrote.\u003c/p>\n\u003cfigure id=\"attachment_13854564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students at George Washington, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Offensive-or-important-Debate-flares-anew-over-13748800.php\">speaking\u003c/a> to the \u003cem>San Francisco Chronicle\u003c/em>, criticized the imagery as unavoidable and distressing, regardless of the artist’s intentions. San Francisco Board of Education President Stevon Cook has asked the superintendent to determine the cost of removing \u003cem>Life of Washington\u003c/em> by the end of the school year in May.\u003c/p>\n\u003cp>Officials have also proposed changing the name of George Washington High School. Last year the school board cited the two panels in its rejection of a proposal to pursue landmark status for the building. The board then convened an 11-person “Reflection and Action Panel,” which recommended painting over or otherwise removing the entire mural.\u003c/p>\n\u003cp>Alumni association Vice President Lope Yap Jr., a Marin filmmaker and 1970 graduate, was a dissenting panelist. He said he sympathizes with students who have a “viscerally negative” reaction to the mural, but supports an alternative that obscures the disturbing panels.\u003c/p>\n\u003cp>“I’m not trying to criticize anyone’s emotional pain,” he said. “Where we part is the recommendation to whitewash or permanently remove the murals.”\u003c/p>\n\u003cp>Yap Jr. and the alumni association instead \u003ca href=\"https://sfrichmondreview.com/2019/03/29/george-washington-high-school-alumni-oppose-censoring-controversial-murals/\">propose\u003c/a> installing screening over the two panels “to prevent inadvertent viewing,” placing didactic plaques to clarify the artist’s intent, and complementing \u003cem>Life of Washington\u003c/em> with new, prominently installed murals positively depicting Native Americans.\u003c/p>\n\u003cp>In a statement, the alumni association called \u003cem>Life of Washington\u003c/em> a “radical and critical” artwork. “There are many New Deal murals depicting the founding of our country; very few even acknowledge slavery or the Native genocide. The Arnautoff murals should be preserved for their artistic, historical, and educational value.”\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>‘s depiction of black people as slaves has long been controversial. In the 1960s, students pressured the school district to commission new murals by the black painter Dewey Crumpler; his \u003cem>Multi-Ethnic Heritage: Black, Asian, Native/Latin American\u003c/em> works, completed in 1974, show empowered minority figures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Arnautoff, who studied under Diego Rivera, also contributed artwork to the lobby of Coit Tower and several post offices in California. He was a Stanford University art professor from 1938-1962. In 1955, the House Un-American Activities Committee unsuccessfully sought to oust him from the teaching post because of his communist political beliefs.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Great Depression-era mural depicting George Washington as a slave owner and promoter of the United States’ genocidal westward expansion is the latest public artwork to draw controversy in San Francisco.\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>, a 13-panel fresco by Russian-born painter Victor Arnautoff, has greeted visitors to the lobby of George Washington High School in the Outer Richmond district since 1936. Now it’s complicating a nationwide referendum on public monuments to past exploitation.\u003c/p>\n\u003cp>Two panels of the Works Progress Administration-funded mural are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another, the country’s first president directs white men with guns westward, over the body of an apparently slain Native American. Artaunoff, a committed communist, intended the artwork as a corrective rebuke to the United States’ origin story.\u003c/p>\n\u003cp>Opponents of the mural, including the school board president and students, say it offensively shows oppressed minorities in an undignified light. Their criticism echoes activists’ \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">successful call\u003c/a> last year to remove “Early Days,” a statue depicting a Native American kneeling beneath a Spanish colonizer, from the \u003cem>Pioneer Monument\u003c/em> sculptural group near San Francisco City Hall.\u003c/p>\n\u003cp>But supporters of the mural, including the George Washington High School Alumni Association and art scholars and critics, argue that \u003cem>Life of Washington\u003c/em> clearly critiques, instead of glorifies, colonization and racism. Arnautoff’s “daring murals,” \u003ca href=\"https://livingnewdeal.org/new-deal-murals-spur-controversy/\">wrote\u003c/a> New Deal scholar Gray Brechin, “depict the father of our country as also being the father of a genocide later claimed by the victors as Manifest Destiny.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brechin noted that Anton Refregier, another Russian-born leftist painter, received intense pushback for his relatively tame handling of similar themes in his Rincon Annex Post Office mural. \u003cem>Life of Washington\u003c/em> is “so contrary to the national mythology of the time that I have often wondered how the artist got away with such criticism in a public place,” Brechin wrote.\u003c/p>\n\u003cfigure id=\"attachment_13854564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students at George Washington, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Offensive-or-important-Debate-flares-anew-over-13748800.php\">speaking\u003c/a> to the \u003cem>San Francisco Chronicle\u003c/em>, criticized the imagery as unavoidable and distressing, regardless of the artist’s intentions. San Francisco Board of Education President Stevon Cook has asked the superintendent to determine the cost of removing \u003cem>Life of Washington\u003c/em> by the end of the school year in May.\u003c/p>\n\u003cp>Officials have also proposed changing the name of George Washington High School. Last year the school board cited the two panels in its rejection of a proposal to pursue landmark status for the building. The board then convened an 11-person “Reflection and Action Panel,” which recommended painting over or otherwise removing the entire mural.\u003c/p>\n\u003cp>Alumni association Vice President Lope Yap Jr., a Marin filmmaker and 1970 graduate, was a dissenting panelist. He said he sympathizes with students who have a “viscerally negative” reaction to the mural, but supports an alternative that obscures the disturbing panels.\u003c/p>\n\u003cp>“I’m not trying to criticize anyone’s emotional pain,” he said. “Where we part is the recommendation to whitewash or permanently remove the murals.”\u003c/p>\n\u003cp>Yap Jr. and the alumni association instead \u003ca href=\"https://sfrichmondreview.com/2019/03/29/george-washington-high-school-alumni-oppose-censoring-controversial-murals/\">propose\u003c/a> installing screening over the two panels “to prevent inadvertent viewing,” placing didactic plaques to clarify the artist’s intent, and complementing \u003cem>Life of Washington\u003c/em> with new, prominently installed murals positively depicting Native Americans.\u003c/p>\n\u003cp>In a statement, the alumni association called \u003cem>Life of Washington\u003c/em> a “radical and critical” artwork. “There are many New Deal murals depicting the founding of our country; very few even acknowledge slavery or the Native genocide. The Arnautoff murals should be preserved for their artistic, historical, and educational value.”\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>‘s depiction of black people as slaves has long been controversial. In the 1960s, students pressured the school district to commission new murals by the black painter Dewey Crumpler; his \u003cem>Multi-Ethnic Heritage: Black, Asian, Native/Latin American\u003c/em> works, completed in 1974, show empowered minority figures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Arnautoff, who studied under Diego Rivera, also contributed artwork to the lobby of Coit Tower and several post offices in California. He was a Stanford University art professor from 1938-1962. In 1955, the House Un-American Activities Committee unsuccessfully sought to oust him from the teaching post because of his communist political beliefs.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jazz Heavyweights Herbie Hancock And Kamasi Washington Announce Joint Tour",
"headTitle": "Jazz Heavyweights Herbie Hancock And Kamasi Washington Announce Joint Tour | KQED",
"content": "\u003cp>Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.\u003c/p>\n\u003cp>Their initial slew of dates, starting July 30 in Vienna, Va. and ending Aug. 23 in Berkeley, Calif., should go on sale to the general public this Friday. (Tickets for the pair’s first date, in Virginia, are \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__www.wolftrap.org_f_073019&d=DwMGaQ&c=E2nBno7hEddFhl23N5nD1Q&r=vn4_qmdn67yk26Ar2jgxyeTiyH7gFcj_zMqcLtzTixE&m=yykryLsorWw_3_l2rL3sxKf0COh684nl5LPg2lE1_48&s=IrpMFsgsxl36-9T4rnTSR6mgzZW0Hyc8eoAmnJ01um8&e=\">already available\u003c/a>.)\u003c/p>\n\u003cp>Hancock, a 14-time Grammy-winning pianist and NEA Jazz Master, will lead a band similar to the one featured a few years ago in a\u003ca href=\"https://www.npr.org/2016/10/20/498672744/herbie-hancocks-latest-voyage\"> \u003cem>Jazz Night in America\u003c/em> concert film\u003c/a>: Lionel Loueke on guitars, Terrace Martin on alto saxophone and synthesizers, James Genus on electric bass, and Vinnie Colaiuta on drums. Their set list will combine Hancock favorites and material from a highly anticipated forthcoming album.\u003c/p>\n\u003cp>Hancock has long been an exemplar of jazz crossover: he’s the rare instrumental virtuoso to credibly break through to a mainstream audience, let alone the pop album chart. He received his first gold record in 1974 with \u003cem>Head Hunters\u003c/em>, the self-titled debut by his new jazz-funk band. At the time, the critic Lee Underwood stamped a concert review with a smirk: “Mr. Communicate-With-A-Wider-Audience, Herbie Hancock, opened to a full house recently, again pleasing the funkers while disappointing the more cerebrally oriented connoisseurs.”\u003c/p>\n\u003cp>Washington has earned a similar reputation since the release of his debut triple album, \u003cem>The Epic, \u003c/em>in 2015. A tenor saxophonist and bandleader with a talent for the ecstatic, Washington is the key figure in what has lately been touted as a jazz resurgence in popular culture. (“Mr. Communicate-With-A-Wider-Audience” is an epithet he’d probably wear as a badge of honor.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13845721' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/12/GettyImages-946721988-1920x1080.jpg'* target='_blank']\u003c/p>\n\u003cp>His follow-up to \u003cem>The Epic\u003c/em>, a double album titled \u003cem>Heaven and Earth\u003c/em>, received widespread acclaim last year, landing at No. 12 on the\u003ca href=\"https://www.npr.org/2019/01/05/682193795/the-2018-npr-music-jazz-critics-poll\"> NPR Music Jazz Critics Poll\u003c/a>. And at the beginning of this year, Washington had a premiere at Sundance: \u003cem>As Told to G/D Thyself\u003c/em>, a dreamy, episodic short film, featuring the work of African-American filmmakers like Bradford Young and Jenn Nkiru. (The film has just been made\u003ca href=\"https://itunes.apple.com/us/music-movie/as-told-to-g-d-thyself/1455427714\"> available for streaming\u003c/a> on Apple Music.)\u003c/p>\n\u003cp>Both Hancock and Washington will be busy in the weeks and months leading up to their tour. Hancock, as chairman of the\u003ca href=\"https://hancockinstitute.org/\"> Herbie Hancock Institute of Jazz\u003c/a>, is preparing for International Jazz Day festivities in Australia at the end of this month, culminating in a global all-star concert in Melbourne on April 30. Hancock is also scheduled to perform at the Beacon Theater in New York on Aug. 1, and at the\u003ca href=\"http://www.newportjazz.org/\"> Newport Jazz Festival\u003c/a> in Rhode Island on Aug. 2 and 3.\u003c/p>\n\u003cp>Washington is also headlining at Newport, on Aug. 3, but that’s far from the only synchronicity he has with his co-headliner. Terrace Martin, a longtime Washington associate, is another one. (It seems likely that Martin will also play with Washington on the tour.) Hancock and Washington also both appeared on\u003ca href=\"https://vimeo.com/103317489\"> \u003cem>You’re Dead!\u003c/em>\u003c/a>\u003cem>, \u003c/em>the 2014 album by producer Flying Lotus. And there have been reliable reports that Hancock’s next album-in-progress will feature Washington (along with Martin, Flying Lotus and rapper Kendrick Lamar).\u003c/p>\n\u003cp>Moving out of the realm of the speculative, there’s a bit of precedent for this tour. In 2017, Hancock headlined a concert at the Hollywood Bowl, with Washington as the opener. Reviewing that concert for the \u003cem>Los Angeles Times, \u003c/em>Chris Barton \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-herbie-hancock-kamasi-washington-20170824-story.html\">painted the picture\u003c/a> of a hometown victory lap for Washington, and a show of dominion by Hancock.\u003c/p>\n\u003cp>“The only note missing in Hancock’s arsenal was a guest spot from Washington, a seemingly natural choice that could have built a bridge between two generations,” Barton wrote. “A missed opportunity for a special moment, maybe — but if you were listening, the bridge was there all along.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Dates\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>7/30/19 – Vienna, VA, Wolf Trap\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/4/19 – Philadelphia, PA, The Met\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/6/19 – Toronto, ONT, Roy Thompson Hall\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/7/19 – Huber Heights, OH, Rose Music Center at The Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/8/19 – Detroit, MI, Aretha Franklin Amphitheatre\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/9 or 10/19 (TBC) – Chicago, IL, Huntington Bank Pavilion at Northerly Island\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/14/19 – Denver, CO, The Mission Ballroom\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/16/19 – Seattle, WA, Marymoor\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/17/19 – Portland, OR, Oregon Zoo\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/23/19 – Berkeley, CA, The Greek Theatre\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional performances are expected to be announced shortly.\u003c/em>\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=Jazz+Heavyweights+Herbie+Hancock+And+Kamasi+Washington+Announce+Joint+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.\u003c/p>\n\u003cp>Their initial slew of dates, starting July 30 in Vienna, Va. and ending Aug. 23 in Berkeley, Calif., should go on sale to the general public this Friday. (Tickets for the pair’s first date, in Virginia, are \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__www.wolftrap.org_f_073019&d=DwMGaQ&c=E2nBno7hEddFhl23N5nD1Q&r=vn4_qmdn67yk26Ar2jgxyeTiyH7gFcj_zMqcLtzTixE&m=yykryLsorWw_3_l2rL3sxKf0COh684nl5LPg2lE1_48&s=IrpMFsgsxl36-9T4rnTSR6mgzZW0Hyc8eoAmnJ01um8&e=\">already available\u003c/a>.)\u003c/p>\n\u003cp>Hancock, a 14-time Grammy-winning pianist and NEA Jazz Master, will lead a band similar to the one featured a few years ago in a\u003ca href=\"https://www.npr.org/2016/10/20/498672744/herbie-hancocks-latest-voyage\"> \u003cem>Jazz Night in America\u003c/em> concert film\u003c/a>: Lionel Loueke on guitars, Terrace Martin on alto saxophone and synthesizers, James Genus on electric bass, and Vinnie Colaiuta on drums. Their set list will combine Hancock favorites and material from a highly anticipated forthcoming album.\u003c/p>\n\u003cp>Hancock has long been an exemplar of jazz crossover: he’s the rare instrumental virtuoso to credibly break through to a mainstream audience, let alone the pop album chart. He received his first gold record in 1974 with \u003cem>Head Hunters\u003c/em>, the self-titled debut by his new jazz-funk band. At the time, the critic Lee Underwood stamped a concert review with a smirk: “Mr. Communicate-With-A-Wider-Audience, Herbie Hancock, opened to a full house recently, again pleasing the funkers while disappointing the more cerebrally oriented connoisseurs.”\u003c/p>\n\u003cp>Washington has earned a similar reputation since the release of his debut triple album, \u003cem>The Epic, \u003c/em>in 2015. A tenor saxophonist and bandleader with a talent for the ecstatic, Washington is the key figure in what has lately been touted as a jazz resurgence in popular culture. (“Mr. Communicate-With-A-Wider-Audience” is an epithet he’d probably wear as a badge of honor.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His follow-up to \u003cem>The Epic\u003c/em>, a double album titled \u003cem>Heaven and Earth\u003c/em>, received widespread acclaim last year, landing at No. 12 on the\u003ca href=\"https://www.npr.org/2019/01/05/682193795/the-2018-npr-music-jazz-critics-poll\"> NPR Music Jazz Critics Poll\u003c/a>. And at the beginning of this year, Washington had a premiere at Sundance: \u003cem>As Told to G/D Thyself\u003c/em>, a dreamy, episodic short film, featuring the work of African-American filmmakers like Bradford Young and Jenn Nkiru. (The film has just been made\u003ca href=\"https://itunes.apple.com/us/music-movie/as-told-to-g-d-thyself/1455427714\"> available for streaming\u003c/a> on Apple Music.)\u003c/p>\n\u003cp>Both Hancock and Washington will be busy in the weeks and months leading up to their tour. Hancock, as chairman of the\u003ca href=\"https://hancockinstitute.org/\"> Herbie Hancock Institute of Jazz\u003c/a>, is preparing for International Jazz Day festivities in Australia at the end of this month, culminating in a global all-star concert in Melbourne on April 30. Hancock is also scheduled to perform at the Beacon Theater in New York on Aug. 1, and at the\u003ca href=\"http://www.newportjazz.org/\"> Newport Jazz Festival\u003c/a> in Rhode Island on Aug. 2 and 3.\u003c/p>\n\u003cp>Washington is also headlining at Newport, on Aug. 3, but that’s far from the only synchronicity he has with his co-headliner. Terrace Martin, a longtime Washington associate, is another one. (It seems likely that Martin will also play with Washington on the tour.) Hancock and Washington also both appeared on\u003ca href=\"https://vimeo.com/103317489\"> \u003cem>You’re Dead!\u003c/em>\u003c/a>\u003cem>, \u003c/em>the 2014 album by producer Flying Lotus. And there have been reliable reports that Hancock’s next album-in-progress will feature Washington (along with Martin, Flying Lotus and rapper Kendrick Lamar).\u003c/p>\n\u003cp>Moving out of the realm of the speculative, there’s a bit of precedent for this tour. In 2017, Hancock headlined a concert at the Hollywood Bowl, with Washington as the opener. Reviewing that concert for the \u003cem>Los Angeles Times, \u003c/em>Chris Barton \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-herbie-hancock-kamasi-washington-20170824-story.html\">painted the picture\u003c/a> of a hometown victory lap for Washington, and a show of dominion by Hancock.\u003c/p>\n\u003cp>“The only note missing in Hancock’s arsenal was a guest spot from Washington, a seemingly natural choice that could have built a bridge between two generations,” Barton wrote. “A missed opportunity for a special moment, maybe — but if you were listening, the bridge was there all along.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Dates\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>7/30/19 – Vienna, VA, Wolf Trap\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/4/19 – Philadelphia, PA, The Met\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/6/19 – Toronto, ONT, Roy Thompson Hall\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/7/19 – Huber Heights, OH, Rose Music Center at The Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/8/19 – Detroit, MI, Aretha Franklin Amphitheatre\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/9 or 10/19 (TBC) – Chicago, IL, Huntington Bank Pavilion at Northerly Island\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/14/19 – Denver, CO, The Mission Ballroom\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/16/19 – Seattle, WA, Marymoor\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/17/19 – Portland, OR, Oregon Zoo\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/23/19 – Berkeley, CA, The Greek Theatre\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional performances are expected to be announced shortly.\u003c/em>\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=Jazz+Heavyweights+Herbie+Hancock+And+Kamasi+Washington+Announce+Joint+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Man Suspected of Shooting Nipsey Hussle Charged with Murder",
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"content": "\u003cp>The man suspected of killing Nipsey Hussle was charged Thursday with murder and two counts of attempted murder over an attack outside the rapper’s South Los Angeles clothing store on Sunday.\u003c/p>\n\u003cp>Los Angeles County prosecutors filed the charges, including two counts of attempted murder, against Eric Holder, 29. He is set to appear in a downtown courtroom Thursday afternoon, two days after his arrest after a nearly 48-hour manhunt. It is not clear whether Holder has an attorney. \u003cspan style=\"font-weight: 400\">[aside postID='arts_13854043']\u003c/span>\u003c/p>\n\u003cp>Authorities say Holder and Hussle, who knew each other, had several conversations Sunday outside the rapper’s South LA clothing store. They say Holder eventually returned with a handgun and shot Hussle, who was declared dead at a hospital. He also wounded two other men during the attack, authorities said.\u003c/p>\n\u003cp>If convicted, Holder faces life in prison.\u003c/p>\n\u003cp>In 2012 he pleaded no contest to possession of a loaded firearm and was sentenced to six months in jail and three years’ probation. The case filed Thursday includes a charge that he was a felon in possession of a gun during the attack on Hussle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rapper and suspect knew each other, and had some sort of personal dispute the day of the shooting, police said, declining to give further details about their relationship. \u003cspan style=\"font-weight: 400\">[aside postID='news_11737181']\u003c/span>\u003c/p>\n\u003cp>Hussle, 33, was engaged to actress Lauren London, with whom he had a 2-year-old son. He had another daughter from a previous relationship.\u003c/p>\n\u003cp>He was a beloved figure in the community that he was seeking to rebuild starting with his clothing store, among his fellow entertainers, and with public officials who praised his philanthropy and advocacy.\u003c/p>\n\u003cp>Hussle had success in hip-hop’s inner circles for 10 years through his coveted mixtapes, then last year broke big with his major-label debut album, \u003cem>Victory Lap\u003c/em>, which was nominated for a Grammy.\u003c/p>\n\u003cp>The California State Senate adjourned in his honor on Thursday.\u003c/p>\n\u003cp>“He was a manifestation, from my perspective, of the American dream, even the California dream,” said Sen. Holly Mitchell, a Democrat from Los Angeles.\u003c/p>\n\u003cp>“He represents a new generation of entertainer turned activist turned entrepreneur,” she said, noting his activism on police brutality and gun violence.\u003c/p>\n\u003cp>Congresswoman Karen Bass said she planned to honor Hussle on the floor of the U.S. House of Representatives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I will be heading to the House Floor next week to formally enter Nipsey Hussle’s contributions to South Los Angeles into the Congressional Record where it will be a part of United States history forever,” Bass tweeted.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Authorities say Holder and Hussle, who knew each other, had several conversations Sunday outside the rapper’s South LA clothing store. They say Holder eventually returned with a handgun and shot Hussle, who was declared dead at a hospital. He also wounded two other men during the attack, authorities said.\u003c/p>\n\u003cp>If convicted, Holder faces life in prison.\u003c/p>\n\u003cp>In 2012 he pleaded no contest to possession of a loaded firearm and was sentenced to six months in jail and three years’ probation. The case filed Thursday includes a charge that he was a felon in possession of a gun during the attack on Hussle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Hussle, 33, was engaged to actress Lauren London, with whom he had a 2-year-old son. He had another daughter from a previous relationship.\u003c/p>\n\u003cp>He was a beloved figure in the community that he was seeking to rebuild starting with his clothing store, among his fellow entertainers, and with public officials who praised his philanthropy and advocacy.\u003c/p>\n\u003cp>Hussle had success in hip-hop’s inner circles for 10 years through his coveted mixtapes, then last year broke big with his major-label debut album, \u003cem>Victory Lap\u003c/em>, which was nominated for a Grammy.\u003c/p>\n\u003cp>The California State Senate adjourned in his honor on Thursday.\u003c/p>\n\u003cp>“He was a manifestation, from my perspective, of the American dream, even the California dream,” said Sen. Holly Mitchell, a Democrat from Los Angeles.\u003c/p>\n\u003cp>“He represents a new generation of entertainer turned activist turned entrepreneur,” she said, noting his activism on police brutality and gun violence.\u003c/p>\n\u003cp>Congresswoman Karen Bass said she planned to honor Hussle on the floor of the U.S. House of Representatives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I will be heading to the House Floor next week to formally enter Nipsey Hussle’s contributions to South Los Angeles into the Congressional Record where it will be a part of United States history forever,” Bass tweeted.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Power Of Martin Luther King Jr.'s Anger",
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"content": "\u003cp>When Martin Luther King, Jr. was in high school, he won an oratorical contest sponsored by the Negro Elks. He and a beloved teacher were returning home in triumph, riding on a bus, when some white passengers got on. The white bus driver ordered King and his teacher to give up their seats, and cursed them. King wanted to stay seated, but his teacher urged him to obey the law. They had to stand in the aisle for the 90 miles back to Atlanta, Ga.\u003c/p>\n\u003cp>“That night will never leave my memory,” King \u003ca href=\"https://playboysfw.kinja.com/martin-luther-king-jr-a-candid-conversation-with-the-n-1502354861\">told\u003c/a> an interviewer, decades later. “It was the angriest I have ever been in my life.”\u003c/p>\n\u003cp>In February this year, \u003ca href=\"https://www.npr.org/series/688838187/the-other-side-of-anger\" target=\"_blank\" rel=\"noopener\">NPR explored the power of anger\u003c/a>. And King is an example of someone who showed a kind of genius for turning that emotion into positive action.\u003c/p>\n\u003cp>“My father was extremely angry from that incident. So much so that he expressed it later on by saying that he came very dangerously close, at that particular time, to hating all white people,” says Bernice King, who now runs \u003ca href=\"http://thekingcenter.org/\">The King Center\u003c/a> in Atlanta.\u003c/p>\n\u003cp>As he grew older, and went to college and theological school, Martin Luther King, Jr. realized that non-violent resistance offered a way to channel anger into positive forms of protest. “If you internalize anger, and you don’t find a channel, it can destroy you,” she says. “That’s why when Daddy reiterated, ‘Hate is too great a burden to bear,’ he knew it was corrosive and erosive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though King became an icon of non-violence and peace, he also inwardly wrestled with anger and, at times, would snap at those he loved. Looking at how King dealt with anger reveals its dual nature—how it can be a motivating force for change, while also containing the potential for destruction.\u003c/p>\n\u003cp>When he was a young child, seeing his father’s anger had a real impact on King. Once, a white sales clerk told his father that they had to move to the back of a shoe store, rather than being waited on in the front of the shop. “Whereupon he took me by the hand and walked out of the store. This was the first time I had seen Dad so furious,” King later recalled, in a collection of writings called \u003cem>The Autobiography of Martin Luther King, Jr. \u003c/em>\u003c/p>\n\u003cp>“That experience revealed to me at a very early age that my father had not adjusted to the system, and he played a great part in shaping my conscience,” noted King.\u003c/p>\n\u003cp>King was only 26 years old when he was thrust into a leadership role in the struggle for civil rights. Rosa Parks had just been arrested in Montgomery, Alabama, where King was working as a preacher. King found himself having to speak before thousands of people who had gathered in a mass meeting at the Holt Street Baptist Church—and those people were upset.\u003c/p>\n\u003cp>“How could I make a speech that would be militant enough to keep my people aroused to positive action and yet moderate enough to keep this fervor within controllable and Christian bounds?” King later \u003ca href=\"https://kinginstitute.stanford.edu/king-papers/documents/mia-mass-meeting-holt-street-baptist-church\">wrote\u003c/a>. “What could I say to keep them courageous and prepared for positive action and yet devoid of hate and resentment? Could the militant and the moderate be combined in a single speech?”\u003c/p>\n\u003cp>He told the crowd that the only weapon they would use was the weapon of protest—that they would follow the teachings of Jesus.\u003c/p>\n\u003cp>Their resolve was soon tested when someone threw dynamite at King’s house. He rushed home to find that a crowd of his supporters had gathered, and some had weapons. His wife, Coretta Scott King, later wrote in her book \u003cem>My Life, My Love, My Legacy\u003c/em> that the atmosphere “was so rife with tension that if a black man had tripped over a white man, it could have set off a riot.”\u003c/p>\n\u003cp>King calmly stood on his front porch, told everyone to go home, and spoke about loving your enemies. “It was a really noble moment,” says \u003ca href=\"http://www.davidgarrow.com/\">David Garrow\u003c/a>, a historian who wrote a biography of King. “Most people would be expressing very intense anger, and he was utterly to the contrary.”\u003c/p>\n\u003cp>In private, though, King struggled. He later recalled that that night, he lay awake in bed thinking that his wife and baby could have been killed by the blast. He wrote, “I could feel the anger rising.” But then he caught himself, and thought, “You must not allow yourself to become bitter.”\u003c/p>\n\u003cp>“He deeply believed in something that almost sounds silly, that almost sounds trite, but he really believed in the power of redemptive love,” says \u003ca href=\"https://kinginstitute.stanford.edu/people/clarence-jones\">Clarence Jones\u003c/a>, who worked as an attorney and speechwriter for King.\u003c/p>\n\u003cp>“From Dr. King’s standpoint, anger is part of a process that includes anger, forgiveness, redemption and love,” explains Jones. “Because if you only have anger, the anger will paralyze you. You cannot do anything constructive.”\u003c/p>\n\u003cp>In 1963, Jones went to see King in jail, in Birmingham, Alabama. Jones was hoping to talk about how to raise bail for the imprisoned protesters, but King was preoccupied with a full-page ad that he had seen in the local newspaper. It was an open letter written by the local white clergymen, and it said King should leave the city. It didn’t have a word about the injustice of segregation.\u003c/p>\n\u003cp>“So he was very angry,” recalls Jones.\u003c/p>\n\u003cp>King’s \u003ca href=\"http://okra.stanford.edu/transcription/document_images/undecided/630416-019.pdf\">response\u003c/a>, initially scribbled on the scraps of paper he had in his cell, is the famous Letter from a Birmingham Jail. His anger propelled him to write one of the most powerful pieces of persuasive writing ever. He passionately \u003ca href=\"http://okra.stanford.edu/transcription/audio/630416001.mp3\">explained\u003c/a> the principles of non-violent protest and the righteous, justifiable anger of African-Americans.\u003c/p>\n\u003cp>That’s not to say King never just showed irritation or snapped at people. He was, after all, human.\u003c/p>\n\u003cp>“Yes, he got angry with people he worked with. But the anger was in the context of respect and love,” says Jones. He says King’s anger was often more like a disappointment that people had misunderstood what his expectations were or weren’t meeting them.\u003c/p>\n\u003cp>Those episodes became more common in the last months of his life, after years of nonstop tension and work, says Garrow.\u003c/p>\n\u003cp>“There were a number of occasions where King expressed irritation at close friends and staff members,” says Garrow, noting that King was apparently depressed, exhausted, and drinking a lot.\u003c/p>\n\u003cp>King’s close companion, \u003ca href=\"https://www.npr.org/2018/06/22/622678781/remembering-rev-ralph-david-abernathy-50-years-after-resurrection-city-came-down\">Ralph Abernathy\u003c/a>, has written that on the day he was assassinated, King argued with a female friend, lost his temper, and knocked her across a hotel room bed.\u003c/p>\n\u003cp>“It was more of a shove than a real blow, but for a short man, Martin had a prodigious strength that always surprised me,” Abernathy wrote in his autobiography, \u003cem>And the Walls Came Tumbling Down\u003c/em>. “She leapt up to fight back, and for a moment they were engaged in a full- blown fight, with Martin clearly winning. Then it was all over.”\u003c/p>\n\u003cp>Many found it shocking to think that King could be physically abusive to anyone, and Abernathy was widely criticized for telling this story.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.c-span.org/video/?9718-1/and-walls-tumbling-down&start=3447\">interview\u003c/a> with C-SPAN before he died, Abernathy said that King would have wanted him to be honest. “Jesus was a nonviolent personality,” noted Abernathy, “but Jesus became violent on one occasion when he ran the people out of the temple.”\u003c/p>\n\u003cp>\u003ca href=\"https://kinginstitute.stanford.edu/clayborne-carson\">Clayborne Carson\u003c/a>, director of the Martin Luther King Jr. Research and Education Institute at Stanford University, says he doesn’t know if this account about King is true.\u003c/p>\n\u003cp>“But I do recognize that a Martin Luther King can be angry. It would surprise me if that were not the case,” says Carson. “I have no doubt that he got mad. There were many things for him to get mad at. He felt sometimes betrayed by other people. He felt the same kind of impatience that other people felt with the pace of change. All of these things would anger him.”\u003c/p>\n\u003cp>He says King learned how to use that anger productively. “You could be angry that the system that is oppressing you, but try not to direct that anger towards people who were caught up in that system,” says Carson.\u003c/p>\n\u003cp>During the bus boycott in Montgomery, for example, King did occasionally lose his cool with white officials—and quickly regretted it. “I was weighed down by a terrible sense of guilt, remembering that on two or three occasions I had allowed myself to become angry and indignant,” King wrote. “I had spoken hastily and resentfully. Yet I knew that this was no way to solve a problem…you must be willing to suffer the anger of the opponent, and yet not return anger.”\u003c/p>\n\u003cp>This, he knew, was not always easy. Later, after he had become famous,King had an advice column in \u003cem>Ebony\u003c/em> magazine. Someone once \u003ca href=\"https://kinginstitute.stanford.edu/king-papers/documents/advice-living-0\">asked\u003c/a>, “How can I overcome my bad temper? When I am angry, I say things to those I love that hurt them terribly.”\u003c/p>\n\u003cp>King replied that the letter-writer had made an important first step by admitting this weakness. “You should also seek to concentrate on the higher virtue of calmness. You expel a lower vice by concentrating on a higher virtue,” King explained. “A destructive passion is harnessed by directing that same passion into constructive channels.”\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/691298594/696413704\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://NPR.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Martin Luther King Jr. dealt with anger in both his personal life and life's work. He often tried to turn his anger into constructive action, but he did occasionally struggle with that balance.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Martin Luther King, Jr. was in high school, he won an oratorical contest sponsored by the Negro Elks. He and a beloved teacher were returning home in triumph, riding on a bus, when some white passengers got on. The white bus driver ordered King and his teacher to give up their seats, and cursed them. King wanted to stay seated, but his teacher urged him to obey the law. They had to stand in the aisle for the 90 miles back to Atlanta, Ga.\u003c/p>\n\u003cp>“That night will never leave my memory,” King \u003ca href=\"https://playboysfw.kinja.com/martin-luther-king-jr-a-candid-conversation-with-the-n-1502354861\">told\u003c/a> an interviewer, decades later. “It was the angriest I have ever been in my life.”\u003c/p>\n\u003cp>In February this year, \u003ca href=\"https://www.npr.org/series/688838187/the-other-side-of-anger\" target=\"_blank\" rel=\"noopener\">NPR explored the power of anger\u003c/a>. And King is an example of someone who showed a kind of genius for turning that emotion into positive action.\u003c/p>\n\u003cp>“My father was extremely angry from that incident. So much so that he expressed it later on by saying that he came very dangerously close, at that particular time, to hating all white people,” says Bernice King, who now runs \u003ca href=\"http://thekingcenter.org/\">The King Center\u003c/a> in Atlanta.\u003c/p>\n\u003cp>As he grew older, and went to college and theological school, Martin Luther King, Jr. realized that non-violent resistance offered a way to channel anger into positive forms of protest. “If you internalize anger, and you don’t find a channel, it can destroy you,” she says. “That’s why when Daddy reiterated, ‘Hate is too great a burden to bear,’ he knew it was corrosive and erosive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though King became an icon of non-violence and peace, he also inwardly wrestled with anger and, at times, would snap at those he loved. Looking at how King dealt with anger reveals its dual nature—how it can be a motivating force for change, while also containing the potential for destruction.\u003c/p>\n\u003cp>When he was a young child, seeing his father’s anger had a real impact on King. Once, a white sales clerk told his father that they had to move to the back of a shoe store, rather than being waited on in the front of the shop. “Whereupon he took me by the hand and walked out of the store. This was the first time I had seen Dad so furious,” King later recalled, in a collection of writings called \u003cem>The Autobiography of Martin Luther King, Jr. \u003c/em>\u003c/p>\n\u003cp>“That experience revealed to me at a very early age that my father had not adjusted to the system, and he played a great part in shaping my conscience,” noted King.\u003c/p>\n\u003cp>King was only 26 years old when he was thrust into a leadership role in the struggle for civil rights. Rosa Parks had just been arrested in Montgomery, Alabama, where King was working as a preacher. King found himself having to speak before thousands of people who had gathered in a mass meeting at the Holt Street Baptist Church—and those people were upset.\u003c/p>\n\u003cp>“How could I make a speech that would be militant enough to keep my people aroused to positive action and yet moderate enough to keep this fervor within controllable and Christian bounds?” King later \u003ca href=\"https://kinginstitute.stanford.edu/king-papers/documents/mia-mass-meeting-holt-street-baptist-church\">wrote\u003c/a>. “What could I say to keep them courageous and prepared for positive action and yet devoid of hate and resentment? Could the militant and the moderate be combined in a single speech?”\u003c/p>\n\u003cp>He told the crowd that the only weapon they would use was the weapon of protest—that they would follow the teachings of Jesus.\u003c/p>\n\u003cp>Their resolve was soon tested when someone threw dynamite at King’s house. He rushed home to find that a crowd of his supporters had gathered, and some had weapons. His wife, Coretta Scott King, later wrote in her book \u003cem>My Life, My Love, My Legacy\u003c/em> that the atmosphere “was so rife with tension that if a black man had tripped over a white man, it could have set off a riot.”\u003c/p>\n\u003cp>King calmly stood on his front porch, told everyone to go home, and spoke about loving your enemies. “It was a really noble moment,” says \u003ca href=\"http://www.davidgarrow.com/\">David Garrow\u003c/a>, a historian who wrote a biography of King. “Most people would be expressing very intense anger, and he was utterly to the contrary.”\u003c/p>\n\u003cp>In private, though, King struggled. He later recalled that that night, he lay awake in bed thinking that his wife and baby could have been killed by the blast. He wrote, “I could feel the anger rising.” But then he caught himself, and thought, “You must not allow yourself to become bitter.”\u003c/p>\n\u003cp>“He deeply believed in something that almost sounds silly, that almost sounds trite, but he really believed in the power of redemptive love,” says \u003ca href=\"https://kinginstitute.stanford.edu/people/clarence-jones\">Clarence Jones\u003c/a>, who worked as an attorney and speechwriter for King.\u003c/p>\n\u003cp>“From Dr. King’s standpoint, anger is part of a process that includes anger, forgiveness, redemption and love,” explains Jones. “Because if you only have anger, the anger will paralyze you. You cannot do anything constructive.”\u003c/p>\n\u003cp>In 1963, Jones went to see King in jail, in Birmingham, Alabama. Jones was hoping to talk about how to raise bail for the imprisoned protesters, but King was preoccupied with a full-page ad that he had seen in the local newspaper. It was an open letter written by the local white clergymen, and it said King should leave the city. It didn’t have a word about the injustice of segregation.\u003c/p>\n\u003cp>“So he was very angry,” recalls Jones.\u003c/p>\n\u003cp>King’s \u003ca href=\"http://okra.stanford.edu/transcription/document_images/undecided/630416-019.pdf\">response\u003c/a>, initially scribbled on the scraps of paper he had in his cell, is the famous Letter from a Birmingham Jail. His anger propelled him to write one of the most powerful pieces of persuasive writing ever. He passionately \u003ca href=\"http://okra.stanford.edu/transcription/audio/630416001.mp3\">explained\u003c/a> the principles of non-violent protest and the righteous, justifiable anger of African-Americans.\u003c/p>\n\u003cp>That’s not to say King never just showed irritation or snapped at people. He was, after all, human.\u003c/p>\n\u003cp>“Yes, he got angry with people he worked with. But the anger was in the context of respect and love,” says Jones. He says King’s anger was often more like a disappointment that people had misunderstood what his expectations were or weren’t meeting them.\u003c/p>\n\u003cp>Those episodes became more common in the last months of his life, after years of nonstop tension and work, says Garrow.\u003c/p>\n\u003cp>“There were a number of occasions where King expressed irritation at close friends and staff members,” says Garrow, noting that King was apparently depressed, exhausted, and drinking a lot.\u003c/p>\n\u003cp>King’s close companion, \u003ca href=\"https://www.npr.org/2018/06/22/622678781/remembering-rev-ralph-david-abernathy-50-years-after-resurrection-city-came-down\">Ralph Abernathy\u003c/a>, has written that on the day he was assassinated, King argued with a female friend, lost his temper, and knocked her across a hotel room bed.\u003c/p>\n\u003cp>“It was more of a shove than a real blow, but for a short man, Martin had a prodigious strength that always surprised me,” Abernathy wrote in his autobiography, \u003cem>And the Walls Came Tumbling Down\u003c/em>. “She leapt up to fight back, and for a moment they were engaged in a full- blown fight, with Martin clearly winning. Then it was all over.”\u003c/p>\n\u003cp>Many found it shocking to think that King could be physically abusive to anyone, and Abernathy was widely criticized for telling this story.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.c-span.org/video/?9718-1/and-walls-tumbling-down&start=3447\">interview\u003c/a> with C-SPAN before he died, Abernathy said that King would have wanted him to be honest. “Jesus was a nonviolent personality,” noted Abernathy, “but Jesus became violent on one occasion when he ran the people out of the temple.”\u003c/p>\n\u003cp>\u003ca href=\"https://kinginstitute.stanford.edu/clayborne-carson\">Clayborne Carson\u003c/a>, director of the Martin Luther King Jr. Research and Education Institute at Stanford University, says he doesn’t know if this account about King is true.\u003c/p>\n\u003cp>“But I do recognize that a Martin Luther King can be angry. It would surprise me if that were not the case,” says Carson. “I have no doubt that he got mad. There were many things for him to get mad at. He felt sometimes betrayed by other people. He felt the same kind of impatience that other people felt with the pace of change. All of these things would anger him.”\u003c/p>\n\u003cp>He says King learned how to use that anger productively. “You could be angry that the system that is oppressing you, but try not to direct that anger towards people who were caught up in that system,” says Carson.\u003c/p>\n\u003cp>During the bus boycott in Montgomery, for example, King did occasionally lose his cool with white officials—and quickly regretted it. “I was weighed down by a terrible sense of guilt, remembering that on two or three occasions I had allowed myself to become angry and indignant,” King wrote. “I had spoken hastily and resentfully. Yet I knew that this was no way to solve a problem…you must be willing to suffer the anger of the opponent, and yet not return anger.”\u003c/p>\n\u003cp>This, he knew, was not always easy. Later, after he had become famous,King had an advice column in \u003cem>Ebony\u003c/em> magazine. Someone once \u003ca href=\"https://kinginstitute.stanford.edu/king-papers/documents/advice-living-0\">asked\u003c/a>, “How can I overcome my bad temper? When I am angry, I say things to those I love that hurt them terribly.”\u003c/p>\n\u003cp>King replied that the letter-writer had made an important first step by admitting this weakness. “You should also seek to concentrate on the higher virtue of calmness. You expel a lower vice by concentrating on a higher virtue,” King explained. “A destructive passion is harnessed by directing that same passion into constructive channels.”\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/691298594/696413704\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Sets No Maximum Volume, Extends Outside Lands Permit Through 2031",
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"content": "\u003cp>The San Francisco Board of Supervisors approved a 10-year permit extension for the \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> music festival on Tuesday, extending the city’s contract with event production company \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener\">Another Planet Entertainment\u003c/a> through 2031.\u003c/p>\n\u003cp>The popular festival, which debuted in 2008, draws hundreds of thousands of attendees to Golden Gate Park every year. According to Dana Ketcham, the Recreation and Parks Departments’ permit director, last year’s festival resulted in an estimated $66 million economic impact on the city and created 700 jobs. \u003cspan style=\"font-weight: 400\"> [aside postID='arts_13853701']\u003c/span>\u003c/p>\n\u003cp>The board’s decision to extend Outside Lands’ permit came after an \u003ca href=\"https://www.sfchronicle.com/bayarea/article/SF-residents-appeal-Outside-Lands-permit-seeking-13632102.php\" target=\"_blank\" rel=\"noopener\">appeal from two residents\u003c/a>, Andrew Solow and Stephen Somerstein, who lobbied for a maximum decibel limit as required by the California Environmental Quality Act (CEQA). Their attorney cited an increase in noise complaints about the festival; indeed, there were 212 Outside Lands-related noise complaints in 2018, a big jump from 80 in 2017—though it’s unclear whether the festival got louder, or neighbors became less tolerant.\u003c/p>\n\u003cp>“We don’t want to shut it down. We want it to continue, we want to continue those good jobs, we want to continue the tax revenues coming into the city,” said the appellants’ attorney, Richard Drury. “We just want a noise policy that’s enforceable and reasonable.”\u003c/p>\n\u003cp>The Board of Supervisors opted not to impose a decibel limit as part of the permit extension.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ketcham said that Outside Lands’ sound engineers who adjust the volume on site worked to mitigate the issue last year, and complaints dropped from 118 on Friday to only 31 on Sunday. Still, she said the festival and city plan to do more. The permit extension requires a minimum amount of noise monitors, who will report out the adjustments they make after the festival is over.\u003c/p>\n\u003cp>“When questions come in saying ‘You don’t know if they did anything,’ we’ll have a report showing exactly what they did,” Ketcham said.\u003c/p>\n\u003cp>Several local residents spoke at the hearing in support of Outside Lands, including musicians, parents, teachers, business owners and union workers.\u003c/p>\n\u003cp>“Every single year [the festival] has improved. They’ve gotten better at traffic, noise, litter, the cleanup,” said longtime Richmond District resident Jason Hancock.\u003c/p>\n\u003cp>“Outside Lands is a continuation of the history of rock ‘n’ roll going on in San Francisco since 1968,” said Douglas Taylor, a stagehand who works at the festival. “Outside Lands goes above and beyond anyone I’ve ever seen in dealing with complaints.”\u003c/p>\n\u003cp>The Board of Supervisors voted unanimously to extend the festival’s permit. Outside Lands is slated to return to Golden Gate Park Aug. 9–11 with Paul Simon, Childish Gambino and Twenty One Pilots as headliners.\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Supervisors approved a 10-year permit extension for the \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> music festival on Tuesday, extending the city’s contract with event production company \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener\">Another Planet Entertainment\u003c/a> through 2031.\u003c/p>\n\u003cp>The popular festival, which debuted in 2008, draws hundreds of thousands of attendees to Golden Gate Park every year. According to Dana Ketcham, the Recreation and Parks Departments’ permit director, last year’s festival resulted in an estimated $66 million economic impact on the city and created 700 jobs. \u003cspan style=\"font-weight: 400\"> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>The board’s decision to extend Outside Lands’ permit came after an \u003ca href=\"https://www.sfchronicle.com/bayarea/article/SF-residents-appeal-Outside-Lands-permit-seeking-13632102.php\" target=\"_blank\" rel=\"noopener\">appeal from two residents\u003c/a>, Andrew Solow and Stephen Somerstein, who lobbied for a maximum decibel limit as required by the California Environmental Quality Act (CEQA). Their attorney cited an increase in noise complaints about the festival; indeed, there were 212 Outside Lands-related noise complaints in 2018, a big jump from 80 in 2017—though it’s unclear whether the festival got louder, or neighbors became less tolerant.\u003c/p>\n\u003cp>“We don’t want to shut it down. We want it to continue, we want to continue those good jobs, we want to continue the tax revenues coming into the city,” said the appellants’ attorney, Richard Drury. “We just want a noise policy that’s enforceable and reasonable.”\u003c/p>\n\u003cp>The Board of Supervisors opted not to impose a decibel limit as part of the permit extension.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ketcham said that Outside Lands’ sound engineers who adjust the volume on site worked to mitigate the issue last year, and complaints dropped from 118 on Friday to only 31 on Sunday. Still, she said the festival and city plan to do more. The permit extension requires a minimum amount of noise monitors, who will report out the adjustments they make after the festival is over.\u003c/p>\n\u003cp>“When questions come in saying ‘You don’t know if they did anything,’ we’ll have a report showing exactly what they did,” Ketcham said.\u003c/p>\n\u003cp>Several local residents spoke at the hearing in support of Outside Lands, including musicians, parents, teachers, business owners and union workers.\u003c/p>\n\u003cp>“Every single year [the festival] has improved. They’ve gotten better at traffic, noise, litter, the cleanup,” said longtime Richmond District resident Jason Hancock.\u003c/p>\n\u003cp>“Outside Lands is a continuation of the history of rock ‘n’ roll going on in San Francisco since 1968,” said Douglas Taylor, a stagehand who works at the festival. “Outside Lands goes above and beyond anyone I’ve ever seen in dealing with complaints.”\u003c/p>\n\u003cp>The Board of Supervisors voted unanimously to extend the festival’s permit. Outside Lands is slated to return to Golden Gate Park Aug. 9–11 with Paul Simon, Childish Gambino and Twenty One Pilots as headliners.\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Joining the ranks of \u003ca href=\"https://www.kqed.org/arts/13849706/fine-arts-museums-to-offer-free-general-admission-to-sf-residents\" rel=\"noopener\" target=\"_blank\">other Bay Area institutions\u003c/a> seeking to make their exhibitions and collections more accessible to the general public, the di Rosa Center for Contemporary Art announced today it will begin offering free admission to Napa and Sonoma city residents the first Wednesday of each month.\u003c/p>\n\u003cp>[aside postID='arts_13849706']\u003c/p>\n\u003cp>(My editor, \u003ca href=\"https://www.kqed.org/author/gmeline\" rel=\"noopener\" target=\"_blank\">Gabe Meline\u003c/a>, would like me to take this opportunity to remind everyone that, yes, there are really cities named Napa and Sonoma. These are not only counties! And yes, people live there.)\u003c/p>\n\u003cp>Wednesday, April 3 marks the first day of this new initiative. All that’s required for free entry is an ID; the arts center is open on Wednesdays 10am–4pm. di Rosa already offers free admission to visitors age 17 and under, and to college and university faculty. Adult tickets cost $18 per visit; tickets for seniors, members of the military, non-college educators and students are slightly discounted at $15 each.\u003c/p>\n\u003cp>Currently on view at di Rosa are \u003ci>\u003ca href=\"http://www.dirosaart.org/viola-frey/\" rel=\"noopener\" target=\"_blank\">Viola Frey\u003c/a>\u003c/i>, an exhibition of the late artist’s large-scale ceramics, paintings, drawings and bronze, and \u003ci>\u003ca href=\"http://www.dirosaart.org/building-a-different-model-2/\" rel=\"noopener\" target=\"_blank\">Building a Different Model\u003c/a>\u003c/i>, a curated selection from the collection. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In his\u003ca href=\"https://newsroom.fb.com/news/2019/04/marks-challenge-mathias-dopfner/\" target=\"_blank\" rel=\"noopener\"> latest sit-down\u003c/a> with the head of Europe’s biggest news publisher, Zuckerberg revealed Facebook is toying with yet another way to direct traffic to news in the form of a new, dedicated tab, and might even \u003cem>pay\u003c/em> publishers.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>“Facebook could have a direct relationship with publishers order to make sure their content is available, if it’s really high quality content. So, there’s a whole set of questions around how do we build a service that is contributing to high quality journalism through increasing monetization,” Zuckerberg floated.\u003c/p>\n\u003cp>[aside postID='arts_13850292,arts_13853671,arts_13836539' label='Related Coverage']\u003c/p>\n\u003cp>The thing is, Facebook’s behavior towards the news business has fluctuated wildly in recent years. The social media giant keeps tweaking its relationship with news media, as if the problem is buggy software code instead of an algorithmic preference for “content” that garners maximal ad-generating views.\u003c/p>\n\u003cp>It was only in February of 2018 that the social media giant cut 20 percent of news out of users’ “news” feeds. Another experiment with a standalone news tab \u003ca href=\"https://newsroom.fb.com/news/2018/03/news-feed-fyi-ending-the-explore-feed-test/\" target=\"_blank\" rel=\"noopener noreferrer\">died a quick death\u003c/a>, in large part because it failed with readers. Between Instant Articles, Facebook Watch for news, and the close hold Facebook keeps on its data, many news publishers have developed a jaundiced attitude.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what does Facebook think is “high quality,” \u003ci>exactly\u003c/i>? Axel Springer SE CEO Mathias Döpfner echoed the skepticism of many media outlets and, these days, politicians and regulators, too.\u003c/p>\n\u003cp>“The more you start to curate, and to select, and to make choices, the more you automatically, and even involuntarily, transform into a publication house, into a media company. And then, honestly, you’re just too big. Sooner or later, you will be split up by regulators because they will say, ‘There cannot be so much dominance in one company that makes the decisions globally who reads what.’ So you have to keep a degree of neutrality,” Döpfner said.\u003c/p>\n\u003cp>Honestly, the same concern applies to Google and Apple. And they, too, have put forward initiatives that look like peace offerings to the news media.\u003c/p>\n\u003cp>But Facebook may be committed to give the new idea a try, regardless of Döpfner’s doubts. According to \u003ca href=\"https://www.recode.net/2019/4/1/18290330/facebook-news-tab-mark-zuckerberg-license-fee-axel-springer-mathias-dopfner\" target=\"_blank\" rel=\"noopener\">Recode\u003c/a>, Zuckerberg’s video is the only the first public acknowledgement of an idea Facebook has been tinkering with for months.\u003c/p>\n\u003cp id=\"tiOuMt\">Recode quotes an unnamed source within the company saying Facebook hasn’t committed to the idea of paying publishers directly, and may still end up trying to entice publishers with ad revenue, bolstered by minimum guarantees. That source also says the company expects to have the news tab up and running by the end of 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The European publisher offered another nugget of wisdom for Zuckerberg:\u003c/p>\n\u003cblockquote>\u003cp>The better the business model is that Facebook provides for publishers, the more professional journalists you will attract. If it’s only about reach and popularity, only about audience, the seduction to be a platform for manipulation is so high because people want to make a business. We have to make a business in order to finance investigative journalists and correspondents, and big foreign networks. They cannot afford to do that for free. But manipulators, governments from Russia to China, other sinister sources, they can all use it, abuse it, and then you have an image problem for Facebook, but also a structure problem for journalism. So I would focus on making sure what makes the offering and it’s structuring on Facebook attractive for the hundreds of thousands of journalists, bloggers, digital native publishers, legacy publishers. And that will automatically resolve the quality issue.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cp>In 1972, \u003ca href=\"https://www.npr.org/artists/15669282/marvin-gaye\">Marvin Gaye\u003c/a> began recording a follow-up to his megahit album, \u003cem>What’s Going On\u003c/em>. He eventually laid down over a dozen new tracks, but personal and professional conflicts derailed the project. Most of the songs were never released except as bonus material on later anthologies. Now they’ve been assembled into one album called \u003cem>You’re the Man,\u003c/em> out Friday.\u003c/p>\n\u003cp>How do you follow up a personal and cultural masterpiece, not to mention a chart-topper? Gaye’s label, Motown, was eager to see the hits keep on coming — but success had given the artist newfound creative control, and he didn’t want to generate a carbon copy of the album he had just put out. Instead, beginning in the spring of ’72, he went into the studio with some new ideas in mind.\u003c/p>\n\u003cp>Gaye had produced and co-written \u003cem>What’s Going On\u003c/em> in its entirety, but for these new songs he sought out a flock of producers and arrangers, from such emergent talents as Willie Hutch, Gloria Jones and Fonce Mizzell to seasoned veterans like Hal Davis and Gene Page. What emerged was an eclectic mix of styles that included sweeping, socially conscious anthems.\u003c/p>\n\u003cp>The songs on \u003cem>You’re the Man\u003c/em> may never have been meant to form into a cohesive album: They were a set of ideas, gesturing toward different “what coulda beens.” Despite compiling more than enough songs to fill an LP, Gaye, for reasons we may never really know, ultimately decided to send most of them down to the vault. By year’s end he had shifted his attention to a duet album with \u003ca href=\"https://www.npr.org/artists/539035525/diana-ross\">Diana Ross\u003c/a> and to scoring the \u003cem>Trouble Man\u003c/em> soundtrack.\u003c/p>\n\u003cp>Yet even if these are mostly a bunch of tunes trying to stick to the wall, the bulk of those songs stick really well. After all, you have Gaye, at peak form, pairing his indelible voice with some of the best soul production of the era. It may have taken 47 years to finally surface in a proper way, but \u003cem>You’re the Man\u003c/em> is still a powerful, resonant reminder of the greatness that was Marvin Gaye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A7aX5aMq94oHw4eQdQBo854\" width=\"800\" height=\"600\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/707705238/708170991\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\n\u003c/p>\n",
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"content": "\u003cp>\u003cem>\u003cstrong>Update, April 2:\u003c/strong> Eric Holder, the suspect in Nipsey Hussle’s murder, is \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener\">now in police custody\u003c/a>, according to LAPD.\u003c/em>\u003c/p>\n\u003cp>West Coast rap star Nipsey Hussle was shot and killed in Los Angeles today outside of his Marathon Clothing Company store. He was 33 years old.\u003c/p>\n\u003cp>The perpetrator and motive of the shooting are unknown. Two other people were shot and are in critical condition, police told \u003ca href=\"https://www.nbcnews.com/news/crime-courts/man-killed-two-others-injured-outside-rapper-nipsey-hussle-s-n989371\" target=\"_blank\" rel=\"noopener\">NBC News\u003c/a>. Hours before his death, Hussle, born Ermias Davidson Asghedom, tweeted “Having strong enemies is a blessing.”\u003c/p>\n\u003cp>https://twitter.com/NipseyHussle/status/1112472675169886208\u003c/p>\n\u003cp>Hussle, who was born and raised in South Los Angeles, was known as a leading voice in West Coast rap. He broke onto the scene with a debut mixtape in 2005, and was nominated for a Grammy in 2018 for his album, V\u003cem>ictory Lap\u003c/em>. \u003cspan style=\"font-weight: 400\"> [aside postID='arts_13854043']\u003c/span>\u003c/p>\n\u003cp>Hussle was an entrepreneur and community activist driven by a mission to invest in the black community. In 2018, he debuted a coworking space and \u003ca href=\"https://www.latimes.com/entertainment/movies/la-et-ms-nipsey-hussle-vector-90-victory-lap-20180228-story.html\" target=\"_blank\" rel=\"noopener\">learning center\u003c/a> called Vector90 with the goal of giving inner-city youth the tools to pursue careers in science and tech. In the same shopping plaza as his Marathon Clothing Company store, he opened an eatery, Slauson Fish Market, to give local residents healthier food options. Hussle’s death came a day before \u003ca href=\"https://pagesix.com/2019/04/01/nipsey-hussle-killed-one-day-before-anti-gang-meeting-with-lapd/\" target=\"_blank\" rel=\"noopener\">a scheduled meeting\u003c/a> with the Los Angeles Police Department to advise them on curbing violence.\u003c/p>\n\u003cp>Hussle leaves behind two children and girlfriend Lauren London.\u003c/p>\n\u003cp>https://twitter.com/rihanna/status/1112517003053621249\u003c/p>\n\u003cp>https://twitter.com/TheThizzler/status/1112516808718733312\u003c/p>\n\u003cp>https://twitter.com/Kehlani/status/1112512180115501056\u003c/p>\n\u003cp>https://twitter.com/kamaiyah/status/1112515562611970048\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Hussle was an entrepreneur and community activist driven by a mission to invest in the black community. In 2018, he debuted a coworking space and \u003ca href=\"https://www.latimes.com/entertainment/movies/la-et-ms-nipsey-hussle-vector-90-victory-lap-20180228-story.html\" target=\"_blank\" rel=\"noopener\">learning center\u003c/a> called Vector90 with the goal of giving inner-city youth the tools to pursue careers in science and tech. In the same shopping plaza as his Marathon Clothing Company store, he opened an eatery, Slauson Fish Market, to give local residents healthier food options. Hussle’s death came a day before \u003ca href=\"https://pagesix.com/2019/04/01/nipsey-hussle-killed-one-day-before-anti-gang-meeting-with-lapd/\" target=\"_blank\" rel=\"noopener\">a scheduled meeting\u003c/a> with the Los Angeles Police Department to advise them on curbing violence.\u003c/p>\n\u003cp>Hussle leaves behind two children and girlfriend Lauren London.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week, KQED’s local \u003cem>Morning Edition\u003c/em> host Brian Watt set up shop in the Silicon Valley bureau in San Jose. He made sure to check out the best the region has to offer: \u003ca href=\"https://www.kqed.org/news/11736402/inside-san-joses-shark-tank-the-sounds-of-playoff-fever\" target=\"_blank\" rel=\"noopener\">ice hockey\u003c/a> at the SAP Center, dirigible development at Moffett Field (a coming Bay Curious story from yours truly), and of course, baritone \u003ca href=\"https://trevornealbaritone.com\" target=\"_blank\" rel=\"noopener\">Trevor Neal\u003c/a> of \u003ca href=\"https://www.operasj.org\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13806981,arts_13805009,arts_13842695' label='Related Coverage']For prep work ahead of the interview, “I called my aunt who sings opera,” Watt says of Fleur Paysour, a contralto who these days, works as a spokeswoman for the \u003ca href=\"https://nmaahc.si.edu\" target=\"_blank\" rel=\"noopener\">National Museum of African American History and Culture\u003c/a>. “She definitely wanted me to ask [Neal] about performances he had to really work up to. And how he manages his voice on days when it isn’t cooperating.”\u003c/p>\n\u003cp>Neal said, “You can only do the best that you can do that day. And my mom always instilled in me, you have to believe in yourself first.”\u003c/p>\n\u003cp>Paysour also asked Watt to ask Neal about what it’s like to be a top flight African-American opera singer. Neal, as it happens, created a Facebook \u003ca href=\"https://www.facebook.com/groups/244681085882660/\" target=\"_blank\" rel=\"noopener\">group\u003c/a>, where black opera performers can let loose and discuss their experiences in a safe space. Current topics include role discrimination and the lack of people of color in administrative positions in the arts.\u003c/p>\n\u003cp>Watt says it was refreshing to talk to a master of his craft who is nonetheless extremely down to earth. “He’s obviously a big singer, but he is a very regular fellow.”\u003c/p>\n\u003cfigure id=\"attachment_13853946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg\" alt=\"KQED's Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our job is to tell a story,” said Neal. “It’s important for us to show we’re not this upper crust elite. We are accessible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for that voice? Watt says the sensation of listening is something akin to “being in a wind tunnel.”\u003c/p>\n\u003cp>Neal’s contract with Opera San Jose as a member of the resident company is rolling to a close. His last role before leaving is the American consul Sharpless in \u003ca href=\"https://www.operasj.org/tickets/madama-butterfly/\" target=\"_blank\" rel=\"noopener\">\u003cem>Madama Butterly\u003c/em>\u003c/a>. “Of course, you have to come see the show!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Madama Butterfly\u003c/strong> runs through April 13-28, 2019 at Opera San Jose. For more information, click \u003ca href=\"https://www.operasj.org/tickets/madama-butterfly/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, KQED’s local \u003cem>Morning Edition\u003c/em> host Brian Watt set up shop in the Silicon Valley bureau in San Jose. He made sure to check out the best the region has to offer: \u003ca href=\"https://www.kqed.org/news/11736402/inside-san-joses-shark-tank-the-sounds-of-playoff-fever\" target=\"_blank\" rel=\"noopener\">ice hockey\u003c/a> at the SAP Center, dirigible development at Moffett Field (a coming Bay Curious story from yours truly), and of course, baritone \u003ca href=\"https://trevornealbaritone.com\" target=\"_blank\" rel=\"noopener\">Trevor Neal\u003c/a> of \u003ca href=\"https://www.operasj.org\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For prep work ahead of the interview, “I called my aunt who sings opera,” Watt says of Fleur Paysour, a contralto who these days, works as a spokeswoman for the \u003ca href=\"https://nmaahc.si.edu\" target=\"_blank\" rel=\"noopener\">National Museum of African American History and Culture\u003c/a>. “She definitely wanted me to ask [Neal] about performances he had to really work up to. And how he manages his voice on days when it isn’t cooperating.”\u003c/p>\n\u003cp>Neal said, “You can only do the best that you can do that day. And my mom always instilled in me, you have to believe in yourself first.”\u003c/p>\n\u003cp>Paysour also asked Watt to ask Neal about what it’s like to be a top flight African-American opera singer. Neal, as it happens, created a Facebook \u003ca href=\"https://www.facebook.com/groups/244681085882660/\" target=\"_blank\" rel=\"noopener\">group\u003c/a>, where black opera performers can let loose and discuss their experiences in a safe space. Current topics include role discrimination and the lack of people of color in administrative positions in the arts.\u003c/p>\n\u003cp>Watt says it was refreshing to talk to a master of his craft who is nonetheless extremely down to earth. “He’s obviously a big singer, but he is a very regular fellow.”\u003c/p>\n\u003cfigure id=\"attachment_13853946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg\" alt=\"KQED's Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our job is to tell a story,” said Neal. “It’s important for us to show we’re not this upper crust elite. We are accessible.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for that voice? Watt says the sensation of listening is something akin to “being in a wind tunnel.”\u003c/p>\n\u003cp>Neal’s contract with Opera San Jose as a member of the resident company is rolling to a close. His last role before leaving is the American consul Sharpless in \u003ca href=\"https://www.operasj.org/tickets/madama-butterfly/\" target=\"_blank\" rel=\"noopener\">\u003cem>Madama Butterly\u003c/em>\u003c/a>. “Of course, you have to come see the show!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Madama Butterfly\u003c/strong> runs through April 13-28, 2019 at Opera San Jose. For more information, click \u003ca href=\"https://www.operasj.org/tickets/madama-butterfly/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>French film director Agnès Varda, who was a pioneer during the New Wave revolution of the 1950s and 60s and who kept making important films for the next five decades, has died at age 90.\u003c/p>\n\u003cp>A representative of Varda’s family confirmed the news of her death to NPR Friday. In a statement, her film company says the filmmaker and artist “died from a cancer at her home in the night of March 29, 2019, surrounded by her family and friends.”\u003c/p>\n\u003cp>[aside postID='arts_13816567,arts_13825978,arts_13812731' label='Related Coverage']\u003c/p>\n\u003cp>As a director, Varda had a photographer’s eye for capturing striking images—a skill she often used to accomplish the feat of allowing her stories to seem as if they told themselves. But behind the camera, a master was at work. \u003c/p>\n\u003cp>Varda released her first film, \u003cem>La Pointe Courte\u003c/em>, in 1955, on a shoestring budget and with no formal training. She even claimed not to have seen very many films before writing and directing what is now seen as a classic of cinema.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Varda may have lacked experience, but as she started out in her 20s, she believed that while other arts had progressed to new heights, films were still telling stories the way they always had. \u003c/p>\n\u003cp>“Literature had changed, painting had changed, culture. And from what I knew, the movie had been just illustrating stories, illustrating books,” \u003ca href=\"https://www.youtube.com/watch?v=5Qpu-bP2ywc\" target=\"_blank\" rel=\"noopener\">Varda said in 2015\u003c/a>. “I could see that the feeling was just to illustrate, when I thought, ‘It should be radical.'” \u003c/p>\n\u003cp>By making \u003cem>La Pointe Courte\u003c/em>, historian Georges Sadoul said, Varda created “truly the first film of the nouvelle vague.”\u003c/p>\n\u003cp>\u003cem>La Pointe Courte\u003c/em> tells the story of a Parisian couple visiting the husband’s modest hometown, a small fishing village. As the relatively simple story unfolds, viewers can feel a guiding intelligence, through Varda’s meticulous staging and framing of shots. Shot in black and white, two main narratives emerge, much as in William Faulkner’s \u003cem>The Wild Palms\u003c/em>, Varda’s inspiration for the film.\u003c/p>\n\u003cp>“Varda’s authorial control over both scriptwriting and directing, the exclusive use of location shooting, the mixing of professional and nonprofessional actors—all of this was groundbreaking in early 1950s France,” \u003ca href=\"https://www.criterion.com/current/author/191-ginette-vincendeau\" target=\"_blank\" rel=\"noopener\">Ginette Vincendeau\u003c/a> wrote for Criterion in 2008.\u003c/p>\n\u003cp>To form her unorthodox approach, Varda instructed her actors to mute their emotions; she spurned artificial lighting; she also allowed off-camera sounds to buzz in and out of dialogue—stylistic touches that became mainstays for the New Wave, a movement that includes esteemed directors such as Jean-Luc Godard, François Truffaut and Alain Resnais. \u003c/p>\n\u003cp>“Varda is sometimes referred to as the godmother of the French New Wave,” \u003ca href=\"https://www.rogerebert.com/reviews/great-movie-cleo-from-5-to-7-1962\" target=\"_blank\" rel=\"noopener\">Roger Ebert wrote about Varda\u003c/a> in 2012. “I have been guilty of that myself. Nothing could be more unfair. Varda is its very soul, and only the fact that she is a woman, I fear, prevented her from being routinely included with Godard, Truffaut, Resnais, Chabrol, Rivette, Rohmer and for that matter her husband Jacques Demy.”\u003c/p>\n\u003cp>Over the years, appreciation for Varda’s work has only grown. In 2017, she was awarded an honorary Oscar for Lifetime Achievement. That followed her Palme d’honneur, a lifetime award from the 2015 Cannes Film Festival. \u003c/p>\n\u003cp>As she explored her art, Varda kept a steady eye on important social themes, particularly the role of women. And she frequently turned her lens onto revolutionary ideas, filming in Cuba in 1963 (for 1971’s \u003cem>Salut les Cubans\u003c/em>) and making a short documentary about the Black Panthers in 1968.\u003c/p>\n\u003cp>“All life is about borders. Language borders, ethnic borders, et cetera,” \u003ca href=\"https://www.youtube.com/watch?v=0VLArLHK4yc\" target=\"_blank\" rel=\"noopener\">Varda said in 2015\u003c/a>. “And in the cinema, I tried to erase borders, or make them smooth: between documentary and fiction; black and white and color; cinema and art.”\u003c/p>\n\u003cp>Varda’s well-respected films range over decades, from 1962’s \u003cem>Cleo from 5 to 7\u003c/em> and 1965’s \u003cem>Bonheur\u003c/em> to 1985’s \u003cem>Vagabond \u003c/em>—the story of a young woman living alone, constantly on the move.\u003c/p>\n\u003cp>\u003cem>Cleo\u003c/em> is seen as an icon of the New Wave, telling the story of a young pop star who meditates on beauty, femininity and objectification—all while rushing through Paris and awaiting the results of a biopsy that could tell her whether she will die from cancer.\u003c/p>\n\u003cp>In 2017, Varda co-directed \u003cem>Faces Places\u003c/em>—a project that paired her with the installation artist JR, as the unlikely pair (with a 55-year age difference) traveled to small towns and villages in France and treated the locals like larger-than-life personalities.\u003c/p>\n\u003cp>“We chose normal people that we met, I would say, people with no power,” \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\" target=\"_blank\" rel=\"noopener\">Varda told NPR\u003c/a>. “That was the point. The thing was, can we be person-to-person, and can we put the meeting as the main action? Meeting, listening, enjoying to meet.” \u003c/p>\n\u003cp>Varda turned the camera on herself for several projects, including the autobiographical \u003cem>The Beaches of Agnès\u003c/em> of 2008 and \u003cem>Varda by Agnès\u003c/em>, which came out this year. \u003c/p>\n\u003cp>Born Arlettte Varda in Brussels in 1928, Varda changed her name as she embarked on her career in art. While she is often associated with the Parisian arts scene, she also spent time in Los Angeles, where she moved in the late 1960s along with her husband, the late director Jacques Demy. \u003c/p>\n\u003cp>“I became in love with that strange city,” \u003ca href=\"https://www.youtube.com/watch?v=0VLArLHK4yc\" target=\"_blank\" rel=\"noopener\">she later said\u003c/a>. “And right away, it smelled so much [of] cinema, that I had to work.”\u003c/p>\n\u003cp>Even in Varda’s autobiographical film, she turned the camera on others.\u003c/p>\n\u003cp>“Varda teaches us how to understand our lives,” the critic John Powers\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=106690189\" target=\"_blank\" rel=\"noopener\"> said on NPR in 2009\u003c/a>. “We start not with our inner feelings, but with the people and places that matter to us. That’s why the film brims with generous portraits of the people who matter to her—the bakers next door, filmmaker Chris Marker, even her Hollywood pal Zalman King, the softcore impresario behind the cringeful \u003cem>Red Shoe Diaries\u003c/em>.”\u003c/p>\n\u003cp>Powers concluded, “Looking back over the 55 years of Varda’s film career, it’s tempting to say that she’s the most distinguished living woman filmmaker. But that would be to insult her with faint praise. She’s one of the most distinguished filmmakers, period.”\u003c/p>\n\u003cp>\u003cem>NPR’s Elizabeth Blair contributed to this report.\u003c/em> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a director, Varda had a photographer’s eye for capturing striking images—a skill she often used to accomplish the feat of allowing her stories to seem as if they told themselves. But behind the camera, a master was at work. \u003c/p>\n\u003cp>Varda released her first film, \u003cem>La Pointe Courte\u003c/em>, in 1955, on a shoestring budget and with no formal training. She even claimed not to have seen very many films before writing and directing what is now seen as a classic of cinema.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Varda may have lacked experience, but as she started out in her 20s, she believed that while other arts had progressed to new heights, films were still telling stories the way they always had. \u003c/p>\n\u003cp>“Literature had changed, painting had changed, culture. And from what I knew, the movie had been just illustrating stories, illustrating books,” \u003ca href=\"https://www.youtube.com/watch?v=5Qpu-bP2ywc\" target=\"_blank\" rel=\"noopener\">Varda said in 2015\u003c/a>. “I could see that the feeling was just to illustrate, when I thought, ‘It should be radical.'” \u003c/p>\n\u003cp>By making \u003cem>La Pointe Courte\u003c/em>, historian Georges Sadoul said, Varda created “truly the first film of the nouvelle vague.”\u003c/p>\n\u003cp>\u003cem>La Pointe Courte\u003c/em> tells the story of a Parisian couple visiting the husband’s modest hometown, a small fishing village. As the relatively simple story unfolds, viewers can feel a guiding intelligence, through Varda’s meticulous staging and framing of shots. Shot in black and white, two main narratives emerge, much as in William Faulkner’s \u003cem>The Wild Palms\u003c/em>, Varda’s inspiration for the film.\u003c/p>\n\u003cp>“Varda’s authorial control over both scriptwriting and directing, the exclusive use of location shooting, the mixing of professional and nonprofessional actors—all of this was groundbreaking in early 1950s France,” \u003ca href=\"https://www.criterion.com/current/author/191-ginette-vincendeau\" target=\"_blank\" rel=\"noopener\">Ginette Vincendeau\u003c/a> wrote for Criterion in 2008.\u003c/p>\n\u003cp>To form her unorthodox approach, Varda instructed her actors to mute their emotions; she spurned artificial lighting; she also allowed off-camera sounds to buzz in and out of dialogue—stylistic touches that became mainstays for the New Wave, a movement that includes esteemed directors such as Jean-Luc Godard, François Truffaut and Alain Resnais. \u003c/p>\n\u003cp>“Varda is sometimes referred to as the godmother of the French New Wave,” \u003ca href=\"https://www.rogerebert.com/reviews/great-movie-cleo-from-5-to-7-1962\" target=\"_blank\" rel=\"noopener\">Roger Ebert wrote about Varda\u003c/a> in 2012. “I have been guilty of that myself. Nothing could be more unfair. Varda is its very soul, and only the fact that she is a woman, I fear, prevented her from being routinely included with Godard, Truffaut, Resnais, Chabrol, Rivette, Rohmer and for that matter her husband Jacques Demy.”\u003c/p>\n\u003cp>Over the years, appreciation for Varda’s work has only grown. In 2017, she was awarded an honorary Oscar for Lifetime Achievement. That followed her Palme d’honneur, a lifetime award from the 2015 Cannes Film Festival. \u003c/p>\n\u003cp>As she explored her art, Varda kept a steady eye on important social themes, particularly the role of women. And she frequently turned her lens onto revolutionary ideas, filming in Cuba in 1963 (for 1971’s \u003cem>Salut les Cubans\u003c/em>) and making a short documentary about the Black Panthers in 1968.\u003c/p>\n\u003cp>“All life is about borders. Language borders, ethnic borders, et cetera,” \u003ca href=\"https://www.youtube.com/watch?v=0VLArLHK4yc\" target=\"_blank\" rel=\"noopener\">Varda said in 2015\u003c/a>. “And in the cinema, I tried to erase borders, or make them smooth: between documentary and fiction; black and white and color; cinema and art.”\u003c/p>\n\u003cp>Varda’s well-respected films range over decades, from 1962’s \u003cem>Cleo from 5 to 7\u003c/em> and 1965’s \u003cem>Bonheur\u003c/em> to 1985’s \u003cem>Vagabond \u003c/em>—the story of a young woman living alone, constantly on the move.\u003c/p>\n\u003cp>\u003cem>Cleo\u003c/em> is seen as an icon of the New Wave, telling the story of a young pop star who meditates on beauty, femininity and objectification—all while rushing through Paris and awaiting the results of a biopsy that could tell her whether she will die from cancer.\u003c/p>\n\u003cp>In 2017, Varda co-directed \u003cem>Faces Places\u003c/em>—a project that paired her with the installation artist JR, as the unlikely pair (with a 55-year age difference) traveled to small towns and villages in France and treated the locals like larger-than-life personalities.\u003c/p>\n\u003cp>“We chose normal people that we met, I would say, people with no power,” \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\" target=\"_blank\" rel=\"noopener\">Varda told NPR\u003c/a>. “That was the point. The thing was, can we be person-to-person, and can we put the meeting as the main action? Meeting, listening, enjoying to meet.” \u003c/p>\n\u003cp>Varda turned the camera on herself for several projects, including the autobiographical \u003cem>The Beaches of Agnès\u003c/em> of 2008 and \u003cem>Varda by Agnès\u003c/em>, which came out this year. \u003c/p>\n\u003cp>Born Arlettte Varda in Brussels in 1928, Varda changed her name as she embarked on her career in art. While she is often associated with the Parisian arts scene, she also spent time in Los Angeles, where she moved in the late 1960s along with her husband, the late director Jacques Demy. \u003c/p>\n\u003cp>“I became in love with that strange city,” \u003ca href=\"https://www.youtube.com/watch?v=0VLArLHK4yc\" target=\"_blank\" rel=\"noopener\">she later said\u003c/a>. “And right away, it smelled so much [of] cinema, that I had to work.”\u003c/p>\n\u003cp>Even in Varda’s autobiographical film, she turned the camera on others.\u003c/p>\n\u003cp>“Varda teaches us how to understand our lives,” the critic John Powers\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=106690189\" target=\"_blank\" rel=\"noopener\"> said on NPR in 2009\u003c/a>. “We start not with our inner feelings, but with the people and places that matter to us. That’s why the film brims with generous portraits of the people who matter to her—the bakers next door, filmmaker Chris Marker, even her Hollywood pal Zalman King, the softcore impresario behind the cringeful \u003cem>Red Shoe Diaries\u003c/em>.”\u003c/p>\n\u003cp>Powers concluded, “Looking back over the 55 years of Varda’s film career, it’s tempting to say that she’s the most distinguished living woman filmmaker. But that would be to insult her with faint praise. She’s one of the most distinguished filmmakers, period.”\u003c/p>\n\u003cp>\u003cem>NPR’s Elizabeth Blair contributed to this report.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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