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"title": "Turns Out the Anti-Capitalist Agitator We Needed is (Checks Notes)... Sting??",
"headTitle": "Turns Out the Anti-Capitalist Agitator We Needed is (Checks Notes)… Sting?? | KQED",
"content": "\u003cp>\u003ca href=\"https://www.sting.com/\" target=\"_blank\" rel=\"noopener\">Sting\u003c/a>, the 17-time Grammy-winning rock star who jet-sets between his five residences around the globe, probably isn’t the first person who comes to mind when one thinks of famous anti-capitalists.\u003c/p>\n\u003cp>But in an interview today at the \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">SHN Golden Gate Theatre\u003c/a> in San Francisco, he lets me in on a little-known fact.\u003c/p>\n\u003cp>“Yeah, I’m a critic of capitalism. I think when you take out the value of community from the economic equation, you end up with something, in the long-term, that is untenable,” he says. “I studied economics; it’s based on community. You can’t have it without community. Otherwise we’re being run by an algorithm that has no feeling for human dignity.”\u003c/p>\n\u003cp>So Sting the, uh… socialist?\u003c/p>\n\u003cp>“I won’t give it a name,” he says of his belief system. “I just think it’s basic human decency to look after people more than looking after money.”\u003c/p>\n\u003cfigure id=\"attachment_13853899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg\" alt=\"Sting speaks from his working class roots in 'The Last Ship,' a play about a shipbuilding community in decline.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting speaks from his working class roots in ‘The Last Ship,’ a play about a shipbuilding community in decline. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sting is in town to talk about his 2014 Broadway musical,\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">\u003cem> The Last Ship\u003c/em>\u003c/a>, which will come to the Golden Gate Theatre—with Sting in the starring role—in February 2020. Set in the ’80s in his hometown of Wallsend, Tyne and Wear, England, the musical is a love story set to the backdrop of a shipbuilding community in decline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the surface, its subject matter might seem niche. But \u003cem>The Last Ship\u003c/em>‘s central theme, of market forces disenfranchising the working class, has a deep resonance with today’s political moment. One could say it echoes the plight of Rust Belt steelworkers, Detroiters feeling the loss of the automotive industry and even low-income Bay Area residents pushed out by big tech.\u003c/p>\n\u003cp>“This is happening everywhere,” he says. “We were just in Toronto where a GM plant was about to close because they could move it to Mexico and pay workers $2 an hour.”\u003c/p>\n\u003cp>Sting then describes how he and the cast visited the plant workers, and performed an intimate, private show for them of songs from \u003cem>The Last Ship\u003c/em>. “The workers recognized the story we were telling,” he says. “And my actors were exposed to the reality of what they were portraying on stage. It was an electric moment, and it galvanized the whole thing. Then GM came back to the table to start renegotiating after that event, so we thought we were doing something useful.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Sting']‘I just think it’s basic human decency to look after people more than looking after money.’[/pullquote]\u003c/p>\n\u003cp>Talking with Sting, it’s clear that \u003cem>The Last Ship\u003c/em> is his way of both reconnecting to and speaking from his working-class roots, using personal insight to illuminate broader issues of economic inequality. Sting’s father and grandfather both worked in the Wallsend shipyards—where “the biggest ships on Earth were built at the end of my street,” he says—and he was expected to follow their footsteps and take up the family trade.\u003c/p>\n\u003cp>But the young boy then known as Gordon Sumner had a different dream: to become a rock star who got paid “big piles of money.” He especially wanted nothing to do with Wallsend and its ships. Fast-forward to now, over a dozen Platinum albums and hundreds of sold-out arenas later, and the Sting who sings of shipyards and labor organizing finally sees the value of those humble beginnings he once yearned to escape.\u003c/p>\n\u003cfigure id=\"attachment_13853901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg\" alt=\"Sting's musical 'The Last Ship' has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting’s musical ‘The Last Ship’ has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be real: Sting is widely seen as a self-serious, Bono-esque mega-star (critics often bring up his well-publicized interest in \u003ca href=\"https://www.theguardian.com/music/2011/sep/25/interview-the-thing-about-sting\" target=\"_blank\" rel=\"noopener\">tantric sex\u003c/a> and his passionate dabbling in \u003ca href=\"https://www.youtube.com/watch?v=bcvF6SI0A8s\" target=\"_blank\" rel=\"noopener\">the lute\u003c/a>). But in person, he’s welcoming and friendly, with a loud laugh and a gift for putting people at ease.\u003c/p>\n\u003cp>Someone in Sting’s position could easily rest on his laurels, enjoy Malibu’s beaches and Tuscany’s vineyards, and count his millions without much need to take creative risk. But Sting continues to push his own limits, undaunted by critical reception, and his fans love him for it. His last album, \u003cem>44/876,\u003c/em> a pop-reggae collaboration with Shaggy, peaked at No. 11 on the Billboard charts, even though it received lukewarm press (Pitchfork called it “\u003ca href=\"https://pitchfork.com/reviews/albums/sting-shaggy-44876/\" target=\"_blank\" rel=\"noopener\">helplessly uncool\u003c/a>“). And though \u003cem>The Last Ship \u003c/em>also received \u003ca href=\"https://www.broadwayworld.com/article/Review-Roundup-Sting-In-THE-LAST-SHIP-In-Toronto-20190221\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a> from theater critics during its latest run in Canada, Sting’s passion for the storyline was apparent as he performed songs on the Golden Gate stage Thursday from the perspective of a union organizer and a shipyard manager fighting for his workers.\u003c/p>\n\u003cp>So what does success mean to Sting at this stage in his career, when he’s accomplished nearly everything a rock star can?\u003c/p>\n\u003cp>“For me, it’s about surprise,” he says. “I want people to be surprised by the choices I make, and this play is very surprising. People are kind of gobsmacked.”\u003c/p>\n\u003cp>He adds, laughing, “\u003cem>I’m\u003c/em> surprised that I can act! It was never an ambition of mine to be an actor. But I can see the value of my name in the marquee to bring people in, and I believe in this play enough to take that risk.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Last Ship’ runs Feb. 20, 2020–March 22, 2020 at the SHN Golden Gate Theatre. Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sting.com/\" target=\"_blank\" rel=\"noopener\">Sting\u003c/a>, the 17-time Grammy-winning rock star who jet-sets between his five residences around the globe, probably isn’t the first person who comes to mind when one thinks of famous anti-capitalists.\u003c/p>\n\u003cp>But in an interview today at the \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">SHN Golden Gate Theatre\u003c/a> in San Francisco, he lets me in on a little-known fact.\u003c/p>\n\u003cp>“Yeah, I’m a critic of capitalism. I think when you take out the value of community from the economic equation, you end up with something, in the long-term, that is untenable,” he says. “I studied economics; it’s based on community. You can’t have it without community. Otherwise we’re being run by an algorithm that has no feeling for human dignity.”\u003c/p>\n\u003cp>So Sting the, uh… socialist?\u003c/p>\n\u003cp>“I won’t give it a name,” he says of his belief system. “I just think it’s basic human decency to look after people more than looking after money.”\u003c/p>\n\u003cfigure id=\"attachment_13853899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg\" alt=\"Sting speaks from his working class roots in 'The Last Ship,' a play about a shipbuilding community in decline.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting speaks from his working class roots in ‘The Last Ship,’ a play about a shipbuilding community in decline. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sting is in town to talk about his 2014 Broadway musical,\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">\u003cem> The Last Ship\u003c/em>\u003c/a>, which will come to the Golden Gate Theatre—with Sting in the starring role—in February 2020. Set in the ’80s in his hometown of Wallsend, Tyne and Wear, England, the musical is a love story set to the backdrop of a shipbuilding community in decline.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the surface, its subject matter might seem niche. But \u003cem>The Last Ship\u003c/em>‘s central theme, of market forces disenfranchising the working class, has a deep resonance with today’s political moment. One could say it echoes the plight of Rust Belt steelworkers, Detroiters feeling the loss of the automotive industry and even low-income Bay Area residents pushed out by big tech.\u003c/p>\n\u003cp>“This is happening everywhere,” he says. “We were just in Toronto where a GM plant was about to close because they could move it to Mexico and pay workers $2 an hour.”\u003c/p>\n\u003cp>Sting then describes how he and the cast visited the plant workers, and performed an intimate, private show for them of songs from \u003cem>The Last Ship\u003c/em>. “The workers recognized the story we were telling,” he says. “And my actors were exposed to the reality of what they were portraying on stage. It was an electric moment, and it galvanized the whole thing. Then GM came back to the table to start renegotiating after that event, so we thought we were doing something useful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Talking with Sting, it’s clear that \u003cem>The Last Ship\u003c/em> is his way of both reconnecting to and speaking from his working-class roots, using personal insight to illuminate broader issues of economic inequality. Sting’s father and grandfather both worked in the Wallsend shipyards—where “the biggest ships on Earth were built at the end of my street,” he says—and he was expected to follow their footsteps and take up the family trade.\u003c/p>\n\u003cp>But the young boy then known as Gordon Sumner had a different dream: to become a rock star who got paid “big piles of money.” He especially wanted nothing to do with Wallsend and its ships. Fast-forward to now, over a dozen Platinum albums and hundreds of sold-out arenas later, and the Sting who sings of shipyards and labor organizing finally sees the value of those humble beginnings he once yearned to escape.\u003c/p>\n\u003cfigure id=\"attachment_13853901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg\" alt=\"Sting's musical 'The Last Ship' has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting’s musical ‘The Last Ship’ has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be real: Sting is widely seen as a self-serious, Bono-esque mega-star (critics often bring up his well-publicized interest in \u003ca href=\"https://www.theguardian.com/music/2011/sep/25/interview-the-thing-about-sting\" target=\"_blank\" rel=\"noopener\">tantric sex\u003c/a> and his passionate dabbling in \u003ca href=\"https://www.youtube.com/watch?v=bcvF6SI0A8s\" target=\"_blank\" rel=\"noopener\">the lute\u003c/a>). But in person, he’s welcoming and friendly, with a loud laugh and a gift for putting people at ease.\u003c/p>\n\u003cp>Someone in Sting’s position could easily rest on his laurels, enjoy Malibu’s beaches and Tuscany’s vineyards, and count his millions without much need to take creative risk. But Sting continues to push his own limits, undaunted by critical reception, and his fans love him for it. His last album, \u003cem>44/876,\u003c/em> a pop-reggae collaboration with Shaggy, peaked at No. 11 on the Billboard charts, even though it received lukewarm press (Pitchfork called it “\u003ca href=\"https://pitchfork.com/reviews/albums/sting-shaggy-44876/\" target=\"_blank\" rel=\"noopener\">helplessly uncool\u003c/a>“). And though \u003cem>The Last Ship \u003c/em>also received \u003ca href=\"https://www.broadwayworld.com/article/Review-Roundup-Sting-In-THE-LAST-SHIP-In-Toronto-20190221\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a> from theater critics during its latest run in Canada, Sting’s passion for the storyline was apparent as he performed songs on the Golden Gate stage Thursday from the perspective of a union organizer and a shipyard manager fighting for his workers.\u003c/p>\n\u003cp>So what does success mean to Sting at this stage in his career, when he’s accomplished nearly everything a rock star can?\u003c/p>\n\u003cp>“For me, it’s about surprise,” he says. “I want people to be surprised by the choices I make, and this play is very surprising. People are kind of gobsmacked.”\u003c/p>\n\u003cp>He adds, laughing, “\u003cem>I’m\u003c/em> surprised that I can act! It was never an ambition of mine to be an actor. But I can see the value of my name in the marquee to bring people in, and I believe in this play enough to take that risk.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Last Ship’ runs Feb. 20, 2020–March 22, 2020 at the SHN Golden Gate Theatre. Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following last week’s announcement that \u003ca href=\"https://www.kqed.org/arts/13853523/outside-lands-2019-lineup\" target=\"_blank\" rel=\"noopener\">Paul Simon\u003c/a> is headlining \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands 2019\u003c/a>, the music and arts festival just released the full lineup of acts coming to Golden Gate Park August 9–11. \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, who won the Grammy for Record of the Year with “This is America,” joins Simon as a headliner, as well as pop duo Twenty One Pilots.\u003c/p>\n\u003cp>Australian electronic producer Flume also tops the bill, as well as pop punk all-stars Blink 182, pop star Bebe Rexha and country singer Kacey Musgraves, whose \u003cem>Golden Hour\u003c/em> won the 2019 Grammy for Album of the Year. Southern rap legend Lil Wayne will also perform, along with R&B newcomer Ella Mai, best known for “Boo’d Up.”\u003c/p>\n\u003cp>Rock’n’roll Hall of Famer Mavis Staples, of the Staples Singers, is also slated to play, as well as up-and-coming rappers Tierra Whack and Cupcakke and electronic producer Yaeji. On the local front, Oakland neo-soul band \u003ca href=\"https://www.kqed.org/arts/10974703/listen-in-the-seshen-shapes\" target=\"_blank\" rel=\"noopener\">the Seshen\u003c/a> and rapper \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a> are on the bill, as is prolific Pinole producer and rapper \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a>. See the full lineup below.\u003c/p>\n\u003cp>\u003cstrong>Lineup: \u003c/strong>\u003c/p>\n\u003cp>Paul Simon\u003cbr>\nChildish Gambino\u003cbr>\nTwenty One Pilots\u003cbr>\nThe Lumineers\u003cbr>\nFlume\u003cbr>\nBlink-182\u003cbr>\nKygo\u003cbr>\nAnderson .Paak & The Free Nationals\u003cbr>\nLeon Bridges\u003cbr>\nKacey Musgraves\u003cbr>\nLil Wayne\u003cbr>\nHozier\u003cbr>\nRL Grime\u003cbr>\nElla Mai\u003cbr>\nCounting Crows\u003cbr>\nFlying Lotus 3D\u003cbr>\nAlina Baraz\u003cbr>\nMavis Staples\u003cbr>\nBebe Rexha\u003cbr>\nSheck Wes\u003cbr>\nThe Neighbourhood\u003cbr>\nSantigold\u003cbr>\nBetter Oblivion Community Center\u003cbr>\nToro y Moi\u003cbr>\nDenzel Curry\u003cbr>\nLauren Daigle\u003cbr>\nSan Holo\u003cbr>\nJudah & the Lion\u003cbr>\nBig Wild\u003cbr>\nBob Moses\u003cbr>\nEdie Brickell & New Bohemians\u003cbr>\nWallows\u003cbr>\nYaeji\u003cbr>\nMasego\u003cbr>\nPhosphorescent\u003cbr>\nTierra Whack\u003cbr>\nDJ Koze\u003cbr>\nNoMBe\u003cbr>\nNahko And Medicine For The People\u003cbr>\nAurora\u003cbr>\nJustin Martin\u003cbr>\nDean Lewis\u003cbr>\nBea Miller\u003cbr>\nShallou\u003cbr>\nLuttrell\u003cbr>\nThe California Honeydrops\u003cbr>\nCautious Clay\u003cbr>\nhalf•alive\u003cbr>\nThe Marías\u003cbr>\nBrasstracks\u003cbr>\nCupCakKe\u003cbr>\nCherry Glazerr\u003cbr>\nP-Lo\u003cbr>\nCaamp\u003cbr>\nWeyes Blood\u003cbr>\nPJ Morton\u003cbr>\nThe Funk Hunters\u003cbr>\nStill Woozy\u003cbr>\nTaylor Bennett\u003cbr>\nMorMor\u003cbr>\nMiya Folick\u003cbr>\nALLBLACK\u003cbr>\nSYML\u003cbr>\nLeven Kali\u003cbr>\nAlex Lahey\u003cbr>\nJupiter & Okwess\u003cbr>\nDelacey\u003cbr>\nAltin Gün\u003cbr>\nGrateful Shred\u003cbr>\nAmo Amo\u003cbr>\nBoyfriend\u003cbr>\nThe Seshen\u003cbr>\nRainbow Girls\u003cbr>\nSandy’s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following last week’s announcement that \u003ca href=\"https://www.kqed.org/arts/13853523/outside-lands-2019-lineup\" target=\"_blank\" rel=\"noopener\">Paul Simon\u003c/a> is headlining \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands 2019\u003c/a>, the music and arts festival just released the full lineup of acts coming to Golden Gate Park August 9–11. \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, who won the Grammy for Record of the Year with “This is America,” joins Simon as a headliner, as well as pop duo Twenty One Pilots.\u003c/p>\n\u003cp>Australian electronic producer Flume also tops the bill, as well as pop punk all-stars Blink 182, pop star Bebe Rexha and country singer Kacey Musgraves, whose \u003cem>Golden Hour\u003c/em> won the 2019 Grammy for Album of the Year. Southern rap legend Lil Wayne will also perform, along with R&B newcomer Ella Mai, best known for “Boo’d Up.”\u003c/p>\n\u003cp>Rock’n’roll Hall of Famer Mavis Staples, of the Staples Singers, is also slated to play, as well as up-and-coming rappers Tierra Whack and Cupcakke and electronic producer Yaeji. On the local front, Oakland neo-soul band \u003ca href=\"https://www.kqed.org/arts/10974703/listen-in-the-seshen-shapes\" target=\"_blank\" rel=\"noopener\">the Seshen\u003c/a> and rapper \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a> are on the bill, as is prolific Pinole producer and rapper \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a>. See the full lineup below.\u003c/p>\n\u003cp>\u003cstrong>Lineup: \u003c/strong>\u003c/p>\n\u003cp>Paul Simon\u003cbr>\nChildish Gambino\u003cbr>\nTwenty One Pilots\u003cbr>\nThe Lumineers\u003cbr>\nFlume\u003cbr>\nBlink-182\u003cbr>\nKygo\u003cbr>\nAnderson .Paak & The Free Nationals\u003cbr>\nLeon Bridges\u003cbr>\nKacey Musgraves\u003cbr>\nLil Wayne\u003cbr>\nHozier\u003cbr>\nRL Grime\u003cbr>\nElla Mai\u003cbr>\nCounting Crows\u003cbr>\nFlying Lotus 3D\u003cbr>\nAlina Baraz\u003cbr>\nMavis Staples\u003cbr>\nBebe Rexha\u003cbr>\nSheck Wes\u003cbr>\nThe Neighbourhood\u003cbr>\nSantigold\u003cbr>\nBetter Oblivion Community Center\u003cbr>\nToro y Moi\u003cbr>\nDenzel Curry\u003cbr>\nLauren Daigle\u003cbr>\nSan Holo\u003cbr>\nJudah & the Lion\u003cbr>\nBig Wild\u003cbr>\nBob Moses\u003cbr>\nEdie Brickell & New Bohemians\u003cbr>\nWallows\u003cbr>\nYaeji\u003cbr>\nMasego\u003cbr>\nPhosphorescent\u003cbr>\nTierra Whack\u003cbr>\nDJ Koze\u003cbr>\nNoMBe\u003cbr>\nNahko And Medicine For The People\u003cbr>\nAurora\u003cbr>\nJustin Martin\u003cbr>\nDean Lewis\u003cbr>\nBea Miller\u003cbr>\nShallou\u003cbr>\nLuttrell\u003cbr>\nThe California Honeydrops\u003cbr>\nCautious Clay\u003cbr>\nhalf•alive\u003cbr>\nThe Marías\u003cbr>\nBrasstracks\u003cbr>\nCupCakKe\u003cbr>\nCherry Glazerr\u003cbr>\nP-Lo\u003cbr>\nCaamp\u003cbr>\nWeyes Blood\u003cbr>\nPJ Morton\u003cbr>\nThe Funk Hunters\u003cbr>\nStill Woozy\u003cbr>\nTaylor Bennett\u003cbr>\nMorMor\u003cbr>\nMiya Folick\u003cbr>\nALLBLACK\u003cbr>\nSYML\u003cbr>\nLeven Kali\u003cbr>\nAlex Lahey\u003cbr>\nJupiter & Okwess\u003cbr>\nDelacey\u003cbr>\nAltin Gün\u003cbr>\nGrateful Shred\u003cbr>\nAmo Amo\u003cbr>\nBoyfriend\u003cbr>\nThe Seshen\u003cbr>\nRainbow Girls\u003cbr>\nSandy’s\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Live streamers could be forgiven for wondering if the Oscars had moved to the Steve Jobs Theater in Cupertino Monday morning, because there were so many big Hollywood stars on stage. Steven Spielberg, Steve Carrell, J.J. Abrams, Reese Witherspoon, Jennifer Aniston, and… why am I burying the lede?\u003c/p>\n\u003cp>\u003cem>Oprah!\u003c/em> Why is \u003cem>she\u003c/em> working with Apple to deliver two documentaries and a book club? “Because they’re in a billion pockets, y’all! A billion pockets!” she roared to an adoring crowd.\u003c/p>\n\u003cp>In a reveal that lasted almost two hours, Apple announced major new forays into the worlds of news, gaming and entertainment. All three are mature industries with a lot of competition. But perhaps the tech giant’s gutsiest move is into entertainment. It’s hard to imagine how Apple TV+ — due to arrive sometime this fall — will be qualitatively different from the wide range of content already on offer.\u003c/p>\n\u003cp>See the “sizzle reel” from the Apple presentation.[youtube https://www.youtube.com/watch?v=Bt5k5Ix_wS8]\u003c/p>\n\u003cp>That said, Apple has been late to a game before, and still redefined the field of play. \u003ca href=\"https://www.cnet.com/profiles/iansherr/\" target=\"_blank\" rel=\"noopener\">Ian Sherr\u003c/a>, editor at large at CNET News, has seen it happen several times: with the personal computer, the tablet, and the smart phone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s one of the fascinating things about Apple. They always wait to see what works and what doesn’t, and then they come in and they do their own version of it, and it tends to be really successful,” Sherr said.\u003c/p>\n\u003cp>“Apple’s relationship with customers has started to wane over the past few years as the company has seen the role of its hardware diminish in people’s lives,” said \u003ca href=\"https://www.forrester.com/James-L.-McQuivey\" target=\"_blank\" rel=\"noopener\">James McQuivey\u003c/a>, an analyst at Forrester tracking digital disruption. “Focusing on more media and entertainment experiences that are exclusive to the Apple experience will revivify Apple’s relationship with its customers.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a>, who writes about the business of entertainment for a variety of media outlets, is more skeptical. “While it is hard to underestimate Apple, this moves them into an area where there is much greater competition. Entertainment is widely available at little or no cost, and competitors led by Netfilx and Amazon are already offering more than Apple, even with the star names involved,” Ben Block wrote.\u003c/p>\n\u003cp>He added, “The lesson of Amazon is that they had to offer a lot more than entertainment to get people to sign up for Prime, and they floundered until they had a hit series with \u003cem>Mrs. Maisel\u003c/em> which got people to sign up and continue. Apple needs to find its \u003cem>Mrs. Maisel\u003c/em> quickly or it could lose a ton of money.”\u003c/p>\n\u003cp>But Sherr believes Apple has the wherewithal to go up against the biggest names in streaming entertainment: Netflix, Amazon, and Disney. Notice how two of the three names on that list are also digital natives?\u003c/p>\n\u003cp>[aside postID='arts_13850292,arts_13836539,arts_13852981' label='Related Coverage']The biggest threat, if it ever materializes, would be from federal antitrust regulators. “The tech industry broadly has been going towards this trend of what’s called verticalization, where they own every bit of what I’m buying,” Sherr said.\u003c/p>\n\u003cp>One last thing: Apple is one of the most highly valued companies on the planet. And like its biggest rivals in Silicon Valley, Apple has the capacity to run at a massive loss. Maybe not indefinitely, but for longer than most Hollywood old-timers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There is always room for disruption,” Sherr said. “If Apple does it right.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Live streamers could be forgiven for wondering if the Oscars had moved to the Steve Jobs Theater in Cupertino Monday morning, because there were so many big Hollywood stars on stage. Steven Spielberg, Steve Carrell, J.J. Abrams, Reese Witherspoon, Jennifer Aniston, and… why am I burying the lede?\u003c/p>\n\u003cp>\u003cem>Oprah!\u003c/em> Why is \u003cem>she\u003c/em> working with Apple to deliver two documentaries and a book club? “Because they’re in a billion pockets, y’all! A billion pockets!” she roared to an adoring crowd.\u003c/p>\n\u003cp>In a reveal that lasted almost two hours, Apple announced major new forays into the worlds of news, gaming and entertainment. All three are mature industries with a lot of competition. But perhaps the tech giant’s gutsiest move is into entertainment. It’s hard to imagine how Apple TV+ — due to arrive sometime this fall — will be qualitatively different from the wide range of content already on offer.\u003c/p>\n\u003cp>See the “sizzle reel” from the Apple presentation.\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Bt5k5Ix_wS8'\n title='//www.youtube.com/embed/Bt5k5Ix_wS8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That said, Apple has been late to a game before, and still redefined the field of play. \u003ca href=\"https://www.cnet.com/profiles/iansherr/\" target=\"_blank\" rel=\"noopener\">Ian Sherr\u003c/a>, editor at large at CNET News, has seen it happen several times: with the personal computer, the tablet, and the smart phone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s one of the fascinating things about Apple. They always wait to see what works and what doesn’t, and then they come in and they do their own version of it, and it tends to be really successful,” Sherr said.\u003c/p>\n\u003cp>“Apple’s relationship with customers has started to wane over the past few years as the company has seen the role of its hardware diminish in people’s lives,” said \u003ca href=\"https://www.forrester.com/James-L.-McQuivey\" target=\"_blank\" rel=\"noopener\">James McQuivey\u003c/a>, an analyst at Forrester tracking digital disruption. “Focusing on more media and entertainment experiences that are exclusive to the Apple experience will revivify Apple’s relationship with its customers.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a>, who writes about the business of entertainment for a variety of media outlets, is more skeptical. “While it is hard to underestimate Apple, this moves them into an area where there is much greater competition. Entertainment is widely available at little or no cost, and competitors led by Netfilx and Amazon are already offering more than Apple, even with the star names involved,” Ben Block wrote.\u003c/p>\n\u003cp>He added, “The lesson of Amazon is that they had to offer a lot more than entertainment to get people to sign up for Prime, and they floundered until they had a hit series with \u003cem>Mrs. Maisel\u003c/em> which got people to sign up and continue. Apple needs to find its \u003cem>Mrs. Maisel\u003c/em> quickly or it could lose a ton of money.”\u003c/p>\n\u003cp>But Sherr believes Apple has the wherewithal to go up against the biggest names in streaming entertainment: Netflix, Amazon, and Disney. Notice how two of the three names on that list are also digital natives?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest threat, if it ever materializes, would be from federal antitrust regulators. “The tech industry broadly has been going towards this trend of what’s called verticalization, where they own every bit of what I’m buying,” Sherr said.\u003c/p>\n\u003cp>One last thing: Apple is one of the most highly valued companies on the planet. And like its biggest rivals in Silicon Valley, Apple has the capacity to run at a massive loss. Maybe not indefinitely, but for longer than most Hollywood old-timers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There is always room for disruption,” Sherr said. “If Apple does it right.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How a Club Owner Raised Ticket Fees, Pocketed Bonuses, and Lost Big in Court",
"headTitle": "How a Club Owner Raised Ticket Fees, Pocketed Bonuses, and Lost Big in Court | KQED",
"content": "\u003cp>A Bay Area nightclub owner who increased service fees on tickets in order to pay for a large bonus for himself has been defeated in a pair of costly breach-of-contract lawsuits.\u003c/p>\n\u003cp>For music fans, including thousands who purchased online tickets to the nightclubs involved, the lawsuits illustrate little-known details of the online ticketing industry—including signing bonuses and advances for small club owners, and how they can increase the dreaded “convenience” fee paid by ordinary ticket buyers.\u003c/p>\n\u003cp>The lawsuits go back to 2014, when the \u003ca href=\"https://www.thenewparish.com/\" rel=\"noopener\" target=\"_blank\">New Parish\u003c/a> in Oakland and the \u003ca href=\"https://brickandmortarmusic.com/\" rel=\"noopener\" target=\"_blank\">Brick & Mortar Music Hall\u003c/a> in San Francisco’s Mission District began using a different company to sell advance online tickets for shows. Fans had previously bought tickets through San Francisco-based online ticket provider Ticketfly, but the clubs’ co-owner Jason Perkins dropped the company after a competing ticket provider, Crowdtorch, offered a signing bonus and advance totaling $500,000.\u003c/p>\n\u003cp>With the change in providers and the large signing bonus for himself, Perkins effectively increased the service fees paid by ticket buyers by as much as 50 percent.\u003c/p>\n\u003cp>But that decision is about to cost greatly for Perkins, a controversial figure in the local music community. Perkins for years has made headlines across Bay Area media for sparring with \u003ca href=\"https://www.sfgate.com/bayarea/article/Brick-amp-Mortar-Music-Hall-sounds-off-4744795.php\" rel=\"noopener\" target=\"_blank\">city officials\u003c/a>, \u003ca href=\"https://sanfrancisco.cbslocal.com/2015/08/25/oakland-music-venue-claims-illegal-shut-down-after-alleged-police-raid/\" rel=\"noopener\" target=\"_blank\">police and fire departments\u003c/a> and, in one case, \u003ca href=\"http://www.sfcritic.com/2017/04/19/mixing-business-with-poison-why-readers-cant-trust-sf-sounds/29467\" rel=\"noopener\" target=\"_blank\">a popular local band\u003c/a>. (Last year, in a widely publicized incident, he was shown on \u003ca href=\"http://www.sfexaminer.com/nightclub-owner-accused-threats-attack-homeless-man-surveillance-video-surfaces/\" rel=\"noopener\" target=\"_blank\">leaked security footage\u003c/a> in a physical altercation with a homeless man.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both Ticketfly and Crowdtorch sued Perkins and his business partner Michael O’Connor for breach of contract. In its filing, Crowdtorch alleged a pattern by Perkins of “taking hundreds of thousands of dollars in signing bonuses from an online ticketing provider and then abandoning the provider without paying back any of the bonuses.”\u003c/p>\n\u003cp>Crowdtorch won judgment in 2017 for $323,000. And last month, after the court admonished Perkins for withholding evidence, a ruling favoring Ticketfly opened the door to another six-figure judgment. Should a judge award full damages claimed, Perkins and O’Connor will be on the hook for over $738,000. \u003c/p>\n\u003cfigure id=\"attachment_13853667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/NewParish-800x598.jpg\" alt=\"The New Parish in Oakland is one of the clubs involved in the Ticketfly and Crowdtorch lawsuits. Jason Perkins has reportedly since sold his stake in the popular club.\" width=\"800\" height=\"598\" class=\"size-medium wp-image-13853667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish-768x574.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parish in Oakland is one of the clubs involved in the Ticketfly and Crowdtorch lawsuits. Jason Perkins has since sold his stake in the popular club. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Passing Along Large Bonuses to Fans\u003c/h2>\n\u003cp>The lawsuits stem from a 2014 agreement between Perkins and Ticketfly, now owned by Eventbrite, to provide ticketing services for Parish Entertainment Group venues, including the Brick & Mortar and New Parish through 2019. The five-year contract included a perk more commonly associated with professional sports: a $110,000 signing bonus.\u003c/p>\n\u003cp>Ticketing companies are widely reviled for their high “convenience” fees tacked on to the face value of a ticket. But the contract also outlined one of the industry’s secrets: the practice of venue owners receiving a cut of each ticket’s service fees. In the agreement, Ticketfly established a split: for a $10 ticket, for example, the service charge would be $2, of which the venue owners would receive $.25.\u003c/p>\n\u003cp>Perkins signed the five-year Ticketfly agreement on April 7, 2014. But nine days later, on April 16, according to court filings, Perkins told a Crowdtorch representative that he was “entertaining offers,” and began bargaining with the company weeks after contracting with Ticketfly. \u003c/p>\n\u003cp>“Throughout the sales process, Mr. Perkins made reference to other vendors he was considering for ticketing services, and even rejected our first offer as not competitive ‘with the vendors we have whittled down to consider,’” the Crowdtorch employee wrote in a sworn declaration. \u003c/p>\n\u003cp>In September 2014, Perkins signed a four-year agreement with Crowdtorch, court filings show, with highly favorable terms: a $150,000 signing bonus, plus a $350,000 advance on ticket sales.\u003c/p>\n\u003cp>To help pay for Perkins’ large bonus and advance, the contract included an increased service charge on tickets, passed along to fans at checkout. The $2 surcharge on a $10 ticket rose by 50 percent, to $3, costing fans a total of $13 before an additional 3 percent credit card fee. The club’s cut of the surcharge, meanwhile, rose by 500 percent to $1.50. (Service fees varied by face value, but their increase did not: a $50 ticket, for example, came with a Ticketfly service fee of $6, which with Crowdfire rose 50 percent to $9.)\u003c/p>\n\u003cp>Throughout this time, Perkins remained under contract to Ticketfly, who had paid him its own signing bonus. In December 2014, as emails surfaced in litigation show, Crowdtorch agreed to wire $250,000 earlier than previously arranged if Perkins confirmed that his Ticketfly contract was “null and void.” “I agree with all points below,” Perkins responded. “I appreciate the timely release of funds[.]” \u003c/p>\n\u003cp>Ticketfly sued Perkins and O’Connor three months later. \u003c/p>\n\u003ch2>‘False and Evasive’ Responses\u003c/h2>\n\u003cp>Last month, the San Francisco judge granted Ticketfly legal fees and “terminating sanctions,” effectively ending the case in the company’s favor. The dollar amount of damages to be paid by Perkins and O’Connor will be determined at a future date, but Ticketfly claims it’s owed more than $400,000. Combined with the Crowdtorch judgment, that would bring the total in damages to be paid by Perkins and O’Connor to more than $723,000.\u003c/p>\n\u003cp>Reached by email, Perkins did not provide comment on the ruling. The attorney representing Perkins and O’Connor did not respond to multiple requests for comment. \u003c/p>\n\u003cp>During the four-year lawsuit, Ticketfly’s attorney Nitoj Singh accused Perkins of strategically “keep[ing] this case barely alive” by “avoiding default time and time again…in an apparent effort to delay a resolution,” a charge with which the judge agreed.\u003c/p>\n\u003cp>“Defendants’ repeated failures to provide timely discovery responses and to comply with the Court’s orders constitute willful, repeated, and egregious misuse of the discovery process,” wrote San Francisco Superior Court Judge Ethan Schulman in the order filed Feb. 28, 2019. Schulman also criticized Perkins and O’Connor for “false and evasive discovery responses [and] their admitted spoliation or loss of relevant documents.” \u003c/p>\n\u003cp>“We’re pleased that this has finally come to resolution with the court dismissing the case in our favor, awarding Ticketfly terminating and monetary sanctions,” the company said in a statement.\u003c/p>\n\u003cfigure id=\"attachment_13853687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Ticketfly-800x558.jpg\" alt=\"Ticketfly was granted "terminating sanctions" in a judge's decision in February. \" width=\"800\" height=\"558\" class=\"size-medium wp-image-13853687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly-768x536.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ticketfly was granted “terminating sanctions” in a judge’s decision in February. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Pattern and Practice’\u003c/h2>\n\u003cp>Evidently, Ticketfly’s lawsuit did not deter Perkins from signing with yet another ticketing company while under contract to Crowdtorch.\u003c/p>\n\u003cp>Crowdtorch, now a part of San Francisco company Vendini, filed its suit in 2016 alleging the same type of contract breach, saying Perkins collected the bonus it paid to him before signing with a third ticketing company. “Defendants’ conduct was malicious and intentional, and consistent with a pattern and practice,” Crowdtorch’s attorneys wrote.\u003c/p>\n\u003cp>The 2017 judgement in favor of Crowdtorch, for $323,000, was later sustained in appellate court. It is unclear in the lawsuit which ticketing company Perkins signed with while under contract to Crowdtorch, or if he received yet another large signing bonus when he did.\u003c/p>\n\u003cp>Brick & Mortar’s current online ticketing provider is Ticketmaster subsidiary Ticketweb.\u003c/p>\n\u003ch2>A History of Conflict\u003c/h2>\n\u003cp>Perkins, whose ventures have also included Leo’s Music Club in Oakland and the Crafty Fox alehouse in San Francisco, has a well-documented history of conflict with city officials in various departments. In addition to media coverage in several Bay Area outlets, he published the defunct tabloid \u003cem>SF Sounds\u003c/em>, using unsigned editorials to \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\" rel=\"noopener\" target=\"_blank\">criticize the San Francisco Entertainment Commission\u003c/a> and, in one article, \u003ca href=\"http://www.sfcritic.com/2017/04/19/mixing-business-with-poison-why-readers-cant-trust-sf-sounds/29467\" rel=\"noopener\" target=\"_blank\">appearing to fabricate quotes disparaging Brothers Comatose\u003c/a>, a local bluegrass group. \u003c/p>\n\u003cp>But he’s kept a low profile since Twitter users dubbed him “\u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23valenciavigilante&src=typd\" rel=\"noopener\" target=\"_blank\">#ValenciaVigilante\u003c/a>,” mimicking the viral hashtags used last year to describe filmed incidents of street harassment around Lake Merritt by “#JoggerJoe” and “#BBQBecky.” \u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23valenciavigilante&src=typd\">hashtag\u003c/a> spread last year after leaked security footage showed an \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">altercation\u003c/a> between Perkins and a homeless man outside his Mission District venue. A former employee, David Palmer, then \u003ca href=\"http://www.sfexaminer.com/ex-employee-comes-forward-id-club-owner-threats-burn-homeless-encampment/\">provided screenshots\u003c/a> of text exchanges that he said showed Perkins taking credit for \u003ca href=\"https://kmel.iheart.com/featured/the-sana-g-morning-show/content/2018-06-19-bay-area-club-owner-exposed-for-threatening-homeless-valenciavigilante/#.WywSt6kJOKw.twitter\" rel=\"noopener\" target=\"_blank\">leaving threatening notes\u003c/a>, specific language of which echoed Perkins’ social media posts, on nearby tents. \u003c/p>\n\u003cp>(At the time, Perkins denied leaving the notes, and said the video showed self-defense.)\u003c/p>\n\u003cp>Following public outcry, O’Connor \u003ca href=\"https://www.eastbayexpress.com/oakland/parish-entertainment-group-dissolves-amid-allegations-against-jason-perkins/Content?oid=17480110\">dissolved\u003c/a> the Parish Entertainment Group, the moniker for his partnership with Perkins, although he and Perkins remained co-owners of Brick & Mortar, he said. It was then reported that Allen Scott of Another Planet Entertainment had \u003ca href=\"https://www.billboard.com/articles/business/8473757/new-parish-oakland-sold-allen-scott-another-planet-entertainment\">bought out\u003c/a> Perkins’ stake in the New Parish. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In a declaration in the Ticketfly case, Perkins wrote that he now lives with his family in Israel.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Bay Area nightclub owner who increased service fees on tickets in order to pay for a large bonus for himself has been defeated in a pair of costly breach-of-contract lawsuits.\u003c/p>\n\u003cp>For music fans, including thousands who purchased online tickets to the nightclubs involved, the lawsuits illustrate little-known details of the online ticketing industry—including signing bonuses and advances for small club owners, and how they can increase the dreaded “convenience” fee paid by ordinary ticket buyers.\u003c/p>\n\u003cp>The lawsuits go back to 2014, when the \u003ca href=\"https://www.thenewparish.com/\" rel=\"noopener\" target=\"_blank\">New Parish\u003c/a> in Oakland and the \u003ca href=\"https://brickandmortarmusic.com/\" rel=\"noopener\" target=\"_blank\">Brick & Mortar Music Hall\u003c/a> in San Francisco’s Mission District began using a different company to sell advance online tickets for shows. Fans had previously bought tickets through San Francisco-based online ticket provider Ticketfly, but the clubs’ co-owner Jason Perkins dropped the company after a competing ticket provider, Crowdtorch, offered a signing bonus and advance totaling $500,000.\u003c/p>\n\u003cp>With the change in providers and the large signing bonus for himself, Perkins effectively increased the service fees paid by ticket buyers by as much as 50 percent.\u003c/p>\n\u003cp>But that decision is about to cost greatly for Perkins, a controversial figure in the local music community. Perkins for years has made headlines across Bay Area media for sparring with \u003ca href=\"https://www.sfgate.com/bayarea/article/Brick-amp-Mortar-Music-Hall-sounds-off-4744795.php\" rel=\"noopener\" target=\"_blank\">city officials\u003c/a>, \u003ca href=\"https://sanfrancisco.cbslocal.com/2015/08/25/oakland-music-venue-claims-illegal-shut-down-after-alleged-police-raid/\" rel=\"noopener\" target=\"_blank\">police and fire departments\u003c/a> and, in one case, \u003ca href=\"http://www.sfcritic.com/2017/04/19/mixing-business-with-poison-why-readers-cant-trust-sf-sounds/29467\" rel=\"noopener\" target=\"_blank\">a popular local band\u003c/a>. (Last year, in a widely publicized incident, he was shown on \u003ca href=\"http://www.sfexaminer.com/nightclub-owner-accused-threats-attack-homeless-man-surveillance-video-surfaces/\" rel=\"noopener\" target=\"_blank\">leaked security footage\u003c/a> in a physical altercation with a homeless man.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both Ticketfly and Crowdtorch sued Perkins and his business partner Michael O’Connor for breach of contract. In its filing, Crowdtorch alleged a pattern by Perkins of “taking hundreds of thousands of dollars in signing bonuses from an online ticketing provider and then abandoning the provider without paying back any of the bonuses.”\u003c/p>\n\u003cp>Crowdtorch won judgment in 2017 for $323,000. And last month, after the court admonished Perkins for withholding evidence, a ruling favoring Ticketfly opened the door to another six-figure judgment. Should a judge award full damages claimed, Perkins and O’Connor will be on the hook for over $738,000. \u003c/p>\n\u003cfigure id=\"attachment_13853667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/NewParish-800x598.jpg\" alt=\"The New Parish in Oakland is one of the clubs involved in the Ticketfly and Crowdtorch lawsuits. Jason Perkins has reportedly since sold his stake in the popular club.\" width=\"800\" height=\"598\" class=\"size-medium wp-image-13853667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish-768x574.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parish in Oakland is one of the clubs involved in the Ticketfly and Crowdtorch lawsuits. Jason Perkins has since sold his stake in the popular club. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Passing Along Large Bonuses to Fans\u003c/h2>\n\u003cp>The lawsuits stem from a 2014 agreement between Perkins and Ticketfly, now owned by Eventbrite, to provide ticketing services for Parish Entertainment Group venues, including the Brick & Mortar and New Parish through 2019. The five-year contract included a perk more commonly associated with professional sports: a $110,000 signing bonus.\u003c/p>\n\u003cp>Ticketing companies are widely reviled for their high “convenience” fees tacked on to the face value of a ticket. But the contract also outlined one of the industry’s secrets: the practice of venue owners receiving a cut of each ticket’s service fees. In the agreement, Ticketfly established a split: for a $10 ticket, for example, the service charge would be $2, of which the venue owners would receive $.25.\u003c/p>\n\u003cp>Perkins signed the five-year Ticketfly agreement on April 7, 2014. But nine days later, on April 16, according to court filings, Perkins told a Crowdtorch representative that he was “entertaining offers,” and began bargaining with the company weeks after contracting with Ticketfly. \u003c/p>\n\u003cp>“Throughout the sales process, Mr. Perkins made reference to other vendors he was considering for ticketing services, and even rejected our first offer as not competitive ‘with the vendors we have whittled down to consider,’” the Crowdtorch employee wrote in a sworn declaration. \u003c/p>\n\u003cp>In September 2014, Perkins signed a four-year agreement with Crowdtorch, court filings show, with highly favorable terms: a $150,000 signing bonus, plus a $350,000 advance on ticket sales.\u003c/p>\n\u003cp>To help pay for Perkins’ large bonus and advance, the contract included an increased service charge on tickets, passed along to fans at checkout. The $2 surcharge on a $10 ticket rose by 50 percent, to $3, costing fans a total of $13 before an additional 3 percent credit card fee. The club’s cut of the surcharge, meanwhile, rose by 500 percent to $1.50. (Service fees varied by face value, but their increase did not: a $50 ticket, for example, came with a Ticketfly service fee of $6, which with Crowdfire rose 50 percent to $9.)\u003c/p>\n\u003cp>Throughout this time, Perkins remained under contract to Ticketfly, who had paid him its own signing bonus. In December 2014, as emails surfaced in litigation show, Crowdtorch agreed to wire $250,000 earlier than previously arranged if Perkins confirmed that his Ticketfly contract was “null and void.” “I agree with all points below,” Perkins responded. “I appreciate the timely release of funds[.]” \u003c/p>\n\u003cp>Ticketfly sued Perkins and O’Connor three months later. \u003c/p>\n\u003ch2>‘False and Evasive’ Responses\u003c/h2>\n\u003cp>Last month, the San Francisco judge granted Ticketfly legal fees and “terminating sanctions,” effectively ending the case in the company’s favor. The dollar amount of damages to be paid by Perkins and O’Connor will be determined at a future date, but Ticketfly claims it’s owed more than $400,000. Combined with the Crowdtorch judgment, that would bring the total in damages to be paid by Perkins and O’Connor to more than $723,000.\u003c/p>\n\u003cp>Reached by email, Perkins did not provide comment on the ruling. The attorney representing Perkins and O’Connor did not respond to multiple requests for comment. \u003c/p>\n\u003cp>During the four-year lawsuit, Ticketfly’s attorney Nitoj Singh accused Perkins of strategically “keep[ing] this case barely alive” by “avoiding default time and time again…in an apparent effort to delay a resolution,” a charge with which the judge agreed.\u003c/p>\n\u003cp>“Defendants’ repeated failures to provide timely discovery responses and to comply with the Court’s orders constitute willful, repeated, and egregious misuse of the discovery process,” wrote San Francisco Superior Court Judge Ethan Schulman in the order filed Feb. 28, 2019. Schulman also criticized Perkins and O’Connor for “false and evasive discovery responses [and] their admitted spoliation or loss of relevant documents.” \u003c/p>\n\u003cp>“We’re pleased that this has finally come to resolution with the court dismissing the case in our favor, awarding Ticketfly terminating and monetary sanctions,” the company said in a statement.\u003c/p>\n\u003cfigure id=\"attachment_13853687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Ticketfly-800x558.jpg\" alt=\"Ticketfly was granted "terminating sanctions" in a judge's decision in February. \" width=\"800\" height=\"558\" class=\"size-medium wp-image-13853687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly-768x536.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ticketfly was granted “terminating sanctions” in a judge’s decision in February. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Pattern and Practice’\u003c/h2>\n\u003cp>Evidently, Ticketfly’s lawsuit did not deter Perkins from signing with yet another ticketing company while under contract to Crowdtorch.\u003c/p>\n\u003cp>Crowdtorch, now a part of San Francisco company Vendini, filed its suit in 2016 alleging the same type of contract breach, saying Perkins collected the bonus it paid to him before signing with a third ticketing company. “Defendants’ conduct was malicious and intentional, and consistent with a pattern and practice,” Crowdtorch’s attorneys wrote.\u003c/p>\n\u003cp>The 2017 judgement in favor of Crowdtorch, for $323,000, was later sustained in appellate court. It is unclear in the lawsuit which ticketing company Perkins signed with while under contract to Crowdtorch, or if he received yet another large signing bonus when he did.\u003c/p>\n\u003cp>Brick & Mortar’s current online ticketing provider is Ticketmaster subsidiary Ticketweb.\u003c/p>\n\u003ch2>A History of Conflict\u003c/h2>\n\u003cp>Perkins, whose ventures have also included Leo’s Music Club in Oakland and the Crafty Fox alehouse in San Francisco, has a well-documented history of conflict with city officials in various departments. In addition to media coverage in several Bay Area outlets, he published the defunct tabloid \u003cem>SF Sounds\u003c/em>, using unsigned editorials to \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\" rel=\"noopener\" target=\"_blank\">criticize the San Francisco Entertainment Commission\u003c/a> and, in one article, \u003ca href=\"http://www.sfcritic.com/2017/04/19/mixing-business-with-poison-why-readers-cant-trust-sf-sounds/29467\" rel=\"noopener\" target=\"_blank\">appearing to fabricate quotes disparaging Brothers Comatose\u003c/a>, a local bluegrass group. \u003c/p>\n\u003cp>But he’s kept a low profile since Twitter users dubbed him “\u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23valenciavigilante&src=typd\" rel=\"noopener\" target=\"_blank\">#ValenciaVigilante\u003c/a>,” mimicking the viral hashtags used last year to describe filmed incidents of street harassment around Lake Merritt by “#JoggerJoe” and “#BBQBecky.” \u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23valenciavigilante&src=typd\">hashtag\u003c/a> spread last year after leaked security footage showed an \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">altercation\u003c/a> between Perkins and a homeless man outside his Mission District venue. A former employee, David Palmer, then \u003ca href=\"http://www.sfexaminer.com/ex-employee-comes-forward-id-club-owner-threats-burn-homeless-encampment/\">provided screenshots\u003c/a> of text exchanges that he said showed Perkins taking credit for \u003ca href=\"https://kmel.iheart.com/featured/the-sana-g-morning-show/content/2018-06-19-bay-area-club-owner-exposed-for-threatening-homeless-valenciavigilante/#.WywSt6kJOKw.twitter\" rel=\"noopener\" target=\"_blank\">leaving threatening notes\u003c/a>, specific language of which echoed Perkins’ social media posts, on nearby tents. \u003c/p>\n\u003cp>(At the time, Perkins denied leaving the notes, and said the video showed self-defense.)\u003c/p>\n\u003cp>Following public outcry, O’Connor \u003ca href=\"https://www.eastbayexpress.com/oakland/parish-entertainment-group-dissolves-amid-allegations-against-jason-perkins/Content?oid=17480110\">dissolved\u003c/a> the Parish Entertainment Group, the moniker for his partnership with Perkins, although he and Perkins remained co-owners of Brick & Mortar, he said. It was then reported that Allen Scott of Another Planet Entertainment had \u003ca href=\"https://www.billboard.com/articles/business/8473757/new-parish-oakland-sold-allen-scott-another-planet-entertainment\">bought out\u003c/a> Perkins’ stake in the New Parish. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a declaration in the Ticketfly case, Perkins wrote that he now lives with his family in Israel.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How do you perform a play in English and American Sign Language simultaneously? Can that work? Yes.\u003c/p>\n\u003cp>“I’ve always felt American Sign Language is not only a beautiful language, but it’s inherently theatrical,” said Lisa Mallette, executive artistic director for\u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\"> City Lights Theater Company\u003c/a> in San Jose. “I’m one of those people that, if I’m at a conference and they have an interpreter off to the side, I can’t take my eyes off of the interpreter.”\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>[aside postID='arts_13827545,arts_13851676,arts_13808400' label='Related Coverage']She says she first came up with the idea of bilingual theater in English and ASL. Then she had to find the right play to serve as a vehicle. “It was harder than I thought it was going to be.”\u003c/p>\n\u003cp>Mallette finally fixed on playwright Sarah Ruhl’s \u003ci>Eurydice,\u003c/i> a modern retelling of the classic Greek myth. You’ll recall the basic construct: Orpheus is a talented musician whose bride Eurydice is stolen away by the Lord of the Underworld. Can Orpheus get her back?\u003c/p>\n\u003cp>Ruhl’s 90-minute take on the story centers on Eurydice’s love for her dead father and her fear of forgetting him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once she’s among the dead, the threatening Lord of the Underworld more or less becomes a comic caricature, and the story instead focuses on whether Eurydice will regain her memory, lost in the river of forgetfulness (the river Styx in the original Greek myth), whose waters erase the passions that hold the dead to the living.\u003c/p>\n\u003cfigure id=\"attachment_13853576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853576 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-800x533.jpeg\" alt=\"In City Lights' production of Sarah Ruhl's 'Eurydice,' Eurydice (Lauren Rhodes) signs 'father' to her lost father (Brian Rhodes).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1200x800.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In City Lights’ production of Sarah Ruhl’s ‘Eurydice,’ Eurydice (Lauren Rhodes) signs ‘father’ to her lost father (Brian Rhodes). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, Eurydice’s father has retained his memory of and love for her, but will she remember her love for him? When Orpheus appears at the gates, singing her name, it’s not clear whether Eurydice will follow her husband or stay below with her dad, even if it means marrying that annoying lord.\u003c/p>\n\u003cp>Mallette got Ruhl’s permission to experiment with the play. “Sarah Ruhl’s beautiful play works perfectly. It’s has a lovely, poetic language already. It’s almost fantastical in its presentation. There aren’t a lot of props, so people’s hands aren’t busy. It’s also not very long.”\u003c/p>\n\u003cp>Mallette cast two actors for every major role: one to speak, one to sign. “If you see them side by side, some of the signs are lovely and kind of obvious. Of course that’s someone falling from the sky onto a fluffy cloud. It makes perfect sense.”\u003c/p>\n\u003cp>So for instance, actor Lauren Rhodes plays Eurydice — and so does Leah Cohen. “We are actually performing simultaneously onstage while [Rhodes] is speaking,” Cohen explained. “I’m signing, but I’m not just standing there looking at her, or looking out at the audience. I’m actually incorporated into the show. I interact with the speaking characters, as well as some of the other signing roles onstage.”\u003c/p>\n\u003cfigure id=\"attachment_13853577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853577 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-800x533.jpeg\" alt=\"In City Lights' production of Sarah Ruhl's 'Eurydice,' the Eurydices are menaced by the Lords of the Underworld. Pictured, from left: Lauren Rhodes (English), Erik Gandolfi (English), Leah Cohen (ASL) and Dane K. Lentz (ASL).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1200x800.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In City Lights’ production of Sarah Ruhl’s ‘Eurydice,’ the Eurydices are menaced by the Lords of the Underworld. Pictured, from left: Lauren Rhodes (English), Erik Gandolfi (English), Leah Cohen (ASL) and Dane K. Lentz (ASL). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Foisy plays the signing Orpheus. “As a professional sign language interpreter, I’ve been interpreting for theater for years, but I’ve always been the supplement to what’s happening onstage. Getting a chance to be part of the action has been really fun,” Foisy said.\u003c/p>\n\u003cp>A portion of the ticket sales from \u003cem>Eurydice\u003c/em> goes to support the American Sign Language and Deaf Studies Program at \u003ca href=\"https://www.ohlone.edu/deafstudies/asl\" target=\"_blank\" rel=\"noopener\">Ohlone College\u003c/a>.\u003c/p>\n\u003cp>However, not a single person in the production is deaf. Those who sign came to it out of curiosity. Cohen took an “Interpreting for Musical Theater” course at the New School in Manhattan. “I just fell in love with it.”\u003c/p>\n\u003cp>\u003cem>Eurydice\u003c/em> gives the audience the opportunity to do the same.\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>Eurydice\u003c/strong> runs through April 14, 2019 at City Lights Theater Company in San Jose. For more information, click \u003ca href=\"http://cltc.org/eurydice/\" 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>How do you perform a play in English and American Sign Language simultaneously? Can that work? Yes.\u003c/p>\n\u003cp>“I’ve always felt American Sign Language is not only a beautiful language, but it’s inherently theatrical,” said Lisa Mallette, executive artistic director for\u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\"> City Lights Theater Company\u003c/a> in San Jose. “I’m one of those people that, if I’m at a conference and they have an interpreter off to the side, I can’t take my eyes off of the interpreter.”\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She says she first came up with the idea of bilingual theater in English and ASL. Then she had to find the right play to serve as a vehicle. “It was harder than I thought it was going to be.”\u003c/p>\n\u003cp>Mallette finally fixed on playwright Sarah Ruhl’s \u003ci>Eurydice,\u003c/i> a modern retelling of the classic Greek myth. You’ll recall the basic construct: Orpheus is a talented musician whose bride Eurydice is stolen away by the Lord of the Underworld. Can Orpheus get her back?\u003c/p>\n\u003cp>Ruhl’s 90-minute take on the story centers on Eurydice’s love for her dead father and her fear of forgetting him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once she’s among the dead, the threatening Lord of the Underworld more or less becomes a comic caricature, and the story instead focuses on whether Eurydice will regain her memory, lost in the river of forgetfulness (the river Styx in the original Greek myth), whose waters erase the passions that hold the dead to the living.\u003c/p>\n\u003cfigure id=\"attachment_13853576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853576 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-800x533.jpeg\" alt=\"In City Lights' production of Sarah Ruhl's 'Eurydice,' Eurydice (Lauren Rhodes) signs 'father' to her lost father (Brian Rhodes).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1200x800.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In City Lights’ production of Sarah Ruhl’s ‘Eurydice,’ Eurydice (Lauren Rhodes) signs ‘father’ to her lost father (Brian Rhodes). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, Eurydice’s father has retained his memory of and love for her, but will she remember her love for him? When Orpheus appears at the gates, singing her name, it’s not clear whether Eurydice will follow her husband or stay below with her dad, even if it means marrying that annoying lord.\u003c/p>\n\u003cp>Mallette got Ruhl’s permission to experiment with the play. “Sarah Ruhl’s beautiful play works perfectly. It’s has a lovely, poetic language already. It’s almost fantastical in its presentation. There aren’t a lot of props, so people’s hands aren’t busy. It’s also not very long.”\u003c/p>\n\u003cp>Mallette cast two actors for every major role: one to speak, one to sign. “If you see them side by side, some of the signs are lovely and kind of obvious. Of course that’s someone falling from the sky onto a fluffy cloud. It makes perfect sense.”\u003c/p>\n\u003cp>So for instance, actor Lauren Rhodes plays Eurydice — and so does Leah Cohen. “We are actually performing simultaneously onstage while [Rhodes] is speaking,” Cohen explained. “I’m signing, but I’m not just standing there looking at her, or looking out at the audience. I’m actually incorporated into the show. I interact with the speaking characters, as well as some of the other signing roles onstage.”\u003c/p>\n\u003cfigure id=\"attachment_13853577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853577 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-800x533.jpeg\" alt=\"In City Lights' production of Sarah Ruhl's 'Eurydice,' the Eurydices are menaced by the Lords of the Underworld. Pictured, from left: Lauren Rhodes (English), Erik Gandolfi (English), Leah Cohen (ASL) and Dane K. Lentz (ASL).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1200x800.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In City Lights’ production of Sarah Ruhl’s ‘Eurydice,’ the Eurydices are menaced by the Lords of the Underworld. Pictured, from left: Lauren Rhodes (English), Erik Gandolfi (English), Leah Cohen (ASL) and Dane K. Lentz (ASL). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Foisy plays the signing Orpheus. “As a professional sign language interpreter, I’ve been interpreting for theater for years, but I’ve always been the supplement to what’s happening onstage. Getting a chance to be part of the action has been really fun,” Foisy said.\u003c/p>\n\u003cp>A portion of the ticket sales from \u003cem>Eurydice\u003c/em> goes to support the American Sign Language and Deaf Studies Program at \u003ca href=\"https://www.ohlone.edu/deafstudies/asl\" target=\"_blank\" rel=\"noopener\">Ohlone College\u003c/a>.\u003c/p>\n\u003cp>However, not a single person in the production is deaf. Those who sign came to it out of curiosity. Cohen took an “Interpreting for Musical Theater” course at the New School in Manhattan. “I just fell in love with it.”\u003c/p>\n\u003cp>\u003cem>Eurydice\u003c/em> gives the audience the opportunity to do the same.\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>Eurydice\u003c/strong> runs through April 14, 2019 at City Lights Theater Company in San Jose. For more information, click \u003ca href=\"http://cltc.org/eurydice/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Karibbean City’s After-Hours Permit Revoked, Prompting Discrimination Accusation",
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"content": "\u003cp>The City of Oakland has revoked a popular nightclub’s after-hours permit at the urging of the Oakland Police Department, citing crime near the club and the wider “downtown area.” \u003c/p>\n\u003cp>Richard Ali, owner of Webster Street hip-hop club New Karibbean City, was notified Thursday of the permit revocation, which he said is tantamount to shuttering his business. “My model is people coming in after 1 o’clock,” he said. “We make most of our money during that time.” \u003c/p>\n\u003cp>Oakland police, in a letter acquired by KQED, called New Karibbean City a “nuisance” and a “drain on resources,” citing four reports of felonies “in and around” the club in the past six months. “So far this year, the Oakland Police Department has recovered 11 illegally possessed firearms in the immediate downtown area,” the police captain’s letter reads. “This trend cannot continue.” \u003c/p>\n\u003cp>Ali said it’s unfair to blame his club for 11 guns recovered in an area teeming with bars and venues. Of the three shootings cited in the letter, the original police reports show one stemmed from an argument in a different bar, and another occurred in a shared parking lot. Overall, Oakland police data show crime has actually dropped in the area including downtown. \u003c/p>\n\u003cfigure id=\"attachment_13853568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg\" alt=\"New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13853568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regulars celebrate New Karibbean City, a 752-capacity club that Ali has owned since 2008, as a vestige of old Oakland, and it attracts a predominantly black clientele. (He has also owned nearby Level 13 since 2007.) Ali said his club’s demographic is the real problem for police, calling the revocation the latest example of Oakland police’s double standards and onerous restrictions for hip-hop nightlife. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ali spoke Friday as he prepared to file an appeal, which costs $763. He pointed out that his after-hours permit has long carried a condition stating, “No Hip-Hop events will be planned for the extended hour days,” to support his argument that New Karibbean City is treated differently because of its audience. “I’ve been reasonable, and this is discrimination,” he said. \u003c/p>\n\u003cp>DC is Chillin, the KMEL host and New Karibbean City DJ, described the nightclub as a cultural fixture popular among Oakland natives, noting that his mom partied there in its earlier incarnation. “It’s the last club,” he said. “A lot of new places are lounge-based, and a lot of East and West Oakland people I know aren’t comfortable with the new places.”\u003c/p>\n\u003cp>DC added, “At NKC you can play a new record and the crowd’s real with you.”\u003c/p>\n\u003cp>He pointed out, for example, that fellow DJ Big Von played Ella Mai’s single “Boo’d Up” at New Karibbean City in late 2017. Inspired by the audience response, he brought it to KMEL, and radio nationally followed suit. Von’s selection that night was noted in \u003cem>Rolling Stone\u003c/em> as a \u003ca href=\"https://www.rollingstone.com/music/music-features/bood-up-how-ella-mai-is-leading-female-rb-singers-back-onto-the-charts-628233/\">turning point\u003c/a> for the now-smash single. \u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is appealing the City of Oakland's decision to revoke his club's after-hours permit.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is appealing the City of Oakland’s decision to revoke his club’s after-hours permit. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ali was \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\" rel=\"noopener\" target=\"_blank\">interviewed by this writer for a 2017 feature\u003c/a> about Oakland police and live hip-hop, describing how city cops, particularly in the Special Events Unit, pressured promoters to drop certain rappers from lineups. Some local artists felt they were effectively blacklisted; in one incident, Ali said an officer insisted he drop a rapper because of the artist’s lyrics about police harassment.\u003c/p>\n\u003cp>Previous reporting has shown that hip-hop venue owners in Oakland, including Ali, are required to seek special-event permits entailing thousands of dollars in police fees. Meanwhile, clubs associated with other styles of music are spared the expense under otherwise identical circumstances. The costs have led Ali and other promoters to pass on booking prominent touring artists in Oakland.\u003c/p>\n\u003cp>The latest conflicts are part of a long history. Oakland police and the local hip-hop community have been at odds practically since the inception of hip-hop. The city imposed a year-long moratorium on live rap in 1989, right at the time local artists such as Too $hort and MC Hammer were building national profiles. Geoffrey’s Inner Circle owner Geoffrey Pete blamed police overtime costs for temporarily closing his storied club in 2009, and filed an unsuccessful civil-rights lawsuit against the department.\u003c/p>\n\u003cp>KQED has requested comment from the Oakland Police Department. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated with comments from DC is Chillin. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of Oakland has revoked a popular nightclub’s after-hours permit at the urging of the Oakland Police Department, citing crime near the club and the wider “downtown area.” \u003c/p>\n\u003cp>Richard Ali, owner of Webster Street hip-hop club New Karibbean City, was notified Thursday of the permit revocation, which he said is tantamount to shuttering his business. “My model is people coming in after 1 o’clock,” he said. “We make most of our money during that time.” \u003c/p>\n\u003cp>Oakland police, in a letter acquired by KQED, called New Karibbean City a “nuisance” and a “drain on resources,” citing four reports of felonies “in and around” the club in the past six months. “So far this year, the Oakland Police Department has recovered 11 illegally possessed firearms in the immediate downtown area,” the police captain’s letter reads. “This trend cannot continue.” \u003c/p>\n\u003cp>Ali said it’s unfair to blame his club for 11 guns recovered in an area teeming with bars and venues. Of the three shootings cited in the letter, the original police reports show one stemmed from an argument in a different bar, and another occurred in a shared parking lot. Overall, Oakland police data show crime has actually dropped in the area including downtown. \u003c/p>\n\u003cfigure id=\"attachment_13853568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg\" alt=\"New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13853568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regulars celebrate New Karibbean City, a 752-capacity club that Ali has owned since 2008, as a vestige of old Oakland, and it attracts a predominantly black clientele. (He has also owned nearby Level 13 since 2007.) Ali said his club’s demographic is the real problem for police, calling the revocation the latest example of Oakland police’s double standards and onerous restrictions for hip-hop nightlife. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ali spoke Friday as he prepared to file an appeal, which costs $763. He pointed out that his after-hours permit has long carried a condition stating, “No Hip-Hop events will be planned for the extended hour days,” to support his argument that New Karibbean City is treated differently because of its audience. “I’ve been reasonable, and this is discrimination,” he said. \u003c/p>\n\u003cp>DC is Chillin, the KMEL host and New Karibbean City DJ, described the nightclub as a cultural fixture popular among Oakland natives, noting that his mom partied there in its earlier incarnation. “It’s the last club,” he said. “A lot of new places are lounge-based, and a lot of East and West Oakland people I know aren’t comfortable with the new places.”\u003c/p>\n\u003cp>DC added, “At NKC you can play a new record and the crowd’s real with you.”\u003c/p>\n\u003cp>He pointed out, for example, that fellow DJ Big Von played Ella Mai’s single “Boo’d Up” at New Karibbean City in late 2017. Inspired by the audience response, he brought it to KMEL, and radio nationally followed suit. Von’s selection that night was noted in \u003cem>Rolling Stone\u003c/em> as a \u003ca href=\"https://www.rollingstone.com/music/music-features/bood-up-how-ella-mai-is-leading-female-rb-singers-back-onto-the-charts-628233/\">turning point\u003c/a> for the now-smash single. \u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is appealing the City of Oakland's decision to revoke his club's after-hours permit.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is appealing the City of Oakland’s decision to revoke his club’s after-hours permit. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ali was \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\" rel=\"noopener\" target=\"_blank\">interviewed by this writer for a 2017 feature\u003c/a> about Oakland police and live hip-hop, describing how city cops, particularly in the Special Events Unit, pressured promoters to drop certain rappers from lineups. Some local artists felt they were effectively blacklisted; in one incident, Ali said an officer insisted he drop a rapper because of the artist’s lyrics about police harassment.\u003c/p>\n\u003cp>Previous reporting has shown that hip-hop venue owners in Oakland, including Ali, are required to seek special-event permits entailing thousands of dollars in police fees. Meanwhile, clubs associated with other styles of music are spared the expense under otherwise identical circumstances. The costs have led Ali and other promoters to pass on booking prominent touring artists in Oakland.\u003c/p>\n\u003cp>The latest conflicts are part of a long history. Oakland police and the local hip-hop community have been at odds practically since the inception of hip-hop. The city imposed a year-long moratorium on live rap in 1989, right at the time local artists such as Too $hort and MC Hammer were building national profiles. Geoffrey’s Inner Circle owner Geoffrey Pete blamed police overtime costs for temporarily closing his storied club in 2009, and filed an unsuccessful civil-rights lawsuit against the department.\u003c/p>\n\u003cp>KQED has requested comment from the Oakland Police Department. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated with comments from DC is Chillin. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Paul Simon to Headline Outside Lands 2019",
"headTitle": "Paul Simon to Headline Outside Lands 2019 | KQED",
"content": "\u003cp>Rock ‘n’ Roll Hall-of-Famer Paul Simon announced today that he will headlining this year’s edition of \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>, one of the Bay Area’s most popular music festivals. The other artists performing at the festival, coming to Golden Gate Park Aug. 9–11, will be announced on March 26.\u003c/p>\n\u003cp>The “Graceland” singer’s announcement might come as a surprise to fans who recently saw him on \u003ca href=\"https://www.paulsimon.com/news/paul-simon-announces-homeward-bound-farewell-tour/\" rel=\"noopener\" target=\"_blank\">his 2018 “farewell” tour\u003c/a>. Though Simon is no longer on the road, he still occasionally plays benefit concerts to support environmental causes. (His Outside Lands proceeds will be donated to a local environmental nonprofit to be named at a later date.)\u003c/p>\n\u003cp>\u003cem>Outside Lands tickets are on sale. Details \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rock ‘n’ Roll Hall-of-Famer Paul Simon announced today that he will headlining this year’s edition of \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>, one of the Bay Area’s most popular music festivals. The other artists performing at the festival, coming to Golden Gate Park Aug. 9–11, will be announced on March 26.\u003c/p>\n\u003cp>The “Graceland” singer’s announcement might come as a surprise to fans who recently saw him on \u003ca href=\"https://www.paulsimon.com/news/paul-simon-announces-homeward-bound-farewell-tour/\" rel=\"noopener\" target=\"_blank\">his 2018 “farewell” tour\u003c/a>. Though Simon is no longer on the road, he still occasionally plays benefit concerts to support environmental causes. (His Outside Lands proceeds will be donated to a local environmental nonprofit to be named at a later date.)\u003c/p>\n\u003cp>\u003cem>Outside Lands tickets are on sale. Details \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>An estimated 28,000 gamers and industry insiders have descended on San Francisco this week for this year’s \u003ca href=\"https://www.gdconf.com\" target=\"_blank\" rel=\"noopener\">Game Developers Conference\u003c/a> (GDC). But despite the fact millions of women worldwide \u003ci>play\u003c/i> games, there’s still a giant gender divide on the development side.\u003c/p>\n\u003cp>[aside postID='arts_13827545,arts_13843649' label='Related Coverage']Every year, conference organizers conduct a survey of attendees. This year, the split is roughly 80/20; as in, 77 percent male attendees, 19 percent female, two percent “other” and two percent declined to answer.\u003c/p>\n\u003cp>“It’s a small but noticeable shift from last year, when 80 percent of survey respondents identified as ‘male’ and just 17 percent identified as ‘female,’” wrote GDC spokesperson Chrissy Kelleher.\u003c/p>\n\u003cp>In other words, the gaming workforce looks quite similar to the tech workforce in general, from a gender perspective.\u003c/p>\n\u003cp>That was the topic du jour at this week’s Microsoft Women in Gaming Rally, a GDC-adjacent mixer in San Francisco with about 1,000 attendees, mostly women, who gathered to mingle and enjoy the feeling of dominating a room for a few hours.\u003c/p>\n\u003cfigure id=\"attachment_13853441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853441\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-800x476.png\" alt=\"Male avatars, like Octavio Silva from EA's "Apex Legend Season 1," still outnumber females avatars by a wide margin. Female gamers say they want more female avatars, with a wider variety of back stories.\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-800x476.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-768x457.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-1020x606.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-1200x714.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM.png 1480w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Male avatars, like Octavio Silva from EA’s ‘Apex Legend Season 1,’ still outnumber female avatars by a wide margin. Females gamers say they want more female avatars, with a wider variety of back stories. \u003ccite>(Photo: Courtesy of Electronic Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not alone, and there are so many powerful women out here. It’s fantastic,” said Kristie Ramirez, a program manager at \u003ca href=\"https://www.ea.com\" target=\"_blank\" rel=\"noopener\">Electronic Arts\u003c/a>, who’s been in gaming for seven years now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to addressing gender disparities, gaming could also be a lot more welcoming to people of color, going beyond mixers and \u003ca href=\"https://www.xbox.com/en-US/developers/gaming-for-everyone/communities/women\" target=\"_blank\" rel=\"noopener\">community groups\u003c/a> to attract, hire and retain talent. Ramirez suggested the industry make an effort to get the word out to generations coming up, starting in middle school.\u003c/p>\n\u003cp>“You can be a lawyer here [in gaming]. You can be an accountant. You can be a marketer. You don’t just have to be a developer. Just get in here. We want you. We want your perspective!” Ramirez said.\u003c/p>\n\u003cp>Of course, many women want to develop.\u003c/p>\n\u003cp>Laura Dell first realized she wanted to when she was 14 years old. “I got into games because of \u003ca href=\"https://www.ea.com/games/the-sims\" target=\"_blank\" rel=\"noopener\">\u003cem>The Sims\u003c/em>\u003c/a>, which is my favorite all-time game. They released a developer diary, and [watching it] I suddenly had this epiphany that people make games. They don’t just exist!”\u003c/p>\n\u003cfigure id=\"attachment_13853447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853447 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-800x651.png\" alt=\"Microsoft publicly posts its diversity statistics. Gender-wise in tech, the split is roughly 80/20 male to female.\" width=\"800\" height=\"651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-800x651.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-160x130.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-768x625.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-1020x830.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-1200x976.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM.png 1716w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Microsoft publicly posts its diversity statistics. Gender-wise in tech, the split is roughly 80/20 male to female. \u003ccite>(Photo: Courtesy of Microsoft)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naomi McArthur, a game designer for \u003ca href=\"https://www.riotgames.com/en\" target=\"_blank\" rel=\"noopener\">Riot Games,\u003c/a> used to be an academic studying applied neuroscience. “I was given a lot of opportunities, and I had a lot of mentorship. I feel really lucky for that, because it let me grow into the game designer I am today,” McArthur said.\u003c/p>\n\u003cp>Women at the Microsoft event reported their experiences varied greatly from one company to another. “How can we be really intentional about including all different types of gamers, making sure inclusion is a part of the narrative from the very beginning?” asked Katy Jo Wright, director of \u003ca href=\"https://www.xbox.com/en-US/developers/gaming-for-everyone\" target=\"_blank\" rel=\"noopener\">Gaming for Everyone\u003c/a> at Xbox.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.gamesindustry.biz/articles/2018-12-05-playgroundz-women-now-make-up-22-percent-of-esports-teams\" target=\"_blank\" rel=\"noopener\">recent study\u003c/a> from the gaming company \u003ca href=\"https://www.playgroundz.io\" target=\"_blank\" rel=\"noopener\">Playgroundz\u003c/a> found that most women stick to the mobile gaming world these days: \u003ca href=\"https://www.pokemongo.com/en-us/\" target=\"_blank\" rel=\"noopener\">\u003cem>Pokémon Go\u003c/em>\u003c/a> and \u003ca href=\"https://www.angrybirds.com/games/angry-birds-match/\" target=\"_blank\" rel=\"noopener\">\u003cem>Angry Birds Match\u003c/em>\u003c/a>, as opposed to games popular on \u003ca href=\"https://www.twitch.tv\" target=\"_blank\" rel=\"noopener\">Twitch\u003c/a> and esports, like \u003cem>Fortnite\u003c/em>. Today, women make up only 30% of gamers on YouTube, 22% of esports team members, and 19.5% of gamers on Twitch.\u003c/p>\n\u003cp>In part, it’s a question of continuing evidence of toxicity in the culture (recent news that \u003ca href=\"https://steamcommunity.com/games/593110/announcements/detail/1808664240304050758\" target=\"_blank\" rel=\"noopener\">the game \u003cem>Rape Day\u003c/em> will not ship on Steam\u003c/a> notwithstanding).\u003c/p>\n\u003cp>But it’s also a question of representation. It was literally days ago that Chiquita Evans (a.k.a. Chiquitae126) became the first woman ever drafted into the \u003ca href=\"https://2kleague.nba.com\" target=\"_blank\" rel=\"noopener\">NBA 2K League\u003c/a>. It’s a milestone, but one that leaves people wondering why progress is coming so slowly.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=7Z4SvZW8fYU]\u003c/p>\n\u003cp>Ashley Columbo of \u003ca href=\"https://www.ubisoft.com/en-us/\" target=\"_blank\" rel=\"noopener\">Ubisoft\u003c/a> would like to see a change-up in the story lines. “This rugged-dude-going-on-an-adventure kind of thing is the main image you see in the industry. So while it’s moving in the right direction, I feel that’s what needs to change: the stories we’re seeing,” Columbo said.\u003c/p>\n\u003cp>For Maria Ramos, who runs the YouTube channel \u003ca href=\"https://www.youtube.com/channel/UCJQxPvs-Xsy-chtX9KdCuvw/featured\" target=\"_blank\" rel=\"noopener\">Grown Women Gaming\u003c/a>, more and better female avatars would help change gaming culture. Ramos plays everything: \u003ca href=\"https://www.cyberpunk.net/en/\" target=\"_blank\" rel=\"noopener\">\u003cem>Cyperpunk 2077\u003c/em>\u003c/a>, Tom Clancy’s \u003ca href=\"https://tomclancy-thedivision.ubisoft.com/game/en-us/the-division-2\" target=\"_blank\" rel=\"noopener\">\u003cem>The Division 2\u003c/em>\u003c/a>, \u003ca href=\"https://www.guerrilla-games.com/play/horizon\" target=\"_blank\" rel=\"noopener\">\u003cem>Horizon Zero Dawn\u003c/em>\u003c/a>, you name it.\u003c/p>\n\u003cp>“That’s how I decompress. That’s my glass of beer, you know, at the end of the day,” Ramos said. When I ask what she wants to see more of, she replied, “More women lead roles in video games. I don’t want the cliche ‘sexy girl,’ or the ‘damsel in distress,’ or anything of that nature.”\u003c/p>\n\u003cp>But Hannah Wolf, director of digital operations at Ubisoft, argued women don’t necessarily want avatars that look like them; and for that matter, neither do men. Her own 16 year-old son, for example, likes to play female characters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There are far more constructive ways to engage in personalities and personas that are different from who they are in real life,” Wolf said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Every year, conference organizers conduct a survey of attendees. This year, the split is roughly 80/20; as in, 77 percent male attendees, 19 percent female, two percent “other” and two percent declined to answer.\u003c/p>\n\u003cp>“It’s a small but noticeable shift from last year, when 80 percent of survey respondents identified as ‘male’ and just 17 percent identified as ‘female,’” wrote GDC spokesperson Chrissy Kelleher.\u003c/p>\n\u003cp>In other words, the gaming workforce looks quite similar to the tech workforce in general, from a gender perspective.\u003c/p>\n\u003cp>That was the topic du jour at this week’s Microsoft Women in Gaming Rally, a GDC-adjacent mixer in San Francisco with about 1,000 attendees, mostly women, who gathered to mingle and enjoy the feeling of dominating a room for a few hours.\u003c/p>\n\u003cfigure id=\"attachment_13853441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853441\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-800x476.png\" alt=\"Male avatars, like Octavio Silva from EA's "Apex Legend Season 1," still outnumber females avatars by a wide margin. Female gamers say they want more female avatars, with a wider variety of back stories.\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-800x476.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-768x457.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-1020x606.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM-1200x714.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-21-at-10.04.11-AM.png 1480w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Male avatars, like Octavio Silva from EA’s ‘Apex Legend Season 1,’ still outnumber female avatars by a wide margin. Females gamers say they want more female avatars, with a wider variety of back stories. \u003ccite>(Photo: Courtesy of Electronic Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not alone, and there are so many powerful women out here. It’s fantastic,” said Kristie Ramirez, a program manager at \u003ca href=\"https://www.ea.com\" target=\"_blank\" rel=\"noopener\">Electronic Arts\u003c/a>, who’s been in gaming for seven years now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to addressing gender disparities, gaming could also be a lot more welcoming to people of color, going beyond mixers and \u003ca href=\"https://www.xbox.com/en-US/developers/gaming-for-everyone/communities/women\" target=\"_blank\" rel=\"noopener\">community groups\u003c/a> to attract, hire and retain talent. Ramirez suggested the industry make an effort to get the word out to generations coming up, starting in middle school.\u003c/p>\n\u003cp>“You can be a lawyer here [in gaming]. You can be an accountant. You can be a marketer. You don’t just have to be a developer. Just get in here. We want you. We want your perspective!” Ramirez said.\u003c/p>\n\u003cp>Of course, many women want to develop.\u003c/p>\n\u003cp>Laura Dell first realized she wanted to when she was 14 years old. “I got into games because of \u003ca href=\"https://www.ea.com/games/the-sims\" target=\"_blank\" rel=\"noopener\">\u003cem>The Sims\u003c/em>\u003c/a>, which is my favorite all-time game. They released a developer diary, and [watching it] I suddenly had this epiphany that people make games. They don’t just exist!”\u003c/p>\n\u003cfigure id=\"attachment_13853447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853447 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-800x651.png\" alt=\"Microsoft publicly posts its diversity statistics. Gender-wise in tech, the split is roughly 80/20 male to female.\" width=\"800\" height=\"651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-800x651.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-160x130.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-768x625.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-1020x830.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM-1200x976.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Screen-Shot-2019-03-19-at-3.40.02-PM.png 1716w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Microsoft publicly posts its diversity statistics. Gender-wise in tech, the split is roughly 80/20 male to female. \u003ccite>(Photo: Courtesy of Microsoft)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naomi McArthur, a game designer for \u003ca href=\"https://www.riotgames.com/en\" target=\"_blank\" rel=\"noopener\">Riot Games,\u003c/a> used to be an academic studying applied neuroscience. “I was given a lot of opportunities, and I had a lot of mentorship. I feel really lucky for that, because it let me grow into the game designer I am today,” McArthur said.\u003c/p>\n\u003cp>Women at the Microsoft event reported their experiences varied greatly from one company to another. “How can we be really intentional about including all different types of gamers, making sure inclusion is a part of the narrative from the very beginning?” asked Katy Jo Wright, director of \u003ca href=\"https://www.xbox.com/en-US/developers/gaming-for-everyone\" target=\"_blank\" rel=\"noopener\">Gaming for Everyone\u003c/a> at Xbox.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.gamesindustry.biz/articles/2018-12-05-playgroundz-women-now-make-up-22-percent-of-esports-teams\" target=\"_blank\" rel=\"noopener\">recent study\u003c/a> from the gaming company \u003ca href=\"https://www.playgroundz.io\" target=\"_blank\" rel=\"noopener\">Playgroundz\u003c/a> found that most women stick to the mobile gaming world these days: \u003ca href=\"https://www.pokemongo.com/en-us/\" target=\"_blank\" rel=\"noopener\">\u003cem>Pokémon Go\u003c/em>\u003c/a> and \u003ca href=\"https://www.angrybirds.com/games/angry-birds-match/\" target=\"_blank\" rel=\"noopener\">\u003cem>Angry Birds Match\u003c/em>\u003c/a>, as opposed to games popular on \u003ca href=\"https://www.twitch.tv\" target=\"_blank\" rel=\"noopener\">Twitch\u003c/a> and esports, like \u003cem>Fortnite\u003c/em>. Today, women make up only 30% of gamers on YouTube, 22% of esports team members, and 19.5% of gamers on Twitch.\u003c/p>\n\u003cp>In part, it’s a question of continuing evidence of toxicity in the culture (recent news that \u003ca href=\"https://steamcommunity.com/games/593110/announcements/detail/1808664240304050758\" target=\"_blank\" rel=\"noopener\">the game \u003cem>Rape Day\u003c/em> will not ship on Steam\u003c/a> notwithstanding).\u003c/p>\n\u003cp>But it’s also a question of representation. It was literally days ago that Chiquita Evans (a.k.a. Chiquitae126) became the first woman ever drafted into the \u003ca href=\"https://2kleague.nba.com\" target=\"_blank\" rel=\"noopener\">NBA 2K League\u003c/a>. It’s a milestone, but one that leaves people wondering why progress is coming so slowly.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7Z4SvZW8fYU'\n title='//www.youtube.com/embed/7Z4SvZW8fYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ashley Columbo of \u003ca href=\"https://www.ubisoft.com/en-us/\" target=\"_blank\" rel=\"noopener\">Ubisoft\u003c/a> would like to see a change-up in the story lines. “This rugged-dude-going-on-an-adventure kind of thing is the main image you see in the industry. So while it’s moving in the right direction, I feel that’s what needs to change: the stories we’re seeing,” Columbo said.\u003c/p>\n\u003cp>For Maria Ramos, who runs the YouTube channel \u003ca href=\"https://www.youtube.com/channel/UCJQxPvs-Xsy-chtX9KdCuvw/featured\" target=\"_blank\" rel=\"noopener\">Grown Women Gaming\u003c/a>, more and better female avatars would help change gaming culture. Ramos plays everything: \u003ca href=\"https://www.cyberpunk.net/en/\" target=\"_blank\" rel=\"noopener\">\u003cem>Cyperpunk 2077\u003c/em>\u003c/a>, Tom Clancy’s \u003ca href=\"https://tomclancy-thedivision.ubisoft.com/game/en-us/the-division-2\" target=\"_blank\" rel=\"noopener\">\u003cem>The Division 2\u003c/em>\u003c/a>, \u003ca href=\"https://www.guerrilla-games.com/play/horizon\" target=\"_blank\" rel=\"noopener\">\u003cem>Horizon Zero Dawn\u003c/em>\u003c/a>, you name it.\u003c/p>\n\u003cp>“That’s how I decompress. That’s my glass of beer, you know, at the end of the day,” Ramos said. When I ask what she wants to see more of, she replied, “More women lead roles in video games. I don’t want the cliche ‘sexy girl,’ or the ‘damsel in distress,’ or anything of that nature.”\u003c/p>\n\u003cp>But Hannah Wolf, director of digital operations at Ubisoft, argued women don’t necessarily want avatars that look like them; and for that matter, neither do men. Her own 16 year-old son, for example, likes to play female characters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There are far more constructive ways to engage in personalities and personas that are different from who they are in real life,” Wolf said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Disney Officially Owns 21st Century Fox",
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"content": "\u003cp>Homer Simpson probably won’t become the newest member of the Avengers, but anything’s possible now that Disney owns 21st Century Fox.\u003c/p>\n\u003cp>One year after the Walt Disney Co. announced the $71.3 billion merger, it’s official. The deal, which closed Wednesday at 12:02 a.m. Eastern time, reshapes the media landscape and makes Disney an even greater entertainment behemoth. In bolstering its trove of characters and stories, the acquisition also puts Disney in a stronger position to take on Netflix and other streaming companies when it launches its own service, Disney+, later this year.\u003c/p>\n\u003cp>Disney, which already owns the Pixar, Marvel and the Star Wars brands, will now also get Deadpool and the Fox-owned Marvel characters such as the X-Men and Fantastic Four, allowing for the full Marvel family to be united. Disney also now owns former Fox television networks such as FX Networks and National Geographic Partners. Disney will also get Fox’s 30 percent ownership of Hulu, giving Disney a controlling share of 60 percent.\u003c/p>\n\u003cp>https://twitter.com/AlJean/status/1108134895799267329\u003c/p>\n\u003cp>Now that Fox Corp. has sold off most of its entertainment properties, it has become a standalone company that will retain ownership of its broadcast network, owned-and-operated network affiliates, the Fox News Channel, Fox Business Network and Fox Sports.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Former House speaker Paul Ryan is joining the board of directors of the new Fox Corp. NPR’s David Folkenflik \u003ca href=\"https://www.wbur.org/hereandnow/2019/03/19/paul-ryan-joins-fox\">told WBUR’s “Here and Now”\u003c/a> that Fox’s decision to retain Ryan “is in keeping with the way in which Rupert Murdoch and his family has operated over the years, where they have acquired, essentially, a lot of major political heavyweights to be on their corporate boards, occasionally as top executives — essentially as a hedge” against the fairly heavy regulations that media companies sometimes face.\u003c/p>\n\u003cp>https://twitter.com/VancityReynolds/status/1108002378064822272\u003c/p>\n\u003cp>The deal has been in the works for more than a year, but wasn’t official until various regulatory agencies around the world gave their approvals. After \u003ca href=\"https://variety.com/2018/biz/news/disney-fox-acquisition-comcast-timeline-1202758220/\">months of flirting\u003c/a> with the idea, Disney and Fox announced in December 2017 that they had agreed to a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/14/568829541/this-mouse-swallows-part-of-a-fox-disney-buys-much-of-murdoch-empire\">$52.4 billion deal\u003c/a> that would sell off most of Rupert Murdoch’s entertainment properties. As Folkenflik reported at the time, the acquisition offered a chance for Disney to “consolidate holdings, bringing together talented leaders in television and movie production, major cable properties and a vast network of local sports cable channels to fold into Disney’s ESPN programming.”\u003c/p>\n\u003cp>The deal hit a snag in 2018 when Comcast unexpectedly \u003ca href=\"https://www.npr.org/2018/06/13/619748496/comcast-puts-in-65-billion-bid-for-21st-century-fox\">bid $65 billion \u003c/a>to lure Fox away from Disney. But Disney was able to keep the deal moving forward when it \u003ca href=\"https://www.npr.org/2018/07/19/630439333/disney-prevails-in-hunt-for-fox-as-comcast-drops-bid\">upped its offer \u003c/a>to $71 billion. The Justice Department OK’d the acquisition last summer as long as Disney, which owns ESPN, \u003ca href=\"https://www.npr.org/2018/06/27/624075667/justice-department-disney-can-buy-21st-century-fox-but-with-one-caveat\">agreed to sell off\u003c/a> 22 regional sports networks that were originally part of the purchase.\u003c/p>\n\u003cp>For Fox, the decision to sell many of its entertainment properties was motivated mostly by “fear, opportunity and pragmatism,” Folkenflik explained. “Fear of the seemingly bottomless wallets of Netflix, Amazon and possibly Apple to spend on new shows; opportunity to cash out assets at a possible peak; and pragmatism in finally resolving the professional fates of Murdoch’s sons, Lachlan and James, as well the fortunes of four other Murdoch children who do not play a role in the company.”\u003c/p>\n\u003cp>The acquisition could have negative consequences. NPR TV Critic Eric Deggans told NPR’s Morning Edition that thousands of people will likely lose their jobs as Disney consolidates its properties.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Note:\u003c/em>\u003c/strong>\u003cem> Both Walt Disney Pictures and 20th Century Fox have funded NPR.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Homer Simpson probably won’t become the newest member of the Avengers, but anything’s possible now that Disney owns 21st Century Fox.\u003c/p>\n\u003cp>One year after the Walt Disney Co. announced the $71.3 billion merger, it’s official. The deal, which closed Wednesday at 12:02 a.m. Eastern time, reshapes the media landscape and makes Disney an even greater entertainment behemoth. In bolstering its trove of characters and stories, the acquisition also puts Disney in a stronger position to take on Netflix and other streaming companies when it launches its own service, Disney+, later this year.\u003c/p>\n\u003cp>Disney, which already owns the Pixar, Marvel and the Star Wars brands, will now also get Deadpool and the Fox-owned Marvel characters such as the X-Men and Fantastic Four, allowing for the full Marvel family to be united. Disney also now owns former Fox television networks such as FX Networks and National Geographic Partners. Disney will also get Fox’s 30 percent ownership of Hulu, giving Disney a controlling share of 60 percent.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Former House speaker Paul Ryan is joining the board of directors of the new Fox Corp. NPR’s David Folkenflik \u003ca href=\"https://www.wbur.org/hereandnow/2019/03/19/paul-ryan-joins-fox\">told WBUR’s “Here and Now”\u003c/a> that Fox’s decision to retain Ryan “is in keeping with the way in which Rupert Murdoch and his family has operated over the years, where they have acquired, essentially, a lot of major political heavyweights to be on their corporate boards, occasionally as top executives — essentially as a hedge” against the fairly heavy regulations that media companies sometimes face.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The deal has been in the works for more than a year, but wasn’t official until various regulatory agencies around the world gave their approvals. After \u003ca href=\"https://variety.com/2018/biz/news/disney-fox-acquisition-comcast-timeline-1202758220/\">months of flirting\u003c/a> with the idea, Disney and Fox announced in December 2017 that they had agreed to a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/14/568829541/this-mouse-swallows-part-of-a-fox-disney-buys-much-of-murdoch-empire\">$52.4 billion deal\u003c/a> that would sell off most of Rupert Murdoch’s entertainment properties. As Folkenflik reported at the time, the acquisition offered a chance for Disney to “consolidate holdings, bringing together talented leaders in television and movie production, major cable properties and a vast network of local sports cable channels to fold into Disney’s ESPN programming.”\u003c/p>\n\u003cp>The deal hit a snag in 2018 when Comcast unexpectedly \u003ca href=\"https://www.npr.org/2018/06/13/619748496/comcast-puts-in-65-billion-bid-for-21st-century-fox\">bid $65 billion \u003c/a>to lure Fox away from Disney. But Disney was able to keep the deal moving forward when it \u003ca href=\"https://www.npr.org/2018/07/19/630439333/disney-prevails-in-hunt-for-fox-as-comcast-drops-bid\">upped its offer \u003c/a>to $71 billion. The Justice Department OK’d the acquisition last summer as long as Disney, which owns ESPN, \u003ca href=\"https://www.npr.org/2018/06/27/624075667/justice-department-disney-can-buy-21st-century-fox-but-with-one-caveat\">agreed to sell off\u003c/a> 22 regional sports networks that were originally part of the purchase.\u003c/p>\n\u003cp>For Fox, the decision to sell many of its entertainment properties was motivated mostly by “fear, opportunity and pragmatism,” Folkenflik explained. “Fear of the seemingly bottomless wallets of Netflix, Amazon and possibly Apple to spend on new shows; opportunity to cash out assets at a possible peak; and pragmatism in finally resolving the professional fates of Murdoch’s sons, Lachlan and James, as well the fortunes of four other Murdoch children who do not play a role in the company.”\u003c/p>\n\u003cp>The acquisition could have negative consequences. NPR TV Critic Eric Deggans told NPR’s Morning Edition that thousands of people will likely lose their jobs as Disney consolidates its properties.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Note:\u003c/em>\u003c/strong>\u003cem> Both Walt Disney Pictures and 20th Century Fox have funded NPR.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sylvester, 'Super Fly,' and 'La Bamba' Added To National Recording Registry",
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"content": "\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\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=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\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=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re the kind of person who can spend your entire Thursday cruising the arts and cultural institutions of the Yerba Buena district, have I got a deal for you! (And for those of us with a 9-to-5, start thinking of ways you can ditch work early and head to downtown San Francisco in a few days.)\u003c/p>\n\u003cp>On Thursday, March 21, for an event that’s being called “\u003ca href=\"https://www.yb3tsf.org/\" target=\"_blank\" rel=\"noopener\">Culture for Community,\u003c/a>” 11 Yerba Buena arts and culture institutions, including the Museum of the African Diaspora, the California Historical Society, the Contemporary Jewish Museum, Yerba Buena Center for the Arts and (drum roll please) SFMOMA are offering free admission all day (some with extended hours) and special programming in honor of Women’s History Month.\u003c/p>\n\u003cp>[aside postID='arts_13848852,arts_13840458,arts_13850595,arts_13848287' label='What to See']\u003c/p>\n\u003cp>Mark Sabb, MoAD’s senior director for innovation and engagement says the coordinated theme (and SFMOMA’s participation, they usually sit out 3rd Thursdays) came out of the institutions’ collaboration during the Global Climate Action Summit last September. There was a desire in the wake of that gathering, he says, to reboot the 3rd Thursdays initiative with a more cohesive set of events. A second Culture for Community day is planned (theme TBA) for Sept. 19.\u003c/p>\n\u003cp>This time around, the thematic programs range from opportune to a stretch to not really there. MoAD, which Sabb says is interpreting “women’s history” more along the lines of “women’s empowerment,” hosts its regular 3rd Thursday \u003ca href=\"http://%5Bhttps://www.moadsf.org/event/moad-open-mic/?instance_id=15086\" target=\"_blank\" rel=\"noopener\">open mic night\u003c/a> (6–8pm) with special poet guests \u003ca href=\"https://www.kqed.org/arts/13838466/asha-san-jose-artist-educator-and-revolutionary-wants-you-to-speak-up\" target=\"_blank\" rel=\"noopener\">ASHA\u003c/a> and Nazelah Jamison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, the CJM puts on a \u003ca href=\"https://www.thecjm.org/programs/469?utm_source=CforC_PressRelease&utm_medium=Feb12\" target=\"_blank\" rel=\"noopener\">Purim Cabaret\u003c/a> with San Francisco drag queen Miss Shugana (5–8pm); SFMOMA leads \u003ca href=\"https://www.sfmoma.org/event/special-exhibition-vija-celmins/\" rel=\"noopener\" target=\"_blank\">a tour of Vija Celmins\u003c/a>’ current retrospective (1:30pm); and the California Historical Society opens two shows about railroads—with curator and historian Natalie Pellolio \u003ca href=\"https://my.californiahistoricalsociety.org/single/EventDetail.aspx?p=1501\" target=\"_blank\" rel=\"noopener\">speaking\u003c/a> in the galleries at 5pm.\u003c/p>\n\u003cp>More details on some of the larger participating institutions and when they’re \u003ci>actually\u003c/i> free (because let’s face it, I know what you’re here for):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>California Historical Society\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>Contemporary Jewish Museum\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>MoAD\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>SFMOMA\u003c/strong>: Free 10am–9pm (\u003ca href=\"https://tickets.sfmoma.org/tickets/3035/109/\" target=\"_blank\" rel=\"noopener\">reserve your tickets\u003c/a>)\u003c/li>\n\u003cli>\u003cstrong>YBCA\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>See the full list of spaces participating in the March 21 Culture for Community events \u003ca href=\"https://www.yb3tsf.org/locations\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mark Sabb, MoAD’s senior director for innovation and engagement says the coordinated theme (and SFMOMA’s participation, they usually sit out 3rd Thursdays) came out of the institutions’ collaboration during the Global Climate Action Summit last September. There was a desire in the wake of that gathering, he says, to reboot the 3rd Thursdays initiative with a more cohesive set of events. A second Culture for Community day is planned (theme TBA) for Sept. 19.\u003c/p>\n\u003cp>This time around, the thematic programs range from opportune to a stretch to not really there. MoAD, which Sabb says is interpreting “women’s history” more along the lines of “women’s empowerment,” hosts its regular 3rd Thursday \u003ca href=\"http://%5Bhttps://www.moadsf.org/event/moad-open-mic/?instance_id=15086\" target=\"_blank\" rel=\"noopener\">open mic night\u003c/a> (6–8pm) with special poet guests \u003ca href=\"https://www.kqed.org/arts/13838466/asha-san-jose-artist-educator-and-revolutionary-wants-you-to-speak-up\" target=\"_blank\" rel=\"noopener\">ASHA\u003c/a> and Nazelah Jamison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, the CJM puts on a \u003ca href=\"https://www.thecjm.org/programs/469?utm_source=CforC_PressRelease&utm_medium=Feb12\" target=\"_blank\" rel=\"noopener\">Purim Cabaret\u003c/a> with San Francisco drag queen Miss Shugana (5–8pm); SFMOMA leads \u003ca href=\"https://www.sfmoma.org/event/special-exhibition-vija-celmins/\" rel=\"noopener\" target=\"_blank\">a tour of Vija Celmins\u003c/a>’ current retrospective (1:30pm); and the California Historical Society opens two shows about railroads—with curator and historian Natalie Pellolio \u003ca href=\"https://my.californiahistoricalsociety.org/single/EventDetail.aspx?p=1501\" target=\"_blank\" rel=\"noopener\">speaking\u003c/a> in the galleries at 5pm.\u003c/p>\n\u003cp>More details on some of the larger participating institutions and when they’re \u003ci>actually\u003c/i> free (because let’s face it, I know what you’re here for):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>California Historical Society\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>Contemporary Jewish Museum\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>MoAD\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>SFMOMA\u003c/strong>: Free 10am–9pm (\u003ca href=\"https://tickets.sfmoma.org/tickets/3035/109/\" target=\"_blank\" rel=\"noopener\">reserve your tickets\u003c/a>)\u003c/li>\n\u003cli>\u003cstrong>YBCA\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>See the full list of spaces participating in the March 21 Culture for Community events \u003ca href=\"https://www.yb3tsf.org/locations\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"mindshift": {
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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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"order": 12
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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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"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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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "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": {
"id": "reveal",
"title": "Reveal",
"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": {
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