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"content": "\u003cp>The Grammy-nominated rapper 21 Savage, who has long been associated with Atlanta, has been arrested by U.S. Immigration and Customs Enforcement. The agency says he is actually a U.K. citizen who overstayed his visa and that he now faces deportation.\u003c/p>\n\u003cp>The news has come as a surprise to fans, who assumed the rapper was from Atlanta, as he has often talked about his tough childhood in the city’s Eastside. As The \u003ca href=\"https://www.ajc.com/news/breaking-ice-arrests-rapper-savage-says-actually-british-and-overstayed-visa/HgORJxcJCckHjlMdzlqwKM/\">Atlanta Journal Constitution put it\u003c/a>, 21 Savage — whose real name is Sha Yaa Bin Abraham-Joseph — “has long been considered a local act.”\u003c/p>\n\u003cp>The 26-year-old first appeared on the rap scene in 2015 and has since rocketed to success. In December, he scored \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8491748/21-savages-i-am-i-was-album-debuts-at-no-1-on-billboard-200\">his first No. 1 \u003c/a>on the Billboard charts for his latest album, \u003cem>I Am > I Was.\u003c/em>\u003c/p>\n\u003cp>It turns out he was a U.K. national who came to the U.S. as a child but then overstayed his visa, federal officials say. He was taken into custody Sunday morning during a “targeted operation” in metro Atlanta, ICE spokesman Bryan Cox said, as reported by the \u003ca href=\"https://www.apnews.com/5775521aeeed48c0ba981e2ddb985ec0\">Associated Press\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/watch?v=opKizJadkzA\">http://www.youtube.com/watch?v=opKizJadkzA\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"font-size: 14px\">\u003cem>Just five days before his arrest, 21 Savage rapped about the children being detained along the U.S.-Mexico border and the Flint Michigan water crisis on ‘The Tonight Show.’ \u003c/em>\u003c/p>\n\u003cp>In July 2005, when he was 13, Abraham-Joseph entered the U.S. legally but stayed in the country after his visa expired a year later, Cox told the AP.\u003c/p>\n\u003cp>The rapper was convicted of felony drug charges in 2014, Cox said. But ICE was not aware of his immigration status at the time and only learned later, an ICE official told the \u003cem>Journal.\u003c/em>\u003c/p>\n\u003cp>According to CNN correspondent Nick Valencia, Abraham-Joseph “was in the car with another rapper who was the target of a criminal arrest.” After law enforcement learned about his immigration status, Abraham-Joseph was taken into custody. His lawyer, Dina LaPolt, \u003ca href=\"https://apnews.com/c03183435b974482ae8ec8877765f44c\">told \u003c/a>the AP she has been working to get him out, saying her client is a role model to young people.\u003c/p>\n\u003cp>As 21 Savage, Abraham-Joseph had a “commitment to telling the stories of life in Atlanta’s Zone 6,” \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8491003/21-savage-previews-pop-up-motel-21\">Billboard wrote \u003c/a>last month, referring to the Eastside of Atlanta. “The East Atlanta rapper has been repping the neighborhood he grew up in, and rapping about the violence and pain that he’s encountered (and inflicted) since he first stepped into a recording booth.” Abraham-Joseph has said the “21” in his name refers to a street gang in Decatur, Ga., \u003ca href=\"https://www.cnn.com/2019/02/03/us/rapper-21-savage-arrest-ice/index.html\">CNN reported\u003c/a>. At the time of his arrest, his Wikipedia page had said he was born in Atlanta in 1992, according to The \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2019/02/03/rapper-savage-arrested-by-ice-agents-who-say-hes-united-kingdom-not-atlanta/?utm_term=.00776a105b42\">Washington Post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://twitter.com/NickyBeachh/status/1092266997155618818\">http://twitter.com/NickyBeachh/status/1092266997155618818\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rapper+21+Savage+Arrested+By+ICE+For+Allegedly+Overstaying+Visa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"font-size: 14px\">\u003cem>Just five days before his arrest, 21 Savage rapped about the children being detained along the U.S.-Mexico border and the Flint Michigan water crisis on ‘The Tonight Show.’ \u003c/em>\u003c/p>\n\u003cp>In July 2005, when he was 13, Abraham-Joseph entered the U.S. legally but stayed in the country after his visa expired a year later, Cox told the AP.\u003c/p>\n\u003cp>The rapper was convicted of felony drug charges in 2014, Cox said. But ICE was not aware of his immigration status at the time and only learned later, an ICE official told the \u003cem>Journal.\u003c/em>\u003c/p>\n\u003cp>According to CNN correspondent Nick Valencia, Abraham-Joseph “was in the car with another rapper who was the target of a criminal arrest.” After law enforcement learned about his immigration status, Abraham-Joseph was taken into custody. His lawyer, Dina LaPolt, \u003ca href=\"https://apnews.com/c03183435b974482ae8ec8877765f44c\">told \u003c/a>the AP she has been working to get him out, saying her client is a role model to young people.\u003c/p>\n\u003cp>As 21 Savage, Abraham-Joseph had a “commitment to telling the stories of life in Atlanta’s Zone 6,” \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8491003/21-savage-previews-pop-up-motel-21\">Billboard wrote \u003c/a>last month, referring to the Eastside of Atlanta. “The East Atlanta rapper has been repping the neighborhood he grew up in, and rapping about the violence and pain that he’s encountered (and inflicted) since he first stepped into a recording booth.” Abraham-Joseph has said the “21” in his name refers to a street gang in Decatur, Ga., \u003ca href=\"https://www.cnn.com/2019/02/03/us/rapper-21-savage-arrest-ice/index.html\">CNN reported\u003c/a>. At the time of his arrest, his Wikipedia page had said he was born in Atlanta in 1992, according to The \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2019/02/03/rapper-savage-arrested-by-ice-agents-who-say-hes-united-kingdom-not-atlanta/?utm_term=.00776a105b42\">Washington Post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://twitter.com/NickyBeachh/status/1092266997155618818\">http://twitter.com/NickyBeachh/status/1092266997155618818\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rapper+21+Savage+Arrested+By+ICE+For+Allegedly+Overstaying+Visa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In 1998, songwriter Kandi Burruss — on hiatus from her R&B group, Xscape — took a drive around Atlanta with a girlfriend, looking for inspiration. In the car, Burruss was playing tracks she’d gotten from a fellow songwriter, Kevin “She’kspere” Briggs, a few days earlier.\u003c/p>\n\u003cp>“No lyrics, no melody, just the music,” Burruss says. “I always like to listen to tracks in my car because I come up with my best ideas when I’m driving.”\u003c/p>\n\u003cp>As Burruss tells it, she and her friend were also trash-talking the guys they were dating at the time. “So I started freestylin’ over the track,” she says. “And I was just like, ‘\u003cem>A scrub is a guy who thinks he’s fly, and is also known as a busta / Always talking about what he wants, and just sits on his fat ass\u003c/em>.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”JZv1mmAiy8qO5eD59P5YMiOuSBAKIk8z”]\u003c/p>\n\u003cp>She knew she had something there. For a title, she remembered something she’d scribbled in her songwriting notebook. The phrase “No Scrubs” came from a term popular in Atlanta at the time, slang for a guy with no purpose, no prospects, no couth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burruss took her idea to fellow Xscape member Tameka “Tiny” Cottle, who loved the freestyle. Together, they quickly fleshed out the entire song and recorded a demo, thinking they’d keep it for their own upcoming joint project. But once the demo was passed to a few other industry figures, the two were persuaded to sell the song to a bigger group — who would end up running with it.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"TLC - No Scrubs (Official HD Video)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/FrLequ6dUdM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15807876/tlc\">TLC\u003c/a>, also from Atlanta, already had its own formula for success. Early hits like “\u003ca href=\"https://www.youtube.com/watch?v=LlZydtG3xqI\">Creep\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=8WEtxJ4-sh4\">Waterfalls\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=XmH4_pr6mH0\">Ain’t 2 Proud 2 Beg\u003c/a>” cultivated an image of being socially aware, and Rozonda “Chilli” Thomas, Tionne “T-Boz” Watkins and Lisa “Left Eye” Lopes were known as bold, confident, independent young women. So when “No Scrubs” landed in their court, a few words were changed to suit that image and make the song their own. (Among them, “fat ass” became “broke ass,” making clear the group’s problem was with men who lacked not just coin, but ambition.)\u003c/p>\n\u003cp>“No Scrubs” was released in early 1999 as the lead single of TLC’s third studio album, \u003cem>FanMail\u003c/em>. The track locked up the No. 1 position on Billboard’s Hot 100 for four weeks and stayed on the chart for months. Chilli Thomas says she knew it would be a hit the first time she heard it, because even though the term was regional, the idea was universal. “A scrub is just a bum guy, you know?” she says. “You don’t want to bring him home.”\u003c/p>\n\u003cp>[contextly_sidebar id=”xuLhWTJpOFn0gzJRyeRcgiHk38kJye3Y”]\u003c/p>\n\u003cp>At the time TLC hadn’t dropped an album in over four years, but two things helped “No Scrubs” take off commercially. For one, it was bolstered by a dope, futuristic \u003ca href=\"https://www.youtube.com/watch?v=FrLequ6dUdM\">video\u003c/a> helmed by director Hype Williams. The visual found the trio in a cruising spaceship and each lady, decked out in a swishy space suit, got the chance to show her individual personality. Chilli remembers the challenges of that now-iconic shoot, in which she performed her verses on a giant swinging platform.\u003c/p>\n\u003cp>“I was looking at it and it’s ginormous — I’m like, ‘Who’s supposed to get on the swing?’ ” Chilli says. “I was so intimidated, but eventually, I did it. I mean, I got on there and I got comfortable, and then I got \u003cem>real\u003c/em> comfortable.” The video would earn TLC a MTV Video Music Award for best group video, \u003ca href=\"https://www.youtube.com/watch?v=4TYosRJA0FU\">beating out\u003c/a> the all-male competition in a category that included both ‘NSync and the Backstreet Boys at their height.\u003c/p>\n\u003cp>Second, LaFace Records was smart about marketing the single. “No Scrubs” was released in two versions, one with Left Eye’s rap verse and one without. This strategy ensured the song would get airplay on a variety of radio stations, regardless of format.\u003c/p>\n\u003cp>[contextly_sidebar id=”lE9sp0yLHtaDLT7BQNVfMGlWTArlXtSH”]\u003c/p>\n\u003cp>While some of the most popular late ’90s hip-hop and R&B tracks were saturated with misogyny and damsel-in-distress plotlines, Burruss says, “No Scrubs” helped flip the script. “This song almost made it to where guys felt they couldn’t ride to an event together anymore,” she remembers.\u003c/p>\n\u003cp>And men weren’t just stopping short of carpooling to the club. “No Scrubs” was a wake-up call for guys like Sean Armstrong, aka DJ Face of the radio station \u003ca href=\"https://mymajicdc.com/\">Majic 102.3\u003c/a>. He remembers hearing the song for the first time at a Baltimore record store and spinning it at D.C.-area clubs when it first came out.\u003c/p>\n\u003cp>“Guys started checking themselves, like, ‘Am I a scrub?,’ ” Face remembers. “You had to really think: ‘I don’t really lean out the window, you know, hollerin’ at women. I have my own car. I got a job. I’m not a scrub.’ Like, you had to take yourself off the list.”\u003c/p>\n\u003cp>Chilli says it’s not guys like DJ Face who have to worry. “I always say, the guys getting upset are the scrubs. If you’re not a scrub, then … a hit dog will holler, right?” she laughs. “So, if that’s not who you are, then you shouldn’t be getting upset.”\u003c/p>\n\u003cp>The feathers of Yonkers, N.Y. rap group Sporty Thievz were so ruffled, the trio released its own response track, “No Pigeons,” in May 1999, a month after “No Scrubs” hit No. 1. But even if some perceived “No Pigeons” as a diss to the song’s originators, it used the same melody as “No Scrubs” — so Burruss, Briggs and Cottle still got paid.\u003c/p>\n\u003cp>“That was a check,” Burruss says. “I thought it was clever. I love the fact that they flipped the song and gave the male point of view. And plus, we ended up getting all the royalties from it.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sporty Thievz - No Pigeons (Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/pP33_uFlzTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the two decades since the song was released, it’s never really gone away. In 2017, Ed Sheeran added the songwriters of “No Scrubs” to the credits of his own No. 1 hit, “Shape of You,” after some \u003ca href=\"https://www.billboard.com/articles/columns/pop/7735550/ed-sheeran-tlc-no-scrubs-writers-shape-of-you-credits\">drew comparisons\u003c/a> between the two songs’ \u003ca href=\"https://www.youtube.com/watch?v=8OrT52ZToUk\">melodies\u003c/a>. And it’s inspired covers across all genres. British R&B singer Jorja Smith keeps her version \u003ca href=\"https://www.youtube.com/watch?v=XoD8smiAXPI\">stripped down\u003c/a>, while country star Kacey Musgraves adds \u003ca href=\"https://www.youtube.com/watch?v=kdlAZHdAfZc\">a bit of twang\u003c/a>. In January, the four men of Weezer released a \u003ca href=\"https://www.youtube.com/watch?v=55UtG-1os_s\">rock cover\u003c/a>, with all gender pronouns left intact.\u003c/p>\n\u003cp>But at the end of the day, the original is still popular. On Spotify, “No Scrubs” has over 300 million streams to date. NPR intern Sophie Fouladi was born in the early 2000s and says the song was a hit at her junior prom in Northern Virginia just last spring.\u003c/p>\n\u003cp>“I thought it was really interesting that a throwback song was something that got everyone really excited,” Fouladi says. “There was just screams of recognition from a bunch of girls, and they were pulling each other to the dance floor. These are people who were born after the song was released.”\u003c/p>\n\u003cp>[contextly_sidebar id=”05CiLETtYYTrisZV6xEJxG5nBa6jYZQj”]\u003c/p>\n\u003cp>Will Eastman hosts a recurring \u003ca href=\"https://www.930.com/event/1717617-no-scrubs-90s-dance-party-washington/\">90’s dance party\u003c/a> called “No Scrubs” at Washington, D.C.’s 9:30 Club, and says he knows exactly the response he’ll get when he drops the song. “There’s an electricity that exists in the room,” he says. “You can feel it wash over the crowd, and for that three or four minutes, we’re all in it together.”\u003c/p>\n\u003cp>After playing the song for years, Eastman says he finally gets its message: “It’s a pop song, it’s an R&B song, but there’s also a subversive element to ‘No Scrubs’ which is taken from a position of, ‘Look, you are not in charge here. I’m in charge. I have agency here.’ That resonates with people.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”JWY1bRLv8Jd3JIZYbWKW5i0sQKHllZ7Z”]\u003c/p>\n\u003cp>Chilli says she recognized the power of “No Scrubs” back when TLC first recorded it, and she’s proud of its legacy. “I feel really happy because I know that — even though you can jam to it, you dance to it — lyrically, I know that the girls are listening, you know? And the guys are, too,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Kandi Burruss agrees. “As women, we go through things every day, \u003cem>all day\u003c/em>,” she says. “No matter where we go, somebody is gonna try to push up or try to holler at you, and they’re not always a gentleman about it. So I feel like this song put it out there … and it just made women be a little bit more outspoken.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oh+Yes+Son%2C+They%27re+Talking+To+You%3A+20+Years+Of+%27No+Scrubs%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In 1998, songwriter Kandi Burruss — on hiatus from her R&B group, Xscape — took a drive around Atlanta with a girlfriend, looking for inspiration. In the car, Burruss was playing tracks she’d gotten from a fellow songwriter, Kevin “She’kspere” Briggs, a few days earlier.\u003c/p>\n\u003cp>“No lyrics, no melody, just the music,” Burruss says. “I always like to listen to tracks in my car because I come up with my best ideas when I’m driving.”\u003c/p>\n\u003cp>As Burruss tells it, she and her friend were also trash-talking the guys they were dating at the time. “So I started freestylin’ over the track,” she says. “And I was just like, ‘\u003cem>A scrub is a guy who thinks he’s fly, and is also known as a busta / Always talking about what he wants, and just sits on his fat ass\u003c/em>.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She knew she had something there. For a title, she remembered something she’d scribbled in her songwriting notebook. The phrase “No Scrubs” came from a term popular in Atlanta at the time, slang for a guy with no purpose, no prospects, no couth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burruss took her idea to fellow Xscape member Tameka “Tiny” Cottle, who loved the freestyle. Together, they quickly fleshed out the entire song and recorded a demo, thinking they’d keep it for their own upcoming joint project. But once the demo was passed to a few other industry figures, the two were persuaded to sell the song to a bigger group — who would end up running with it.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"TLC - No Scrubs (Official HD Video)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/FrLequ6dUdM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15807876/tlc\">TLC\u003c/a>, also from Atlanta, already had its own formula for success. Early hits like “\u003ca href=\"https://www.youtube.com/watch?v=LlZydtG3xqI\">Creep\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=8WEtxJ4-sh4\">Waterfalls\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=XmH4_pr6mH0\">Ain’t 2 Proud 2 Beg\u003c/a>” cultivated an image of being socially aware, and Rozonda “Chilli” Thomas, Tionne “T-Boz” Watkins and Lisa “Left Eye” Lopes were known as bold, confident, independent young women. So when “No Scrubs” landed in their court, a few words were changed to suit that image and make the song their own. (Among them, “fat ass” became “broke ass,” making clear the group’s problem was with men who lacked not just coin, but ambition.)\u003c/p>\n\u003cp>“No Scrubs” was released in early 1999 as the lead single of TLC’s third studio album, \u003cem>FanMail\u003c/em>. The track locked up the No. 1 position on Billboard’s Hot 100 for four weeks and stayed on the chart for months. Chilli Thomas says she knew it would be a hit the first time she heard it, because even though the term was regional, the idea was universal. “A scrub is just a bum guy, you know?” she says. “You don’t want to bring him home.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the time TLC hadn’t dropped an album in over four years, but two things helped “No Scrubs” take off commercially. For one, it was bolstered by a dope, futuristic \u003ca href=\"https://www.youtube.com/watch?v=FrLequ6dUdM\">video\u003c/a> helmed by director Hype Williams. The visual found the trio in a cruising spaceship and each lady, decked out in a swishy space suit, got the chance to show her individual personality. Chilli remembers the challenges of that now-iconic shoot, in which she performed her verses on a giant swinging platform.\u003c/p>\n\u003cp>“I was looking at it and it’s ginormous — I’m like, ‘Who’s supposed to get on the swing?’ ” Chilli says. “I was so intimidated, but eventually, I did it. I mean, I got on there and I got comfortable, and then I got \u003cem>real\u003c/em> comfortable.” The video would earn TLC a MTV Video Music Award for best group video, \u003ca href=\"https://www.youtube.com/watch?v=4TYosRJA0FU\">beating out\u003c/a> the all-male competition in a category that included both ‘NSync and the Backstreet Boys at their height.\u003c/p>\n\u003cp>Second, LaFace Records was smart about marketing the single. “No Scrubs” was released in two versions, one with Left Eye’s rap verse and one without. This strategy ensured the song would get airplay on a variety of radio stations, regardless of format.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While some of the most popular late ’90s hip-hop and R&B tracks were saturated with misogyny and damsel-in-distress plotlines, Burruss says, “No Scrubs” helped flip the script. “This song almost made it to where guys felt they couldn’t ride to an event together anymore,” she remembers.\u003c/p>\n\u003cp>And men weren’t just stopping short of carpooling to the club. “No Scrubs” was a wake-up call for guys like Sean Armstrong, aka DJ Face of the radio station \u003ca href=\"https://mymajicdc.com/\">Majic 102.3\u003c/a>. He remembers hearing the song for the first time at a Baltimore record store and spinning it at D.C.-area clubs when it first came out.\u003c/p>\n\u003cp>“Guys started checking themselves, like, ‘Am I a scrub?,’ ” Face remembers. “You had to really think: ‘I don’t really lean out the window, you know, hollerin’ at women. I have my own car. I got a job. I’m not a scrub.’ Like, you had to take yourself off the list.”\u003c/p>\n\u003cp>Chilli says it’s not guys like DJ Face who have to worry. “I always say, the guys getting upset are the scrubs. If you’re not a scrub, then … a hit dog will holler, right?” she laughs. “So, if that’s not who you are, then you shouldn’t be getting upset.”\u003c/p>\n\u003cp>The feathers of Yonkers, N.Y. rap group Sporty Thievz were so ruffled, the trio released its own response track, “No Pigeons,” in May 1999, a month after “No Scrubs” hit No. 1. But even if some perceived “No Pigeons” as a diss to the song’s originators, it used the same melody as “No Scrubs” — so Burruss, Briggs and Cottle still got paid.\u003c/p>\n\u003cp>“That was a check,” Burruss says. “I thought it was clever. I love the fact that they flipped the song and gave the male point of view. And plus, we ended up getting all the royalties from it.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sporty Thievz - No Pigeons (Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/pP33_uFlzTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the two decades since the song was released, it’s never really gone away. In 2017, Ed Sheeran added the songwriters of “No Scrubs” to the credits of his own No. 1 hit, “Shape of You,” after some \u003ca href=\"https://www.billboard.com/articles/columns/pop/7735550/ed-sheeran-tlc-no-scrubs-writers-shape-of-you-credits\">drew comparisons\u003c/a> between the two songs’ \u003ca href=\"https://www.youtube.com/watch?v=8OrT52ZToUk\">melodies\u003c/a>. And it’s inspired covers across all genres. British R&B singer Jorja Smith keeps her version \u003ca href=\"https://www.youtube.com/watch?v=XoD8smiAXPI\">stripped down\u003c/a>, while country star Kacey Musgraves adds \u003ca href=\"https://www.youtube.com/watch?v=kdlAZHdAfZc\">a bit of twang\u003c/a>. In January, the four men of Weezer released a \u003ca href=\"https://www.youtube.com/watch?v=55UtG-1os_s\">rock cover\u003c/a>, with all gender pronouns left intact.\u003c/p>\n\u003cp>But at the end of the day, the original is still popular. On Spotify, “No Scrubs” has over 300 million streams to date. NPR intern Sophie Fouladi was born in the early 2000s and says the song was a hit at her junior prom in Northern Virginia just last spring.\u003c/p>\n\u003cp>“I thought it was really interesting that a throwback song was something that got everyone really excited,” Fouladi says. “There was just screams of recognition from a bunch of girls, and they were pulling each other to the dance floor. These are people who were born after the song was released.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Will Eastman hosts a recurring \u003ca href=\"https://www.930.com/event/1717617-no-scrubs-90s-dance-party-washington/\">90’s dance party\u003c/a> called “No Scrubs” at Washington, D.C.’s 9:30 Club, and says he knows exactly the response he’ll get when he drops the song. “There’s an electricity that exists in the room,” he says. “You can feel it wash over the crowd, and for that three or four minutes, we’re all in it together.”\u003c/p>\n\u003cp>After playing the song for years, Eastman says he finally gets its message: “It’s a pop song, it’s an R&B song, but there’s also a subversive element to ‘No Scrubs’ which is taken from a position of, ‘Look, you are not in charge here. I’m in charge. I have agency here.’ That resonates with people.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Chilli says she recognized the power of “No Scrubs” back when TLC first recorded it, and she’s proud of its legacy. “I feel really happy because I know that — even though you can jam to it, you dance to it — lyrically, I know that the girls are listening, you know? And the guys are, too,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kandi Burruss agrees. “As women, we go through things every day, \u003cem>all day\u003c/em>,” she says. “No matter where we go, somebody is gonna try to push up or try to holler at you, and they’re not always a gentleman about it. So I feel like this song put it out there … and it just made women be a little bit more outspoken.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oh+Yes+Son%2C+They%27re+Talking+To+You%3A+20+Years+Of+%27No+Scrubs%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Instant Photos Capture Tiny Desk Artists Offstage, 'Flaws, Dust Specks and All'",
"headTitle": "Instant Photos Capture Tiny Desk Artists Offstage, ‘Flaws, Dust Specks and All’ | KQED",
"content": "\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "See intimate moments with Thundercat, Jorja Smith, the late Mac Miller and other musicians from NPR's Tiny Desk concert series, captured just moments after they performed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Peter Jackson To Direct Documentary On The Beatles Recording 'Let It Be'",
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"content": "\u003cp>It seems to be a big week for The \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">Beatles\u003c/a>: Director Peter Jackson is working on a documentary chronicling the recording process of the band’s final album with cooperation from Paul McCartney, Ringo Starr, Yoko Ono Lennon and Olivia Harrison.\u003c/p>\n\u003cp>[contextly_sidebar id=”Q1VMeIWecLL7zMCUgHagsbREjENGczcw”]\u003c/p>\n\u003cp>As was the case with \u003cem>They Shall Not Grow Old\u003c/em>, which found Jackson reviving a trove of archival World War I footage, the \u003cem>Lord of the Rings\u003c/em> filmmaker is mining 55 hours of unreleased footage of the band, using restoration techniques to render it in modern quality. The footage was originally intended for Michael Lindsay-Hogg’s 1970 documentary \u003cem>Let it Be\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”3G3S3V6JeGizHg9Ems42a1ch3wTQcOax”]\u003c/p>\n\u003cp>Jackson claims that the footage he’s working from reveals a dynamic counter to the prevailing narrative that tensions ran high during the creation of \u003cem>Let it Be\u003c/em>, which was released after The Beatles had broken up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was relieved to discover the reality is very different to the myth,” says Jackson in press material. “After reviewing all the footage and audio that Michael Lindsay-Hogg shot 18 months before they broke up, it’s simply an amazing historical treasure-trove. Sure, there’s moments of drama — but none of the discord this project has long been associated with. Watching John, Paul, George, and Ringo work together, creating now-classic songs from scratch, is not only fascinating — it’s funny, uplifting and surprisingly intimate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film, currently in production, does not yet have a release date set.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Peter+Jackson+To+Direct+Documentary+On+The+Beatles+Recording+%27Let+It+Be%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems to be a big week for The \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">Beatles\u003c/a>: Director Peter Jackson is working on a documentary chronicling the recording process of the band’s final album with cooperation from Paul McCartney, Ringo Starr, Yoko Ono Lennon and Olivia Harrison.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As was the case with \u003cem>They Shall Not Grow Old\u003c/em>, which found Jackson reviving a trove of archival World War I footage, the \u003cem>Lord of the Rings\u003c/em> filmmaker is mining 55 hours of unreleased footage of the band, using restoration techniques to render it in modern quality. The footage was originally intended for Michael Lindsay-Hogg’s 1970 documentary \u003cem>Let it Be\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Jackson claims that the footage he’s working from reveals a dynamic counter to the prevailing narrative that tensions ran high during the creation of \u003cem>Let it Be\u003c/em>, which was released after The Beatles had broken up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was relieved to discover the reality is very different to the myth,” says Jackson in press material. “After reviewing all the footage and audio that Michael Lindsay-Hogg shot 18 months before they broke up, it’s simply an amazing historical treasure-trove. Sure, there’s moments of drama — but none of the discord this project has long been associated with. Watching John, Paul, George, and Ringo work together, creating now-classic songs from scratch, is not only fascinating — it’s funny, uplifting and surprisingly intimate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film, currently in production, does not yet have a release date set.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Peter+Jackson+To+Direct+Documentary+On+The+Beatles+Recording+%27Let+It+Be%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Starting April 6, the de Young and Legion of Honor will admit San Franciscans for free every Saturday. The initiative will accept photo ID or a postmarked envelope as proof of residence, part of an effort to provide wider access to the museums’ collections.\u003c/p>\n\u003cp>Currently, general admission tickets at both museums, which operate under the umbrella organization of the Fine Arts Museums of San Francisco (FAMSF) clock in at $15 per adult. Special exhibitions like \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/gauguin-spiritual-journey\" rel=\"noopener\" target=\"_blank\">Gauguin: A Spiritual Journey\u003c/a>\u003c/i> or \u003ci>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/east-meets-west\" rel=\"noopener\" target=\"_blank\">East Meets West: Jewels of the Maharajas from the Al Thani Collection\u003c/a>\u003c/i> currently run at $28 per adult. (Unfortunately, come April 6, special exhibitions will remain full price.)\u003c/p>\n\u003cp>But even these prices aren’t the highest in the Bay Area museum world. Adults at SFMOMA pay $25 each. And admission prices at the California Academy of Sciences top the list at $35.95 per adult, $25.95 per child; a family of three can spend around $100 just to visit the combination aquarium, planetarium and natural history museum.\u003c/p>\n\u003cp>Pointing to rising costs of living in the Bay Area, new FAMSF director and CEO Thomas P. Campbell stated in a press release, “We must serve the city that we represent. Step one is making sure that every resident can step foot in its museums. That starts with access. That starts with accessibility.”\u003c/p>\n\u003cp>This isn’t a radically new stance for the FAMSF, but more of a return to its founding principles. City funding accounts for approximately 24 percent of the FAMSF’s operating expenses (a $14.9 million appropriation in the \u003ca href=\"https://www.famsf.org/sites/default/files/famsf_annual_report_fy17-18.pdf\" rel=\"noopener\" target=\"_blank\">2018 fiscal year\u003c/a>). As “city museums,” a requirement of institutional accessibility is written into \u003ca href=\"https://deyoung.famsf.org/about/board-of-trustees\" rel=\"noopener\" target=\"_blank\">San Francisco’s City Charter\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the free Saturdays, the FAMSF will introduce free admission to all visitors with disabilities during \u003ci>all\u003c/i> normal museum hours. The museums are also joining the national \u003ca href=\"https://museums4all.org/\" rel=\"noopener\" target=\"_blank\">Museums for All\u003c/a> program, which allows those receiving food assistance to enter the de Young and Legion of Honor for free by simply presenting their EBT card. The museums will continue to offer free general admission to all on the first Tuesday of every month. (Hot tip, that’s coming up fast on Feb. 5!)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For additional details on discounts and free entry, see the \u003ca href=\"https://deyoung.famsf.org/free-reduced-admission\" rel=\"noopener\" target=\"_blank\">FAMSF free and reduced admission page\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Starting April 6, the de Young and Legion of Honor will admit San Franciscans for free every Saturday. The initiative will accept photo ID or a postmarked envelope as proof of residence, part of an effort to provide wider access to the museums’ collections.\u003c/p>\n\u003cp>Currently, general admission tickets at both museums, which operate under the umbrella organization of the Fine Arts Museums of San Francisco (FAMSF) clock in at $15 per adult. Special exhibitions like \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/gauguin-spiritual-journey\" rel=\"noopener\" target=\"_blank\">Gauguin: A Spiritual Journey\u003c/a>\u003c/i> or \u003ci>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/east-meets-west\" rel=\"noopener\" target=\"_blank\">East Meets West: Jewels of the Maharajas from the Al Thani Collection\u003c/a>\u003c/i> currently run at $28 per adult. (Unfortunately, come April 6, special exhibitions will remain full price.)\u003c/p>\n\u003cp>But even these prices aren’t the highest in the Bay Area museum world. Adults at SFMOMA pay $25 each. And admission prices at the California Academy of Sciences top the list at $35.95 per adult, $25.95 per child; a family of three can spend around $100 just to visit the combination aquarium, planetarium and natural history museum.\u003c/p>\n\u003cp>Pointing to rising costs of living in the Bay Area, new FAMSF director and CEO Thomas P. Campbell stated in a press release, “We must serve the city that we represent. Step one is making sure that every resident can step foot in its museums. That starts with access. That starts with accessibility.”\u003c/p>\n\u003cp>This isn’t a radically new stance for the FAMSF, but more of a return to its founding principles. City funding accounts for approximately 24 percent of the FAMSF’s operating expenses (a $14.9 million appropriation in the \u003ca href=\"https://www.famsf.org/sites/default/files/famsf_annual_report_fy17-18.pdf\" rel=\"noopener\" target=\"_blank\">2018 fiscal year\u003c/a>). As “city museums,” a requirement of institutional accessibility is written into \u003ca href=\"https://deyoung.famsf.org/about/board-of-trustees\" rel=\"noopener\" target=\"_blank\">San Francisco’s City Charter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Pandora’s New Corporate Parents Gave Millions to Trump, GOP",
"headTitle": "Pandora’s New Corporate Parents Gave Millions to Trump, GOP | KQED",
"content": "\u003cp>Pandora Media shareholders voted Tuesday to approve its $3.5 billion acquisition by satellite radio company Sirius XM, adding the struggling webcaster and one of Oakland’s largest employers to the portfolio of major Donald Trump and Republican Party donors at parent company Liberty Media.\u003c/p>\n\u003cp>The closely watched acquisition, announced in September and expected to close by March, creates what the companies call the world’s largest audio entertainment company.\u003c/p>\n\u003cp>Pandora has more than 70 million listeners, mostly on its ad-supported free tier, but the company has long lost money and lately fallen behind on-demand streaming competitors such as Spotify and Apple Music. Sirius, by contrast, is profitable with more than 30 million subscribers.\u003c/p>\n\u003cp>The deal consolidates Pandora and Sirius XM under the control of Liberty Media, a Colorado company owned and run by conservative donors, at a time when music industry political giving and tech ties to the Trump administration are increasingly scrutinized. Policy experts also say the merger empowers a company that’s aggressively fought to suppress royalty payments for artists and copyright holders. [contextly_sidebar id=”Ssb7QJZrkAgtiTRvG9JTtq0YEJwooM5O”]\u003c/p>\n\u003cp>Liberty founder John Malone, a longtime media mogul, and CEO Greg Maffei, who’s also the board chairman at Sirius, have donated millions to Trump and GOP candidates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Individually and through Liberty political action committees, Malone and Maffei collectively gave $1 million to Trump’s 58th Presidential Inaugural Committee, according to Federal Election Commission filings. The donation follows roughly $1 million each to conservative national candidates for office, FEC records show.\u003c/p>\n\u003cp>Trump’ inaugural committee and a related super PAC are the subject of \u003ca href=\"https://www.nytimes.com/2018/12/13/us/politics/trump-inauguration-investigation.html\">federal investigation\u003c/a> for influence peddling and illegal coordination. Donors of $1 million or more, according to a brochure \u003ca href=\"https://publicintegrity.org/federal-politics/donald-trump-offering-huge-perks-for-inauguration-donors/\">published\u003c/a> by the Center for Public Integrity, received four tickets to a “leadership luncheon” advertised as an “exclusive inaugural event.”\u003c/p>\n\u003cp>Liberty spokespeople didn’t respond to comment requests from KQED. In interviews, Malone has voiced his \u003ca href=\"https://www.youtube.com/watch?v=tByi-4LuNE0\">support\u003c/a> for Trump’s positions on trade and immigration, and said he expects the administration to be favorable to the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13849654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Tim-Westergren-800x532.jpg\" alt=\"Co-founder of Pandora Radio Tim Westergren speaks on stage in December 2016 in New York City. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Co-founder of Pandora Radio Tim Westergren speaks on stage in December 2016 in New York City. \u003ccite>(Theo Wargo/Getty Images for Pandora Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Liberty’s controlling interest in Sirius has received little media attention, the Pandora acquisition comes at a time when conservative music industry giving has prompted protest. 2017 reports of Philip Anschutz, Goldenvoice parent company AEG’s owner, financially supporting \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">anti-gay organizations\u003c/a> spurred calls to boycott Goldenvoice music festival Coachella. (Anschutz called the stories, based on public records of his charity, “fake news.”)\u003c/p>\n\u003cp>Liberty connections to Trump aside, Sirius has attracted liberal criticism for its own programming decisions. In 2016, a media coalition \u003ca href=\"https://futureofmusic.org/pressmention/latino-civil-rights-groups-media-coalition-take-aim-siriusxm-shifting-eight-latin-music\">protested\u003c/a> Sirius’ move to eliminate 80 percent of its Latin music channels, saying the satellite service turned its back on Spanish-speaking listeners “at a time when Latinos are most misunderstood and fighting constant attacks.”\u003c/p>\n\u003cp>The next year, Sirius reintroduced Steve Bannon as a regular host on its Patriot channel, calling the former Trump advisor a “conservative populist icon” as part of a Breitbart expansion. In response, celebrities such as Seth Rogen and Melissa Etheridge called for a \u003ca href=\"https://money.cnn.com/2017/12/10/media/sirius-xm-steve-bannon-boycott/index.html\">boycott\u003c/a> of Sirius. “I will not be a part of normalizing hate speech,” Etheridge said at the time.\u003c/p>\n\u003cp>(Breitbart eventually cut ties with Bannon in 2018, forcing him to also step down from Sirius.) [contextly_sidebar id=”behKZRs8K9PFoI9nTiaF7vymcBN4fSiN”]\u003c/p>\n\u003cp>Liberty is also a partial 34-percent owner of Live Nation, the world’s largest concert promoter, where Maffei also chairs the board. So the Pandora acquisition is, however indirectly, an expansion of Live Nation’s presence in the Bay Area. Goldenvoice and Live Nation have aggressively angled for more control of the local concert market in recent years—to the detriment, \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">critics say\u003c/a>, of show-goers and independent venues.\u003c/p>\n\u003cp>Though the relationship between Pandora and other Liberty holdings such as Live Nation remains to be seen, Pandora cofounder and on-and-off executive Tim Westergren approvingly cited Sirius’s connection to “the live business” last year. And Liberty plans to expand further in the music business: According to a recent \u003ca href=\"https://www.rollingstone.com/music/music-features/liberty-media-about-to-become-the-most-powerful-company-in-music-780411/\">feature\u003c/a> in \u003cem>Rolling Stone\u003c/em>, it’s even eyeing broadcast giant iHeart Media.\u003c/p>\n\u003cp>Sirius XM is itself the result of onetime competitors Sirius and XM merging despite antitrust concerns in 2008. Kevin Erickson, director of Washington, D.C. artist advocacy group the Future of Music Coalition, said the Pandora-Sirius deal continues a troubling consolidation trend.\u003c/p>\n\u003cp>“If one company is allowed to combine the satellite radio monopoly with the largest company in digital radio, the largest broadcast radio station group, and potentially one of the two dominant forces in live music, that’s truly unprecedented gatekeeper power,” Erickson said, calling the plan “a catastrophe for independent musicians and a fans.” [contextly_sidebar id=”c2seARt6xoGD1iDGE2YLuYIMqQseZ1v1″]\u003c/p>\n\u003cp>As so called non-interactive services, Sirius and Pandora rely on statutory licenses issued by the government as a baseline for their royalty obligations to artists and copyright holders. Without competition, Erickson said, that baseline becomes the ceiling instead of the floor. “When one buyer effectively controls an entire marketplace—what’s called a monopsony—they have the bargaining power to drive wages down,” he said.\u003c/p>\n\u003cp>As an example of Liberty’s artist relations, Erickson pointed to the Music Modernization Act. The legislation, signed into law last year, aimed to adapt copyright for the streaming era in part by extending federal copyright protection to sound recordings made before February 15, 1972. Liberty, according to Erickson, was the act’s most aggressive opponent.\u003c/p>\n\u003cp>“So we already know something about how much respect they have for musicians,” he said.\u003c/p>\n\u003cp>Meanwhile, Bay Area tech industry ties to the Trump administration have begun to draw the ire of rank-and-file workers. Last June, protesters disrupted Salesforce’s annual Dreamforce conference to decry the software company’s contract with U.S. Customs and Border Patrol. The Tech Workers Coalition has argued that the contract makes Salesforce complicit in Trump’s anti-immigrant campaign, despite the company’s outspoken liberal leader Marc Benioff.\u003c/p>\n\u003cp>The mood among Pandora employees towards Liberty’s little-publicized political affinities is unclear. Two workers who asked to remain anonymous told KQED office talk is focused on the company’s move last year to cut 5 percent of its workforce amid an expansion in Atlanta. The combined company, according to an internal document \u003ca href=\"http://www.insideradio.com/free/after-merger-with-siriusxm-pandora-will-move-hq-to-new/article_efc95f62-d10f-11e8-aead-0f9a98996a12.html\">reported\u003c/a> in October, will be headquartered in New York.\u003c/p>\n\u003cp>Pandora had 2,488 full-time workers worldwide as of late last year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Records show that Westergren, for years Pandora’s public face, has mostly donated to Democrats. According to a \u003cem>Billboard \u003c/em>\u003ca href=\"https://www.billboard.com/articles/business/6191206/pandora-tim-westergren-political-donations\">analysis\u003c/a>, his political giving generally targeted elected officials involved in Pandora-related policy making. The streaming company has spent millions \u003ca href=\"https://www.eastbayexpress.com/oakland/the-tyranny-of-free/Content?oid=4126731&showFullText=true\">lobbying Washington\u003c/a> to reduce its royalty obligation to artists and copyright holders.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pandora Media shareholders voted Tuesday to approve its $3.5 billion acquisition by satellite radio company Sirius XM, adding the struggling webcaster and one of Oakland’s largest employers to the portfolio of major Donald Trump and Republican Party donors at parent company Liberty Media.\u003c/p>\n\u003cp>The closely watched acquisition, announced in September and expected to close by March, creates what the companies call the world’s largest audio entertainment company.\u003c/p>\n\u003cp>Pandora has more than 70 million listeners, mostly on its ad-supported free tier, but the company has long lost money and lately fallen behind on-demand streaming competitors such as Spotify and Apple Music. Sirius, by contrast, is profitable with more than 30 million subscribers.\u003c/p>\n\u003cp>The deal consolidates Pandora and Sirius XM under the control of Liberty Media, a Colorado company owned and run by conservative donors, at a time when music industry political giving and tech ties to the Trump administration are increasingly scrutinized. Policy experts also say the merger empowers a company that’s aggressively fought to suppress royalty payments for artists and copyright holders. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Liberty founder John Malone, a longtime media mogul, and CEO Greg Maffei, who’s also the board chairman at Sirius, have donated millions to Trump and GOP candidates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Individually and through Liberty political action committees, Malone and Maffei collectively gave $1 million to Trump’s 58th Presidential Inaugural Committee, according to Federal Election Commission filings. The donation follows roughly $1 million each to conservative national candidates for office, FEC records show.\u003c/p>\n\u003cp>Trump’ inaugural committee and a related super PAC are the subject of \u003ca href=\"https://www.nytimes.com/2018/12/13/us/politics/trump-inauguration-investigation.html\">federal investigation\u003c/a> for influence peddling and illegal coordination. Donors of $1 million or more, according to a brochure \u003ca href=\"https://publicintegrity.org/federal-politics/donald-trump-offering-huge-perks-for-inauguration-donors/\">published\u003c/a> by the Center for Public Integrity, received four tickets to a “leadership luncheon” advertised as an “exclusive inaugural event.”\u003c/p>\n\u003cp>Liberty spokespeople didn’t respond to comment requests from KQED. In interviews, Malone has voiced his \u003ca href=\"https://www.youtube.com/watch?v=tByi-4LuNE0\">support\u003c/a> for Trump’s positions on trade and immigration, and said he expects the administration to be favorable to the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13849654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Tim-Westergren-800x532.jpg\" alt=\"Co-founder of Pandora Radio Tim Westergren speaks on stage in December 2016 in New York City. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Tim-Westergren-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Co-founder of Pandora Radio Tim Westergren speaks on stage in December 2016 in New York City. \u003ccite>(Theo Wargo/Getty Images for Pandora Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Liberty’s controlling interest in Sirius has received little media attention, the Pandora acquisition comes at a time when conservative music industry giving has prompted protest. 2017 reports of Philip Anschutz, Goldenvoice parent company AEG’s owner, financially supporting \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">anti-gay organizations\u003c/a> spurred calls to boycott Goldenvoice music festival Coachella. (Anschutz called the stories, based on public records of his charity, “fake news.”)\u003c/p>\n\u003cp>Liberty connections to Trump aside, Sirius has attracted liberal criticism for its own programming decisions. In 2016, a media coalition \u003ca href=\"https://futureofmusic.org/pressmention/latino-civil-rights-groups-media-coalition-take-aim-siriusxm-shifting-eight-latin-music\">protested\u003c/a> Sirius’ move to eliminate 80 percent of its Latin music channels, saying the satellite service turned its back on Spanish-speaking listeners “at a time when Latinos are most misunderstood and fighting constant attacks.”\u003c/p>\n\u003cp>The next year, Sirius reintroduced Steve Bannon as a regular host on its Patriot channel, calling the former Trump advisor a “conservative populist icon” as part of a Breitbart expansion. In response, celebrities such as Seth Rogen and Melissa Etheridge called for a \u003ca href=\"https://money.cnn.com/2017/12/10/media/sirius-xm-steve-bannon-boycott/index.html\">boycott\u003c/a> of Sirius. “I will not be a part of normalizing hate speech,” Etheridge said at the time.\u003c/p>\n\u003cp>(Breitbart eventually cut ties with Bannon in 2018, forcing him to also step down from Sirius.) \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Liberty is also a partial 34-percent owner of Live Nation, the world’s largest concert promoter, where Maffei also chairs the board. So the Pandora acquisition is, however indirectly, an expansion of Live Nation’s presence in the Bay Area. Goldenvoice and Live Nation have aggressively angled for more control of the local concert market in recent years—to the detriment, \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">critics say\u003c/a>, of show-goers and independent venues.\u003c/p>\n\u003cp>Though the relationship between Pandora and other Liberty holdings such as Live Nation remains to be seen, Pandora cofounder and on-and-off executive Tim Westergren approvingly cited Sirius’s connection to “the live business” last year. And Liberty plans to expand further in the music business: According to a recent \u003ca href=\"https://www.rollingstone.com/music/music-features/liberty-media-about-to-become-the-most-powerful-company-in-music-780411/\">feature\u003c/a> in \u003cem>Rolling Stone\u003c/em>, it’s even eyeing broadcast giant iHeart Media.\u003c/p>\n\u003cp>Sirius XM is itself the result of onetime competitors Sirius and XM merging despite antitrust concerns in 2008. Kevin Erickson, director of Washington, D.C. artist advocacy group the Future of Music Coalition, said the Pandora-Sirius deal continues a troubling consolidation trend.\u003c/p>\n\u003cp>“If one company is allowed to combine the satellite radio monopoly with the largest company in digital radio, the largest broadcast radio station group, and potentially one of the two dominant forces in live music, that’s truly unprecedented gatekeeper power,” Erickson said, calling the plan “a catastrophe for independent musicians and a fans.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As so called non-interactive services, Sirius and Pandora rely on statutory licenses issued by the government as a baseline for their royalty obligations to artists and copyright holders. Without competition, Erickson said, that baseline becomes the ceiling instead of the floor. “When one buyer effectively controls an entire marketplace—what’s called a monopsony—they have the bargaining power to drive wages down,” he said.\u003c/p>\n\u003cp>As an example of Liberty’s artist relations, Erickson pointed to the Music Modernization Act. The legislation, signed into law last year, aimed to adapt copyright for the streaming era in part by extending federal copyright protection to sound recordings made before February 15, 1972. Liberty, according to Erickson, was the act’s most aggressive opponent.\u003c/p>\n\u003cp>“So we already know something about how much respect they have for musicians,” he said.\u003c/p>\n\u003cp>Meanwhile, Bay Area tech industry ties to the Trump administration have begun to draw the ire of rank-and-file workers. Last June, protesters disrupted Salesforce’s annual Dreamforce conference to decry the software company’s contract with U.S. Customs and Border Patrol. The Tech Workers Coalition has argued that the contract makes Salesforce complicit in Trump’s anti-immigrant campaign, despite the company’s outspoken liberal leader Marc Benioff.\u003c/p>\n\u003cp>The mood among Pandora employees towards Liberty’s little-publicized political affinities is unclear. Two workers who asked to remain anonymous told KQED office talk is focused on the company’s move last year to cut 5 percent of its workforce amid an expansion in Atlanta. The combined company, according to an internal document \u003ca href=\"http://www.insideradio.com/free/after-merger-with-siriusxm-pandora-will-move-hq-to-new/article_efc95f62-d10f-11e8-aead-0f9a98996a12.html\">reported\u003c/a> in October, will be headquartered in New York.\u003c/p>\n\u003cp>Pandora had 2,488 full-time workers worldwide as of late last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Hate Based Terrorism': NAACP Condemns Attack on Santa Rosa's Jussie Smollett",
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"content": "\u003cp>\u003cstrong>\u003cem>Update Jan. 30: \u003c/em>\u003c/strong>\u003cem>The National Association for the Advancement of Colored People (NAACP) \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Jan. 29: \u003c/strong>TMZ \u003ca href=\"https://www.tmz.com/2019/01/29/empire-star-jussie-smollett-attacked-hospitalized-homophobic-hate-crime/\" target=\"_blank\" rel=\"noopener\">confirmed\u003c/a> Smollett received treatment at Northwestern Memorial Hospital and has since been discharged. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Feb. 20: \u003c/strong>Jussie Smollett \u003ca href=\"https://www.npr.org/2019/02/20/695974164/chicago-police-jussie-smollett-under-suspicion-of-filing-false-police-report\" rel=\"noopener\" target=\"_blank\">has been arrested\u003c/a> on charges of filing a false police report. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Empire\u003c/em> cast member Jussie Smollett suffered injuries in Chicago around 2am Tuesday morning in a possible hate crime. The 35-year-old Santa Rosa-born actor and singer is best known for his role as Jamal Lyon in the hit Fox drama, and critics have hailed his performance as “\u003ca href=\"https://www.buzzfeed.com/kelleylcarter/being-gay-and-black-on-tv-will-never-be-the-same\" target=\"_blank\" rel=\"noopener\">groundbreaking\u003c/a>” for his positive and nuanced depiction of a black gay man on television.\u003c/p>\n\u003cp>The Chicago Police Department is calling the incident a possible “racially-charged assault and battery.” A statement released early Tuesday outlines the attack. The two perpetrators reportedly yelled racial and homophobic slurs at Smollett and wrapped a rope around his neck.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://twitter.com/Phil_Lewis_/status/1090282533516906496\u003c/p>\n\u003cp>\u003ca href=\"https://www.tmz.com/2019/01/29/empire-star-jussie-smollett-attacked-hospitalized-homophobic-hate-crime/\" target=\"_blank\" rel=\"noopener\">TMZ \u003c/a>reports that the attackers also yelled, “This is MAGA country.”\u003c/p>\n\u003cp>Fellow celebrities and friends have shared their thoughts and wishes on social media for the Empire star’s recovery.\u003c/p>\n\u003cp>http://twitter.com/Zendaya/status/1090324824252133376\u003c/p>\n\u003cp>http://twitter.com/Devonte_Riley/status/1090305712864051200\u003c/p>\n\u003cp>Even Kamala Harris shared her thoughts: “This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\">\n\u003cp lang=\"en\" dir=\"ltr\">.\u003ca href=\"https://twitter.com/JussieSmollett?ref_src=twsrc%5Etfw\">@JussieSmollett\u003c/a> is one of the kindest, most gentle human beings I know. I’m praying for his quick recovery. \u003c/p>\n\u003cp>This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin. We must confront this hate.\u003c/p>\n\u003cp>— Kamala Harris (@KamalaHarris) \u003ca href=\"https://twitter.com/KamalaHarris/status/1090361495119187969?ref_src=twsrc%5Etfw\">January 29, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cscript async src=\"https://platform.twitter.com/widgets.js\" charset=\"utf-8\">\u003c/script>\u003c/p>\n\u003cp>http://twitter.com/shondarhimes/status/1090318501254840320\u003c/p>\n\u003cp>On Wednesday, Jan. 30, the NAACP \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/p>\n\u003cblockquote>\u003cp>“The recent racist and homophobic attack on acclaimed actor and activist Jussie Smollett is troubling. The rise in hate crimes is directly linked to President Donald J. Trump’s racist and xenophobic rhetoric. It is dangerous for any society to allow a tone of divisiveness and hatred to dominate the political discourse. As this rhetoric continues to bleed into our everyday lives, dangerous behavior will continue to place many law-abiding individuals at risk. We pray for a full physical and mental recovery Jussie Smollett and many unnamed victims of this forum of hate based terrorism.”\u003c/p>\n\u003cp>— Derrick Johnson, NAACP President and CEO\u003c/p>\u003c/blockquote>\n\u003cp>While the Chicago police have confirmed the attack on an \u003cem>Empire\u003c/em> cast member, they have not yet released his name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing and will be updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Update Jan. 30: \u003c/em>\u003c/strong>\u003cem>The National Association for the Advancement of Colored People (NAACP) \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Jan. 29: \u003c/strong>TMZ \u003ca href=\"https://www.tmz.com/2019/01/29/empire-star-jussie-smollett-attacked-hospitalized-homophobic-hate-crime/\" target=\"_blank\" rel=\"noopener\">confirmed\u003c/a> Smollett received treatment at Northwestern Memorial Hospital and has since been discharged. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Feb. 20: \u003c/strong>Jussie Smollett \u003ca href=\"https://www.npr.org/2019/02/20/695974164/chicago-police-jussie-smollett-under-suspicion-of-filing-false-police-report\" rel=\"noopener\" target=\"_blank\">has been arrested\u003c/a> on charges of filing a false police report. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Empire\u003c/em> cast member Jussie Smollett suffered injuries in Chicago around 2am Tuesday morning in a possible hate crime. The 35-year-old Santa Rosa-born actor and singer is best known for his role as Jamal Lyon in the hit Fox drama, and critics have hailed his performance as “\u003ca href=\"https://www.buzzfeed.com/kelleylcarter/being-gay-and-black-on-tv-will-never-be-the-same\" target=\"_blank\" rel=\"noopener\">groundbreaking\u003c/a>” for his positive and nuanced depiction of a black gay man on television.\u003c/p>\n\u003cp>The Chicago Police Department is calling the incident a possible “racially-charged assault and battery.” A statement released early Tuesday outlines the attack. The two perpetrators reportedly yelled racial and homophobic slurs at Smollett and wrapped a rope around his neck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Even Kamala Harris shared her thoughts: “This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\">\n\u003cp lang=\"en\" dir=\"ltr\">.\u003ca href=\"https://twitter.com/JussieSmollett?ref_src=twsrc%5Etfw\">@JussieSmollett\u003c/a> is one of the kindest, most gentle human beings I know. I’m praying for his quick recovery. \u003c/p>\n\u003cp>This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin. We must confront this hate.\u003c/p>\n\u003cp>— Kamala Harris (@KamalaHarris) \u003ca href=\"https://twitter.com/KamalaHarris/status/1090361495119187969?ref_src=twsrc%5Etfw\">January 29, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cscript async src=\"https://platform.twitter.com/widgets.js\" charset=\"utf-8\">\u003c/script>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On Wednesday, Jan. 30, the NAACP \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/p>\n\u003cblockquote>\u003cp>“The recent racist and homophobic attack on acclaimed actor and activist Jussie Smollett is troubling. The rise in hate crimes is directly linked to President Donald J. Trump’s racist and xenophobic rhetoric. It is dangerous for any society to allow a tone of divisiveness and hatred to dominate the political discourse. As this rhetoric continues to bleed into our everyday lives, dangerous behavior will continue to place many law-abiding individuals at risk. We pray for a full physical and mental recovery Jussie Smollett and many unnamed victims of this forum of hate based terrorism.”\u003c/p>\n\u003cp>— Derrick Johnson, NAACP President and CEO\u003c/p>\u003c/blockquote>\n\u003cp>While the Chicago police have confirmed the attack on an \u003cem>Empire\u003c/em> cast member, they have not yet released his name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing and will be updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" title=\"New Order - Ceremony (Live at CoManCHE Student Union, Manchester on 6th February 1981)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/NAmyMqL1AkI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>New Order, one of the most influential U.K. bands of the 20th century, formed in the long shadow of Joy Division, which disbanded following the 1980 death of singer Ian Curtis. Joy Division’s surviving members — Bernard Sumner, Peter Hook and Stephen Morris — formed New Order the same year and soon began carving out their own rich creative legacy, which spanned several decades and a string of massive singles.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The first of those singles, “Ceremony,” was actually written with Joy Division prior to Curtis’ suicide. It popped up as a single in advance of New Order’s 1981 debut album, \u003cem>Movement\u003c/em>, which is about to receive the deluxe-reissue treatment; to commemorate the occasion, the band is circulating a little-seen performance of “Ceremony,” recorded live at Manchester’s CoManCHE Student Union.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Recorded on Feb. 6, 1981, it’s a marvelous document of New Order’s early years — steeped in tragedy but alive with possibility.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Watch+New+Order+Perform+%27Ceremony%27+In+Rare+Footage+From+1981&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Keak Da Sneak Heads to Prison; 'No Compassion' for Disabilities, He Says",
"headTitle": "Keak Da Sneak Heads to Prison; ‘No Compassion’ for Disabilities, He Says | KQED",
"content": "\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak worries that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Update, Feb. 7: \u003c/strong>Keak Da Sneak now has until April 11 to turn himself in, and is still fighting for house arrest. Read about his delayed sentencing \u003ca href=\"https://www.kqed.org/arts/13850378/keak-da-sneak-prison-sentence-delayed-other-options-remain-a-possibility\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update, Jan. 28:\u003c/strong> At the Jan. 28 hearing, Amador County Superior Court Judge J.S. Hermanson gave Keak Da Sneak additional time to complete a medical procedure. He must now turn himself in on Feb. 7. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n January 2017, Keak Da Sneak survived a close brush with death.\u003c/p>\n\u003cp>The way the rapper tells it, a friend was dropping him off to his car in Oakland after a show in Tracy when several men pulled up and attempted to rob them. After an altercation, the assailants started shooting. Keak was sitting passenger side and narrowly escaped with his life.\u003c/p>\n\u003cp>“After that, I got a gun,” says the rapper, whose real name is Charles Kente Williams. Because of his hardscrabble early life in Oakland’s streets and his local celebrity as a godfather of the Bay Area’s hyphy movement, he says, he’s been the target of multiple violent attacks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Me being from the streets, this environment I grew up in, the streets will suck you in and spit you out,” he tells me over the phone. “There’s no love.”\u003c/p>\n\u003cp>California law prohibits Williams from owning a firearm as a convicted felon. But because he earns less as a musician than he did in the ’90s, when he was signed to Virgin Records with his group 3X Krazy—or in the 2000s, when he helped define the regional sound with tracks like “\u003ca href=\"https://www.youtube.com/watch?v=KrH-VKYY3nw\" target=\"_blank\" rel=\"noopener\">Super Hyphy\u003c/a>” and E-40’s “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\" target=\"_blank\" rel=\"noopener\">Tell Me When To Go\u003c/a>“—he couldn’t afford armed security. He took it upon himself to carry a weapon for self-defense.\u003c/p>\n\u003cp>Today, Jan. 28, Williams begins a 16-month sentence in state prison for one count of possession of a firearm as a felon. Though he has severe physical disabilities from the January 2017 incident and another shooting that occurred months later in Richmond (he uses a wheelchair full time, as well as a colostomy bag and a catheter, and sees a nurse three times a week), he says that over the two-year legal battle, prosecutors were unsympathetic to his condition and refused to consider house arrest as a part of his plea bargain.\u003c/p>\n\u003cp>“It feels like they had no compassion,” he says. “My health is not good. I know they’re not gonna give me the treatment I need in prison. I’ve been to jail before, and once you get behind these walls, they have no compassion. You have to be on your dying bed for them to give you some assistance.”\u003c/p>\n\u003cp>(The Amador County district attorney’s office was not available for comment as of press time.)\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>illiams’ felony firearms possession charge goes back to March 2017. As he remembers it, he had the gun hidden in his car while returning from a night of gambling at a casino in Amador County, a rural area east of Sacramento whose population is 89-percent white, according to the latest census estimate. A police officer ran Williams’ license plate at a gas station and saw that he was on probation from a prior firearm charge, and decided to search his car.\u003c/p>\n\u003cp>“It was really racial profiling at an all-time high,” Williams says.\u003c/p>\n\u003cp>According to public records, the Amador County district attorney charged Williams with four felonies and one misdemeanor: possession of a firearm as a felon, possession of ammunition as a felon, receiving stolen property, driving with a suspended or revoked license and possession of a controlled substance. Over the course of the two-year court case, the district attorney dropped all charges except for firearm possession.\u003c/p>\n\u003cp>Not long after the criminal case began, Williams survived another shooting in August 2017, and his health took a major turn for the worse. That incident took place as Williams left a casino after another night of gambling. He was sitting in his parked car near a Richmond gas station when, he recalls, someone attempted to open the driver’s side door. The next thing he saw was a barrage of gunfire.\u003c/p>\n\u003cp>“The first bullet busted the window and hit me in the face, grazed my face,” he says. “It made me put my arms up and guard my head, so I got shot all in my side, abdomen, my elbows, my sides. When the gunfire stopped, I couldn’t feel my legs.”\u003c/p>\n\u003cp>Williams woke up two days later at Highland Hospital in Oakland, with his mother praying at his bedside.\u003c/p>\n\u003cp>https://youtu.be/rSRBp72DU2I\u003c/p>\n\u003cp>The road to recovery has not been easy since the second shooting. He spent weeks in the hospital and then transferred to a rehabilitation center, where he learned to adjust to life in a wheelchair. He now lives at home with his wife in the Sacramento area, where he also has regular physical therapy sessions; a nurse comes three times a week to care for him and clean his bed sores—a common ailment for people with mobility issues—in order to prevent infection.\u003c/p>\n\u003cp>During our interview, Williams’ voice occasionally rises from stoic resolve to anxiety. “Am I gonna get the treatment I’m getting out here? I don’t think so,” he says. “I’ve been to jail with people who were sick and really doing bad, and the guards and deputies didn’t care about them at all. They came and beat on them because they were pushing the button like, ‘I need help, I need help.'”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>ndeed, life in prison is incredibly challenging for inmates with disabilities, says lawyer and activist Aditi Juneja, a board member of the \u003ca href=\"http://disabilityrightsfund.org/\" target=\"_blank\" rel=\"noopener\">Disability Rights Fund\u003c/a>. Quality of medical care varies widely from facility to facility—even within the same state—and although prisons are covered under the Americans with Disabilities Act (ADA), there’s no guarantee that they’re always compliant.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“When we talk about people with disabilities accessing services in general, people with disabilities face the onus of having to prove they are disabled and need the service,” Juneja says. “You see that with people waiting a really long time with Social Security Disability Insurance. When someone is incarcerated, you can imagine it’s that much worse. When someone has broken the law and is being subjected to this retributive justice we have here in the United States, there is less trust and less willingness to listen to people telling you what they need.”\u003c/span>\u003c/p>\n\u003cp>[contextly_sidebar id=”uIa5LyZymYnWgYJ6tbuggDBULmPpxbwX”]\u003c/p>\n\u003cp>California prisons are notoriously overcrowded (at 136.6 percent capacity, according to a \u003ca href=\"https://www.aclu.org/sites/default/files/field_document/010916-aclu-solitarydisabilityreport-single.pdf\" target=\"_blank\" rel=\"noopener\">2017 ACLU report\u003c/a>), and not all facilities have accommodations for wheelchair users, especially those who need regular nursing care like Williams. Typically, when an inmate is sentenced to a state prison, they’re sent to an interim facility called a reception center where the state assesses their physical, cognitive and security needs.\u003c/p>\n\u003cp>While able-bodied inmates can leave a reception center in as quickly as a week, those with disabilities can stay there for \u003ca href=\"https://www.cdcr.ca.gov/BOPH/docs/ADA-Resources/ARMSTRONG-I-Remedial-Plan.pdf\" target=\"_blank\" rel=\"noopener\">60 days\u003c/a>—sometimes longer—while the state matches them with a facility that can accommodate their needs. Reception centers are much \u003ca href=\"https://www.cdcr.ca.gov/ombuds/Entering_a_Prison_FAQs.html\" target=\"_blank\" rel=\"noopener\">more restrictive\u003c/a> than prisons; inmates have no phone privileges, and can only interact with visitors through a glass barrier.\u003c/p>\n\u003cp>California prisons also have a track record of violating the civil rights of inmates with disabilities. A federal class-action case, \u003ca href=\"https://en.wikipedia.org/wiki/Plata_v._Schwarzenegger\" target=\"_blank\" rel=\"noopener\">\u003cem>Plata v. Schwarzenegger\u003c/em>\u003c/a>, found the state prison system’s medical care to be inadequate and unconstitutional; as a result, its medical system was placed in a receivership in 2006. And \u003ca href=\"https://www.clearinghouse.net/detail.php?id=572\" target=\"_blank\" rel=\"noopener\">\u003cem>Armstrong v. Newsom\u003c/em>\u003c/a>, a class-action lawsuit on behalf of prisoners with disabilities that’s been ongoing since 1994, continues to monitor California state prisons for ADA compliance.\u003c/p>\n\u003cp>https://www.instagram.com/p/BsFclSZA-_4/\u003c/p>\n\u003cp>For all he’s been through, Williams says he’s closer than ever with his family, especially his kids. He’s grateful for the mobility and independence that he does have. “It got me looking at things real different: walking, being able to get up in the morning, brushing my teeth and making something to eat for myself,” he says.\u003c/p>\n\u003cp>In the weeks leading up to his sentencing date on Jan. 28, he stayed hard at work making music and filming a documentary to be released while he’s away.\u003c/p>\n\u003cp>“It got me doing a lot of recording right now, so while I’m gone I can be dropping music to take care of my family,” he says.\u003c/p>\n\u003cp>On the cusp of serving time, and with little chance of an appeal due to taking a plea bargain, it’s clear that the support of family and fans has kept Williams’ spirits up.\u003c/p>\n\u003cp>“I have a lot of people in my corner, on my side,” he says. “They feel like it’s biased, the way they’re treating me. If I was another race, they wouldn’t be doing me like this.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak worries that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Update, Feb. 7: \u003c/strong>Keak Da Sneak now has until April 11 to turn himself in, and is still fighting for house arrest. Read about his delayed sentencing \u003ca href=\"https://www.kqed.org/arts/13850378/keak-da-sneak-prison-sentence-delayed-other-options-remain-a-possibility\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update, Jan. 28:\u003c/strong> At the Jan. 28 hearing, Amador County Superior Court Judge J.S. Hermanson gave Keak Da Sneak additional time to complete a medical procedure. He must now turn himself in on Feb. 7. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n January 2017, Keak Da Sneak survived a close brush with death.\u003c/p>\n\u003cp>The way the rapper tells it, a friend was dropping him off to his car in Oakland after a show in Tracy when several men pulled up and attempted to rob them. After an altercation, the assailants started shooting. Keak was sitting passenger side and narrowly escaped with his life.\u003c/p>\n\u003cp>“After that, I got a gun,” says the rapper, whose real name is Charles Kente Williams. Because of his hardscrabble early life in Oakland’s streets and his local celebrity as a godfather of the Bay Area’s hyphy movement, he says, he’s been the target of multiple violent attacks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Me being from the streets, this environment I grew up in, the streets will suck you in and spit you out,” he tells me over the phone. “There’s no love.”\u003c/p>\n\u003cp>California law prohibits Williams from owning a firearm as a convicted felon. But because he earns less as a musician than he did in the ’90s, when he was signed to Virgin Records with his group 3X Krazy—or in the 2000s, when he helped define the regional sound with tracks like “\u003ca href=\"https://www.youtube.com/watch?v=KrH-VKYY3nw\" target=\"_blank\" rel=\"noopener\">Super Hyphy\u003c/a>” and E-40’s “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\" target=\"_blank\" rel=\"noopener\">Tell Me When To Go\u003c/a>“—he couldn’t afford armed security. He took it upon himself to carry a weapon for self-defense.\u003c/p>\n\u003cp>Today, Jan. 28, Williams begins a 16-month sentence in state prison for one count of possession of a firearm as a felon. Though he has severe physical disabilities from the January 2017 incident and another shooting that occurred months later in Richmond (he uses a wheelchair full time, as well as a colostomy bag and a catheter, and sees a nurse three times a week), he says that over the two-year legal battle, prosecutors were unsympathetic to his condition and refused to consider house arrest as a part of his plea bargain.\u003c/p>\n\u003cp>“It feels like they had no compassion,” he says. “My health is not good. I know they’re not gonna give me the treatment I need in prison. I’ve been to jail before, and once you get behind these walls, they have no compassion. You have to be on your dying bed for them to give you some assistance.”\u003c/p>\n\u003cp>(The Amador County district attorney’s office was not available for comment as of press time.)\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>illiams’ felony firearms possession charge goes back to March 2017. As he remembers it, he had the gun hidden in his car while returning from a night of gambling at a casino in Amador County, a rural area east of Sacramento whose population is 89-percent white, according to the latest census estimate. A police officer ran Williams’ license plate at a gas station and saw that he was on probation from a prior firearm charge, and decided to search his car.\u003c/p>\n\u003cp>“It was really racial profiling at an all-time high,” Williams says.\u003c/p>\n\u003cp>According to public records, the Amador County district attorney charged Williams with four felonies and one misdemeanor: possession of a firearm as a felon, possession of ammunition as a felon, receiving stolen property, driving with a suspended or revoked license and possession of a controlled substance. Over the course of the two-year court case, the district attorney dropped all charges except for firearm possession.\u003c/p>\n\u003cp>Not long after the criminal case began, Williams survived another shooting in August 2017, and his health took a major turn for the worse. That incident took place as Williams left a casino after another night of gambling. He was sitting in his parked car near a Richmond gas station when, he recalls, someone attempted to open the driver’s side door. The next thing he saw was a barrage of gunfire.\u003c/p>\n\u003cp>“The first bullet busted the window and hit me in the face, grazed my face,” he says. “It made me put my arms up and guard my head, so I got shot all in my side, abdomen, my elbows, my sides. When the gunfire stopped, I couldn’t feel my legs.”\u003c/p>\n\u003cp>Williams woke up two days later at Highland Hospital in Oakland, with his mother praying at his bedside.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rSRBp72DU2I'\n title='//www.youtube.com/embed/rSRBp72DU2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The road to recovery has not been easy since the second shooting. He spent weeks in the hospital and then transferred to a rehabilitation center, where he learned to adjust to life in a wheelchair. He now lives at home with his wife in the Sacramento area, where he also has regular physical therapy sessions; a nurse comes three times a week to care for him and clean his bed sores—a common ailment for people with mobility issues—in order to prevent infection.\u003c/p>\n\u003cp>During our interview, Williams’ voice occasionally rises from stoic resolve to anxiety. “Am I gonna get the treatment I’m getting out here? I don’t think so,” he says. “I’ve been to jail with people who were sick and really doing bad, and the guards and deputies didn’t care about them at all. They came and beat on them because they were pushing the button like, ‘I need help, I need help.'”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>ndeed, life in prison is incredibly challenging for inmates with disabilities, says lawyer and activist Aditi Juneja, a board member of the \u003ca href=\"http://disabilityrightsfund.org/\" target=\"_blank\" rel=\"noopener\">Disability Rights Fund\u003c/a>. Quality of medical care varies widely from facility to facility—even within the same state—and although prisons are covered under the Americans with Disabilities Act (ADA), there’s no guarantee that they’re always compliant.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“When we talk about people with disabilities accessing services in general, people with disabilities face the onus of having to prove they are disabled and need the service,” Juneja says. “You see that with people waiting a really long time with Social Security Disability Insurance. When someone is incarcerated, you can imagine it’s that much worse. When someone has broken the law and is being subjected to this retributive justice we have here in the United States, there is less trust and less willingness to listen to people telling you what they need.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>California prisons are notoriously overcrowded (at 136.6 percent capacity, according to a \u003ca href=\"https://www.aclu.org/sites/default/files/field_document/010916-aclu-solitarydisabilityreport-single.pdf\" target=\"_blank\" rel=\"noopener\">2017 ACLU report\u003c/a>), and not all facilities have accommodations for wheelchair users, especially those who need regular nursing care like Williams. Typically, when an inmate is sentenced to a state prison, they’re sent to an interim facility called a reception center where the state assesses their physical, cognitive and security needs.\u003c/p>\n\u003cp>While able-bodied inmates can leave a reception center in as quickly as a week, those with disabilities can stay there for \u003ca href=\"https://www.cdcr.ca.gov/BOPH/docs/ADA-Resources/ARMSTRONG-I-Remedial-Plan.pdf\" target=\"_blank\" rel=\"noopener\">60 days\u003c/a>—sometimes longer—while the state matches them with a facility that can accommodate their needs. Reception centers are much \u003ca href=\"https://www.cdcr.ca.gov/ombuds/Entering_a_Prison_FAQs.html\" target=\"_blank\" rel=\"noopener\">more restrictive\u003c/a> than prisons; inmates have no phone privileges, and can only interact with visitors through a glass barrier.\u003c/p>\n\u003cp>California prisons also have a track record of violating the civil rights of inmates with disabilities. A federal class-action case, \u003ca href=\"https://en.wikipedia.org/wiki/Plata_v._Schwarzenegger\" target=\"_blank\" rel=\"noopener\">\u003cem>Plata v. Schwarzenegger\u003c/em>\u003c/a>, found the state prison system’s medical care to be inadequate and unconstitutional; as a result, its medical system was placed in a receivership in 2006. And \u003ca href=\"https://www.clearinghouse.net/detail.php?id=572\" target=\"_blank\" rel=\"noopener\">\u003cem>Armstrong v. Newsom\u003c/em>\u003c/a>, a class-action lawsuit on behalf of prisoners with disabilities that’s been ongoing since 1994, continues to monitor California state prisons for ADA compliance.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For all he’s been through, Williams says he’s closer than ever with his family, especially his kids. He’s grateful for the mobility and independence that he does have. “It got me looking at things real different: walking, being able to get up in the morning, brushing my teeth and making something to eat for myself,” he says.\u003c/p>\n\u003cp>In the weeks leading up to his sentencing date on Jan. 28, he stayed hard at work making music and filming a documentary to be released while he’s away.\u003c/p>\n\u003cp>“It got me doing a lot of recording right now, so while I’m gone I can be dropping music to take care of my family,” he says.\u003c/p>\n\u003cp>On the cusp of serving time, and with little chance of an appeal due to taking a plea bargain, it’s clear that the support of family and fans has kept Williams’ spirits up.\u003c/p>\n\u003cp>“I have a lot of people in my corner, on my side,” he says. “They feel like it’s biased, the way they’re treating me. If I was another race, they wouldn’t be doing me like this.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "TheatreWorks Delivers a 'Frost/Nixon' Freshly Relevant in This Political Moment",
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"content": "\u003cp>In a time when we rarely hear politicians apologize, the power of a public apology takes on an almost mythic quality. For the play \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" target=\"_blank\" rel=\"noopener\">\u003ci>Frost/Nixon\u003c/i>\u003c/a>, on now in Mountain View, a real life apology serves as the climax of an epic struggle between a disgraced former president and his interviewer.\u003c/p>\n\u003cp>What took down President Richard Nixon? \u003ca href=\"https://www.pbs.org/newshour/tag/the-watergate-hearings-40-years-later\" target=\"_blank\" rel=\"noopener\">Watergate\u003c/a>, the scandal over his coverup of a botched break-in to Democratic Party headquarters in Washington DC. Nixon resigned before he could be impeached. But the \u003ci>apology\u003c/i> came three years later, in a \u003cspan style=\"font-weight: 400\">history-making interview with TV journalist David Frost\u003c/span>.\u003c/p>\n\u003cp>“I let down my friends. I let down the country. I let down our system of government and the dreams of all these young people that ought to get into government but think it’s all too corrupt and the rest,” Nixon said.\u003c/p>\n\u003cp>Then, “I let the American people down. And I have to carry that burden with me for the rest of my life.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0604948/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Peter Morgan \u003c/a>(“The Crown,” “The Last King of Scotland”), a gifted interpreter of the political stage, wrote the play \u003cem>Frost/Nixon\u003c/em> based on those tapes. The piece debuted in London in 2006. Its Broadway premiere the next year garnered a Tony for actor Frank Langella for his performance as Nixon, and led to a \u003ca href=\"https://www.youtube.com/watch?v=ls_QEg9JZKE\" target=\"_blank\" rel=\"noopener\">Hollywood adaptation\u003c/a> with the same cast. That the play still seems fresh today is a tribute to Morgan’s talent for spotting the epic moments in the endless day-to-day of ancient news headlines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=nQA15_HdxVs]\u003cbr>\nWhile Morgan takes a few liberties with the facts, he doesn’t take nearly as many as Nixon did himself. That late-night phone call a drunk Nixon makes to Frost in the play? Didn’t happen.\u003c/p>\n\u003cp>Also, in real life, David Frost\u003ca href=\"https://www.c-span.org/video/?296328-1/sir-david-frost-oral-history-interview\" target=\"_blank\" rel=\"noopener\"> wasn’t really a lightweight\u003c/a> talk show host. He and his team went into the studio heavily armed with research. In particular, \u003ca href=\"http://www.restonbooks.com\" target=\"_blank\" rel=\"noopener\">James Reston Jr.\u003c/a>, the son of the legendary \u003ci>New York Times\u003c/i> reporter, found scores of transcripts of the White House tapes that prosecutors had seen but never used in court. They were in the public record, but somehow other reporters failed to notice them.\u003c/p>\n\u003cp>In the play though, Frost is trying to restore his professional reputation in a parallel fashion to Nixon. That makes for a juicier role for actor \u003ca href=\"https://www.imdb.com/name/nm0916151/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Jeremy Webb\u003c/a>, who plays Frost in the TheatreWorks production now on in Mountain View.\u003c/p>\n\u003cp>He also serves as an excellent stand in for the rest of us, especially those of us who “can’t recall” the original history, only the echoes rippling through modern day politics. Webb says, “I was born June 10, 1972, and Watergate’s June 17,” Webb said. “So I don’t have a recollection, but probably some of the first words I was taught were, ‘We hate Richard Nixon.’ ”\u003c/p>\n\u003cp>The original conversations took place over nearly 29 hours during 12 days in 1977, shot near Nixon’s estate in San Clemente. The footage was then condensed into four 90-minute segments for broadcast.\u003c/p>\n\u003cp>Watching even a fraction of that is rough sledding for viewers who didn’t live through the Nixon administration. There are so many details, and Nixon does his practiced best to hide in those details. Unfortunately for him, Frost had done his homework and matched the president point for point.\u003c/p>\n\u003cp>Why did Nixon agree to the grilling? Money, for one thing. But also, as \u003ca href=\"https://www.youtube.com/watch?v=8fpYu36q_tQ\" target=\"_blank\" rel=\"noopener\">Frost told Mike Wallace\u003c/a> of \u003cem>60 Minutes\u003c/em>, “Television is a more powerful medium than a book. If he has … told the truth on television, millions and billions of people will have seen that. If he misses this opportunity, no one’s going to buy the book anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13849361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg\" alt='Richard Nixon (Allen McCullough) reacts to his interviews with Frost in \"Frost/Nixon,\" presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10.' width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Nixon (Allen McCullough) reacts to his interviews with Frost in “Frost/Nixon,” presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10. \u003ccite>(Courtesy Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, we watch Nixon gradually let go of his justifications over a more digestible 100 minutes, and finally admit to failure, if not illegal acts.\u003c/p>\n\u003cp>The former president comes off as tragic, says \u003ca href=\"https://www.allenmccullough.com\" target=\"_blank\" rel=\"noopener\">Allen McCullough\u003c/a>, who plays Nixon in the TheatreWorks production in Mountain View. Does McCullough fear restoring Nixon’s reputation with modern audiences? No.\u003c/p>\n\u003cp>“If the audience says, ‘Richard Nixon is a schmuck and he’s going to stay a schmuck,’ there is no play. Many people have come to me who said, ‘I remember him. I hated him. You really made me feel differently about him.’ Then I’ve done my job.”\u003c/p>\n\u003cp>But we still gets a gripping history lesson on Nixon’s insecure, open hatred of the press, and his arrogance about the law. Nixon says at one point — in the original interview, mind you, as well as the play — “When the President does it, that means it is not illegal.”\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Frost/Nixon\u003c/strong> put on by Theatreworks runs through February 10, 2019 at the Mountain View Center for the Performing Arts. For more information, click \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" 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>In a time when we rarely hear politicians apologize, the power of a public apology takes on an almost mythic quality. For the play \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" target=\"_blank\" rel=\"noopener\">\u003ci>Frost/Nixon\u003c/i>\u003c/a>, on now in Mountain View, a real life apology serves as the climax of an epic struggle between a disgraced former president and his interviewer.\u003c/p>\n\u003cp>What took down President Richard Nixon? \u003ca href=\"https://www.pbs.org/newshour/tag/the-watergate-hearings-40-years-later\" target=\"_blank\" rel=\"noopener\">Watergate\u003c/a>, the scandal over his coverup of a botched break-in to Democratic Party headquarters in Washington DC. Nixon resigned before he could be impeached. But the \u003ci>apology\u003c/i> came three years later, in a \u003cspan style=\"font-weight: 400\">history-making interview with TV journalist David Frost\u003c/span>.\u003c/p>\n\u003cp>“I let down my friends. I let down the country. I let down our system of government and the dreams of all these young people that ought to get into government but think it’s all too corrupt and the rest,” Nixon said.\u003c/p>\n\u003cp>Then, “I let the American people down. And I have to carry that burden with me for the rest of my life.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0604948/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Peter Morgan \u003c/a>(“The Crown,” “The Last King of Scotland”), a gifted interpreter of the political stage, wrote the play \u003cem>Frost/Nixon\u003c/em> based on those tapes. The piece debuted in London in 2006. Its Broadway premiere the next year garnered a Tony for actor Frank Langella for his performance as Nixon, and led to a \u003ca href=\"https://www.youtube.com/watch?v=ls_QEg9JZKE\" target=\"_blank\" rel=\"noopener\">Hollywood adaptation\u003c/a> with the same cast. That the play still seems fresh today is a tribute to Morgan’s talent for spotting the epic moments in the endless day-to-day of ancient news headlines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/nQA15_HdxVs'\n title='//www.youtube.com/embed/nQA15_HdxVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nWhile Morgan takes a few liberties with the facts, he doesn’t take nearly as many as Nixon did himself. That late-night phone call a drunk Nixon makes to Frost in the play? Didn’t happen.\u003c/p>\n\u003cp>Also, in real life, David Frost\u003ca href=\"https://www.c-span.org/video/?296328-1/sir-david-frost-oral-history-interview\" target=\"_blank\" rel=\"noopener\"> wasn’t really a lightweight\u003c/a> talk show host. He and his team went into the studio heavily armed with research. In particular, \u003ca href=\"http://www.restonbooks.com\" target=\"_blank\" rel=\"noopener\">James Reston Jr.\u003c/a>, the son of the legendary \u003ci>New York Times\u003c/i> reporter, found scores of transcripts of the White House tapes that prosecutors had seen but never used in court. They were in the public record, but somehow other reporters failed to notice them.\u003c/p>\n\u003cp>In the play though, Frost is trying to restore his professional reputation in a parallel fashion to Nixon. That makes for a juicier role for actor \u003ca href=\"https://www.imdb.com/name/nm0916151/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Jeremy Webb\u003c/a>, who plays Frost in the TheatreWorks production now on in Mountain View.\u003c/p>\n\u003cp>He also serves as an excellent stand in for the rest of us, especially those of us who “can’t recall” the original history, only the echoes rippling through modern day politics. Webb says, “I was born June 10, 1972, and Watergate’s June 17,” Webb said. “So I don’t have a recollection, but probably some of the first words I was taught were, ‘We hate Richard Nixon.’ ”\u003c/p>\n\u003cp>The original conversations took place over nearly 29 hours during 12 days in 1977, shot near Nixon’s estate in San Clemente. The footage was then condensed into four 90-minute segments for broadcast.\u003c/p>\n\u003cp>Watching even a fraction of that is rough sledding for viewers who didn’t live through the Nixon administration. There are so many details, and Nixon does his practiced best to hide in those details. Unfortunately for him, Frost had done his homework and matched the president point for point.\u003c/p>\n\u003cp>Why did Nixon agree to the grilling? Money, for one thing. But also, as \u003ca href=\"https://www.youtube.com/watch?v=8fpYu36q_tQ\" target=\"_blank\" rel=\"noopener\">Frost told Mike Wallace\u003c/a> of \u003cem>60 Minutes\u003c/em>, “Television is a more powerful medium than a book. If he has … told the truth on television, millions and billions of people will have seen that. If he misses this opportunity, no one’s going to buy the book anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13849361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg\" alt='Richard Nixon (Allen McCullough) reacts to his interviews with Frost in \"Frost/Nixon,\" presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10.' width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Nixon (Allen McCullough) reacts to his interviews with Frost in “Frost/Nixon,” presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10. \u003ccite>(Courtesy Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, we watch Nixon gradually let go of his justifications over a more digestible 100 minutes, and finally admit to failure, if not illegal acts.\u003c/p>\n\u003cp>The former president comes off as tragic, says \u003ca href=\"https://www.allenmccullough.com\" target=\"_blank\" rel=\"noopener\">Allen McCullough\u003c/a>, who plays Nixon in the TheatreWorks production in Mountain View. Does McCullough fear restoring Nixon’s reputation with modern audiences? No.\u003c/p>\n\u003cp>“If the audience says, ‘Richard Nixon is a schmuck and he’s going to stay a schmuck,’ there is no play. Many people have come to me who said, ‘I remember him. I hated him. You really made me feel differently about him.’ Then I’ve done my job.”\u003c/p>\n\u003cp>But we still gets a gripping history lesson on Nixon’s insecure, open hatred of the press, and his arrogance about the law. Nixon says at one point — in the original interview, mind you, as well as the play — “When the President does it, that means it is not illegal.”\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Frost/Nixon\u003c/strong> put on by Theatreworks runs through February 10, 2019 at the Mountain View Center for the Performing Arts. For more information, click \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" 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": "Due to Government Shutdown, California Humanities Suspends All Arts Grants",
"headTitle": "Due to Government Shutdown, California Humanities Suspends All Arts Grants | KQED",
"content": "\u003cp>Last year, California Humanities issued more than $1 million in grants to artists and cultural organizations.\u003c/p>\n\u003cp>But now, the National Endowment for the Humanities’ state partner has suspended grant-making indefinitely as the historic federal government shutdown nears its sixth week. \u003c/p>\n\u003cp>The independent nonprofit, which has offices in Oakland and Los Angeles, is operating on an “austerity basis,” CEO Julie Fry told KQED, unable to release even already awarded grants. \u003c/p>\n\u003cp>In the final two months of 2018, \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a> awarded more than 30 grants totaling approximately $350,000. But the release of the funds, in some cases expected to occur this month, is now delayed. Likewise, interim and final payments of earlier grants are on pause until further notice.\u003c/p>\n\u003cfigure id=\"attachment_13824382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg\" alt=\"Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida. \u003ccite>(Joe Raedle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We will resume payments as soon as the government reopens, the federal budget is approved, and the NEH recommences payments to the state humanities councils,” Fry told grant recipients and hopefuls in an email sent on Friday. “At this point, we are unsure how long this process will take.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fry said the National Endowment for the Humanities (NEH) contributes a “significant portion” of California Humanities’ grant-making budget. Last year California Humanities awarded just over $1,030,000 to 98 projects statewide in categories such as documentary filmmaking and library innovation. Now, though, the organization is pausing even travel and office expenses. \u003c/p>\n\u003cp>“We’re making do with what paper towels we already have,” Fry said. \u003c/p>\n\u003cfigure id=\"attachment_13849282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg\" alt=\"Museum of the African Diaspora\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13849282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Museum of the African Diaspora. \u003ccite>(Courtesy of the Museum of the African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the country, the National Gallery of Art as well as 19 Smithsonian museums are closed due to the shutdown. Their employees are among an estimated 800,000 federal workers furloughed or otherwise deprived of at least one paycheck during the holiday season. \u003c/p>\n\u003cp>The government shutdown, now the longest in history as President Donald Trump demands billions for a southern border wall that he’d promised Mexico would pay for, has also shuttered both the national endowments for the arts and humanities, which together disburse nearly $300 million nationwide each year. \u003c/p>\n\u003cp>For Bay Area artists and cultural nonprofits reliant on the national endowments, either directly or through state-level groups such as the California Arts Council and California Humanities, the shutdown has destabilized an already precarious ecosystem. (A spokesperson for the California Arts Council said the shutdown has yet to impact its grant-making, noting that the agency plans to issue 2019 awards at the end of June.) Yet even if the government reboots tomorrow, arts figures tell KQED, the consequences will be felt for the rest of the year.\u003c/p>\n\u003cp>The shutdown is also a reminder of Trump’s threats to \u003ca href=\"https://www.kqed.org/arts/12649417/report-trump-administration-plans-to-privatize-cpb-cut-nea\" rel=\"noopener\" target=\"_blank\">cut the national endowments altogether\u003c/a>. Last year, the NEA issued \u003ca href=\"https://www.kqed.org/arts/13831888/nea-awards-1-7-million-in-grants-to-bay-area-organizations\" rel=\"noopener\" target=\"_blank\">$1.7 million to Bay Area arts groups\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13848854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg\" alt=\"Kronos Quartet.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Wojciech Wandzel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For small to medium-size arts organizations such as the Kronos Quartet’s Kronos Performing Arts Association, the NEA shutdown is a major source of anxiety. Kronos development manager Mason Dille said he doesn’t know when to expect reimbursement for NEA-supported projects, and his agency contacts simply aren’t at work to field questions. “Any delay in the application process now might impact the work we are able to do far into the 2019-20 season,” he said. \u003c/p>\n\u003cp>NEA workers aren’t just funders—they’re researchers and advocates with a nationwide mandate, often providing resources to remote or disinvested areas. Dille pointed out that agency staff couldn’t participate in several major annual arts conferences this month, calling it a “missed opportunity that will resonate across the country for the entire year.” \u003c/p>\n\u003cp>James Leventhal, interim director and chief development officer at Smithsonian affiliate Museum of the African Diaspora, said he hasn’t heard from his furloughed national colleagues for the past three weeks. As a Smithsonian affiliate, MoAD is one of some 200 resource-sharing museums. So the lack of communication could jeopardize events such as a mid-February concert for local middle-school students featuring the Smithsonian Museum Jazz Masterworks Orchestra.\u003c/p>\n\u003cp>Leventhal also stressed the geographic scope of the national endowments. “When you hear about the real work of the NEA, that real work is about making sure culture is reaching every single corner of this nation,” he said, likening the agencies’ shutdown to a “moratorium on culture.” \u003c/p>\n\u003cfigure id=\"attachment_13849287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg\" alt=\"The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13849287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area. \u003ccite>(Museums of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the national endowments are still accepting grant applications, organization leaders can’t communicate with the agencies as deadlines near, and the ultimate effect on processing time is unclear. “I’m working on a NEA grant and we’re concerned that the Feb. 5 deadline for filing is quickly approaching,” said Jeff Nathanson, executive director of Museums of Sonoma County.\u003c/p>\n\u003cp>And Eric Stanley, Museums of Sonoma County’s associate director and curator of history, said preparation for an upcoming “Pacific World”-themed exhibition has nearly ground to a halt. “Two of the main archives I had been talking to about lending objects and collaborating on the exhibition were SF Maritime Museum and Point Reyes, both national parks,” he said. “Unfortunately it looks like the shutdown will completely prevent me from working with either.” \u003c/p>\n\u003cp>At the bottom line, the national endowment shutdown is interrupting cash flow, especially for nonprofits with little reserves. Roberto Bedoya, Oakland’s cultural affairs manager, said last year the NEA supported his department’s development of the city’s Cultural Plan, sending a check within a month of receiving his invoice. \u003c/p>\n\u003cp>“Now that’s not happening,” Bedoya said, adding that some nonprofits in the Bay Area, with its astronomical overhead, are a grant or two away from folding. \u003c/p>\n\u003cp>“Especially for marginalized communities, rural communities—the shutdown is part of this administration’s larger disinvestment in the public good,” Bedoya said. “As we knew, arts and culture aren’t their priority.” \u003c/p>\n\u003cfigure id=\"attachment_13849285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg\" alt=\""The shutdown is part of this administration’s larger disinvestment in the public good," says Roberto Bedoya, Oakland's cultural affairs manager.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The shutdown is part of this administration’s larger disinvestment in the public good,” says Roberto Bedoya, Oakland’s cultural affairs manager. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The national endowments, like the southern border wall, have themselves been points of federal budgeting contention for Trump. In both 2017 and 2018, Trump \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">proposed eliminating the agencies entirely\u003c/a> before Congress intervened. The NEA and NEH are a minuscule fraction of the budget, and governments of most developed countries vastly outspend the United States on arts and culture.\u003c/p>\n\u003cp>At this point, Fry said, the subject of elimination feels unsurprising. “It comes up on a cyclical basis—cultural agencies are on the table,” she said. On the other hand, Congress recently proposed raising the allocation to the National Endowment for the Humanities, subject to Trump’s signature. \u003c/p>\n\u003cp>“We’ll have to wait for the president’s approval of that when the government reopens,” Fry said. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>KQED’s Sarah Hotchkiss, Gabe Meline, Nastia Voynovskaya and Chloe Veltman contributed to this report.\u003c/em>\u003c/p>\n\n",
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"title": "Due to Government Shutdown, California Humanities Suspends All Arts Grants | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, California Humanities issued more than $1 million in grants to artists and cultural organizations.\u003c/p>\n\u003cp>But now, the National Endowment for the Humanities’ state partner has suspended grant-making indefinitely as the historic federal government shutdown nears its sixth week. \u003c/p>\n\u003cp>The independent nonprofit, which has offices in Oakland and Los Angeles, is operating on an “austerity basis,” CEO Julie Fry told KQED, unable to release even already awarded grants. \u003c/p>\n\u003cp>In the final two months of 2018, \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a> awarded more than 30 grants totaling approximately $350,000. But the release of the funds, in some cases expected to occur this month, is now delayed. Likewise, interim and final payments of earlier grants are on pause until further notice.\u003c/p>\n\u003cfigure id=\"attachment_13824382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg\" alt=\"Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida. \u003ccite>(Joe Raedle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We will resume payments as soon as the government reopens, the federal budget is approved, and the NEH recommences payments to the state humanities councils,” Fry told grant recipients and hopefuls in an email sent on Friday. “At this point, we are unsure how long this process will take.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fry said the National Endowment for the Humanities (NEH) contributes a “significant portion” of California Humanities’ grant-making budget. Last year California Humanities awarded just over $1,030,000 to 98 projects statewide in categories such as documentary filmmaking and library innovation. Now, though, the organization is pausing even travel and office expenses. \u003c/p>\n\u003cp>“We’re making do with what paper towels we already have,” Fry said. \u003c/p>\n\u003cfigure id=\"attachment_13849282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg\" alt=\"Museum of the African Diaspora\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13849282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Museum of the African Diaspora. \u003ccite>(Courtesy of the Museum of the African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the country, the National Gallery of Art as well as 19 Smithsonian museums are closed due to the shutdown. Their employees are among an estimated 800,000 federal workers furloughed or otherwise deprived of at least one paycheck during the holiday season. \u003c/p>\n\u003cp>The government shutdown, now the longest in history as President Donald Trump demands billions for a southern border wall that he’d promised Mexico would pay for, has also shuttered both the national endowments for the arts and humanities, which together disburse nearly $300 million nationwide each year. \u003c/p>\n\u003cp>For Bay Area artists and cultural nonprofits reliant on the national endowments, either directly or through state-level groups such as the California Arts Council and California Humanities, the shutdown has destabilized an already precarious ecosystem. (A spokesperson for the California Arts Council said the shutdown has yet to impact its grant-making, noting that the agency plans to issue 2019 awards at the end of June.) Yet even if the government reboots tomorrow, arts figures tell KQED, the consequences will be felt for the rest of the year.\u003c/p>\n\u003cp>The shutdown is also a reminder of Trump’s threats to \u003ca href=\"https://www.kqed.org/arts/12649417/report-trump-administration-plans-to-privatize-cpb-cut-nea\" rel=\"noopener\" target=\"_blank\">cut the national endowments altogether\u003c/a>. Last year, the NEA issued \u003ca href=\"https://www.kqed.org/arts/13831888/nea-awards-1-7-million-in-grants-to-bay-area-organizations\" rel=\"noopener\" target=\"_blank\">$1.7 million to Bay Area arts groups\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13848854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg\" alt=\"Kronos Quartet.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Wojciech Wandzel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For small to medium-size arts organizations such as the Kronos Quartet’s Kronos Performing Arts Association, the NEA shutdown is a major source of anxiety. Kronos development manager Mason Dille said he doesn’t know when to expect reimbursement for NEA-supported projects, and his agency contacts simply aren’t at work to field questions. “Any delay in the application process now might impact the work we are able to do far into the 2019-20 season,” he said. \u003c/p>\n\u003cp>NEA workers aren’t just funders—they’re researchers and advocates with a nationwide mandate, often providing resources to remote or disinvested areas. Dille pointed out that agency staff couldn’t participate in several major annual arts conferences this month, calling it a “missed opportunity that will resonate across the country for the entire year.” \u003c/p>\n\u003cp>James Leventhal, interim director and chief development officer at Smithsonian affiliate Museum of the African Diaspora, said he hasn’t heard from his furloughed national colleagues for the past three weeks. As a Smithsonian affiliate, MoAD is one of some 200 resource-sharing museums. So the lack of communication could jeopardize events such as a mid-February concert for local middle-school students featuring the Smithsonian Museum Jazz Masterworks Orchestra.\u003c/p>\n\u003cp>Leventhal also stressed the geographic scope of the national endowments. “When you hear about the real work of the NEA, that real work is about making sure culture is reaching every single corner of this nation,” he said, likening the agencies’ shutdown to a “moratorium on culture.” \u003c/p>\n\u003cfigure id=\"attachment_13849287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg\" alt=\"The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13849287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area. \u003ccite>(Museums of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the national endowments are still accepting grant applications, organization leaders can’t communicate with the agencies as deadlines near, and the ultimate effect on processing time is unclear. “I’m working on a NEA grant and we’re concerned that the Feb. 5 deadline for filing is quickly approaching,” said Jeff Nathanson, executive director of Museums of Sonoma County.\u003c/p>\n\u003cp>And Eric Stanley, Museums of Sonoma County’s associate director and curator of history, said preparation for an upcoming “Pacific World”-themed exhibition has nearly ground to a halt. “Two of the main archives I had been talking to about lending objects and collaborating on the exhibition were SF Maritime Museum and Point Reyes, both national parks,” he said. “Unfortunately it looks like the shutdown will completely prevent me from working with either.” \u003c/p>\n\u003cp>At the bottom line, the national endowment shutdown is interrupting cash flow, especially for nonprofits with little reserves. Roberto Bedoya, Oakland’s cultural affairs manager, said last year the NEA supported his department’s development of the city’s Cultural Plan, sending a check within a month of receiving his invoice. \u003c/p>\n\u003cp>“Now that’s not happening,” Bedoya said, adding that some nonprofits in the Bay Area, with its astronomical overhead, are a grant or two away from folding. \u003c/p>\n\u003cp>“Especially for marginalized communities, rural communities—the shutdown is part of this administration’s larger disinvestment in the public good,” Bedoya said. “As we knew, arts and culture aren’t their priority.” \u003c/p>\n\u003cfigure id=\"attachment_13849285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg\" alt=\""The shutdown is part of this administration’s larger disinvestment in the public good," says Roberto Bedoya, Oakland's cultural affairs manager.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The shutdown is part of this administration’s larger disinvestment in the public good,” says Roberto Bedoya, Oakland’s cultural affairs manager. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The national endowments, like the southern border wall, have themselves been points of federal budgeting contention for Trump. In both 2017 and 2018, Trump \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">proposed eliminating the agencies entirely\u003c/a> before Congress intervened. The NEA and NEH are a minuscule fraction of the budget, and governments of most developed countries vastly outspend the United States on arts and culture.\u003c/p>\n\u003cp>At this point, Fry said, the subject of elimination feels unsurprising. “It comes up on a cyclical basis—cultural agencies are on the table,” she said. On the other hand, Congress recently proposed raising the allocation to the National Endowment for the Humanities, subject to Trump’s signature. \u003c/p>\n\u003cp>“We’ll have to wait for the president’s approval of that when the government reopens,” Fry said. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Sarah Hotchkiss, Gabe Meline, Nastia Voynovskaya and Chloe Veltman contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Roma' And 'The Favourite' Lead Oscar Nominations",
"headTitle": "‘Roma’ And ‘The Favourite’ Lead Oscar Nominations | KQED",
"content": "\u003cp>Eight best picture nominations emerged on Tuesday morning: \u003cem>Black Panther\u003c/em>, \u003cem>BlacKkKlansman\u003c/em>, \u003cem>The Favourite\u003c/em>, \u003cem>Vice\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Bohemian Rhapsody\u003c/em>, \u003cem>Roma\u003c/em> and \u003cem>A Star Is Born\u003c/em>. They are comedic and dramatic, based on real events and conjured from the pages of comics, in color and in black and white.\u003c/p>\n\u003cp>If you wanted to take the nominations as a whole as a sign of the exciting year that 2018 was, you might focus on the best actress nomination for Yalitza Aparicio, the first-time actress who anchors Alfonso Cuaron’s beautiful \u003cem>Roma\u003c/em>, a black-and-white subtitled film widely available on Netflix. You might focus on the seven nominations for \u003cem>Black Panther\u003c/em>, the best director nomination for Paweł Pawlikowski for Poland’s \u003cem>Cold War\u003c/em>, or the fact that both of the most-nominated films with ten nods apiece, \u003cem>Roma \u003c/em>and \u003cem>The Favourite\u003c/em>, are stories of women not oriented around their relationships to men. You might thrill to the best animated feature nomination for \u003cem>Spider-Man: Into The Spider-Verse\u003c/em>, which reimagined the superhero film — narratively, visually and culturally.\u003c/p>\n\u003cp>On the other hand, if you wanted to see those nominations through the lens of their considerable disappointments, you might note the lack of best picture or best director nominations for Barry Jenkins’ beautiful and unforgettable \u003cem>If Beale Street Could Talk\u003c/em>; the failure to nominate Ryan Coogler, one of Hollywood’s best rising directors, for the triumph of \u003cem>Black Panther\u003c/em>; the failure to nominate any women directors at all \u003cem>again\u003c/em> and very few women screenwriters \u003cem>again\u003c/em>; or the complete shutout of spectacular achievements like Bo Burnham’s \u003cem>Eighth Grade \u003c/em>and Debra Granik’s \u003cem>Leave No Trace. \u003c/em>It would have been lovely to see a nod for Michelle Yeoh for \u003cem>Crazy Rich Asians\u003c/em> in a year in which the film was such a powerful force.\u003c/p>\n\u003cp>There are always delights and there is always dismay. It’s lovely to see Melissa McCarthy and Richard E. Grant nominated for their work in \u003cem>Can You Ever Forgive Me?\u003c/em>, and to see the script from Nicole Holofcener and Jeff Whitty nominated. But where is the director, Marielle Heller? Where is the film’s best picture nomination? It’s thrilling to see \u003cem>Free Solo\u003c/em>, an exciting and unconventional rock-climbing documentary, nominated for best documentary feature. But nothing for \u003cem>Won’t You Be My Neighbor\u003c/em>, a fine film that also \u003ca href=\"https://www.hollywoodreporter.com/news/wont-you-be-my-neighbor-is-top-grossing-biodoc-all-time-1130122\">resonated beautifully with audiences\u003c/a>?\u003c/p>\n\u003cp>The eye of the beholder is a tricky thing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nominations rarely come as a big surprise. There were some genuine upsets (or reverse upsets) on this day, like the lack of a best director nomination for Bradley Cooper for \u003cem>A Star Is Born\u003c/em>, despite the film’s best picture nomination and nominations for acting, cinematography, original song, sound mixing and adapted screenplay. There was not even a nomination for Justin Hurwitz’s original score for \u003cem>First Man\u003c/em>, which just won the Golden Globe. But for the most part, it went as expected: big hauls for Adam McKay’s \u003cem>Vice \u003c/em>(eight nominations), \u003cem>Black Panther \u003c/em>(seven nominations), Spike Lee’s \u003cem>BlacKkKlansman \u003c/em>(six nominations), and \u003cem>Bohemian Rhapsody\u003c/em> and \u003cem>Green Book\u003c/em> — the two recent Golden Globe best film winners in drama and comedy respectively — with five.\u003c/p>\n\u003cp>Now and again, the Oscars are legitimately exciting. It may take a misread best picture envelope to make it so, but it does happen. Whether it happened on Tuesday morning may depend on just how many advances and retreats in a given year you have come to expect from the Academy.\u003c/p>\n\u003cp>\u003cstrong>Updated 10:15 a.m. ET \u003c/strong>\u003c/p>\n\u003cp>This year’s Academy Award nominations were announced Tuesday morning. Below is the complete list.\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Spike Lee (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Paweł Pawlikowski (\u003cem>Cold War\u003c/em>)\u003c/p>\n\u003cp>Yorgos Lanthimos (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Alfonso Cuarón (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Adam McKay (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Yalitza Aparicio (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Glenn Close (\u003cem>The Wife\u003c/em>)\u003c/p>\n\u003cp>Olivia Colman (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Lady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Melissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Bradley Cooper (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Willem Dafoe (\u003cem>At Eternity’s Gate\u003c/em>)\u003c/p>\n\u003cp>Rami Malek (\u003cem>Bohemian Rhapsody\u003c/em>)\u003c/p>\n\u003cp>Viggo Mortensen (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Amy Adams (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Marina de Tavira (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Regina King (\u003cem>If Beale Street Could Talk\u003c/em>)\u003c/p>\n\u003cp>Emma Stone (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Rachel Weisz (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Mahershala Ali (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>Adam Driver (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Sam Elliott (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Richard E. Grant (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>Sam Rockwell (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Incredibles 2\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle Of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mirai\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ralph Breaks The Internet\u003c/em>\u003c/p>\n\u003cp>\u003cem>Spider-Man: Into The Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs \u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Free Solo\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em>\u003c/p>\n\u003cp>\u003cem>Minding The Gap\u003c/em>\u003c/p>\n\u003cp>\u003cem>Of Fathers And Sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>RBG\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Sheep\u003c/em>\u003c/p>\n\u003cp>\u003cem>End Game\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Night At The Garden\u003c/em>\u003c/p>\n\u003cp>\u003cem>Period. End of Sentence.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em> (Poland)\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em> (Germany)\u003c/p>\n\u003cp>\u003cem>Roma \u003c/em>(Mexico)\u003c/p>\n\u003cp>\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Border\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>“When A Cowboy Trades His Spurs For Wings” (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003c/p>\n\u003cp>“All The Stars” (\u003cem>Black Panther\u003c/em>)\u003c/p>\n\u003cp>“The Place Where Lost Things Go” (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>“I’ll Fight” (\u003cem>RBG\u003c/em>)\u003c/p>\n\u003cp>“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bao\u003c/em>\u003c/p>\n\u003cp>\u003cem>Late Afternoon\u003c/em>\u003c/p>\n\u003cp>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003c/em>\u003c/p>\n\u003cp>\u003cem>Fauve\u003c/em>\u003c/p>\n\u003cp>\u003cem>Marguerite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mother\u003c/em>\u003c/p>\n\u003cp>\u003cem>Skin\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Avengers: Infinity War\u003c/em>\u003c/p>\n\u003cp>\u003cem>Christopher Robin\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ready Player One\u003c/em>\u003c/p>\n\u003cp>\u003cem>Solo: A Star Wars Story\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can You Ever Forgive Me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Reformed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Roma%27+And+%27The+Favourite%27+Lead+Oscar+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Linda Holmes takes a look at the list of this year's nominees, which includes some heartening nods and surprising snubs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight best picture nominations emerged on Tuesday morning: \u003cem>Black Panther\u003c/em>, \u003cem>BlacKkKlansman\u003c/em>, \u003cem>The Favourite\u003c/em>, \u003cem>Vice\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Bohemian Rhapsody\u003c/em>, \u003cem>Roma\u003c/em> and \u003cem>A Star Is Born\u003c/em>. They are comedic and dramatic, based on real events and conjured from the pages of comics, in color and in black and white.\u003c/p>\n\u003cp>If you wanted to take the nominations as a whole as a sign of the exciting year that 2018 was, you might focus on the best actress nomination for Yalitza Aparicio, the first-time actress who anchors Alfonso Cuaron’s beautiful \u003cem>Roma\u003c/em>, a black-and-white subtitled film widely available on Netflix. You might focus on the seven nominations for \u003cem>Black Panther\u003c/em>, the best director nomination for Paweł Pawlikowski for Poland’s \u003cem>Cold War\u003c/em>, or the fact that both of the most-nominated films with ten nods apiece, \u003cem>Roma \u003c/em>and \u003cem>The Favourite\u003c/em>, are stories of women not oriented around their relationships to men. You might thrill to the best animated feature nomination for \u003cem>Spider-Man: Into The Spider-Verse\u003c/em>, which reimagined the superhero film — narratively, visually and culturally.\u003c/p>\n\u003cp>On the other hand, if you wanted to see those nominations through the lens of their considerable disappointments, you might note the lack of best picture or best director nominations for Barry Jenkins’ beautiful and unforgettable \u003cem>If Beale Street Could Talk\u003c/em>; the failure to nominate Ryan Coogler, one of Hollywood’s best rising directors, for the triumph of \u003cem>Black Panther\u003c/em>; the failure to nominate any women directors at all \u003cem>again\u003c/em> and very few women screenwriters \u003cem>again\u003c/em>; or the complete shutout of spectacular achievements like Bo Burnham’s \u003cem>Eighth Grade \u003c/em>and Debra Granik’s \u003cem>Leave No Trace. \u003c/em>It would have been lovely to see a nod for Michelle Yeoh for \u003cem>Crazy Rich Asians\u003c/em> in a year in which the film was such a powerful force.\u003c/p>\n\u003cp>There are always delights and there is always dismay. It’s lovely to see Melissa McCarthy and Richard E. Grant nominated for their work in \u003cem>Can You Ever Forgive Me?\u003c/em>, and to see the script from Nicole Holofcener and Jeff Whitty nominated. But where is the director, Marielle Heller? Where is the film’s best picture nomination? It’s thrilling to see \u003cem>Free Solo\u003c/em>, an exciting and unconventional rock-climbing documentary, nominated for best documentary feature. But nothing for \u003cem>Won’t You Be My Neighbor\u003c/em>, a fine film that also \u003ca href=\"https://www.hollywoodreporter.com/news/wont-you-be-my-neighbor-is-top-grossing-biodoc-all-time-1130122\">resonated beautifully with audiences\u003c/a>?\u003c/p>\n\u003cp>The eye of the beholder is a tricky thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nominations rarely come as a big surprise. There were some genuine upsets (or reverse upsets) on this day, like the lack of a best director nomination for Bradley Cooper for \u003cem>A Star Is Born\u003c/em>, despite the film’s best picture nomination and nominations for acting, cinematography, original song, sound mixing and adapted screenplay. There was not even a nomination for Justin Hurwitz’s original score for \u003cem>First Man\u003c/em>, which just won the Golden Globe. But for the most part, it went as expected: big hauls for Adam McKay’s \u003cem>Vice \u003c/em>(eight nominations), \u003cem>Black Panther \u003c/em>(seven nominations), Spike Lee’s \u003cem>BlacKkKlansman \u003c/em>(six nominations), and \u003cem>Bohemian Rhapsody\u003c/em> and \u003cem>Green Book\u003c/em> — the two recent Golden Globe best film winners in drama and comedy respectively — with five.\u003c/p>\n\u003cp>Now and again, the Oscars are legitimately exciting. It may take a misread best picture envelope to make it so, but it does happen. Whether it happened on Tuesday morning may depend on just how many advances and retreats in a given year you have come to expect from the Academy.\u003c/p>\n\u003cp>\u003cstrong>Updated 10:15 a.m. ET \u003c/strong>\u003c/p>\n\u003cp>This year’s Academy Award nominations were announced Tuesday morning. Below is the complete list.\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Spike Lee (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Paweł Pawlikowski (\u003cem>Cold War\u003c/em>)\u003c/p>\n\u003cp>Yorgos Lanthimos (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Alfonso Cuarón (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Adam McKay (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Yalitza Aparicio (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Glenn Close (\u003cem>The Wife\u003c/em>)\u003c/p>\n\u003cp>Olivia Colman (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Lady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Melissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Bradley Cooper (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Willem Dafoe (\u003cem>At Eternity’s Gate\u003c/em>)\u003c/p>\n\u003cp>Rami Malek (\u003cem>Bohemian Rhapsody\u003c/em>)\u003c/p>\n\u003cp>Viggo Mortensen (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Amy Adams (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Marina de Tavira (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Regina King (\u003cem>If Beale Street Could Talk\u003c/em>)\u003c/p>\n\u003cp>Emma Stone (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Rachel Weisz (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Mahershala Ali (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>Adam Driver (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Sam Elliott (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Richard E. 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End of Sentence.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em> (Poland)\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em> (Germany)\u003c/p>\n\u003cp>\u003cem>Roma \u003c/em>(Mexico)\u003c/p>\n\u003cp>\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Border\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>“When A Cowboy Trades His Spurs For Wings” (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003c/p>\n\u003cp>“All The Stars” (\u003cem>Black Panther\u003c/em>)\u003c/p>\n\u003cp>“The Place Where Lost Things Go” (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>“I’ll Fight” (\u003cem>RBG\u003c/em>)\u003c/p>\n\u003cp>“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bao\u003c/em>\u003c/p>\n\u003cp>\u003cem>Late Afternoon\u003c/em>\u003c/p>\n\u003cp>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003c/em>\u003c/p>\n\u003cp>\u003cem>Fauve\u003c/em>\u003c/p>\n\u003cp>\u003cem>Marguerite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mother\u003c/em>\u003c/p>\n\u003cp>\u003cem>Skin\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Avengers: Infinity War\u003c/em>\u003c/p>\n\u003cp>\u003cem>Christopher Robin\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ready Player One\u003c/em>\u003c/p>\n\u003cp>\u003cem>Solo: A Star Wars Story\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can You Ever Forgive Me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Reformed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
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