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"content": "\u003cp>A long-derelict brick building on the edge of Emeryville’s shopping district could open as a regional destination for arts and culture as early as fall 2020. \u003c/p>\n\u003cp>Emeryville City Council in November authorized an exclusive negotiating agreement with Orton Development to build and operate the small city’s long-awaited art center, rejecting a competing proposal from Community Arts Stabilization Trust (CAST) that would have created 22 affordable housing units. \u003c/p>\n\u003cp>In Orton’s plan, the 30,000-square-foot United Stamping Company building at 4060 Hollis Street, which the city bought in 2006 in order to develop a cultural center, features a “variable form” theater and gallery accommodating 200, plus other office and event space and a cafe. \u003c/p>\n\u003cp>The design calls for separate galleries that combine to work as a single venue. “Uses throughout the building are viewed through the kaleidoscope of time, with each area having the flexibility to accommodate multiple uses ranging from classes in the morning to performing arts in the evening,” said project manager David Dial. \u003c/p>\n\u003cp>Emeryville earmarked $11 million for the project, including $1.4 million in Pixar and PG&E contributions, and Orton projects a fall 2020 opening—just in time to host the city’s annual Celebration of the Arts group exhibition. An earlier development plan collapsed in 2012. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Emeryville is 1.25 square miles of land perhaps best known for its mall and big box stores. But officials hope the art center, along with the California Art Council’s recognition of the Emeryville Cultural Arts District in 2017, inspires greater appreciation of the city’s cultural life. \u003c/p>\n\u003cfigure id=\"attachment_13848130\" 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/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-800x533.jpg\" alt=\"Sharon Wilchar co-organizes Emeryville's annual Celebration of the Arts group exhibition.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13848130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pictured here at 45th Street Artists Cooperative, Sharon Wilchar co-organizes Emeryville’s annual Celebration of the Arts group exhibition. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The development promises \u003ca href=\"http://www.emeryarts.org/\">Celebration of the Arts\u003c/a>, a juried show of some 100 Emeryville artists, a permanent home. “We’ve seen an incredible transition from heavy industry to mixed-use,” said exhibition co-organizer Sharon Wilchar, who’s also community liaison for the 45th Street Artists Cooperative, a live-work complex founded in 1973. “Now we’ll get to bring more visibility to what’s going on behind closed doors.” \u003c/p>\n\u003cp>Moving forward with Emeryville-headquartered developer Orton, however, was not a unanimous decision. Councilmember Scott Donahue, himself a sculptor and longtime resident of the \u003ca href=\"http://www.emeryvilleartistscoop.org/\">45th Street Artists Cooperative\u003c/a>, called the competing proposal from CAST, with its four-story housing wing, a “true destination” before casting the sole vote against Orton in September.\u003c/p>\n\u003cp>The vote took place just months after Emeryville voters roundly passed a $50 million affordable housing bond, and Donahue found the San Francisco nonprofit’s proposal an “inventive” strategy to boost the city’s housing stock. “By having artist live-work housing as a component, I saw a unique regional destination,” he said. “Now I see something functional with the potential to grow.” \u003c/p>\n\u003cfigure id=\"attachment_13848347\" 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/CAST-rendering-800x370.jpg\" alt=\"Emeryville City Council rejected a competing proposal from CAST that included an affordable housing wing.\" width=\"800\" height=\"370\" class=\"size-medium wp-image-13848347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering-1020x471.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering.jpg 1506w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emeryville City Council rejected a competing proposal from CAST that included an affordable housing wing. \u003ccite>(Courtesy CAST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emeryville requested developer proposals early last year, narrowed the applicants to three, and then formed review panels, which gave nearly equal marks to CAST and Orton. But city staff recommended that councilmembers select Orton, writing that CAST’s housing component “increases complexities in project processing, financial modeling and funding, and time to deliver[.]” \u003c/p>\n\u003cp>\u003ca href=\"http://www.ortondevelopment.com/\">Orton\u003c/a> is known for redeveloping historic structures such as the Craneway Pavilion in Richmond and Pier 70 in San Francisco. \u003ca href=\"https://cast-sf.org/\">CAST\u003c/a>, a San Francisco nonprofit, specializes in developing and stewarding property for long-term arts uses—for example, offering below-market rent with options to buy to San Francisco organizations including Counterpulse and Luggage Store Gallery. \u003c/p>\n\u003cp>(KQED \u003ca href=\"https://www.kqed.org/arts/13847646\">recently revealed\u003c/a> that CAST is consulting for a property owner who displaced her dance studio tenant.) [contextly_sidebar id=”cwQuSVVlZ9Lt0ukoSGi8wgq7LI56jv47″]\u003c/p>\n\u003cp>Both groups envisioned ample exhibition space for Celebration of the Arts, promising to deliver by late next year. CAST proposed completing the housing later, in a second phase, in partnership with architecture firm Banta Design and builders Oliver & Company. Both also proposed similar city subsidies for the art center, with CAST fundraising the additional costs of housing itself.\u003c/p>\n\u003cp>With the art center more than a decade coming, and the increasing difficulty of finding temporary space for Celebration of the Arts, city staff listed expediency as a chief priority. Yet delays on a similar Orton project in Oakland went unmentioned in staff reports and council meetings. \u003c/p>\n\u003cp>Oakland City Council selected Orton to restore the massive Henry J. Kaiser Convention Center in 2015, after the developer proposed an office space conversion and revival of the 1,900-seat Calvin Simmons Theater for the performing arts. Orton at first projected a grand opening of the rechristened Oakland Auditorium early 2019, but appears to be years \u003ca href=\"http://www.oaklandmagazine.com/November-2018/The-Crack-in-Oaklands-Jewel/\">behind schedule\u003c/a>—construction has yet to begin. \u003c/p>\n\u003cp>“The Oakland Auditorium project and the EAC are vastly different projects terms of both size and regulatory complexities,” Dial said, adding that Orton now expects to start construction by the end of summer this year. \u003c/p>\n\u003cfigure id=\"attachment_13848162\" 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/Emeryville-City-Councilmember-Scott-Donahue-2-800x533.jpg\" alt=\"Emeryville city councilmember Scott Donahue preferred a competing art center development proposal that included housing.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13848162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pictured in his studio at 45th Street Artists Cooperative, Emeryville city councilmember Scott Donahue preferred a competing art center development proposal that included housing. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Donahue’s preference for the CAST proposal aside, he applauded Orton’s community engagement so far, noting Dial’s earlier business experience with cultural organizations including Yerba Buena Center for the Arts and Cal Performances. And artists who endured the cultural center’s earlier false start are thrilled to see the project reinvigorated. \u003c/p>\n\u003cp>The Emeryville Redevelopment Agency bought the brick Hollis St. building adjacent to Old Town Hall in 2006, and four years later partnered with a nonprofit formed to run the art center. Jensen Architects won a public design competition and received building approvals in 2011. Funding evaporated the next year, though, with the dissolution of all redevelopment agencies statewide. \u003c/p>\n\u003cp>“It was crushing,” said Wilchar, who was on the nonprofit board. “We were so close.”\u003c/p>\n\u003cfigure id=\"attachment_13848129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-800x533.jpg\" alt=\"Emeryville bought the 30,000 square foot United Stamping Company building at 4060 Hollis Street in 2006 to develop a cultural center.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13848129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emeryville bought the 30,000 square foot United Stamping Company building at 4060 Hollis Street in 2006 to develop a cultural center. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilchar, a textile artist, moved to Emeryville in the early 1980s. She lives in one of 56 units at the 45th Street Artists Cooperative; over the years, two co-op residents have served on the city council, plus another on the planning commission. Wilchar noted that Emeryville has public art on practically every other block.\u003c/p>\n\u003cp>Wilchar said Emeryville’s image as the pro-growth home of Ikea and various corporate headquarters is misleading. She largely curates Celebration of the Arts through studio visits, seeing countless discrete workspaces. And the California Arts Council has selected Emeryville, plus two areas in San Francisco, as one of the state’s 14 inaugural Cultural Districts.\u003c/p>\n\u003cp>The arts council, which passed on an application from Oakland, provides the cultural districts benefits including a small stipend. Donahue floated using the money to foreground the city’s “maker” side, mentioning didactic plaques. He called Emeryville’s reputation a “somewhat undefined crossroads,” but believes that’s changing.\u003c/p>\n\u003cp>“The art center, the cultural district—these things build a more complete perception of our city,” he said.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"excerpt": "Emeryville officials hope the long-awaited art center inspires greater appreciation of the small city’s cultural life. ",
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"title": "Rejecting Artist Housing, Emeryville Selects Cultural Center Developer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A long-derelict brick building on the edge of Emeryville’s shopping district could open as a regional destination for arts and culture as early as fall 2020. \u003c/p>\n\u003cp>Emeryville City Council in November authorized an exclusive negotiating agreement with Orton Development to build and operate the small city’s long-awaited art center, rejecting a competing proposal from Community Arts Stabilization Trust (CAST) that would have created 22 affordable housing units. \u003c/p>\n\u003cp>In Orton’s plan, the 30,000-square-foot United Stamping Company building at 4060 Hollis Street, which the city bought in 2006 in order to develop a cultural center, features a “variable form” theater and gallery accommodating 200, plus other office and event space and a cafe. \u003c/p>\n\u003cp>The design calls for separate galleries that combine to work as a single venue. “Uses throughout the building are viewed through the kaleidoscope of time, with each area having the flexibility to accommodate multiple uses ranging from classes in the morning to performing arts in the evening,” said project manager David Dial. \u003c/p>\n\u003cp>Emeryville earmarked $11 million for the project, including $1.4 million in Pixar and PG&E contributions, and Orton projects a fall 2020 opening—just in time to host the city’s annual Celebration of the Arts group exhibition. An earlier development plan collapsed in 2012. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Emeryville is 1.25 square miles of land perhaps best known for its mall and big box stores. But officials hope the art center, along with the California Art Council’s recognition of the Emeryville Cultural Arts District in 2017, inspires greater appreciation of the city’s cultural life. \u003c/p>\n\u003cfigure id=\"attachment_13848130\" 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/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-800x533.jpg\" alt=\"Sharon Wilchar co-organizes Emeryville's annual Celebration of the Arts group exhibition.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13848130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sharon-Wilchar-in-45th-Street-Artists-Cooperative-Emeryville-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pictured here at 45th Street Artists Cooperative, Sharon Wilchar co-organizes Emeryville’s annual Celebration of the Arts group exhibition. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The development promises \u003ca href=\"http://www.emeryarts.org/\">Celebration of the Arts\u003c/a>, a juried show of some 100 Emeryville artists, a permanent home. “We’ve seen an incredible transition from heavy industry to mixed-use,” said exhibition co-organizer Sharon Wilchar, who’s also community liaison for the 45th Street Artists Cooperative, a live-work complex founded in 1973. “Now we’ll get to bring more visibility to what’s going on behind closed doors.” \u003c/p>\n\u003cp>Moving forward with Emeryville-headquartered developer Orton, however, was not a unanimous decision. Councilmember Scott Donahue, himself a sculptor and longtime resident of the \u003ca href=\"http://www.emeryvilleartistscoop.org/\">45th Street Artists Cooperative\u003c/a>, called the competing proposal from CAST, with its four-story housing wing, a “true destination” before casting the sole vote against Orton in September.\u003c/p>\n\u003cp>The vote took place just months after Emeryville voters roundly passed a $50 million affordable housing bond, and Donahue found the San Francisco nonprofit’s proposal an “inventive” strategy to boost the city’s housing stock. “By having artist live-work housing as a component, I saw a unique regional destination,” he said. “Now I see something functional with the potential to grow.” \u003c/p>\n\u003cfigure id=\"attachment_13848347\" 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/CAST-rendering-800x370.jpg\" alt=\"Emeryville City Council rejected a competing proposal from CAST that included an affordable housing wing.\" width=\"800\" height=\"370\" class=\"size-medium wp-image-13848347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering-1020x471.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/CAST-rendering.jpg 1506w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emeryville City Council rejected a competing proposal from CAST that included an affordable housing wing. \u003ccite>(Courtesy CAST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emeryville requested developer proposals early last year, narrowed the applicants to three, and then formed review panels, which gave nearly equal marks to CAST and Orton. But city staff recommended that councilmembers select Orton, writing that CAST’s housing component “increases complexities in project processing, financial modeling and funding, and time to deliver[.]” \u003c/p>\n\u003cp>\u003ca href=\"http://www.ortondevelopment.com/\">Orton\u003c/a> is known for redeveloping historic structures such as the Craneway Pavilion in Richmond and Pier 70 in San Francisco. \u003ca href=\"https://cast-sf.org/\">CAST\u003c/a>, a San Francisco nonprofit, specializes in developing and stewarding property for long-term arts uses—for example, offering below-market rent with options to buy to San Francisco organizations including Counterpulse and Luggage Store Gallery. \u003c/p>\n\u003cp>(KQED \u003ca href=\"https://www.kqed.org/arts/13847646\">recently revealed\u003c/a> that CAST is consulting for a property owner who displaced her dance studio tenant.) \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Both groups envisioned ample exhibition space for Celebration of the Arts, promising to deliver by late next year. CAST proposed completing the housing later, in a second phase, in partnership with architecture firm Banta Design and builders Oliver & Company. Both also proposed similar city subsidies for the art center, with CAST fundraising the additional costs of housing itself.\u003c/p>\n\u003cp>With the art center more than a decade coming, and the increasing difficulty of finding temporary space for Celebration of the Arts, city staff listed expediency as a chief priority. Yet delays on a similar Orton project in Oakland went unmentioned in staff reports and council meetings. \u003c/p>\n\u003cp>Oakland City Council selected Orton to restore the massive Henry J. Kaiser Convention Center in 2015, after the developer proposed an office space conversion and revival of the 1,900-seat Calvin Simmons Theater for the performing arts. Orton at first projected a grand opening of the rechristened Oakland Auditorium early 2019, but appears to be years \u003ca href=\"http://www.oaklandmagazine.com/November-2018/The-Crack-in-Oaklands-Jewel/\">behind schedule\u003c/a>—construction has yet to begin. \u003c/p>\n\u003cp>“The Oakland Auditorium project and the EAC are vastly different projects terms of both size and regulatory complexities,” Dial said, adding that Orton now expects to start construction by the end of summer this year. \u003c/p>\n\u003cfigure id=\"attachment_13848162\" 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/Emeryville-City-Councilmember-Scott-Donahue-2-800x533.jpg\" alt=\"Emeryville city councilmember Scott Donahue preferred a competing art center development proposal that included housing.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13848162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Emeryville-City-Councilmember-Scott-Donahue-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pictured in his studio at 45th Street Artists Cooperative, Emeryville city councilmember Scott Donahue preferred a competing art center development proposal that included housing. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Donahue’s preference for the CAST proposal aside, he applauded Orton’s community engagement so far, noting Dial’s earlier business experience with cultural organizations including Yerba Buena Center for the Arts and Cal Performances. And artists who endured the cultural center’s earlier false start are thrilled to see the project reinvigorated. \u003c/p>\n\u003cp>The Emeryville Redevelopment Agency bought the brick Hollis St. building adjacent to Old Town Hall in 2006, and four years later partnered with a nonprofit formed to run the art center. Jensen Architects won a public design competition and received building approvals in 2011. Funding evaporated the next year, though, with the dissolution of all redevelopment agencies statewide. \u003c/p>\n\u003cp>“It was crushing,” said Wilchar, who was on the nonprofit board. “We were so close.”\u003c/p>\n\u003cfigure id=\"attachment_13848129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-800x533.jpg\" alt=\"Emeryville bought the 30,000 square foot United Stamping Company building at 4060 Hollis Street in 2006 to develop a cultural center.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13848129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/4060-Hollis-Street-future-Emeryville-Art-Center.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emeryville bought the 30,000 square foot United Stamping Company building at 4060 Hollis Street in 2006 to develop a cultural center. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wilchar, a textile artist, moved to Emeryville in the early 1980s. She lives in one of 56 units at the 45th Street Artists Cooperative; over the years, two co-op residents have served on the city council, plus another on the planning commission. Wilchar noted that Emeryville has public art on practically every other block.\u003c/p>\n\u003cp>Wilchar said Emeryville’s image as the pro-growth home of Ikea and various corporate headquarters is misleading. She largely curates Celebration of the Arts through studio visits, seeing countless discrete workspaces. And the California Arts Council has selected Emeryville, plus two areas in San Francisco, as one of the state’s 14 inaugural Cultural Districts.\u003c/p>\n\u003cp>The arts council, which passed on an application from Oakland, provides the cultural districts benefits including a small stipend. Donahue floated using the money to foreground the city’s “maker” side, mentioning didactic plaques. He called Emeryville’s reputation a “somewhat undefined crossroads,” but believes that’s changing.\u003c/p>\n\u003cp>“The art center, the cultural district—these things build a more complete perception of our city,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has confirmed it’s releasing a new album sometime this year, produced by \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>. Guitarist Carrie Brownstein tells NPR, “We always planned on getting back in the studio — it was just a matter of when. If there is an overarching principle to this album, it’s that the tools on which we were relying proved inadequate. So we sought new ones, both metaphorically and literally.” The as-yet-unnamed album follows 2015’s \u003cem>No Cities to Love\u003c/em>, which, at the time, was the band’s first new music after a nearly decade-long hiatus.\u003c/p>\n\u003cp>[contextly_sidebar id=”4p5810H7HxcMNKjHXgbVi18exc2SuoBx”]\u003c/p>\n\u003cp>Both St. Vincent and Sleater-Kinney initially announced the new project with posts on Facebook and Twitter that included a photo of the group in a studio. While there’s no word yet on what brought them together for the album, St. Vincent has covered Sleater-Kinney’s work and appeared on \u003cem>Portlandia.\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=New+Sleater-Kinney+Album%2C+Produced+By+St.+Vincent%2C+Confirmed+For+This+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has confirmed it’s releasing a new album sometime this year, produced by \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>. Guitarist Carrie Brownstein tells NPR, “We always planned on getting back in the studio — it was just a matter of when. If there is an overarching principle to this album, it’s that the tools on which we were relying proved inadequate. So we sought new ones, both metaphorically and literally.” The as-yet-unnamed album follows 2015’s \u003cem>No Cities to Love\u003c/em>, which, at the time, was the band’s first new music after a nearly decade-long hiatus.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Both St. Vincent and Sleater-Kinney initially announced the new project with posts on Facebook and Twitter that included a photo of the group in a studio. While there’s no word yet on what brought them together for the album, St. Vincent has covered Sleater-Kinney’s work and appeared on \u003cem>Portlandia.\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=New+Sleater-Kinney+Album%2C+Produced+By+St.+Vincent%2C+Confirmed+For+This+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "nina-simones-lovely-precious-dream-for-black-children",
"title": "Nina Simone's 'Lovely, Precious Dream' For Black Children",
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"headTitle": "Nina Simone’s ‘Lovely, Precious Dream’ For Black Children | KQED",
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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\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/683021559/683144212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>By the early 1960s, \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> was well-known to the world as a singer, songwriter and classically trained pianist. But around 1963, as race relations in America hit a boiling point, she made a sharp turn in her music — toward activism.\u003c/p>\n\u003cp>First, there was the murder of Medgar Evers that summer. The civil rights leader was killed by a Klansman, shot in the back in his own driveway in Mississippi. Three months later, in Birmingham, Ala., four black girls were killed in a church bombing. In response to the grief and outrage, Simone wrote a powerful song with unsparing lyrics and a provocative title: “\u003ca href=\"https://www.youtube.com/watch?v=X8X8RikEFnI\">Mississippi Goddam\u003c/a>.”\u003c/p>\n\u003cp>[contextly_sidebar id=”Ha5svAAi8Zslyjc3JqBqXfDabF8MFrw1″]\u003c/p>\n\u003cp>Then, in 1968, she identified a different side of the struggle. The Black Power movement was rising. Pride in being black and beautiful was expressed in big afros and raised fists. She aimed to capture that moment of joy in black identity — and though the song she wrote was addressed to children, it became an anthem for adults, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=RTGiKYqk0gY\">To Be Young, Gifted and Black\u003c/a>” was a dedication to Nina Simone’s friend, the playwright Lorraine Hansberry, who wrote \u003cem>A Raisin in the Sun\u003c/em>. Hansberry was the first black woman to have a play performed on Broadway; she and Simone bonded over civil rights and radical politics.\u003c/p>\n\u003cp>[contextly_sidebar id=”DMf1ODGcpbeCNWOWhrvuSN4UqRmuD85q”]\u003c/p>\n\u003cp>And then, in January 1965, Hansberry died of cancer at the age of 34. A few months before, she had told a group of student essay winners, “I wanted to be able to come here and speak with you on this occasion because you are young, gifted and black.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - To Be Young, Gifted and Black (Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RTGiKYqk0gY?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>Those words stuck in Nina Simone’s head. \u003ca href=\"https://www.youtube.com/watch?v=_hdVFiANBTk\">In an interview\u003c/a> recorded at historically black Morehouse College in Atlanta, she said, “I remember getting a feeling in my body, and I said, ‘That’s it: to be young, gifted and black. That’s all.’ And sat down at the piano and made up a tune. It just flowed out of me.”\u003c/p>\n\u003cp>Simone wrote the music, while the words came from her bandleader, Weldon Irvine. He reportedly sat writing the lyrics in his car, tying up a busy New York City intersection for 15 minutes as he scribbled on napkins and a matchbook cover. Simone had told him to keep it simple — write something that “will make black children all over the world feel good about themselves, forever.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> To be young, gifted and black\u003cbr>\nOh, what a lovely precious dream\u003cbr>\nTo be young, gifted and black\u003cbr>\nOpen your heart to what I mean\u003cbr>\nIn the whole world you know\u003cbr>\nThere are a million boys and girls\u003cbr>\nWho are young, gifted and black\u003cbr>\nAnd that’s a fact! \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“To Be Young, Gifted and Black” caught on, and other artists quickly recorded it. Soul singer \u003ca href=\"https://www.npr.org/artists/15203568/donny-hathaway\">Donny Hathaway\u003c/a> released a cover of the song in 1970. \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a> made own version the title track of an album she released in 1972.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\">Meshell Ndegeocello\u003c/a>, a 10-time Grammy nominee active since the early ’90s, released the album \u003cem>Pour une âme souveraine: A Dedication to Nina Simone\u003c/em> in 2012. She says when she was growing up, there really was a need for the song.\u003c/p>\n\u003cp>“It’s the first time I heard those words said about young black people,” she says. “You know, being of color, you did not feel that you were gifted — and especially if you’re black.”\u003c/p>\n\u003cp>She says she first heard the song while attending middle school in a suburb of Washington, D.C. Her teacher, a white woman, played it for a class of mostly black students.\u003c/p>\n\u003cp>“In D.C., music wasn’t so segregated. I mean, I love Burt Bacharach, and I grew up listening to The Carpenters. But, she also played me, like, Bob Marley, Salif Keita. It was the beginning of my awareness of Africa,” Ndegeocello says. “And it was somewhere in one of those classes, or Black History Month, where she was like, ‘We’re gonna try to perform this song in a choir setting.’ ”\u003c/p>\n\u003cp>Last year, Nina Simone’s profile was raised again as she was inducted into the Rock & Roll Hall of Fame, and her childhood home was declared a national treasure by the National Trust for Historic Preservation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/122252881/somi\">Somi\u003c/a>, another contemporary artist, honored the legend in her own way: performing and curating an evening of music honoring Nina Simone and Miriam Makeba at Jazz at Lincoln Center. The event was called Singing Protest & Memory.\u003c/p>\n\u003cp>[contextly_sidebar id=”UJzjaVKBf7EWvsAG4JIywoh6RlrhfnBa”]\u003c/p>\n\u003cp>Somi was born in Illinois; her parents were immigrants from Rwanda and Uganda. She says her family encouraged her to take pride in her African heritage — she didn’t really need a song do that. Which prompts a question: Is the song still necessary?\u003c/p>\n\u003cp>“Necessary is a tricky word, right? Is a song ‘necessary’? I think the message is absolutely still necessary,” Somi says. “I think when, you look at the March [for] Our Lives that recently happened in Washington, and Naomi Wadler coming up there and feeling as though she had to speak, that speaks to the need for young black youth to be seen, to be heard.”\u003c/p>\n\u003cp>Eleven-year-old Naomi Wadler spoke to a Washington, D.C., crowd during the nationally televised demonstration, saying, “I am here to acknowledge and represent the African-American girls whose stories don’t make the front page of every national newspaper.” She was met by roaring applause.\u003c/p>\n\u003cp>Meshell Ndegeocello invited singer \u003ca href=\"https://www.npr.org/artists/90386077/cody-chesnutt\">Cody ChesnuTT\u003c/a> to sing on her version of “To Be Young, Gifted and Black” for \u003cem>Pour une âme souveraine\u003c/em>. The mother of two sons, she says she had a painful story from the news on her mind: “This was during the time of the whole Trayvon Martin incident.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"To Be Young, Gifted and Black (feat. Cody Chesnutt)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wjNs6KOOwmM?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>Martin, an unarmed African-American teenager, was fatally shot on Feb. 26, 2012 by neighborhood watch volunteer George Zimmerman in Sanford, Fla. Zimmerman was tried and acquitted for second degree murder. “And I was affected as a mother. And so for some reason, I felt it should be voiced with a male presence, a strong male presence,” Ndegeocello says.\u003c/p>\n\u003cp>[contextly_sidebar id=”8bxwzliUPiq2MOthqTcnHy39VWFV2er5″]\u003c/p>\n\u003cp>“It’s an inner anthem, I think — you know, it’s existing on a subconscious level,” she adds. “I only hope it makes you ask the question [of] why it had to be written. That’s more important than anything else.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nina Simone said she wanted this song to inspire black children to feel good about themselves forever. Maybe that’s a lot to ask from one song. But that message is as important as it was 50 years ago, when “To Be Young, Gifted and Black” first became an American anthem.\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=Nina+Simone%27s+%27Lovely%2C+Precious+Dream%27+For+Black+Children&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\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/683021559/683144212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>By the early 1960s, \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> was well-known to the world as a singer, songwriter and classically trained pianist. But around 1963, as race relations in America hit a boiling point, she made a sharp turn in her music — toward activism.\u003c/p>\n\u003cp>First, there was the murder of Medgar Evers that summer. The civil rights leader was killed by a Klansman, shot in the back in his own driveway in Mississippi. Three months later, in Birmingham, Ala., four black girls were killed in a church bombing. In response to the grief and outrage, Simone wrote a powerful song with unsparing lyrics and a provocative title: “\u003ca href=\"https://www.youtube.com/watch?v=X8X8RikEFnI\">Mississippi Goddam\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Then, in 1968, she identified a different side of the struggle. The Black Power movement was rising. Pride in being black and beautiful was expressed in big afros and raised fists. She aimed to capture that moment of joy in black identity — and though the song she wrote was addressed to children, it became an anthem for adults, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=RTGiKYqk0gY\">To Be Young, Gifted and Black\u003c/a>” was a dedication to Nina Simone’s friend, the playwright Lorraine Hansberry, who wrote \u003cem>A Raisin in the Sun\u003c/em>. Hansberry was the first black woman to have a play performed on Broadway; she and Simone bonded over civil rights and radical politics.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And then, in January 1965, Hansberry died of cancer at the age of 34. A few months before, she had told a group of student essay winners, “I wanted to be able to come here and speak with you on this occasion because you are young, gifted and black.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - To Be Young, Gifted and Black (Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RTGiKYqk0gY?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>Those words stuck in Nina Simone’s head. \u003ca href=\"https://www.youtube.com/watch?v=_hdVFiANBTk\">In an interview\u003c/a> recorded at historically black Morehouse College in Atlanta, she said, “I remember getting a feeling in my body, and I said, ‘That’s it: to be young, gifted and black. That’s all.’ And sat down at the piano and made up a tune. It just flowed out of me.”\u003c/p>\n\u003cp>Simone wrote the music, while the words came from her bandleader, Weldon Irvine. He reportedly sat writing the lyrics in his car, tying up a busy New York City intersection for 15 minutes as he scribbled on napkins and a matchbook cover. Simone had told him to keep it simple — write something that “will make black children all over the world feel good about themselves, forever.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> To be young, gifted and black\u003cbr>\nOh, what a lovely precious dream\u003cbr>\nTo be young, gifted and black\u003cbr>\nOpen your heart to what I mean\u003cbr>\nIn the whole world you know\u003cbr>\nThere are a million boys and girls\u003cbr>\nWho are young, gifted and black\u003cbr>\nAnd that’s a fact! \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“To Be Young, Gifted and Black” caught on, and other artists quickly recorded it. Soul singer \u003ca href=\"https://www.npr.org/artists/15203568/donny-hathaway\">Donny Hathaway\u003c/a> released a cover of the song in 1970. \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a> made own version the title track of an album she released in 1972.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\">Meshell Ndegeocello\u003c/a>, a 10-time Grammy nominee active since the early ’90s, released the album \u003cem>Pour une âme souveraine: A Dedication to Nina Simone\u003c/em> in 2012. She says when she was growing up, there really was a need for the song.\u003c/p>\n\u003cp>“It’s the first time I heard those words said about young black people,” she says. “You know, being of color, you did not feel that you were gifted — and especially if you’re black.”\u003c/p>\n\u003cp>She says she first heard the song while attending middle school in a suburb of Washington, D.C. Her teacher, a white woman, played it for a class of mostly black students.\u003c/p>\n\u003cp>“In D.C., music wasn’t so segregated. I mean, I love Burt Bacharach, and I grew up listening to The Carpenters. But, she also played me, like, Bob Marley, Salif Keita. It was the beginning of my awareness of Africa,” Ndegeocello says. “And it was somewhere in one of those classes, or Black History Month, where she was like, ‘We’re gonna try to perform this song in a choir setting.’ ”\u003c/p>\n\u003cp>Last year, Nina Simone’s profile was raised again as she was inducted into the Rock & Roll Hall of Fame, and her childhood home was declared a national treasure by the National Trust for Historic Preservation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/122252881/somi\">Somi\u003c/a>, another contemporary artist, honored the legend in her own way: performing and curating an evening of music honoring Nina Simone and Miriam Makeba at Jazz at Lincoln Center. The event was called Singing Protest & Memory.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Somi was born in Illinois; her parents were immigrants from Rwanda and Uganda. She says her family encouraged her to take pride in her African heritage — she didn’t really need a song do that. Which prompts a question: Is the song still necessary?\u003c/p>\n\u003cp>“Necessary is a tricky word, right? Is a song ‘necessary’? I think the message is absolutely still necessary,” Somi says. “I think when, you look at the March [for] Our Lives that recently happened in Washington, and Naomi Wadler coming up there and feeling as though she had to speak, that speaks to the need for young black youth to be seen, to be heard.”\u003c/p>\n\u003cp>Eleven-year-old Naomi Wadler spoke to a Washington, D.C., crowd during the nationally televised demonstration, saying, “I am here to acknowledge and represent the African-American girls whose stories don’t make the front page of every national newspaper.” She was met by roaring applause.\u003c/p>\n\u003cp>Meshell Ndegeocello invited singer \u003ca href=\"https://www.npr.org/artists/90386077/cody-chesnutt\">Cody ChesnuTT\u003c/a> to sing on her version of “To Be Young, Gifted and Black” for \u003cem>Pour une âme souveraine\u003c/em>. The mother of two sons, she says she had a painful story from the news on her mind: “This was during the time of the whole Trayvon Martin incident.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"To Be Young, Gifted and Black (feat. Cody Chesnutt)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wjNs6KOOwmM?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>Martin, an unarmed African-American teenager, was fatally shot on Feb. 26, 2012 by neighborhood watch volunteer George Zimmerman in Sanford, Fla. Zimmerman was tried and acquitted for second degree murder. “And I was affected as a mother. And so for some reason, I felt it should be voiced with a male presence, a strong male presence,” Ndegeocello says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s an inner anthem, I think — you know, it’s existing on a subconscious level,” she adds. “I only hope it makes you ask the question [of] why it had to be written. That’s more important than anything else.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nina Simone said she wanted this song to inspire black children to feel good about themselves forever. Maybe that’s a lot to ask from one song. But that message is as important as it was 50 years ago, when “To Be Young, Gifted and Black” first became an American anthem.\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=Nina+Simone%27s+%27Lovely%2C+Precious+Dream%27+For+Black+Children&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following a unanimous vote by its board Monday afternoon, the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> (SFAC) has become the first city department to officially adopt a \u003ca href=\"https://sfgov.org/arts/sites/default/files/121718_Arts_Commission_Draft_Racial_Equity_Statement_and_Plan_FY19-20.pdf\" target=\"_blank\" rel=\"noopener\">racial equity statement and plan\u003c/a>.\u003c/p>\n\u003cp>The statement and plan set guidelines for preventing workplace discrimination and inequity, such as earmarking resources for racial equity and collecting and analyzing demographic data to improve the racial equity impact of SFAC programs.\u003c/p>\n\u003cp>The statement, which is intended to appear on the SFAC’s website right alongside its mission, opens with these words:\u003c/p>\n\u003cblockquote>\u003cp>The San Francisco Arts Commission is committed to creating a city where all artists and cultural workers have the freedom, resources and platform to share their stories, art and culture and where race does not predetermine one’s success in life. We also acknowledge that we occupy traditional and unceded Ohlone land. Fueled by these beliefs, we commit to addressing the systemic inequities within our agency, the City and County of San Francisco and the broader arts and culture sector. This work requires that we focus on race as we confront inequities of the past, reveal inequities of the present and develop effective strategies to move all of us towards an equitable future.\u003c/p>\u003c/blockquote>\n\u003cp>The SFAC’s statement and plan are part of a city-wide effort aimed at addressing systemic and institutional racism throughout local government. Around 30 city departments, including public health, parks and recreation, and the district attorney’s office, are expected to vote in similar policies in the coming months.\u003c/p>\n\u003cfigure id=\"attachment_13848292\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-800x600.jpg\" alt=\"Anh Thang Dao-Shah, SF Arts Commission senior racial equity and policy analyst, presents the new racial equity statement and plan before the arts commission board. Jan 7, 2019.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anh Thang Dao-Shah, SF Arts Commission senior racial equity and policy analyst, presents the new racial equity statement and plan before the arts commission board. Jan 7, 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s just a fact that racism is baked into our city government, the way it’s baked into state government and federal government,” said Ariana Flores, a policy analyst at the \u003ca href=\"https://sf-hrc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Human Rights Commission\u003c/a>, speaking with KQED at San Francisco City Hall after the vote. “If you look at history, the way that policies have been drafted and carried out have resulted in extreme disparities. And those disparities play out worst for people of color in every area. If you look at health, education, and even art, it tends to be people of color that don’t have those kinds of opportunities. So it’s a really important step that the arts commission is being a leader in the city—to take a hard and honest look at their work, work to undo some of those disparities, and be proactive about finding ways to be equitable racially.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Dr. Anh Thang Dao-Shah, the SFAC’s recently appointed, inaugural senior racial equity and policy analyst, studies show the leadership of arts organizations to be predominantly white. “In publishing, over 90 percent of book reviewers are white, and more than 80 percent of executive directors at dance organizations are white,” said Thang Dao-Shah during her presentation Monday before the SFAC board. “Over 60 percent of foundation funding in the arts goes to about 2 percent of arts organizations presenting predominantly western European forms.”\u003c/p>\n\u003cp>Indeed, the heads of most of San Francisco’s major cultural institutions are white men, including recent appointments like \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" target=\"_blank\" rel=\"noopener\">Thomas Campbell\u003c/a> at the Fine Arts Museums of San Francisco and \u003ca href=\"https://www.kqed.org/arts/13846403/esa-pekka-salonen-appointed-music-director-at-sf-symphony\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a> at the San Francisco Symphony.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We as a society are starting to grapple with the truths of our history, and understanding the root causes of a lot of the problems that we’re seeing every day,” said Flores. “Institutional, structural racism is at the heart of so many of our problems. What’s different now is our ability and our willingness to actually take some steps toward righting these wrongs that have been carried out for so long.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a unanimous vote by its board Monday afternoon, the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> (SFAC) has become the first city department to officially adopt a \u003ca href=\"https://sfgov.org/arts/sites/default/files/121718_Arts_Commission_Draft_Racial_Equity_Statement_and_Plan_FY19-20.pdf\" target=\"_blank\" rel=\"noopener\">racial equity statement and plan\u003c/a>.\u003c/p>\n\u003cp>The statement and plan set guidelines for preventing workplace discrimination and inequity, such as earmarking resources for racial equity and collecting and analyzing demographic data to improve the racial equity impact of SFAC programs.\u003c/p>\n\u003cp>The statement, which is intended to appear on the SFAC’s website right alongside its mission, opens with these words:\u003c/p>\n\u003cblockquote>\u003cp>The San Francisco Arts Commission is committed to creating a city where all artists and cultural workers have the freedom, resources and platform to share their stories, art and culture and where race does not predetermine one’s success in life. We also acknowledge that we occupy traditional and unceded Ohlone land. Fueled by these beliefs, we commit to addressing the systemic inequities within our agency, the City and County of San Francisco and the broader arts and culture sector. This work requires that we focus on race as we confront inequities of the past, reveal inequities of the present and develop effective strategies to move all of us towards an equitable future.\u003c/p>\u003c/blockquote>\n\u003cp>The SFAC’s statement and plan are part of a city-wide effort aimed at addressing systemic and institutional racism throughout local government. Around 30 city departments, including public health, parks and recreation, and the district attorney’s office, are expected to vote in similar policies in the coming months.\u003c/p>\n\u003cfigure id=\"attachment_13848292\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-800x600.jpg\" alt=\"Anh Thang Dao-Shah, SF Arts Commission senior racial equity and policy analyst, presents the new racial equity statement and plan before the arts commission board. Jan 7, 2019.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Anh-Thang-Dao-Shah-SF-Arts-Commission-senior-racial-equity-and-policy-analyst-presents-before-SFAC-board-Jan-7-2019.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anh Thang Dao-Shah, SF Arts Commission senior racial equity and policy analyst, presents the new racial equity statement and plan before the arts commission board. Jan 7, 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s just a fact that racism is baked into our city government, the way it’s baked into state government and federal government,” said Ariana Flores, a policy analyst at the \u003ca href=\"https://sf-hrc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Human Rights Commission\u003c/a>, speaking with KQED at San Francisco City Hall after the vote. “If you look at history, the way that policies have been drafted and carried out have resulted in extreme disparities. And those disparities play out worst for people of color in every area. If you look at health, education, and even art, it tends to be people of color that don’t have those kinds of opportunities. So it’s a really important step that the arts commission is being a leader in the city—to take a hard and honest look at their work, work to undo some of those disparities, and be proactive about finding ways to be equitable racially.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Dr. Anh Thang Dao-Shah, the SFAC’s recently appointed, inaugural senior racial equity and policy analyst, studies show the leadership of arts organizations to be predominantly white. “In publishing, over 90 percent of book reviewers are white, and more than 80 percent of executive directors at dance organizations are white,” said Thang Dao-Shah during her presentation Monday before the SFAC board. “Over 60 percent of foundation funding in the arts goes to about 2 percent of arts organizations presenting predominantly western European forms.”\u003c/p>\n\u003cp>Indeed, the heads of most of San Francisco’s major cultural institutions are white men, including recent appointments like \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" target=\"_blank\" rel=\"noopener\">Thomas Campbell\u003c/a> at the Fine Arts Museums of San Francisco and \u003ca href=\"https://www.kqed.org/arts/13846403/esa-pekka-salonen-appointed-music-director-at-sf-symphony\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a> at the San Francisco Symphony.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We as a society are starting to grapple with the truths of our history, and understanding the root causes of a lot of the problems that we’re seeing every day,” said Flores. “Institutional, structural racism is at the heart of so many of our problems. What’s different now is our ability and our willingness to actually take some steps toward righting these wrongs that have been carried out for so long.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\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=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\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=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing has picked up 7 million views for its two videos.\u003c/p>\n\u003cp>Leather jackets, skull rings and bandannas alongside intricately carved Mongolian horsehead fiddles are just some of the images in the first two music videos the Mongolian band The Hu released on YouTube this fall. Excited listeners from around the globe have posted comments like: “This makes me want to ride a horse and shoot people with a bow” and “This sounds like ancient mongol rock of 1000 b.c. Really badass!” (sic)\u003c/p>\n\u003cp>https://youtu.be/v4xZUr0BEfE\u003c/p>\n\u003cp>And yet what The Hu is doing, while new, comes out of a tradition that began several decades ago when Mongolia transitioned from a satellite of the Soviet Union to a democracy.\u003c/p>\n\u003cp>As the Soviet Union crumbled and Western influence flooded in during the late 1980s and early 1990s, Mongolian musicians chose to preserve Mongolian culture while also adapting new influences, explains University of Chicago ethnomusicology doctoral student \u003ca href=\"http://chicago.academia.edu/ThaleaStokes\">Thalea Stokes.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is something they continue to do today, says Stokes, who spoke via Skype from Inner Mongolia where she is studying Mongolian hip-hop. That hip-hop scene has a similar background. Although hip-hop is a relatively new import, Mongolians have rapidly adapted it, mixing “fierce ethnic pride and adventurous dancing” with social and political critique, according to Stokes’ research.\u003c/p>\n\u003cp>“Mongolians are not just taking elements from Western music and just copying and pasting,” says Stokes. Instead, they’re using some of these elements and making their own authentic music.\u003c/p>\n\u003cp>“So it’s not rock music performed by Mongolians. It’s Mongolian rock music,” she says.\u003c/p>\n\u003cp>Mongolian rock combines traditional Mongolian instruments, like a horsehead fiddle (\u003cem>morin khuur\u003c/em>), Jew’s harp (\u003cem>tumur khuur\u003c/em>) and Mongolian guitar (\u003cem>tovshuur\u003c/em>) with the pounding bass and drums of rock.\u003c/p>\n\u003cp>[contextly_sidebar id=”JxRWoeCTCMYbRutfZi5Qyvdn5DJiKkPu”]\u003c/p>\n\u003cp>It also involves singing in a guttural way known as throat singing while throwing heads back and forth reminiscent of the headbanging of ’80s heavy metal bands like Metallica. Those who study Mongolian music believe one reason The Hu has proved so popular with outsiders is this combining of modern and historical and Eastern and Western elements.\u003c/p>\n\u003cp>The Hu call their style “hunnu rock” — from the Mongolian root word for human being: “hu.” The band spent seven years putting together its first album, which it expects to release this spring. They plan to call it \u003cem>Gereg\u003c/em>, the name for a diplomatic passport used during the time of Genghis Khan. For the album, the idea was to find, study and incorporate as much of Mongolia’s musical culture as they could into a rock style, says the band’s 52-year-old producer and songwriter, B. Dashdondog, who goes by “Dashka.”\u003c/p>\n\u003cp>Mongolian musical culture is tied up with their pastoral way of life. The two-stringed horsehead fiddle is shaped to resemble a horse and includes the carving of a horse head and strings and bow made of horsehair. It produces a sound similar to a violin and can be used to imitate the sound of a herd of horses. In throat singing, associated with pastoral herders in Central Asia, the singer produces a low constant sort of drone at the same time as a series of higher tones.\u003c/p>\n\u003cp>“We wanted to come up with our own thing that we can offer to this big music family. Make something new,” says Dashka, who spoke through a translator via Skype.\u003c/p>\n\u003cp>It is not just their instruments that incorporate traditional elements. In the band’s first song, “Yuve Yuve Yu” (What’s going on?), they mention Genghis Khan and how he was fated to bring nations together. The video begins with images of people inside playing video games, watching television and looking at their phones. A door is opened and the band’s four members step into different natural settings: cliffs, desert, forest and lake. The message they hope to convey through their lyrics and imagery is that people need to pay attention to nature and their history and culture, explains lead singer TS. Galbadrakh, known as “Gala,” 29.\u003c/p>\n\u003cp>[contextly_sidebar id=”s8PTLJLutxF2ttSG4KdvJ7OIWfAqSLW7″]\u003c/p>\n\u003cp>It is a familiar message to \u003ca href=\"https://www.anthropology.wisc.edu/staff/hutchins-kip/\">Kip Hutchins\u003c/a>, a doctoral student in cultural anthropology at the University of Wisconsin. Lines about neglecting their ancestors — like “taking our great Mongol ancestors names in vain” — are almost exactly what was sung in the late 1980s during the transition to democracy, says Hutchins. It was then that rock became popular as a form of political protest. Soon after, Mongolians started to form folk rock and folk jazz ensembles. Band members tended to be trained in conservatories on traditional instruments.\u003c/p>\n\u003cp>The four members of The Hu all learned to play traditional Mongolian instruments at the Mongolian State conservatory. The oldest in the group, G. Nyamjantsan, who goes by “Jaya,” 35, still teaches at the conservatory. N. Temuulen aka “Temka,” 28, who plays the Mongolian guitar, says their international popularity was something they expected — but not in the millions.\u003c/p>\n\u003cp>“When we do this, we try to spiritually express this beautiful thing about Mongolian music. We think we will talk to everyone’s soul through our music,” says Temka through a translator. “But we didn’t expect this fast, people just popping up everywhere.”\u003c/p>\n\u003cp>They aren’t quite sure how it happened. Hutchins has an idea. He believes part of the appeal of bands like The Hu is the way he believes the story of Mongolia has been written in the West. Nomadism and horse culture has been romanticized, and the emphasis on freedom and heroes tends to appeal to the stereotypical male heavy metal fan.\u003c/p>\n\u003cp>“There is a kind of exoticism to Mongolia,” says Hutchins. Mongolia “is at once a community and a culture that is part of Asia and Europe at the same time.”\u003c/p>\n\u003cp>The Hu is not the only Mongolian band that has attracted recent international attention. There is the folk rock band Altan Urag, whose music was featured in the 2007 film \u003cem>Mongol\u003c/em> and in the Netflix show \u003cem>Marco Polo,\u003c/em> and the Inner Mongolian Hanggai Band.\u003c/p>\n\u003cp>Ethnomusicologist Charlotte D’Evelyn sees The Hu as trying to bring back traditions while also modernizing. For her, it is as if the band is saying, “We’re still modern and we’re living in the modern world. But we’re using this music to revive some kind of nationalistic cultural identity.”\u003c/p>\n\u003cp>Hutchins puts it another way.\u003c/p>\n\u003cp>“The Hu is obviously interested in teaching a global community about Mongolian culture as much as they’re interested in creating something Mongol.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://katyacengel.com/\">Katya Cengel\u003c/a>\u003cem> is the author of \u003c/em>\u003ca href=\"https://www.amazon.com/Exiled-Killing-Fields-Cambodia-California-ebook/dp/B07C853GF9\">Exiled: From the Killing Fields of Cambodia to California and Back\u003cem>.\u003c/em>\u003c/a>\u003cem> She reported from Mongolia in 2017 on a fellowship from the \u003c/em>\u003ca href=\"https://internationalreportingproject.org/\">International Reporting Project (IRP)\u003c/a>\u003cem>. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/kcengel\">@kcengel\u003c/a>\u003cem>.\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=How+A+Mongolian+Heavy+Metal+Band+Got+Millions+Of+YouTube+Views&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing has picked up 7 million views for its two videos.\u003c/p>\n\u003cp>Leather jackets, skull rings and bandannas alongside intricately carved Mongolian horsehead fiddles are just some of the images in the first two music videos the Mongolian band The Hu released on YouTube this fall. Excited listeners from around the globe have posted comments like: “This makes me want to ride a horse and shoot people with a bow” and “This sounds like ancient mongol rock of 1000 b.c. Really badass!” (sic)\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/v4xZUr0BEfE'\n title='//www.youtube.com/embed/v4xZUr0BEfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet what The Hu is doing, while new, comes out of a tradition that began several decades ago when Mongolia transitioned from a satellite of the Soviet Union to a democracy.\u003c/p>\n\u003cp>As the Soviet Union crumbled and Western influence flooded in during the late 1980s and early 1990s, Mongolian musicians chose to preserve Mongolian culture while also adapting new influences, explains University of Chicago ethnomusicology doctoral student \u003ca href=\"http://chicago.academia.edu/ThaleaStokes\">Thalea Stokes.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is something they continue to do today, says Stokes, who spoke via Skype from Inner Mongolia where she is studying Mongolian hip-hop. That hip-hop scene has a similar background. Although hip-hop is a relatively new import, Mongolians have rapidly adapted it, mixing “fierce ethnic pride and adventurous dancing” with social and political critique, according to Stokes’ research.\u003c/p>\n\u003cp>“Mongolians are not just taking elements from Western music and just copying and pasting,” says Stokes. Instead, they’re using some of these elements and making their own authentic music.\u003c/p>\n\u003cp>“So it’s not rock music performed by Mongolians. It’s Mongolian rock music,” she says.\u003c/p>\n\u003cp>Mongolian rock combines traditional Mongolian instruments, like a horsehead fiddle (\u003cem>morin khuur\u003c/em>), Jew’s harp (\u003cem>tumur khuur\u003c/em>) and Mongolian guitar (\u003cem>tovshuur\u003c/em>) with the pounding bass and drums of rock.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It also involves singing in a guttural way known as throat singing while throwing heads back and forth reminiscent of the headbanging of ’80s heavy metal bands like Metallica. Those who study Mongolian music believe one reason The Hu has proved so popular with outsiders is this combining of modern and historical and Eastern and Western elements.\u003c/p>\n\u003cp>The Hu call their style “hunnu rock” — from the Mongolian root word for human being: “hu.” The band spent seven years putting together its first album, which it expects to release this spring. They plan to call it \u003cem>Gereg\u003c/em>, the name for a diplomatic passport used during the time of Genghis Khan. For the album, the idea was to find, study and incorporate as much of Mongolia’s musical culture as they could into a rock style, says the band’s 52-year-old producer and songwriter, B. Dashdondog, who goes by “Dashka.”\u003c/p>\n\u003cp>Mongolian musical culture is tied up with their pastoral way of life. The two-stringed horsehead fiddle is shaped to resemble a horse and includes the carving of a horse head and strings and bow made of horsehair. It produces a sound similar to a violin and can be used to imitate the sound of a herd of horses. In throat singing, associated with pastoral herders in Central Asia, the singer produces a low constant sort of drone at the same time as a series of higher tones.\u003c/p>\n\u003cp>“We wanted to come up with our own thing that we can offer to this big music family. Make something new,” says Dashka, who spoke through a translator via Skype.\u003c/p>\n\u003cp>It is not just their instruments that incorporate traditional elements. In the band’s first song, “Yuve Yuve Yu” (What’s going on?), they mention Genghis Khan and how he was fated to bring nations together. The video begins with images of people inside playing video games, watching television and looking at their phones. A door is opened and the band’s four members step into different natural settings: cliffs, desert, forest and lake. The message they hope to convey through their lyrics and imagery is that people need to pay attention to nature and their history and culture, explains lead singer TS. Galbadrakh, known as “Gala,” 29.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It is a familiar message to \u003ca href=\"https://www.anthropology.wisc.edu/staff/hutchins-kip/\">Kip Hutchins\u003c/a>, a doctoral student in cultural anthropology at the University of Wisconsin. Lines about neglecting their ancestors — like “taking our great Mongol ancestors names in vain” — are almost exactly what was sung in the late 1980s during the transition to democracy, says Hutchins. It was then that rock became popular as a form of political protest. Soon after, Mongolians started to form folk rock and folk jazz ensembles. Band members tended to be trained in conservatories on traditional instruments.\u003c/p>\n\u003cp>The four members of The Hu all learned to play traditional Mongolian instruments at the Mongolian State conservatory. The oldest in the group, G. Nyamjantsan, who goes by “Jaya,” 35, still teaches at the conservatory. N. Temuulen aka “Temka,” 28, who plays the Mongolian guitar, says their international popularity was something they expected — but not in the millions.\u003c/p>\n\u003cp>“When we do this, we try to spiritually express this beautiful thing about Mongolian music. We think we will talk to everyone’s soul through our music,” says Temka through a translator. “But we didn’t expect this fast, people just popping up everywhere.”\u003c/p>\n\u003cp>They aren’t quite sure how it happened. Hutchins has an idea. He believes part of the appeal of bands like The Hu is the way he believes the story of Mongolia has been written in the West. Nomadism and horse culture has been romanticized, and the emphasis on freedom and heroes tends to appeal to the stereotypical male heavy metal fan.\u003c/p>\n\u003cp>“There is a kind of exoticism to Mongolia,” says Hutchins. Mongolia “is at once a community and a culture that is part of Asia and Europe at the same time.”\u003c/p>\n\u003cp>The Hu is not the only Mongolian band that has attracted recent international attention. There is the folk rock band Altan Urag, whose music was featured in the 2007 film \u003cem>Mongol\u003c/em> and in the Netflix show \u003cem>Marco Polo,\u003c/em> and the Inner Mongolian Hanggai Band.\u003c/p>\n\u003cp>Ethnomusicologist Charlotte D’Evelyn sees The Hu as trying to bring back traditions while also modernizing. For her, it is as if the band is saying, “We’re still modern and we’re living in the modern world. But we’re using this music to revive some kind of nationalistic cultural identity.”\u003c/p>\n\u003cp>Hutchins puts it another way.\u003c/p>\n\u003cp>“The Hu is obviously interested in teaching a global community about Mongolian culture as much as they’re interested in creating something Mongol.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://katyacengel.com/\">Katya Cengel\u003c/a>\u003cem> is the author of \u003c/em>\u003ca href=\"https://www.amazon.com/Exiled-Killing-Fields-Cambodia-California-ebook/dp/B07C853GF9\">Exiled: From the Killing Fields of Cambodia to California and Back\u003cem>.\u003c/em>\u003c/a>\u003cem> She reported from Mongolia in 2017 on a fellowship from the \u003c/em>\u003ca href=\"https://internationalreportingproject.org/\">International Reporting Project (IRP)\u003c/a>\u003cem>. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/kcengel\">@kcengel\u003c/a>\u003cem>.\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=How+A+Mongolian+Heavy+Metal+Band+Got+Millions+Of+YouTube+Views&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Newly Found Audio, A Forgotten Civil Rights Leader Says Coming Out 'Was An Absolute Necessity'",
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"headTitle": "In Newly Found Audio, A Forgotten Civil Rights Leader Says Coming Out ‘Was An Absolute Necessity’ | KQED",
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"content": "\u003cp>He was an adviser to Martin Luther King Jr. and the organizer behind the 1963 March on Washington.\u003c/p>\n\u003cp>Still, Bayard Rustin’s legacy as a leading figure in the civil rights movement is little known today, even among many history buffs and within the LGBTQ community. His homosexuality cost him that visibility and was considered by some as a hindrance to the movement’s success.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682598649/682715013\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Rustin died in 1987, but his silenced voice was recently resurrected in \u003ca href=\"https://makinggayhistory.com/podcast/season-4-introduction/\">previously unaired audio\u003c/a> from an interview with the \u003cem>Washington\u003c/em> \u003cem>Blade \u003c/em>in the mid-1980s. The audio will air this week in an episode of the podcast \u003cem>Making Gay History. \u003c/em>It was discovered by Sara Burningham, the podcast’s executive producer.\u003c/p>\n\u003cp>Rustin was the target of homophobic attacks, and as he discusses in the interview, he was sidelined by other black leaders at key moments during a movement he helped steer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At a given point, there was so much pressure on Dr. King about my being gay and particularly because I would not deny it, that he set up a committee to explore whether it would be dangerous for me to continue working with him,” Rustin says to the \u003cem>Blade \u003c/em>in the interview.\u003c/p>\n\u003cp>[contextly_sidebar id=”hzLlHIbd09nh9IFBFaKCFJT2U6JpEtnn”]\u003c/p>\n\u003cp>He conceded, but as Eric Marcus, the host of \u003cem>Making Gay History,\u003c/em> tells NPR’s Michel Martin, Rustin kept working for the cause. In the face of constant setbacks and discrimination, Marcus says, Rustin’s commitment prevailed, a quality Marcus attributes to his Quaker upbringing.\u003c/p>\n\u003cp>The rare tape was provided by Rustin’s surviving partner, \u003ca href=\"https://www.npr.org/2015/06/28/418187875/long-before-same-sex-marriage-adopted-son-could-mean-life-partner\">Walter Naegle\u003c/a>, who preserved a library of backup recordings. Those recordings have helped foster a better understanding of the gay icon — one that Marcus concedes was absent from his civil rights education.\u003c/p>\n\u003cp>“I feel like I was robbed of my history as a gay person,” Marcus says. “Growing up, if I’d known known about someone like him, it would’ve been transformative.”\u003c/p>\n\u003cp>Marcus finds it inspiring that Rustin was open about his sexuality at a time when being gay was still considered dangerous. His arrest record included protesting and charges related to his homosexuality.\u003c/p>\n\u003cp>[contextly_sidebar id=”tKctfKFZvzQLhPuzb6Z3CZtS1amEO3kp”]\u003c/p>\n\u003cp>“Even though he had an arrest record because he was caught in the backseat of a car with two men in 1953 in California and then jailed for two months, he still managed to be a key figure in the black civil rights movement and organized the march on Washington,” Marcus says.\u003c/p>\n\u003cp>Despite the risks, Rustin felt it was his responsibility to be open about his sexuality. He traces that duty back to an experience he had as a black man in the 1940s Jim Crow South, when he took his place at the back of a segregated bus.\u003c/p>\n\u003cp>“As I was going by the second seat to go to the rear, a white child reached out for the ring necktie I was wearing and pulled it,” he recalled in the newly released audio. “Whereupon its mother said, ‘Don’t touch a n*****.’ ”\u003c/p>\n\u003cp>As Rustin tells it, here’s what ran through his mind in that moment after the white woman called him the slur: “If I go and sit quietly at the back of that bus now, that child, who was so innocent of race relations that it was going to play with me, will have seen so many blacks go in the back and sit down quietly that it’s going to end up saying, ‘They like it back there, I’ve never seen anybody protest against it.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”qrKTc33LyLZ3qw1ZMkYV1TZzdVpi4afP”]\u003c/p>\n\u003cp>Instead, he saw this moment as an opportunity, and an obligation, to disrupt what he saw as the inheritance of a prejudiced education in practice.\u003c/p>\n\u003cp>“I owe it to that child,” he told himself, “that it should be educated to know that blacks do not want to sit in the back, and therefore I should get arrested, letting all these white people in the bus know that I do not accept that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To Rustin, asserting his identity as an African-American went hand-in-hand with identifying as a gay man. “It occurred to me shortly after that that it was an absolute necessity for me to declare homosexuality, because if I didn’t I was a part of the prejudice,” he said. “I was aiding and abetting the prejudice that was a part of the effort to destroy me.”\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=In+Newly+Found+Audio%2C+A+Forgotten+Civil+Rights+Leader+Says+Coming+Out+%27Was+An+Absolute+Necessity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He was an adviser to Martin Luther King Jr. and the organizer behind the 1963 March on Washington.\u003c/p>\n\u003cp>Still, Bayard Rustin’s legacy as a leading figure in the civil rights movement is little known today, even among many history buffs and within the LGBTQ community. His homosexuality cost him that visibility and was considered by some as a hindrance to the movement’s success.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682598649/682715013\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Rustin died in 1987, but his silenced voice was recently resurrected in \u003ca href=\"https://makinggayhistory.com/podcast/season-4-introduction/\">previously unaired audio\u003c/a> from an interview with the \u003cem>Washington\u003c/em> \u003cem>Blade \u003c/em>in the mid-1980s. The audio will air this week in an episode of the podcast \u003cem>Making Gay History. \u003c/em>It was discovered by Sara Burningham, the podcast’s executive producer.\u003c/p>\n\u003cp>Rustin was the target of homophobic attacks, and as he discusses in the interview, he was sidelined by other black leaders at key moments during a movement he helped steer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At a given point, there was so much pressure on Dr. King about my being gay and particularly because I would not deny it, that he set up a committee to explore whether it would be dangerous for me to continue working with him,” Rustin says to the \u003cem>Blade \u003c/em>in the interview.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He conceded, but as Eric Marcus, the host of \u003cem>Making Gay History,\u003c/em> tells NPR’s Michel Martin, Rustin kept working for the cause. In the face of constant setbacks and discrimination, Marcus says, Rustin’s commitment prevailed, a quality Marcus attributes to his Quaker upbringing.\u003c/p>\n\u003cp>The rare tape was provided by Rustin’s surviving partner, \u003ca href=\"https://www.npr.org/2015/06/28/418187875/long-before-same-sex-marriage-adopted-son-could-mean-life-partner\">Walter Naegle\u003c/a>, who preserved a library of backup recordings. Those recordings have helped foster a better understanding of the gay icon — one that Marcus concedes was absent from his civil rights education.\u003c/p>\n\u003cp>“I feel like I was robbed of my history as a gay person,” Marcus says. “Growing up, if I’d known known about someone like him, it would’ve been transformative.”\u003c/p>\n\u003cp>Marcus finds it inspiring that Rustin was open about his sexuality at a time when being gay was still considered dangerous. His arrest record included protesting and charges related to his homosexuality.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Even though he had an arrest record because he was caught in the backseat of a car with two men in 1953 in California and then jailed for two months, he still managed to be a key figure in the black civil rights movement and organized the march on Washington,” Marcus says.\u003c/p>\n\u003cp>Despite the risks, Rustin felt it was his responsibility to be open about his sexuality. He traces that duty back to an experience he had as a black man in the 1940s Jim Crow South, when he took his place at the back of a segregated bus.\u003c/p>\n\u003cp>“As I was going by the second seat to go to the rear, a white child reached out for the ring necktie I was wearing and pulled it,” he recalled in the newly released audio. “Whereupon its mother said, ‘Don’t touch a n*****.’ ”\u003c/p>\n\u003cp>As Rustin tells it, here’s what ran through his mind in that moment after the white woman called him the slur: “If I go and sit quietly at the back of that bus now, that child, who was so innocent of race relations that it was going to play with me, will have seen so many blacks go in the back and sit down quietly that it’s going to end up saying, ‘They like it back there, I’ve never seen anybody protest against it.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Instead, he saw this moment as an opportunity, and an obligation, to disrupt what he saw as the inheritance of a prejudiced education in practice.\u003c/p>\n\u003cp>“I owe it to that child,” he told himself, “that it should be educated to know that blacks do not want to sit in the back, and therefore I should get arrested, letting all these white people in the bus know that I do not accept that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To Rustin, asserting his identity as an African-American went hand-in-hand with identifying as a gay man. “It occurred to me shortly after that that it was an absolute necessity for me to declare homosexuality, because if I didn’t I was a part of the prejudice,” he said. “I was aiding and abetting the prejudice that was a part of the effort to destroy me.”\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=In+Newly+Found+Audio%2C+A+Forgotten+Civil+Rights+Leader+Says+Coming+Out+%27Was+An+Absolute+Necessity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maybe you need a little bit of juice to get your New Year’s resolutions going. If that’s the case, \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> has just the thing. The Minneapolis rapper/flutist/meme legend continues her winning streak of sing-songy, funk-heavy rap with her latest single “Juice” and yet another meme-worthy music video to match.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lizzo - Juice (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XaCrQL_8eMY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the Quinn Wilson-directed visual, Lizzo takes cues from assorted bits of ’80s nostalgia — Jane Fonda workout tapes, \u003ca href=\"https://www.youtube.com/watch?v=irFrB5LMRkM\">Soul Glo\u003c/a> commercials from \u003cem>Coming to America,\u003c/em> QVC infomercials — and shades them with her singular, life-affirming zeal. But unlike, say, the \u003ca href=\"https://www.npr.org/2018/10/11/656568210/every-single-90s-reference-in-charli-xcx-troye-sivan-s-1999-video\">time-warped reminiscing\u003c/a> of Charli XCX and Troye Sivan, Lizzo finds a way to dust some modern-day magic into the otherwise-retro video. She pays a small nod to ASMR queen Spirit Payton, better known on YouTube as \u003ca href=\"https://www.youtube.com/watch?v=GUUAu_aiaVw\">ASMRTheChew\u003c/a>.\u003c/p>\n\u003cp>Keeping with the infomercial theme, the end of the video directs the viewer to \u003ca href=\"http://blameitonmyjuice.com/\">blameitonthejuice.com\u003c/a>, which leads to a cartooned microsite housing all of Lizzo’s awesome visuals to date, and says to allow three to six weeks for delivery. Is this a timeline for Lizzo’s 2019 domination?\u003c/p>\n\u003cp>“The juice ain’t worth the squeeze if the juice don’t look like this,” Lizzo sings in the second verse. If we can muster up even a few drops of her fresh-squeezed, self-loving braggadocio to carry us all the way through the year, we should be all right.\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=Lizzo+Serves+Up+Some+Fresh-Pressed%2C+%2780s-Inspired+%27Juice%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe you need a little bit of juice to get your New Year’s resolutions going. If that’s the case, \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> has just the thing. The Minneapolis rapper/flutist/meme legend continues her winning streak of sing-songy, funk-heavy rap with her latest single “Juice” and yet another meme-worthy music video to match.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lizzo - Juice (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XaCrQL_8eMY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the Quinn Wilson-directed visual, Lizzo takes cues from assorted bits of ’80s nostalgia — Jane Fonda workout tapes, \u003ca href=\"https://www.youtube.com/watch?v=irFrB5LMRkM\">Soul Glo\u003c/a> commercials from \u003cem>Coming to America,\u003c/em> QVC infomercials — and shades them with her singular, life-affirming zeal. But unlike, say, the \u003ca href=\"https://www.npr.org/2018/10/11/656568210/every-single-90s-reference-in-charli-xcx-troye-sivan-s-1999-video\">time-warped reminiscing\u003c/a> of Charli XCX and Troye Sivan, Lizzo finds a way to dust some modern-day magic into the otherwise-retro video. She pays a small nod to ASMR queen Spirit Payton, better known on YouTube as \u003ca href=\"https://www.youtube.com/watch?v=GUUAu_aiaVw\">ASMRTheChew\u003c/a>.\u003c/p>\n\u003cp>Keeping with the infomercial theme, the end of the video directs the viewer to \u003ca href=\"http://blameitonmyjuice.com/\">blameitonthejuice.com\u003c/a>, which leads to a cartooned microsite housing all of Lizzo’s awesome visuals to date, and says to allow three to six weeks for delivery. Is this a timeline for Lizzo’s 2019 domination?\u003c/p>\n\u003cp>“The juice ain’t worth the squeeze if the juice don’t look like this,” Lizzo sings in the second verse. If we can muster up even a few drops of her fresh-squeezed, self-loving braggadocio to carry us all the way through the year, we should be all right.\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=Lizzo+Serves+Up+Some+Fresh-Pressed%2C+%2780s-Inspired+%27Juice%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>To commemorate the 10th anniversary of Oscar Grant’s death, KQED \u003ca href=\"https://www.kqed.org/arts/13847179/dear-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">asked\u003c/a> you to look back on Grant’s life and legacy. What would you say to Oscar Grant today? What changes have you seen in your community over the past decade? What hopes do you have for the future?\u003c/em>\u003c/p>\n\u003cp>The response was overwhelming. Here, we present a selection of your responses—the things you’d tell Oscar Grant if you had the chance. Read them below, and see the rest of our \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant 10 Years Later\u003c/a> coverage \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>My first job as a teenager was working with you and your cousin John in the meat market of Farmer Joe’s, our local grocery store. You were always quick to make a joke or flash a smile. Your enthusiasm helped pass countless hours at a job that wasn’t exactly glamorous. I’ll never forget the pit in my stomach I felt when I saw your face in that morning’s paper. Hoping you’re in a better place.\u003c/p>\n\u003cp>Take care O.\u003c/p>\n\u003cp>\u003cem>—Rafi Ronquillo, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I was a freshman in college, fresh off the euphoria of working to get Barack Obama elected. I remember contemplating taking time off school to organize, and being reminded that the work to create a more perfect, fair, and inclusive union is far from finished. Rest in power.\u003c/p>\n\u003cp>\u003cem>—Michael Tubbs, Mayor of Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>Brother, I was 18 years old and your murder was the firsthand experience my grandmother had always told me about. She used to tell me that as a black man I had to stay aware of my surroundings and be careful of the law. Growing up, I had been harassed by the police and thought it was just something they did to black and brown males routinely. Your murder opened my eyes and helped me realize it is possible I could be murdered by law officials with no type of accommodation or justice. Nothing can ever replace your life.\u003c/p>\n\u003cp>\u003cem>—Drakkar Noir, Berkeley\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”A31JO9bXZcTeCW2A8bsHO4ivdur00AQx”]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As I craft this message on a southbound BART train that’s pulling into West Oakland, there’s not a single trip through Fruitvale where I don’t remember your name. Leave it up to me, and that station would be renamed after you.\u003c/p>\n\u003cp>\u003cem>—Andrew, San Jose, CA\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>You know those days when everything moves in slow motion, and you notice each moment? I had one of those days at the grocery store once when you cut me some beautiful salmon at the deli. I remember you making the cuts and watching the pink of the fish. While I never knew you, I felt the loss of you, as one does when a community member is taken.\u003c/p>\n\u003cp>\u003cem>—Frances Fortini, San Francisco\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>We went to church together at Palma Ceia Baptist Church in Hayward. Although you were a few years older than me, we both grew up in that church. You and I even played on the basketball team sponsored by Palma Ceia; those were some of my most enjoyable times playing the game. I distinctly remember watching you play and lead the 13-15 team. I looked up to you on the court as somebody who went hard, respected his teammates, and played with a love for the game that was apparent.\u003c/p>\n\u003cp>It was these moments at Palma Ceia that made your unjust and untimely demise hard to take in. To see someone that I’ve shared experiences with get cut down in such a violent and indifferent manner let me know that it could happen to me—and anyone like me.\u003c/p>\n\u003cp>Oscar, you were a value in life and you are still a value. What happened to you galvanized the Town and black people around the nation. It ushered in a new era of resistance to state violence and drove home for a new generation the urgency of eradicating structural racism. I know this will never fill the hole left in your family’s heart, but you should know you did not die in vain.\u003c/p>\n\u003cp>Rest in Peace Brother.\u003c/p>\n\u003cp>\u003cem>—J. Turner, San Diego\u003c/em>\u003c/p>\n\u003cp>[contextly_sidebar id=”DAyIbpeMPfqyXNn1MfW6eb5hb9uk88cv”]\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>They took you away just as you were bringing new life to yourself and your family. We fight for you in the hope that it never happens again.\u003c/p>\n\u003cp>\u003cem>—Semhar, California\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I live five minutes away from where you died, and when I’m on the same BART platform, I ask myself: What happens to all of that potential and energy? What about the communal grief and rage? When precious life is squandered, how much light and life and love is lost, do we lose our own humanity?\u003c/p>\n\u003cp>Your death sparked protests, activists in the streets, and continued through the grief and criminal trial, because your life matters. You are loved, you are missed, you will never be forgotten.\u003c/p>\n\u003cp>Rest In Peace, Oscar Grant.\u003c/p>\n\u003cp>\u003cem>—Kristy Higares, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>If I could tell you to stay home with your family, I would. If I could tell you to always watch out for your surroundings, I would. What I can’t tell you is that police brutality will end, because it won’t. What I can’t say is the color of your skin wasn’t your fault, because it was. This world has been so disgusting and I am sorry you had to get stuck in the middle of their stupidity and cowardliness.\u003c/p>\n\u003cp>Your family and friends stand by to keep you in our memories. Your life was worth more than to be taken away at a BART station for doing nothing. Your life was worth so much more than an object that those in a higher power feel they can control. You \u003cem>are\u003c/em> so much more, and your life and story will live on to show the oppression many of us people of color have to face.\u003c/p>\n\u003cp>\u003cem>—Jocelyn Alcala, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”zsXdmfeg8EMh5ojNWti4rd02ZJ66lYlr”]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I want to tell you that you have one of the strongest mothers in the world. She nurtures other mothers and families that don’t know how to deal with losing their children and loved ones. She saves lives by witnessing and standing behind them in a time of need. She has started a basketball team, she gives scholarships, she does backpack drives, she travels on the regular to speak and hold seminars about violence. She has became an activist, and spokeswoman, and she is your voice.\u003c/p>\n\u003cp>One thing that I will say is that “I AM OSCAR GRANT.” Rest easy, baby boy. I never got a chance to meet you, but I know you. Forever Fruitvale Station.\u003c/p>\n\u003cp>\u003cem>—Lakisha Carmon, Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>It’s been 10 years. I went into labor that night. My daughter turns 10 on Jan. 2. I often ask myself: How was I bringing life into this world, when someone was stealing life from you?\u003c/p>\n\u003cp>You deserve to be here. I still drive down the streets of Oakland wondering who you would’ve become. The potential that left with you that night. The daughter who had to be told that daddy wasn’t coming home.\u003c/p>\n\u003cp>Your story is one that Oakland will never be able to hide. Oakland changed in a way we didn’t know was possible after your death. I want to say we grew stronger because of you. I want to say we see each other through different eyes because of you. I want to say that I’m sorry that your life ending had to be the thing to bring us closer together. What would Oakland look like through your eyes after these 10 years?\u003c/p>\n\u003cp>\u003cem>—Deema, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I first heard about you 10 years ago. I was only seven years old, but I still managed to understand the injustice that occurred to you. It’s something that horribly became common in our world, and it shouldn’t have.\u003c/p>\n\u003cp>You were a fellow member of our community in Oakland, a son, a father, an uncle, a friend, and so much in that day. Oscar Grant, you are someone that is greatly remembered, and you were able to open many people’s eyes. You opened my eyes. Don’t give up on us. Don’t give up on Oakland.\u003c/p>\n\u003cp>\u003cem>—Ariana Perfino, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”PAHpEzOVBWXfXeVcMO02T36kweluOQiL”]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>In 2009, I was living in Los Angeles, where I was born and raised, and working for a nonprofit downtown. In 2009, I was trying to figure out what I wanted to do with my life, thinking about getting a law degree or a masters in public policy.\u003c/p>\n\u003cp>In 2009, your life was taken. I felt so much sadness and outrage when I learned about what had happened to you, and when I watched the video of how you were treated. I felt so helpless. When the trial was moved to Los Angeles, I went to the courthouse to protest police brutality. It was how my grief manifested. It didn’t feel good enough.\u003c/p>\n\u003cp>Shortly after, I decided to apply for grad school. I wanted to be in Oakland. I didn’t know much about the Bay Area, I’d never lived anywhere but LA. But seeing how the community came together to expose the systemic issues that led to that event made me want to be in the Bay, even if it was only for two years.\u003c/p>\n\u003cp>Now, eight years later, I’m still in Oakland. I try my best to be a champion of equity, to be a positive change in my community. For four years, I rode BART from Fruitvale into San Francisco for work. I thought about you often and still do.\u003c/p>\n\u003cp>I wish I could tell you that lots has changed since 2009, but I think the challenges have only gotten greater. I write this to you only to let you know that you had a huge impact on my life. I hope one day we’ll be able to say what happened to you would never happen in this day and age.\u003c/p>\n\u003cp>\u003cem>—Susan, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As an African American male myself, my grandmother used to always be afraid for me to go out on New Year’s Eve, the Fourth of July and other holidays. It used to always annoy me, and I remember when your tragic situation happened. It basically reaffirmed everything she was afraid of.\u003c/p>\n\u003cp>Every time I go by Fruitvale Station, I call it Grant Station in your honor.\u003c/p>\n\u003cp>Your life and your death taught me that you can die any day. What you do in life is not measured by how many years you live, it’s about the impact when you’re here. I feel bad, almost, for feeling bad for myself. The times when I’m down, the times when I’m sad, I think about those people who aren’t here today to live life, and I try to be appreciative of the fact of just living life.\u003c/p>\n\u003cp>I’m leaving this voicemail at 2:04am after a frustrating day, but I had to make a comment because life is fragile and the best way to handle it is by living it to the fullest every day. Rest in peace.\u003c/p>\n\u003cp>\u003cem>—Amechi, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”D0TuKgIAJbCpcve5sMimDYyEHtthocI4″]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I’m sorry that you had to be the one to open people’s eyes to police brutality. I was six when you passed away. I didn’t understand what had happened because I was so young, but growing up in Oakland, I heard your story and analyzed it. Your death caused many people from our community great pain and concerns about safety. Your death also brought people together to teach and show others about the issues between people of color and the police.\u003c/p>\n\u003cp>I am afraid of the police. I am afraid of being pulled over for a stop-and-frisk due to my racial identity. I am afraid of walking too fast down the street and being followed. Nothing has changed since you passed away. Young black men are still being killed by police. Your story made headlines and still, nothing has changed.\u003c/p>\n\u003cp>We don’t need any more Trayvon Martins or Eric Garners. We need more people standing up—not only for us, but for those that have died at the hands of white police without justice.\u003c/p>\n\u003cp>\u003cem>—Paula Ortiz, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I didn’t know you personally, but we had mutual friends. For so many, your face was a picture of their son, a brother, someone’s father, a friend.\u003c/p>\n\u003cp>I’m not doing so good today, I’m struggling, actually. Every year on New Year’s Eve I remember where I was. I argued with my now ex-boyfriend, who didn’t want to go out because it wasn’t safe, because anything could happen. We went to bed early that night and woke up the next morning to the news of what would forever be recorded as the tragic last few moments of your life.\u003c/p>\n\u003cp>I’m struggling today because I’m alone, or more importantly I’m lonely; I go through bouts of crippling anxiety and depression that nobody knows about. I’m not suicidal, but I often evaluate my existence and wonder what I’m doing, where I’m going, and why I’m here. Today, for me, your life serves as a reminder: no matter how lonely or alone I feel, I’m alive. I’m alive and get to make the choice to live, a choice that you were not only denied but was forcibly taken from you.\u003c/p>\n\u003cp>I just want to thank you, Oscar Grant. Thank you for your contribution to society, to community, to culture, to life. Your impact on my life is a reason to get up today and live. I honestly can’t think of any more significant an impact, and for that I’m truly grateful.\u003c/p>\n\u003cp>Dear Oscar Grant, you may have saved my life.\u003c/p>\n\u003cp>\u003cem>—Anonymous, Pleasanton\u003c/em>\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",
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"description": "We asked, you responded—see what KQED listeners would tell Oscar Grant today if they had the chance.",
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"headline": "Dear Oscar Grant: In Your Words",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>To commemorate the 10th anniversary of Oscar Grant’s death, KQED \u003ca href=\"https://www.kqed.org/arts/13847179/dear-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">asked\u003c/a> you to look back on Grant’s life and legacy. What would you say to Oscar Grant today? What changes have you seen in your community over the past decade? What hopes do you have for the future?\u003c/em>\u003c/p>\n\u003cp>The response was overwhelming. Here, we present a selection of your responses—the things you’d tell Oscar Grant if you had the chance. Read them below, and see the rest of our \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant 10 Years Later\u003c/a> coverage \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>My first job as a teenager was working with you and your cousin John in the meat market of Farmer Joe’s, our local grocery store. You were always quick to make a joke or flash a smile. Your enthusiasm helped pass countless hours at a job that wasn’t exactly glamorous. I’ll never forget the pit in my stomach I felt when I saw your face in that morning’s paper. Hoping you’re in a better place.\u003c/p>\n\u003cp>Take care O.\u003c/p>\n\u003cp>\u003cem>—Rafi Ronquillo, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I was a freshman in college, fresh off the euphoria of working to get Barack Obama elected. I remember contemplating taking time off school to organize, and being reminded that the work to create a more perfect, fair, and inclusive union is far from finished. Rest in power.\u003c/p>\n\u003cp>\u003cem>—Michael Tubbs, Mayor of Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>Brother, I was 18 years old and your murder was the firsthand experience my grandmother had always told me about. She used to tell me that as a black man I had to stay aware of my surroundings and be careful of the law. Growing up, I had been harassed by the police and thought it was just something they did to black and brown males routinely. Your murder opened my eyes and helped me realize it is possible I could be murdered by law officials with no type of accommodation or justice. Nothing can ever replace your life.\u003c/p>\n\u003cp>\u003cem>—Drakkar Noir, Berkeley\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As I craft this message on a southbound BART train that’s pulling into West Oakland, there’s not a single trip through Fruitvale where I don’t remember your name. Leave it up to me, and that station would be renamed after you.\u003c/p>\n\u003cp>\u003cem>—Andrew, San Jose, CA\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>You know those days when everything moves in slow motion, and you notice each moment? I had one of those days at the grocery store once when you cut me some beautiful salmon at the deli. I remember you making the cuts and watching the pink of the fish. While I never knew you, I felt the loss of you, as one does when a community member is taken.\u003c/p>\n\u003cp>\u003cem>—Frances Fortini, San Francisco\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>We went to church together at Palma Ceia Baptist Church in Hayward. Although you were a few years older than me, we both grew up in that church. You and I even played on the basketball team sponsored by Palma Ceia; those were some of my most enjoyable times playing the game. I distinctly remember watching you play and lead the 13-15 team. I looked up to you on the court as somebody who went hard, respected his teammates, and played with a love for the game that was apparent.\u003c/p>\n\u003cp>It was these moments at Palma Ceia that made your unjust and untimely demise hard to take in. To see someone that I’ve shared experiences with get cut down in such a violent and indifferent manner let me know that it could happen to me—and anyone like me.\u003c/p>\n\u003cp>Oscar, you were a value in life and you are still a value. What happened to you galvanized the Town and black people around the nation. It ushered in a new era of resistance to state violence and drove home for a new generation the urgency of eradicating structural racism. I know this will never fill the hole left in your family’s heart, but you should know you did not die in vain.\u003c/p>\n\u003cp>Rest in Peace Brother.\u003c/p>\n\u003cp>\u003cem>—J. Turner, San Diego\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>They took you away just as you were bringing new life to yourself and your family. We fight for you in the hope that it never happens again.\u003c/p>\n\u003cp>\u003cem>—Semhar, California\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I live five minutes away from where you died, and when I’m on the same BART platform, I ask myself: What happens to all of that potential and energy? What about the communal grief and rage? When precious life is squandered, how much light and life and love is lost, do we lose our own humanity?\u003c/p>\n\u003cp>Your death sparked protests, activists in the streets, and continued through the grief and criminal trial, because your life matters. You are loved, you are missed, you will never be forgotten.\u003c/p>\n\u003cp>Rest In Peace, Oscar Grant.\u003c/p>\n\u003cp>\u003cem>—Kristy Higares, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>If I could tell you to stay home with your family, I would. If I could tell you to always watch out for your surroundings, I would. What I can’t tell you is that police brutality will end, because it won’t. What I can’t say is the color of your skin wasn’t your fault, because it was. This world has been so disgusting and I am sorry you had to get stuck in the middle of their stupidity and cowardliness.\u003c/p>\n\u003cp>Your family and friends stand by to keep you in our memories. Your life was worth more than to be taken away at a BART station for doing nothing. Your life was worth so much more than an object that those in a higher power feel they can control. You \u003cem>are\u003c/em> so much more, and your life and story will live on to show the oppression many of us people of color have to face.\u003c/p>\n\u003cp>\u003cem>—Jocelyn Alcala, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I want to tell you that you have one of the strongest mothers in the world. She nurtures other mothers and families that don’t know how to deal with losing their children and loved ones. She saves lives by witnessing and standing behind them in a time of need. She has started a basketball team, she gives scholarships, she does backpack drives, she travels on the regular to speak and hold seminars about violence. She has became an activist, and spokeswoman, and she is your voice.\u003c/p>\n\u003cp>One thing that I will say is that “I AM OSCAR GRANT.” Rest easy, baby boy. I never got a chance to meet you, but I know you. Forever Fruitvale Station.\u003c/p>\n\u003cp>\u003cem>—Lakisha Carmon, Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>It’s been 10 years. I went into labor that night. My daughter turns 10 on Jan. 2. I often ask myself: How was I bringing life into this world, when someone was stealing life from you?\u003c/p>\n\u003cp>You deserve to be here. I still drive down the streets of Oakland wondering who you would’ve become. The potential that left with you that night. The daughter who had to be told that daddy wasn’t coming home.\u003c/p>\n\u003cp>Your story is one that Oakland will never be able to hide. Oakland changed in a way we didn’t know was possible after your death. I want to say we grew stronger because of you. I want to say we see each other through different eyes because of you. I want to say that I’m sorry that your life ending had to be the thing to bring us closer together. What would Oakland look like through your eyes after these 10 years?\u003c/p>\n\u003cp>\u003cem>—Deema, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I first heard about you 10 years ago. I was only seven years old, but I still managed to understand the injustice that occurred to you. It’s something that horribly became common in our world, and it shouldn’t have.\u003c/p>\n\u003cp>You were a fellow member of our community in Oakland, a son, a father, an uncle, a friend, and so much in that day. Oscar Grant, you are someone that is greatly remembered, and you were able to open many people’s eyes. You opened my eyes. Don’t give up on us. Don’t give up on Oakland.\u003c/p>\n\u003cp>\u003cem>—Ariana Perfino, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>In 2009, I was living in Los Angeles, where I was born and raised, and working for a nonprofit downtown. In 2009, I was trying to figure out what I wanted to do with my life, thinking about getting a law degree or a masters in public policy.\u003c/p>\n\u003cp>In 2009, your life was taken. I felt so much sadness and outrage when I learned about what had happened to you, and when I watched the video of how you were treated. I felt so helpless. When the trial was moved to Los Angeles, I went to the courthouse to protest police brutality. It was how my grief manifested. It didn’t feel good enough.\u003c/p>\n\u003cp>Shortly after, I decided to apply for grad school. I wanted to be in Oakland. I didn’t know much about the Bay Area, I’d never lived anywhere but LA. But seeing how the community came together to expose the systemic issues that led to that event made me want to be in the Bay, even if it was only for two years.\u003c/p>\n\u003cp>Now, eight years later, I’m still in Oakland. I try my best to be a champion of equity, to be a positive change in my community. For four years, I rode BART from Fruitvale into San Francisco for work. I thought about you often and still do.\u003c/p>\n\u003cp>I wish I could tell you that lots has changed since 2009, but I think the challenges have only gotten greater. I write this to you only to let you know that you had a huge impact on my life. I hope one day we’ll be able to say what happened to you would never happen in this day and age.\u003c/p>\n\u003cp>\u003cem>—Susan, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As an African American male myself, my grandmother used to always be afraid for me to go out on New Year’s Eve, the Fourth of July and other holidays. It used to always annoy me, and I remember when your tragic situation happened. It basically reaffirmed everything she was afraid of.\u003c/p>\n\u003cp>Every time I go by Fruitvale Station, I call it Grant Station in your honor.\u003c/p>\n\u003cp>Your life and your death taught me that you can die any day. What you do in life is not measured by how many years you live, it’s about the impact when you’re here. I feel bad, almost, for feeling bad for myself. The times when I’m down, the times when I’m sad, I think about those people who aren’t here today to live life, and I try to be appreciative of the fact of just living life.\u003c/p>\n\u003cp>I’m leaving this voicemail at 2:04am after a frustrating day, but I had to make a comment because life is fragile and the best way to handle it is by living it to the fullest every day. Rest in peace.\u003c/p>\n\u003cp>\u003cem>—Amechi, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I’m sorry that you had to be the one to open people’s eyes to police brutality. I was six when you passed away. I didn’t understand what had happened because I was so young, but growing up in Oakland, I heard your story and analyzed it. Your death caused many people from our community great pain and concerns about safety. Your death also brought people together to teach and show others about the issues between people of color and the police.\u003c/p>\n\u003cp>I am afraid of the police. I am afraid of being pulled over for a stop-and-frisk due to my racial identity. I am afraid of walking too fast down the street and being followed. Nothing has changed since you passed away. Young black men are still being killed by police. Your story made headlines and still, nothing has changed.\u003c/p>\n\u003cp>We don’t need any more Trayvon Martins or Eric Garners. We need more people standing up—not only for us, but for those that have died at the hands of white police without justice.\u003c/p>\n\u003cp>\u003cem>—Paula Ortiz, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I didn’t know you personally, but we had mutual friends. For so many, your face was a picture of their son, a brother, someone’s father, a friend.\u003c/p>\n\u003cp>I’m not doing so good today, I’m struggling, actually. Every year on New Year’s Eve I remember where I was. I argued with my now ex-boyfriend, who didn’t want to go out because it wasn’t safe, because anything could happen. We went to bed early that night and woke up the next morning to the news of what would forever be recorded as the tragic last few moments of your life.\u003c/p>\n\u003cp>I’m struggling today because I’m alone, or more importantly I’m lonely; I go through bouts of crippling anxiety and depression that nobody knows about. I’m not suicidal, but I often evaluate my existence and wonder what I’m doing, where I’m going, and why I’m here. Today, for me, your life serves as a reminder: no matter how lonely or alone I feel, I’m alive. I’m alive and get to make the choice to live, a choice that you were not only denied but was forcibly taken from you.\u003c/p>\n\u003cp>I just want to thank you, Oscar Grant. Thank you for your contribution to society, to community, to culture, to life. Your impact on my life is a reason to get up today and live. I honestly can’t think of any more significant an impact, and for that I’m truly grateful.\u003c/p>\n\u003cp>Dear Oscar Grant, you may have saved my life.\u003c/p>\n\u003cp>\u003cem>—Anonymous, Pleasanton\u003c/em>\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\u003c/div>\u003c/p>",
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"title": "Dear Oscar Grant: Artists, Activists and Family Reflect",
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"content": "\u003cp>\u003ci>To commemorate the tenth anniversary of Oscar Grant’s death, KQED asked artists, activists and family members to look back on Grant’s life and legacy. What would they say to him today? What changes have they seen in their own communities over the past decade? What hopes do they have for the future? You can submit your own “Dear Oscar Grant” message by \u003ca href=\"https://www.kqed.org/arts/13847179/dear-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">clicking here\u003c/a>.\u003c/i>\u003c/p>\n\u003ch2>Chantay Moore\u003c/h2>\n\u003cp>\u003cstrong>Oscar Grant’s sister\u003c/strong>\u003c/p>\n\u003cp>There’s not a day that I don’t think of you. I miss you each and every day. Time hasn’t made this any easier. Ten years have passed so fast, I remember each detail of receiving the call when they said you had gotten shot. If only I could go back and change the outcome. God knew what he was doing and it was your time, but of course, I wasn’t ready. I love you and will forever keep your memory alive.\u003c/p>\n\u003cfigure id=\"attachment_13847966\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200.jpg\" alt=\"Alicia Garza speaks during the Women's March on Jan. 21, 2018, in Las Vegas, Nevada.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Alicia Garza speaks during the Women’s March on Jan. 21, 2018, in Las Vegas, Nevada. \u003ccite>(Sam Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alicia Garza\u003c/h2>\n\u003cp>\u003cstrong>Co-founder, \u003ca href=\"https://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>When people tell the story of Black Lives Matter they either start it in 2014 with Michael Brown, or they start it in 2013, which is where we started it, with Trayvon Martin. But I would say for us, for those of us who created Black Lives Matter, it really does start with Oscar Grant…\u003c/p>\n\u003cp>We’re still fighting. I didn’t know Oscar and a lot of people who got involved in this fight didn’t know Oscar. There was an iconization of him that I wonder a lot about. But ultimately, I’m grateful people came together to accomplish what felt impossible then and that people haven’t stopped… There’s a lot of work to do, and what I’d say to Oscar if I knew him and he was alive is: We’re not done.\u003c/p>\n\u003ch2>Rev. Dereca Blackmon\u003c/h2>\n\u003cp>\u003cb>Spiritual activist; assistant vice provost, Stanford\u003c/b>\u003c/p>\n\u003cp>This was this moment when art said, “Oh no, we have real lives and we matter and we are human beings.” And Mistah F.A.B. did that and Favianna Rodriguez did that. There were so many people who created art from this moment who opened the doors for other people to make it. There is no Pulitzer Prize for Kendrick Lamar until hip hop was allowed to make these political statements. But people like Mistah F.A.B. didn’t wait to be allowed, they used their platform and they just did. And that is how something is a grassroots movement.\u003c/p>\n\u003cfigure id=\"attachment_13848017\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13848017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Gorjestani_1200.jpg\" alt=\"Filmmaker Mohammad Gorjestani.\" width=\"1200\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Filmmaker Mohammad Gorjestani. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mohammad Gorjestani\u003c/h2>\n\u003cp>\u003cstrong>Director, ‘\u003ca href=\"https://vimeo.com/127217499\" target=\"_blank\" rel=\"noopener noreferrer\">Happy Birthday Oscar Grant, Love Mom\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>He should be someone no one knew about because he should be living—or if people knew about him, it should be for a different reason. He should be living among us right now. I would say that I’m really sorry that happened to you, and I hope you know that that tragedy has activated a generation of people who want to make sure that no other mother, no other father, no other friend has to experience what he and his family experienced on New Year’s Eve.\u003c/p>\n\u003cfigure id=\"attachment_13847993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847993\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/YoungGully-1.jpg\" alt=\"Young Gully.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1-520x333.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Young Gully. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Young Gully\u003c/h2>\n\u003cp>\u003cstrong>Rap artist, ‘\u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">The Grant Station Project\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>I hope that he’s looking down, smiling from all the support that he got. I still love him even though I didn’t know him, and I was happy to meet his family. We’re still fighting for you.\u003c/p>\n\u003cfigure id=\"attachment_13807489\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13807489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0225.jpg\" alt=\"Mistah F.A.B. performs at Hiero Day 2017.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mistah F.A.B.\u003c/h2>\n\u003cp>\u003cb>Rap artist, “\u003ca href=\"https://mistahfab.bandcamp.com/album/oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">My Life (Oscar Grant)\u003c/a>“\u003c/b>\u003c/p>\n\u003cp>This isn’t the first time that art has been a reflection of what’s been going on. Music has always been a reflection, and it should always be always a reflection. And I won’t just limit it to musicians. Any kind of art, let’s just continue to utilize that to raise the conscious level and represent for our people. We have to be the rebels that go out and represent for that. The Black Panthers did that and we’re in the home of that. May the revolution live on.\u003c/p>\n\u003ch2>Carvell Wallace\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.carvellwallace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Critic\u003c/a>, ‘The New York Times Magazine’\u003c/strong>\u003c/p>\n\u003cp>I just wish he was here. He should be here. He should have the opportunity to grow up and learn whatever else the universe had for him. That’s the main thing.\u003c/p>\n\u003cfigure id=\"attachment_13847981\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847981\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo.jpg\" alt=\"Cat Brooks during her 2018 campaign for Oakland Mayor.\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\" />\u003cfigcaption class=\"wp-caption-text\">Cat Brooks during her 2018 campaign for Oakland Mayor. \u003ccite>(Courtesy of Cat Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cat Brooks\u003c/h2>\n\u003cp>\u003cb>Former Oakland Mayoral candidate; founder, \u003ca href=\"http://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Police Terror Project\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Some things have changed. There are more conversations happening and there are different conversations happening. You cannot ignore the fact that there are law enforcement officers at least being indicted—not very many get convicted—but they’re being indicted. As a result of the movement that was spurred by the murder of Oscar Grant, we have accomplished major transformation in the city of Oakland in terms of our ability to hold law enforcement accountable and make them think twice before they pull the trigger, because they are clear there will be community accountability.\u003c/p>\n\u003ch2>Lateefah Simon\u003c/h2>\n\u003cp>\u003cstrong>President, \u003ca href=\"https://akonadi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Akonadi Foundation\u003c/a>; BART board member representing District 7\u003c/strong>\u003c/p>\n\u003cp>Every police department in the country knows who this young man was and still is. This tragedy, and the strength of the family and this community, created an arc in policing in this country. Every single time a young black man who is unarmed is murdered, it is front-page news—and for hundreds of years, it was not.\u003c/p>\n\u003cp>And so [because of] Oscar, this community, the outcry of his mother, the coupling of litigation, of social media, of culture, of folks saying, “Actually, our babies are human and the state must not kill them, period”—that has changed.\u003c/p>\n\u003cp>No longer do we have a situation where folks who are sworn to protect can kill in silence. My police force that I work closely with, they’re consistently thinking about how not to repeat what happened ten years ago. We all have a long way to go, but Oscar changed the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n",
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"excerpt": "\"We have a long way to go, but Oscar changed the world,\" says Lateefah Simon.",
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"title": "Dear Oscar Grant: Artists, Activists and Family Reflect | KQED",
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"headline": "Dear Oscar Grant: Artists, Activists and Family Reflect",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>To commemorate the tenth anniversary of Oscar Grant’s death, KQED asked artists, activists and family members to look back on Grant’s life and legacy. What would they say to him today? What changes have they seen in their own communities over the past decade? What hopes do they have for the future? You can submit your own “Dear Oscar Grant” message by \u003ca href=\"https://www.kqed.org/arts/13847179/dear-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">clicking here\u003c/a>.\u003c/i>\u003c/p>\n\u003ch2>Chantay Moore\u003c/h2>\n\u003cp>\u003cstrong>Oscar Grant’s sister\u003c/strong>\u003c/p>\n\u003cp>There’s not a day that I don’t think of you. I miss you each and every day. Time hasn’t made this any easier. Ten years have passed so fast, I remember each detail of receiving the call when they said you had gotten shot. If only I could go back and change the outcome. God knew what he was doing and it was your time, but of course, I wasn’t ready. I love you and will forever keep your memory alive.\u003c/p>\n\u003cfigure id=\"attachment_13847966\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200.jpg\" alt=\"Alicia Garza speaks during the Women's March on Jan. 21, 2018, in Las Vegas, Nevada.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/AliciaGarza_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Alicia Garza speaks during the Women’s March on Jan. 21, 2018, in Las Vegas, Nevada. \u003ccite>(Sam Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alicia Garza\u003c/h2>\n\u003cp>\u003cstrong>Co-founder, \u003ca href=\"https://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>When people tell the story of Black Lives Matter they either start it in 2014 with Michael Brown, or they start it in 2013, which is where we started it, with Trayvon Martin. But I would say for us, for those of us who created Black Lives Matter, it really does start with Oscar Grant…\u003c/p>\n\u003cp>We’re still fighting. I didn’t know Oscar and a lot of people who got involved in this fight didn’t know Oscar. There was an iconization of him that I wonder a lot about. But ultimately, I’m grateful people came together to accomplish what felt impossible then and that people haven’t stopped… There’s a lot of work to do, and what I’d say to Oscar if I knew him and he was alive is: We’re not done.\u003c/p>\n\u003ch2>Rev. Dereca Blackmon\u003c/h2>\n\u003cp>\u003cb>Spiritual activist; assistant vice provost, Stanford\u003c/b>\u003c/p>\n\u003cp>This was this moment when art said, “Oh no, we have real lives and we matter and we are human beings.” And Mistah F.A.B. did that and Favianna Rodriguez did that. There were so many people who created art from this moment who opened the doors for other people to make it. There is no Pulitzer Prize for Kendrick Lamar until hip hop was allowed to make these political statements. But people like Mistah F.A.B. didn’t wait to be allowed, they used their platform and they just did. And that is how something is a grassroots movement.\u003c/p>\n\u003cfigure id=\"attachment_13848017\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13848017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Gorjestani_1200.jpg\" alt=\"Filmmaker Mohammad Gorjestani.\" width=\"1200\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Gorjestani_1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Filmmaker Mohammad Gorjestani. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mohammad Gorjestani\u003c/h2>\n\u003cp>\u003cstrong>Director, ‘\u003ca href=\"https://vimeo.com/127217499\" target=\"_blank\" rel=\"noopener noreferrer\">Happy Birthday Oscar Grant, Love Mom\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>He should be someone no one knew about because he should be living—or if people knew about him, it should be for a different reason. He should be living among us right now. I would say that I’m really sorry that happened to you, and I hope you know that that tragedy has activated a generation of people who want to make sure that no other mother, no other father, no other friend has to experience what he and his family experienced on New Year’s Eve.\u003c/p>\n\u003cfigure id=\"attachment_13847993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847993\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/YoungGully-1.jpg\" alt=\"Young Gully.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/YoungGully-1-520x333.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Young Gully. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Young Gully\u003c/h2>\n\u003cp>\u003cstrong>Rap artist, ‘\u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">The Grant Station Project\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>I hope that he’s looking down, smiling from all the support that he got. I still love him even though I didn’t know him, and I was happy to meet his family. We’re still fighting for you.\u003c/p>\n\u003cfigure id=\"attachment_13807489\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13807489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0225.jpg\" alt=\"Mistah F.A.B. performs at Hiero Day 2017.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0225-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mistah F.A.B.\u003c/h2>\n\u003cp>\u003cb>Rap artist, “\u003ca href=\"https://mistahfab.bandcamp.com/album/oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">My Life (Oscar Grant)\u003c/a>“\u003c/b>\u003c/p>\n\u003cp>This isn’t the first time that art has been a reflection of what’s been going on. Music has always been a reflection, and it should always be always a reflection. And I won’t just limit it to musicians. Any kind of art, let’s just continue to utilize that to raise the conscious level and represent for our people. We have to be the rebels that go out and represent for that. The Black Panthers did that and we’re in the home of that. May the revolution live on.\u003c/p>\n\u003ch2>Carvell Wallace\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.carvellwallace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Critic\u003c/a>, ‘The New York Times Magazine’\u003c/strong>\u003c/p>\n\u003cp>I just wish he was here. He should be here. He should have the opportunity to grow up and learn whatever else the universe had for him. That’s the main thing.\u003c/p>\n\u003cfigure id=\"attachment_13847981\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847981\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo.jpg\" alt=\"Cat Brooks during her 2018 campaign for Oakland Mayor.\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/cat_brooks_campaign_photo-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\" />\u003cfigcaption class=\"wp-caption-text\">Cat Brooks during her 2018 campaign for Oakland Mayor. \u003ccite>(Courtesy of Cat Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cat Brooks\u003c/h2>\n\u003cp>\u003cb>Former Oakland Mayoral candidate; founder, \u003ca href=\"http://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Police Terror Project\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Some things have changed. There are more conversations happening and there are different conversations happening. You cannot ignore the fact that there are law enforcement officers at least being indicted—not very many get convicted—but they’re being indicted. As a result of the movement that was spurred by the murder of Oscar Grant, we have accomplished major transformation in the city of Oakland in terms of our ability to hold law enforcement accountable and make them think twice before they pull the trigger, because they are clear there will be community accountability.\u003c/p>\n\u003ch2>Lateefah Simon\u003c/h2>\n\u003cp>\u003cstrong>President, \u003ca href=\"https://akonadi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Akonadi Foundation\u003c/a>; BART board member representing District 7\u003c/strong>\u003c/p>\n\u003cp>Every police department in the country knows who this young man was and still is. This tragedy, and the strength of the family and this community, created an arc in policing in this country. Every single time a young black man who is unarmed is murdered, it is front-page news—and for hundreds of years, it was not.\u003c/p>\n\u003cp>And so [because of] Oscar, this community, the outcry of his mother, the coupling of litigation, of social media, of culture, of folks saying, “Actually, our babies are human and the state must not kill them, period”—that has changed.\u003c/p>\n\u003cp>No longer do we have a situation where folks who are sworn to protect can kill in silence. My police force that I work closely with, they’re consistently thinking about how not to repeat what happened ten years ago. We all have a long way to go, but Oscar changed the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1968, \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones \u003c/a>were at the top of their game. Aretha Franklin released two great records. \u003ca href=\"https://www.npr.org/artists/15420606/the-kinks\">The Kinks\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\">Van Morrison\u003c/a> put out some of their best work, too.\u003c/p>\n\u003cp>One of the most tumultuous years of the 20th century also produced some of its greatest popular music. And it’s not just baby boomers who are nostalgic for the sounds of their youth: Even to people born decades later, the music of 1968 stands out.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681227625/681287015\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“There’s this kind of blossoming in what was possible,” says \u003ca href=\"https://www.npr.org/artists/128065995/meg-baird\">Meg Baird\u003c/a>, a singer and musician who performs under her own name and in the band \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\">Heron Oblivion\u003c/a>. She lives in San Francisco, the city that nurtured a flowering of psychedelic rock bands half a century ago, including Quicksilver Messenger Service, \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”hi7lYwEpOEAdzR2MqfAMR6P1QQ9qOKRv”]\u003c/p>\n\u003cp>“I really don’t know what was the magic formula,” Baird says. But she’s not the only who’d like to recapture it. “I think everybody is always trying to go back there, to be honest.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe part of the fascination is hearing musicians trying to break free from the industry’s formulas. “There was a cookie-cutter aspect to most pop music at the time,” says John Simon, an in-demand producer during the 1960s and author of the 2018 book \u003cem>Truth, Lies & Hearsay: A Memoir of a Musical Life In & Out Of Rock and Roll\u003c/em>. “People wanted to make hits,” he says.\u003c/p>\n\u003cp>[contextly_sidebar id=”nnyx0Rrk26ilOHaBEmZXUwU64Zk7yxkL”]\u003c/p>\n\u003cp>By 1968, that was changing. The world outside of the recording studio was in upheaval. And musicians wanted to capture of the spirit of what was going on.\u003c/p>\n\u003cp>“I realized that I was part of the rebellion, and not part of the establishment,” says Simon, who earned a degree in music from Princeton University before getting a staff job at Columbia Records. “Part of being the rebellion is, you could rebel musically in the studio. You didn’t have to be as formulaic as in the past.”\u003c/p>\n\u003cp>John Simon worked on some of the most acclaimed albums of 1968, including \u003cem>Bookends\u003c/em> by \u003ca href=\"https://www.npr.org/artists/98847896/simon-garfunkel\">Simon & Garfunkel\u003c/a>. He produced \u003cem>Cheap Thrills\u003c/em> by Big Brother & the Holding Company — the record that introduced \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a> to a wide audience.\u003c/p>\n\u003cp>[contextly_sidebar id=”TQWMJtTK2qs5Bu4tjU8iXIGckkWRfoCM”]\u003c/p>\n\u003cp>And he produced the first record by a group of musicians who were best known for backing up \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>. He remembers the first time he heard the demos that became \u003cem>Music from Big Pink\u003c/em> by The Band.\u003c/p>\n\u003cp>“What I heard was just great. It was just so different,” Simon says. “The forms were different, the instrumentation was different, the attitudes. And so I said, yeah, count me in.”\u003c/p>\n\u003cp>The Band recorded live in the center of the studio, trying to recreate the magic of the basement of “Big Pink,” the house in the Hudson Valley where they’d spent much of the last year honing their material. They knocked out almost half of the album in a day, while other bands spent hours obsessing over a single track.\u003c/p>\n\u003cp>But no one pushed the recording studio — or the electric guitar — further than \u003ca href=\"https://www.npr.org/artists/15696782/jimi-hendrix\">Jimi Hendrix\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”Z1UPm5PLzDNyQbToK3tY0vKpIc5nsp3Y”]\u003c/p>\n\u003cp>“Nobody had recorded guitar sounds like that,” says \u003ca href=\"https://www.npr.org/artists/17089989/vernon-reid/about-npr/183726490/awards\">Vernon Reid\u003c/a>, founder and guitarist of the band \u003ca href=\"https://www.npr.org/artists/15680696/living-colour\">Living Colour\u003c/a>. “No one had made sounds like that in the studio.”\u003c/p>\n\u003cp>When Hendrix started out, he was a sideman who was supposed to play second fiddle to others. “He played in rock and roll and R&B bands where the lead singer was the was the king,” Reid says. “He got fired all the time.”\u003c/p>\n\u003cp>But Hendrix’s very first album of his own was a Top 10 hit. So in 1968, he was free to pursue the sounds in his head on a groundbreaking double album called \u003cem>Electric Ladyland\u003c/em> that brought together blues and R&B with jazz and space rock.\u003c/p>\n\u003cp>“He took this notion of freedom seriously,” Reid says. “He was one of the great musical liberators.”\u003c/p>\n\u003cp>Sometimes the musical rebellion of 1968 was about sonic abstraction. Sometimes, it was more direct.\u003c/p>\n\u003cp>[contextly_sidebar id=”pO3kTlIFvu3TygHfg5oU8avvn02oiTsi”]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15316566/james-brown\">James Brown\u003c/a> recorded the song “Say It Loud — I’m Black and I’m Proud” in August of 1968. Saxophone player and bandleader Pee Wee Ellis co-wrote the song. He says it was Brown’s idea to bring in a bunch of neighborhood kids to sing the chorus.\u003c/p>\n\u003cp>“Their part was very simple,” Ellis recalls. “All they had to say was, ‘I’m black and I’m proud.’ It was done in one take.”\u003c/p>\n\u003cp>Ellis says audiences across the country learned their part quickly, too. The band recorded the song in Los Angeles, and played a gig at New York’s Apollo Theater a few weeks later.\u003c/p>\n\u003cp>“James Brown came on stage and said, ‘Say it loud!’ And the whole entire audience said, ‘I’m black and I’m proud,’ ” Ellis says. “That gave me goosebumps.”\u003c/p>\n\u003cp>So why does the music of 1968 still give audiences goosebumps half a century later?\u003c/p>\n\u003cp>[contextly_sidebar id=”wVi9mCobBvKoU5HhG7X0SmfiZXXMCRub”]\u003c/p>\n\u003cp>“People were making music they wanted to be make,” says Meg Baird. One of her favorite records of 1968 is not on many top-10 lists from that year. It’s a double album — half live, half studio — by the British folk-jazz band Pentangle, called \u003cem>Sweet Child\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can feel how fun it must be to be in that band,” Baird says. “They’re so good, and the way they’re playing together, it gets shared with the listener and the audience. This is music that was meant to be heard in a hall. It’s not meant to be in a rock club, or a folk club. It was allowed to be art.”\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=Why+Is+The+Music+Of+1968+So+Enduring%3F+%27It+Was+Allowed+To+Be+Art%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1968, \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones \u003c/a>were at the top of their game. Aretha Franklin released two great records. \u003ca href=\"https://www.npr.org/artists/15420606/the-kinks\">The Kinks\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\">Van Morrison\u003c/a> put out some of their best work, too.\u003c/p>\n\u003cp>One of the most tumultuous years of the 20th century also produced some of its greatest popular music. And it’s not just baby boomers who are nostalgic for the sounds of their youth: Even to people born decades later, the music of 1968 stands out.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681227625/681287015\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“There’s this kind of blossoming in what was possible,” says \u003ca href=\"https://www.npr.org/artists/128065995/meg-baird\">Meg Baird\u003c/a>, a singer and musician who performs under her own name and in the band \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\">Heron Oblivion\u003c/a>. She lives in San Francisco, the city that nurtured a flowering of psychedelic rock bands half a century ago, including Quicksilver Messenger Service, \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I really don’t know what was the magic formula,” Baird says. But she’s not the only who’d like to recapture it. “I think everybody is always trying to go back there, to be honest.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe part of the fascination is hearing musicians trying to break free from the industry’s formulas. “There was a cookie-cutter aspect to most pop music at the time,” says John Simon, an in-demand producer during the 1960s and author of the 2018 book \u003cem>Truth, Lies & Hearsay: A Memoir of a Musical Life In & Out Of Rock and Roll\u003c/em>. “People wanted to make hits,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>By 1968, that was changing. The world outside of the recording studio was in upheaval. And musicians wanted to capture of the spirit of what was going on.\u003c/p>\n\u003cp>“I realized that I was part of the rebellion, and not part of the establishment,” says Simon, who earned a degree in music from Princeton University before getting a staff job at Columbia Records. “Part of being the rebellion is, you could rebel musically in the studio. You didn’t have to be as formulaic as in the past.”\u003c/p>\n\u003cp>John Simon worked on some of the most acclaimed albums of 1968, including \u003cem>Bookends\u003c/em> by \u003ca href=\"https://www.npr.org/artists/98847896/simon-garfunkel\">Simon & Garfunkel\u003c/a>. He produced \u003cem>Cheap Thrills\u003c/em> by Big Brother & the Holding Company — the record that introduced \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a> to a wide audience.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And he produced the first record by a group of musicians who were best known for backing up \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>. He remembers the first time he heard the demos that became \u003cem>Music from Big Pink\u003c/em> by The Band.\u003c/p>\n\u003cp>“What I heard was just great. It was just so different,” Simon says. “The forms were different, the instrumentation was different, the attitudes. And so I said, yeah, count me in.”\u003c/p>\n\u003cp>The Band recorded live in the center of the studio, trying to recreate the magic of the basement of “Big Pink,” the house in the Hudson Valley where they’d spent much of the last year honing their material. They knocked out almost half of the album in a day, while other bands spent hours obsessing over a single track.\u003c/p>\n\u003cp>But no one pushed the recording studio — or the electric guitar — further than \u003ca href=\"https://www.npr.org/artists/15696782/jimi-hendrix\">Jimi Hendrix\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Nobody had recorded guitar sounds like that,” says \u003ca href=\"https://www.npr.org/artists/17089989/vernon-reid/about-npr/183726490/awards\">Vernon Reid\u003c/a>, founder and guitarist of the band \u003ca href=\"https://www.npr.org/artists/15680696/living-colour\">Living Colour\u003c/a>. “No one had made sounds like that in the studio.”\u003c/p>\n\u003cp>When Hendrix started out, he was a sideman who was supposed to play second fiddle to others. “He played in rock and roll and R&B bands where the lead singer was the was the king,” Reid says. “He got fired all the time.”\u003c/p>\n\u003cp>But Hendrix’s very first album of his own was a Top 10 hit. So in 1968, he was free to pursue the sounds in his head on a groundbreaking double album called \u003cem>Electric Ladyland\u003c/em> that brought together blues and R&B with jazz and space rock.\u003c/p>\n\u003cp>“He took this notion of freedom seriously,” Reid says. “He was one of the great musical liberators.”\u003c/p>\n\u003cp>Sometimes the musical rebellion of 1968 was about sonic abstraction. Sometimes, it was more direct.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15316566/james-brown\">James Brown\u003c/a> recorded the song “Say It Loud — I’m Black and I’m Proud” in August of 1968. Saxophone player and bandleader Pee Wee Ellis co-wrote the song. He says it was Brown’s idea to bring in a bunch of neighborhood kids to sing the chorus.\u003c/p>\n\u003cp>“Their part was very simple,” Ellis recalls. “All they had to say was, ‘I’m black and I’m proud.’ It was done in one take.”\u003c/p>\n\u003cp>Ellis says audiences across the country learned their part quickly, too. The band recorded the song in Los Angeles, and played a gig at New York’s Apollo Theater a few weeks later.\u003c/p>\n\u003cp>“James Brown came on stage and said, ‘Say it loud!’ And the whole entire audience said, ‘I’m black and I’m proud,’ ” Ellis says. “That gave me goosebumps.”\u003c/p>\n\u003cp>So why does the music of 1968 still give audiences goosebumps half a century later?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“People were making music they wanted to be make,” says Meg Baird. One of her favorite records of 1968 is not on many top-10 lists from that year. 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"content": "\u003cp>In California, inmates typically are granted parole by doing good deeds or showing they have been rehabilitated by becoming pastors, drug counselors or youth advocates. For Walter “Earlonne” Woods, the path to freedom was podcasting.\u003c/p>\n\u003cp>Woods, 47, was recently released from San Quentin State Prison after California Gov. Jerry Brown commuted his 31-years-to-life sentence for attempted armed robbery. Brown cited Woods’ leadership in helping other inmates and his work at \u003cem>\u003ca href=\"https://www.earhustlesq.com/\" target=\"_blank\" rel=\"noopener\">Ear Hustle\u003c/a>\u003c/em>, a podcast he co-hosts and co-produces that documents everyday life inside the prison.\u003c/p>\n\u003cp>[contextly_sidebar id=”bovN0iytS11UduaaABra2NsTOerQTJGS”]\u003c/p>\n\u003cp>Woods has since been hired as a full-time producer for the often funny and at times heart-wrenching podcast, which has been a smashing success since its launch in 2017. The show’s roughly 30 episodes have been downloaded 20 million times by fans all over the world.\u003c/p>\n\u003cp>Listeners have praised \u003cem>Ear Hustle\u003c/em> online as “eye-opening” and “incredibly humanizing.” But for Woods, one of the most meaningful reviews came from the governor’s office when they called with the good news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The one thing that the lady said, you know, she told me, ‘We love the podcast in this office,’” Woods told The Associated Press of the commutation call from Brown’s office. “I don’t know if the governor listens, but people in his office listen. People really like what we do.”\u003c/p>\n\u003cp>[contextly_sidebar id=”eUXsgMZtpOGqnp4LPaFvoKeHnvtd6z91″]\u003c/p>\n\u003cp>During their podcast, Woods and fellow creator and outside co-host, prison volunteer Nigel Poor, give listeners a peek into the hardships and small joys of men incarcerated at the medium-security facility.\u003c/p>\n\u003cp>In interviews with the hosts, inmates discuss struggles such as finding a compatible cellmate to share a 5-by-10-foot cell, share why they take care of frogs or black widow spiders as if they were pets, or describe the impact of solitary confinement or being on death row.\u003c/p>\n\u003cp>Woods, an affable man with a quick smile and a sharp sense of humor, helps listeners understand prison life, while Poor brings an outsider’s perspective, asking insightful questions that at times push inmates to reflect on what put them behind bars.\u003c/p>\n\u003cp>The podcast offers listeners an intimate look into lives society doesn’t spend much time thinking about, said Woods, who spent 21 years behind bars.\u003c/p>\n\u003cp>“People get to see the car chases. They get to see the trial. But they don’t know what happens after you get to prison,” Woods said. “We’ve been able to really humanize people, and people realize that those in prison are just people who made dumb decisions.”\u003c/p>\n\u003cp>Brown agreed, and in his commutation letter, issued the day before Thanksgiving, the governor said Woods “has clearly shown that he is no longer the man he was when he committed this crime.”\u003c/p>\n\u003cp>[contextly_sidebar id=”kJNIbIEfNzWOH1nrVMIVBjmMk0eZYJCu”]\u003c/p>\n\u003cp>“He has set a positive example for his peers and, through his podcast, has shared meaningful stories from those inside prison,” Brown wrote.\u003c/p>\n\u003cp>The podcast project started after Poor, a San Francisco Bay Area artist who has volunteered at San Quentin since 2011, approached Woods.\u003c/p>\n\u003cp>In 2016, Poor saw Public Radio Exchange’s Radiotopia network was sponsoring a podcast talent contest, and she asked Lt. Sam Robinson, San Quentin’s spokesman, for permission to enter. Another co-creator, Antwan Williams, who is serving 15 years for armed robbery, came on board to do its sound design.\u003c/p>\n\u003cp>Their pitch beat more than 1,500 contestants from 53 countries, and they received the backing of a group of radio professionals, Poor said.\u003c/p>\n\u003cp>“Everyone was shocked when we won, especially the prison. Lt. Robinson told me he let us enter because he never thought we would win,” she said, laughing.\u003c/p>\n\u003cp>\u003cem>Ear Hustle\u003c/em>—eavesdropping, in prison slang—has found international success, with fans sending cards and letters from as far as New Zealand, Qatar in the Middle East, and Mauritius in East Africa. The free show also can be accessed in prisons throughout California and the United Kingdom. New episodes are posted every couple of weeks.\u003c/p>\n\u003cp>Julie Shapiro, Radiotopia executive producer, describes the podcast as a “roller coaster of emotions” that challenges what people understand about life in prison.\u003c/p>\n\u003cp>“People don’t expect to have something in common with those telling their stories from prison, but the details of their lives resonate with listeners because they hear these men encounter daily life in some of the same ways that we do,” Shapiro said.\u003c/p>\n\u003cp>The outpouring of love and appreciation for the show has grown since Woods announced on a Nov. 24 episode that Brown commuted his sentence.\u003c/p>\n\u003cp>The first thing Woods did after walking through the prison gates on Nov. 30 was take in the view of the San Francisco Bay and of the ocean “as far as the eye can see.” An episode featured his first moments as a free man.\u003c/p>\n\u003cp>[contextly_sidebar id=”QrmYxhZUEedCDFsDc5SDp83z4KHAZu7a”]\u003c/p>\n\u003cp>Since then, he’s been noticing new styles, like women everywhere in yoga pants, and people walking through the streets with their heads bowed. He quickly realized they were looking at their smartphones, which didn’t exist when he started his sentence in 1997.\u003c/p>\n\u003cp>Woods has also spent time people-watching at a high-end department store, visited Disneyland and recently made eggs for the first time in two decades.\u003c/p>\n\u003cp>The fourth season of \u003cem>Ear Hustle\u003c/em>, which will be released this summer, will feature stories of his re-entry to society and interviews with other inmates released after long sentences. He and Poor also plan to visit maximum-security prisons and tell the stories of prisoners there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s a lot of people that’s in there that should be out,” Woods said. “I created a podcast, but I’m not the exception.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In California, inmates typically are granted parole by doing good deeds or showing they have been rehabilitated by becoming pastors, drug counselors or youth advocates. For Walter “Earlonne” Woods, the path to freedom was podcasting.\u003c/p>\n\u003cp>Woods, 47, was recently released from San Quentin State Prison after California Gov. Jerry Brown commuted his 31-years-to-life sentence for attempted armed robbery. Brown cited Woods’ leadership in helping other inmates and his work at \u003cem>\u003ca href=\"https://www.earhustlesq.com/\" target=\"_blank\" rel=\"noopener\">Ear Hustle\u003c/a>\u003c/em>, a podcast he co-hosts and co-produces that documents everyday life inside the prison.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Woods has since been hired as a full-time producer for the often funny and at times heart-wrenching podcast, which has been a smashing success since its launch in 2017. The show’s roughly 30 episodes have been downloaded 20 million times by fans all over the world.\u003c/p>\n\u003cp>Listeners have praised \u003cem>Ear Hustle\u003c/em> online as “eye-opening” and “incredibly humanizing.” But for Woods, one of the most meaningful reviews came from the governor’s office when they called with the good news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The one thing that the lady said, you know, she told me, ‘We love the podcast in this office,’” Woods told The Associated Press of the commutation call from Brown’s office. “I don’t know if the governor listens, but people in his office listen. People really like what we do.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>During their podcast, Woods and fellow creator and outside co-host, prison volunteer Nigel Poor, give listeners a peek into the hardships and small joys of men incarcerated at the medium-security facility.\u003c/p>\n\u003cp>In interviews with the hosts, inmates discuss struggles such as finding a compatible cellmate to share a 5-by-10-foot cell, share why they take care of frogs or black widow spiders as if they were pets, or describe the impact of solitary confinement or being on death row.\u003c/p>\n\u003cp>Woods, an affable man with a quick smile and a sharp sense of humor, helps listeners understand prison life, while Poor brings an outsider’s perspective, asking insightful questions that at times push inmates to reflect on what put them behind bars.\u003c/p>\n\u003cp>The podcast offers listeners an intimate look into lives society doesn’t spend much time thinking about, said Woods, who spent 21 years behind bars.\u003c/p>\n\u003cp>“People get to see the car chases. They get to see the trial. But they don’t know what happens after you get to prison,” Woods said. “We’ve been able to really humanize people, and people realize that those in prison are just people who made dumb decisions.”\u003c/p>\n\u003cp>Brown agreed, and in his commutation letter, issued the day before Thanksgiving, the governor said Woods “has clearly shown that he is no longer the man he was when he committed this crime.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“He has set a positive example for his peers and, through his podcast, has shared meaningful stories from those inside prison,” Brown wrote.\u003c/p>\n\u003cp>The podcast project started after Poor, a San Francisco Bay Area artist who has volunteered at San Quentin since 2011, approached Woods.\u003c/p>\n\u003cp>In 2016, Poor saw Public Radio Exchange’s Radiotopia network was sponsoring a podcast talent contest, and she asked Lt. Sam Robinson, San Quentin’s spokesman, for permission to enter. Another co-creator, Antwan Williams, who is serving 15 years for armed robbery, came on board to do its sound design.\u003c/p>\n\u003cp>Their pitch beat more than 1,500 contestants from 53 countries, and they received the backing of a group of radio professionals, Poor said.\u003c/p>\n\u003cp>“Everyone was shocked when we won, especially the prison. Lt. Robinson told me he let us enter because he never thought we would win,” she said, laughing.\u003c/p>\n\u003cp>\u003cem>Ear Hustle\u003c/em>—eavesdropping, in prison slang—has found international success, with fans sending cards and letters from as far as New Zealand, Qatar in the Middle East, and Mauritius in East Africa. The free show also can be accessed in prisons throughout California and the United Kingdom. New episodes are posted every couple of weeks.\u003c/p>\n\u003cp>Julie Shapiro, Radiotopia executive producer, describes the podcast as a “roller coaster of emotions” that challenges what people understand about life in prison.\u003c/p>\n\u003cp>“People don’t expect to have something in common with those telling their stories from prison, but the details of their lives resonate with listeners because they hear these men encounter daily life in some of the same ways that we do,” Shapiro said.\u003c/p>\n\u003cp>The outpouring of love and appreciation for the show has grown since Woods announced on a Nov. 24 episode that Brown commuted his sentence.\u003c/p>\n\u003cp>The first thing Woods did after walking through the prison gates on Nov. 30 was take in the view of the San Francisco Bay and of the ocean “as far as the eye can see.” An episode featured his first moments as a free man.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since then, he’s been noticing new styles, like women everywhere in yoga pants, and people walking through the streets with their heads bowed. He quickly realized they were looking at their smartphones, which didn’t exist when he started his sentence in 1997.\u003c/p>\n\u003cp>Woods has also spent time people-watching at a high-end department store, visited Disneyland and recently made eggs for the first time in two decades.\u003c/p>\n\u003cp>The fourth season of \u003cem>Ear Hustle\u003c/em>, which will be released this summer, will feature stories of his re-entry to society and interviews with other inmates released after long sentences. He and Poor also plan to visit maximum-security prisons and tell the stories of prisoners there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s a lot of people that’s in there that should be out,” Woods said. “I created a podcast, but I’m not the exception.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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"order": 15
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"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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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"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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},
"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",
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"meta": {
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"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",
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"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.",
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"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",
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"order": 11
},
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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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"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",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"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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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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