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"content": "\u003cp>The Bay Area’s Rappin’ 4-Tay is still hoping to get paid for a verse Drake stole in 2014.\u003c/p>\n\u003cp>After an auction for royalties from Rappin’ 4-Tay’s song “Playaz Club” surfaced this week, his manager, Franky J, told KQED that Drake still hasn’t made good on a $100,000 payment he’d reportedly promised for lifting the lyrics for his verse on YG’s “Who Do You Love?”\u003c/p>\n\u003cp>Portions of the song royalties from YG’s “\u003ca href=\"https://www.youtube.com/watch?v=VN4upVaDFFs\" target=\"_blank\" rel=\"noopener\">Who Do You Love?\u003c/a>,” which includes Drake’s verse, are currently for sale on \u003ca href=\"https://auctions.royaltyexchange.com/auctions/2pac-drake-rappin-4-tay/?origin=listings&filter_value=listings&_ga=2.79625171.675871050.1543542552-1307536351.1543542552\" target=\"_blank\" rel=\"noopener\">Royalty Exchange\u003c/a>, an auction site for royalties. The auction also includes royalties for “\u003ca href=\"https://youtu.be/2daXghqHgjQ\" target=\"_blank\" rel=\"noopener\">Playaz Club\u003c/a>” and Tupac’s “\u003ca href=\"https://www.youtube.com/watch?v=rh9S4vLDDOI\" target=\"_blank\" rel=\"noopener\">Only God Can Judge Me\u003c/a>,” which all list Rappin’ 4-Tay, a.k.a. Anthony Forte, as a songwriter. Though the seller is not publicly named, in a phone interview on Friday, Franky J confirmed that it is indeed the San Francisco rapper behind the auction.\u003c/p>\n\u003cp>As fans quickly pointed out when “Who Do You Love?” climbed the Billboard Hot 100 in 2014, Drake’s bars sound almost identical to 4-Tay’s. Asked if Drake ever followed through with his 2014 promise to compensate 4-Tay for the verse, Franky J responded: “HEEEEEEEELLL NO!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lZfAxJTSgGo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Franky J, who produced “Playaz Club,” said that he and 4-Tay have been reluctant to call out Drake publicly and wanted to give him a chance to make things right. But, as Franky J told KQED, Drake never made so much as a courtesy phone call.\u003c/p>\n\u003cp>“You jack a person’s lyrics and you don’t even make a phone call? What kind of game is that? That’s not hip-hop,” he said.\u003c/p>\n\u003cp>On May 31, Rappin’ 4-Tay tweeted an invoice to Drake for the $100,000. Franky J says Rappin’ 4-Tay plans to address the situation on his next album, due out in January.\u003c/p>\n\u003cp>Franky J’s revelation isn’t the first time Drake has been accused of promising to compensate someone for their labor and not following through. Earlier this year, Drake said that he’d pay Shiggy, the creator of a viral dance that propelled the success of his song “In My Feelings,” $250,000. \u003ca href=\"https://www.complex.com/music/2018/07/shiggy-responds-claims-drake-paid-him-250000-in-my-feelings-success\" target=\"_blank\" rel=\"noopener\">In a video\u003c/a>, Shiggy said that payment never happened.\u003c/p>\n\u003cp>https://twitter.com/rappin_4tay/status/1002337046730379264\u003c/p>\n\u003cp>Bidding for Rappin’ 4-Tay’s songwriting royalties is currently at $38,250. The auction does not include copyright, nor mechanical or sync royalties, but public performance royalties paid most commonly for internet streaming, AM/FM and satellite radio, and performances in TV and film. Estimated combined royalties from the songs brought in $7,545 the last 12 months.\u003c/p>\n\u003cp>Franky J says that Rappin’ 4-Tay wants to use proceeds from the royalties for a new business venture: a nationwide series of events called Playaz Clubs, functioning like a private social club for hip-hop clientele.\u003c/p>\n\u003cp>The auction, \u003ca href=\"https://auctions.royaltyexchange.com/auctions/2pac-drake-rappin-4-tay/?origin=buyorbid&filter_value=listings\" target=\"_blank\" rel=\"noopener\">viewable here\u003c/a>, ends Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/2daXghqHgjQ\u003c/p>\n\n",
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"content": "\u003cdiv>\u003cem>Earlonne Woods, co-host of the popular prison podcast \u003ca href=\"https://www.kqed.org/arts/13428651/producer-of-ear-hustle-radiotopias-new-podcast-on-the-reality-of-prison-life\" target=\"_blank\" rel=\"noopener\">Ear Hustle\u003c/a>, had his sentence commuted by California Gov. Jerry Brown. Woods has served 21 years of a 31 to life prison sentence.\u003c/em>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/670313799/670313800\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003ch1>Transcript\u003c/h1>\n\u003cdiv>\n\u003cp>ARI SHAPIRO, HOST:\u003c/p>\n\u003cp>Earlier this year, we introduced you to a man named Earlonne Woods who got some big news yesterday. Woods is an inmate of the San Quentin State Prison in California. He was sentenced to 31 years to life for attempted robbery in 1999. He’s also co-host of the podcast “Ear Hustle,” which is why we had him on this program. “Ear Hustle” features stories from prison told by prisoners – their intimate, honest conversations about family visits, cellmates, solitary confinement – conversations like this one between Earlonne Woods and his co-host Nigel Poor, who’s not an inmate.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>NIGEL POOR: You know, E, you’ve been in prison 20 years. And you have another 11 to go. So how do you keep going? What keeps your hopes up?\u003c/p>\n\u003cp>EARLONNE WOODS: Well, I just keep getting up every morning, you know, thankful that I have another day, thankful that I’m alive, you know? And my mindset, regardless of where I’m at, I’m going to live to the best of my ability. You know, prison, I’m going to live to the best of my ability. Look. I’m on a podcast.\u003c/p>\n\u003cp>SHAPIRO: Well, yesterday, California Governor Jerry Brown commuted Earlonne Woods’ sentence. He said Woods has clearly shown that he is no longer the man he was when he committed the crime. We called up Nigel Poor today to ask her about it, and she said that when they got the news yesterday, they were in the middle of making an episode.\u003c/p>\n\u003cp>POOR: So we were in the media lab working and – you know, trying to work, trying to stay concentrated. But we knew that, you know, it’s traditional for the governor to do these commutations right before Thanksgiving. And the phone rang in the media lab. And I mean, we just knew that was the call. And so (laughter) it was just incredible.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods had to leave the media lab to take the call.\u003c/p>\n\u003cp>POOR: I walked him to the gate; you know, wished him good luck. He went up there.\u003c/p>\n\u003cp>SHAPIRO: When you said goodbye to him, were you crying? Did you give him a hug? I mean…\u003c/p>\n\u003cp>POOR: No, I can’t hug him.\u003c/p>\n\u003cp>SHAPIRO: You’re not allowed?\u003c/p>\n\u003cp>POOR: No, we’re not allowed. So I gave him, you know, a handshake with as much emotion as I could muster…\u003c/p>\n\u003cp>(LAUGHTER)\u003c/p>\n\u003cp>POOR: …Appropriately. And I just said, when you come back, you’re going to be almost a free man.\u003c/p>\n\u003cp>SHAPIRO: Nigel Poor told us that when Earlonne Woods came back…\u003c/p>\n\u003cp>POOR: He was walking with a lot of air in his step. You know what I mean? Like, he just seemed lighter and shiny and fresh.\u003c/p>\n\u003cp>SHAPIRO: What was your emotion?\u003c/p>\n\u003cp>POOR: You know, a kind of joy I never really experienced before – I mean, it’s – you know, to be so happy for him and being in prison and not wanting to cry (laughter) – you know, trying to hold it together. But it was just – it was spectacular. And I keep thinking, like, a week from now, Earlonne and I could be having dinner outside the prison together (laughter).\u003c/p>\n\u003cp>SHAPIRO: Like in a restaurant, at your house, any…\u003c/p>\n\u003cp>POOR: Yes. Yes, he can come to my house. We can go to a restaurant. We can go to the gym and work out together. Like, all of a sudden, you know…\u003c/p>\n\u003cp>SHAPIRO: (Laughter).\u003c/p>\n\u003cp>POOR: …We’ll be like regular colleagues.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods is 47. He’s been behind bars for more than 20 years. And, like a lot of inmates, he’s been thinking about this moment for a long time. We know because they did a whole episode on getting parole.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>WOODS: That’s something that a lot of us behind bars fantasize about – getting out and leading a normal life.\u003c/p>\n\u003cp>POOR: What are some of the things you think about when you fantasize about your life when you’re out?\u003c/p>\n\u003cp>WOODS: Off the top of my head…\u003c/p>\n\u003cp>POOR: Yeah.\u003c/p>\n\u003cp>WOODS: …It’s unrealistic, but I think about just getting out of San Quentin, jumping in the water and swimming to my yacht and going around the world.\u003c/p>\n\u003cp>POOR: Nice (laughter).\u003c/p>\n\u003cp>SHAPIRO: That’s Earlonne Woods from the podcast “Ear Hustle.” His sentence was commuted yesterday. Nigel Poor assures us the podcast will continue with Earlonne contributing stories from the outside.\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003cp class=\"disclaimer\">\u003cem>Copyright 2018 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=Earlonne+Woods%2C+Co-Host+Of+%27Ear+Hustle%27+Podcast%2C+Gets+Prison+Sentence+Commuted&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv>\u003cem>Earlonne Woods, co-host of the popular prison podcast \u003ca href=\"https://www.kqed.org/arts/13428651/producer-of-ear-hustle-radiotopias-new-podcast-on-the-reality-of-prison-life\" target=\"_blank\" rel=\"noopener\">Ear Hustle\u003c/a>, had his sentence commuted by California Gov. Jerry Brown. Woods has served 21 years of a 31 to life prison sentence.\u003c/em>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/670313799/670313800\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003ch1>Transcript\u003c/h1>\n\u003cdiv>\n\u003cp>ARI SHAPIRO, HOST:\u003c/p>\n\u003cp>Earlier this year, we introduced you to a man named Earlonne Woods who got some big news yesterday. Woods is an inmate of the San Quentin State Prison in California. He was sentenced to 31 years to life for attempted robbery in 1999. He’s also co-host of the podcast “Ear Hustle,” which is why we had him on this program. “Ear Hustle” features stories from prison told by prisoners – their intimate, honest conversations about family visits, cellmates, solitary confinement – conversations like this one between Earlonne Woods and his co-host Nigel Poor, who’s not an inmate.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>NIGEL POOR: You know, E, you’ve been in prison 20 years. And you have another 11 to go. So how do you keep going? What keeps your hopes up?\u003c/p>\n\u003cp>EARLONNE WOODS: Well, I just keep getting up every morning, you know, thankful that I have another day, thankful that I’m alive, you know? And my mindset, regardless of where I’m at, I’m going to live to the best of my ability. You know, prison, I’m going to live to the best of my ability. Look. I’m on a podcast.\u003c/p>\n\u003cp>SHAPIRO: Well, yesterday, California Governor Jerry Brown commuted Earlonne Woods’ sentence. He said Woods has clearly shown that he is no longer the man he was when he committed the crime. We called up Nigel Poor today to ask her about it, and she said that when they got the news yesterday, they were in the middle of making an episode.\u003c/p>\n\u003cp>POOR: So we were in the media lab working and – you know, trying to work, trying to stay concentrated. But we knew that, you know, it’s traditional for the governor to do these commutations right before Thanksgiving. And the phone rang in the media lab. And I mean, we just knew that was the call. And so (laughter) it was just incredible.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods had to leave the media lab to take the call.\u003c/p>\n\u003cp>POOR: I walked him to the gate; you know, wished him good luck. He went up there.\u003c/p>\n\u003cp>SHAPIRO: When you said goodbye to him, were you crying? Did you give him a hug? I mean…\u003c/p>\n\u003cp>POOR: No, I can’t hug him.\u003c/p>\n\u003cp>SHAPIRO: You’re not allowed?\u003c/p>\n\u003cp>POOR: No, we’re not allowed. So I gave him, you know, a handshake with as much emotion as I could muster…\u003c/p>\n\u003cp>(LAUGHTER)\u003c/p>\n\u003cp>POOR: …Appropriately. And I just said, when you come back, you’re going to be almost a free man.\u003c/p>\n\u003cp>SHAPIRO: Nigel Poor told us that when Earlonne Woods came back…\u003c/p>\n\u003cp>POOR: He was walking with a lot of air in his step. You know what I mean? Like, he just seemed lighter and shiny and fresh.\u003c/p>\n\u003cp>SHAPIRO: What was your emotion?\u003c/p>\n\u003cp>POOR: You know, a kind of joy I never really experienced before – I mean, it’s – you know, to be so happy for him and being in prison and not wanting to cry (laughter) – you know, trying to hold it together. But it was just – it was spectacular. And I keep thinking, like, a week from now, Earlonne and I could be having dinner outside the prison together (laughter).\u003c/p>\n\u003cp>SHAPIRO: Like in a restaurant, at your house, any…\u003c/p>\n\u003cp>POOR: Yes. Yes, he can come to my house. We can go to a restaurant. We can go to the gym and work out together. Like, all of a sudden, you know…\u003c/p>\n\u003cp>SHAPIRO: (Laughter).\u003c/p>\n\u003cp>POOR: …We’ll be like regular colleagues.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods is 47. He’s been behind bars for more than 20 years. And, like a lot of inmates, he’s been thinking about this moment for a long time. We know because they did a whole episode on getting parole.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>WOODS: That’s something that a lot of us behind bars fantasize about – getting out and leading a normal life.\u003c/p>\n\u003cp>POOR: What are some of the things you think about when you fantasize about your life when you’re out?\u003c/p>\n\u003cp>WOODS: Off the top of my head…\u003c/p>\n\u003cp>POOR: Yeah.\u003c/p>\n\u003cp>WOODS: …It’s unrealistic, but I think about just getting out of San Quentin, jumping in the water and swimming to my yacht and going around the world.\u003c/p>\n\u003cp>POOR: Nice (laughter).\u003c/p>\n\u003cp>SHAPIRO: That’s Earlonne Woods from the podcast “Ear Hustle.” His sentence was commuted yesterday. Nigel Poor assures us the podcast will continue with Earlonne contributing stories from the outside.\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003cp class=\"disclaimer\">\u003cem>Copyright 2018 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=Earlonne+Woods%2C+Co-Host+Of+%27Ear+Hustle%27+Podcast%2C+Gets+Prison+Sentence+Commuted&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area writers Brontez Purnell and Ishmael Reed have been honored as part of a giant feature in the New York Times’ style magazine titled “\u003ca href=\"https://www.nytimes.com/interactive/2018/11/30/t-magazine/black-authors.html\" rel=\"noopener\" target=\"_blank\">Black Male Writers of Our Time\u003c/a>.”\u003c/p>\n\u003cp>With 32 writers both established and upcoming, the feature spread also includes creative direction by Oakland’s Boots Riley in a books-laden photo spread of suited-up black excellence. The list of writers honored also includes Rickey Laurentiis, Nathan Alan Davis, Brian Keith Jackson, Marcus Burke, James McBride and 25 others. \u003c/p>\n\u003cp>https://www.instagram.com/p/Bqz_-fOBT0Y/\u003c/p>\n\u003cp>Purnell, from Oakland, is the author of \u003cem>The Cruising Diaries\u003c/em>, \u003cem>Johnny Would You Love Me If My Dick Were Bigger\u003c/em>, and \u003cem>Since I Laid My Burden Down\u003c/em>. A member of the ’00s band Gravy Train!!!, he now fronts the punk band the Younger Lovers. In March, \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">he won\u003c/a> the Whiting Award for fiction. \u003c/p>\n\u003cp>Reed moved to the Bay Area in 1970 after living in New York, where he co-founded the underground paper the \u003cem>East Village Other\u003c/em> and wrote the acclaimed novel \u003cem>Mumbo Jumbo\u003c/em>, among others. He taught at UC Berkeley for 25 years before moving to California College of the Arts. His collaborations with jazz musicians are plentiful; he was SFJAZZ’s poet laureate from 2012-2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See the \u003cem>New York Times\u003c/em> feature \u003ca href=\"https://www.nytimes.com/interactive/2018/11/30/t-magazine/black-authors.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area writers Brontez Purnell and Ishmael Reed have been honored as part of a giant feature in the New York Times’ style magazine titled “\u003ca href=\"https://www.nytimes.com/interactive/2018/11/30/t-magazine/black-authors.html\" rel=\"noopener\" target=\"_blank\">Black Male Writers of Our Time\u003c/a>.”\u003c/p>\n\u003cp>With 32 writers both established and upcoming, the feature spread also includes creative direction by Oakland’s Boots Riley in a books-laden photo spread of suited-up black excellence. The list of writers honored also includes Rickey Laurentiis, Nathan Alan Davis, Brian Keith Jackson, Marcus Burke, James McBride and 25 others. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Purnell, from Oakland, is the author of \u003cem>The Cruising Diaries\u003c/em>, \u003cem>Johnny Would You Love Me If My Dick Were Bigger\u003c/em>, and \u003cem>Since I Laid My Burden Down\u003c/em>. A member of the ’00s band Gravy Train!!!, he now fronts the punk band the Younger Lovers. In March, \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">he won\u003c/a> the Whiting Award for fiction. \u003c/p>\n\u003cp>Reed moved to the Bay Area in 1970 after living in New York, where he co-founded the underground paper the \u003cem>East Village Other\u003c/em> and wrote the acclaimed novel \u003cem>Mumbo Jumbo\u003c/em>, among others. He taught at UC Berkeley for 25 years before moving to California College of the Arts. His collaborations with jazz musicians are plentiful; he was SFJAZZ’s poet laureate from 2012-2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Early Wednesday morning, a girl — about 4 feet tall with bronze hair, bronze shoes and a bronze dress — went missing.\u003c/p>\n\u003cp>She was last seen in the New York City financial district standing akimbo and facing down a large bull. She left only a pair of footprints and a not-so-cryptic message in her wake.\u003c/p>\n\u003cp>“Fearless Girl is on the move to The New York Stock Exchange,” \u003ca href=\"https://twitter.com/StateStreetGA/status/1067754946559438849\">the message read\u003c/a>. “Until she’s there, stand for her.”\u003c/p>\n\u003cp>https://twitter.com/StateStreetGA/status/1067754946559438849\u003c/p>\n\u003cp>The \u003cem>Fearless Girl\u003c/em> statue was originally placed adjacent to that of the \u003cem>Charging Bull\u003c/em> in the northern corner of Bowling Green Park in March 2017. The group that installed the piece, State Street Global Advisors, says it did so \u003ca href=\"https://www.ssga.com/global/en/our-insights/viewpoints/wall-street-meet-fearless-girl.html\">“to raise awareness about the importance of gender diversity in corporate leadership.”\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”lVuxEGPA7lC57vmEoxFjzTZ4EubDMaQJ”]\u003c/p>\n\u003cp>The investment management firm claims that between the placement of the statue and late September, \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/state-street-global-advisors-reports-fearless-girls-impact-more-300-companie\">more than 300 companies have added a female director\u003c/a>.\u003c/p>\n\u003cp>However, the firm and its statue have been a the center of a few controversies.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\">NPR’s Camila Domonoske reported\u003c/a> in October 2017 that a Department of Labor investigation found the statue’s State Street sponsors had underpaid female and black executives.\u003c/p>\n\u003cp>In addition, the artist behind the \u003cem>Charging Bull, \u003c/em>Arturo Di Modica, has called the \u003cem>Fearless Girl\u003c/em> an “advertising trick” that makes the subject of his own sculpture into a villain. As a result, a different artist who supports Di Modica created a third sculpture of a dog peeing on the bronze girl’s leg, which made its brief cameo in this drama in May 2017, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\">reported by NPR’s Colin Dwyer\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”12e2mrS5wmxNgAVTfDVsTybYlqHvUSAX”]\u003c/p>\n\u003cp>The relocation of Kristen Visbal’s \u003cem>Fearless Girl\u003c/em> began late Tuesday night but was announced back in April in a \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/new-york-city-mayor-and-state-street-global-advisors-announce-new-location-f\">statement by State Street and New York City Mayor Bill de Blasio\u003c/a>.\u003c/p>\n\u003cp>“Our hope is that by moving her closer to the NYSE she will encourage more companies to take action and, more broadly, that she will continue to inspire people from all walks of life on the issue of gender diversity,” State Street Global Advisors President and CEO Cyrus Taraporevala said.\u003c/p>\n\u003cp>However, local television station \u003ca href=\"https://abc7ny.com/finance/fearless-girl-statue-moved-from-spot-opposite-bull/4779944/\">WABC reported\u003c/a> conversations among city officials regarding both the bull and girl statues have focused on the traffic hazard they present. They were both located on the narrow end of Bowling Green Park, which also acts as a median on busy Broadway — where crowds gathered around the statues often spilled over.\u003c/p>\n\u003cp>“This move to a new location will ensure that her message and impact will continue to be heard, as well as improve access for visitors,” De Blasio said in April’s statement.\u003c/p>\n\u003cp>The mayor’s spokesman \u003ca href=\"https://twitter.com/EricFPhillips/status/986982997231570946\">Eric Phillips also tweeted\u003c/a> around that time that the \u003cem>Charging Bull\u003c/em> statue “will almost certainly be moved” as well.\u003c/p>\n\u003cp>https://twitter.com/EricFPhillips/status/986982997231570946?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E986982997231570946&ref_url=https%3A%2F%2Fwww.npr.org%2F2018%2F11%2F28%2F671546407%2Fgone-girl-lower-manhattan-fearless-girl-statue-is-on-the-move\u003c/p>\n\u003cp>The more than three and a half ton, 18-foot-long bronze bull was originally placed on Broad Street right in front of the NYSE building on \u003ca href=\"http://chargingbull.com/chargingbull.html\">December 15, 1989, by Di Modica\u003c/a> but was removed later that day. It was relocated to its current home at Bowling Green Park.\u003c/p>\n\u003cp>Intended to be just a temporary display — for a few weeks — the smaller female icon became too popular to be removed, according to WABC.\u003c/p>\n\u003cp>The television station also spoke to the Aranda family, who walked by the statue on the way to school for the year plus that it had been there.\u003c/p>\n\u003cp>“We definitely are going to miss her,” Leonardo Aranda told the television station, adding that “raising boys who stand up for women and raising strong girls who go on to be strong women” is important and is something they try to communicate to their kids.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The relocation of the statue is expected to be complete before the end of this year.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early Wednesday morning, a girl — about 4 feet tall with bronze hair, bronze shoes and a bronze dress — went missing.\u003c/p>\n\u003cp>She was last seen in the New York City financial district standing akimbo and facing down a large bull. She left only a pair of footprints and a not-so-cryptic message in her wake.\u003c/p>\n\u003cp>“Fearless Girl is on the move to The New York Stock Exchange,” \u003ca href=\"https://twitter.com/StateStreetGA/status/1067754946559438849\">the message read\u003c/a>. “Until she’s there, stand for her.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The \u003cem>Fearless Girl\u003c/em> statue was originally placed adjacent to that of the \u003cem>Charging Bull\u003c/em> in the northern corner of Bowling Green Park in March 2017. The group that installed the piece, State Street Global Advisors, says it did so \u003ca href=\"https://www.ssga.com/global/en/our-insights/viewpoints/wall-street-meet-fearless-girl.html\">“to raise awareness about the importance of gender diversity in corporate leadership.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The investment management firm claims that between the placement of the statue and late September, \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/state-street-global-advisors-reports-fearless-girls-impact-more-300-companie\">more than 300 companies have added a female director\u003c/a>.\u003c/p>\n\u003cp>However, the firm and its statue have been a the center of a few controversies.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\">NPR’s Camila Domonoske reported\u003c/a> in October 2017 that a Department of Labor investigation found the statue’s State Street sponsors had underpaid female and black executives.\u003c/p>\n\u003cp>In addition, the artist behind the \u003cem>Charging Bull, \u003c/em>Arturo Di Modica, has called the \u003cem>Fearless Girl\u003c/em> an “advertising trick” that makes the subject of his own sculpture into a villain. As a result, a different artist who supports Di Modica created a third sculpture of a dog peeing on the bronze girl’s leg, which made its brief cameo in this drama in May 2017, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\">reported by NPR’s Colin Dwyer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The relocation of Kristen Visbal’s \u003cem>Fearless Girl\u003c/em> began late Tuesday night but was announced back in April in a \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/new-york-city-mayor-and-state-street-global-advisors-announce-new-location-f\">statement by State Street and New York City Mayor Bill de Blasio\u003c/a>.\u003c/p>\n\u003cp>“Our hope is that by moving her closer to the NYSE she will encourage more companies to take action and, more broadly, that she will continue to inspire people from all walks of life on the issue of gender diversity,” State Street Global Advisors President and CEO Cyrus Taraporevala said.\u003c/p>\n\u003cp>However, local television station \u003ca href=\"https://abc7ny.com/finance/fearless-girl-statue-moved-from-spot-opposite-bull/4779944/\">WABC reported\u003c/a> conversations among city officials regarding both the bull and girl statues have focused on the traffic hazard they present. They were both located on the narrow end of Bowling Green Park, which also acts as a median on busy Broadway — where crowds gathered around the statues often spilled over.\u003c/p>\n\u003cp>“This move to a new location will ensure that her message and impact will continue to be heard, as well as improve access for visitors,” De Blasio said in April’s statement.\u003c/p>\n\u003cp>The mayor’s spokesman \u003ca href=\"https://twitter.com/EricFPhillips/status/986982997231570946\">Eric Phillips also tweeted\u003c/a> around that time that the \u003cem>Charging Bull\u003c/em> statue “will almost certainly be moved” as well.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The more than three and a half ton, 18-foot-long bronze bull was originally placed on Broad Street right in front of the NYSE building on \u003ca href=\"http://chargingbull.com/chargingbull.html\">December 15, 1989, by Di Modica\u003c/a> but was removed later that day. It was relocated to its current home at Bowling Green Park.\u003c/p>\n\u003cp>Intended to be just a temporary display — for a few weeks — the smaller female icon became too popular to be removed, according to WABC.\u003c/p>\n\u003cp>The television station also spoke to the Aranda family, who walked by the statue on the way to school for the year plus that it had been there.\u003c/p>\n\u003cp>“We definitely are going to miss her,” Leonardo Aranda told the television station, adding that “raising boys who stand up for women and raising strong girls who go on to be strong women” is important and is something they try to communicate to their kids.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The relocation of the statue is expected to be complete before the end of this year.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Gone+Girl%3A+Lower+Manhattan+%27Fearless+Girl%27+Statue+Is+%27On+The+Move%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "walkabout-san-joses-chicano-murals",
"title": "Do You Know the Way to San Jose's Chicano Murals?",
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"headTitle": "Do You Know the Way to San Jose’s Chicano Murals? | KQED",
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"content": "\u003cp>A few weeks ago, news broke about Bay Area artist Jose Meza Velasquez \u003ca href=\"https://www.mercurynews.com/2018/11/05/mysterious-removal-of-historic-san-jose-mural-sparks-5-million-lawsuit/\" target=\"_blank\" rel=\"noopener\">filing a $5 million lawsuit\u003c/a> after a real estate developer painted over his historic \u003cem>Mural de la Raza\u003c/em> in San Jose.\u003c/p>\n\u003cp>But by and large, Chicano mural art is still thriving in the South Bay—and worth a sightseeing tour on your preferred set of wheels.\u003c/p>\n\u003cp>\u003cem>Mural de la Raza\u003c/em> was not the only mural to pay homage to Chicano culture, but it was up for more than 30 years; one of a shrinking number of murals to last that long. Murals, and especially Chicano murals, function as a form of visual history for the neighborhoods in which they sit. That helps to explain the outrage when Velasquez’s work disappeared under a coat of gray paint.\u003c/p>\n\u003cp>I asked a few people in the know where to spot some of San Jose’s most impressive older murals. Jose Manuel Valle of \u003ca href=\"https://www.siliconvalleydebug.org\" target=\"_blank\" rel=\"noopener\">Silicon Valley De-Bug\u003c/a> was more than happy to oblige with a list. He’s a key figure behind El Emergency Comité for the Preservation of Chicano Arts, which sponsored an \u003ca href=\"https://www.change.org/p/restore-mural-de-la-raza-in-san-jose\" target=\"_blank\" rel=\"noopener\">online petition in support of Velasquez\u003c/a> that’s garnered more than 2,900 signatures.\u003c/p>\n\u003cp>“Right now, the most important thing is to build public interest,” Valle says.\u003c/p>\n\u003cfigure id=\"attachment_13845893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-800x450.jpg\" alt=\"Detail of "Mural de la Raza' by Jose Meza Velasquez, Frank Torres and a local youth group. At the time, the building was a Payless Shoes store. Ahead of a recent sale of the property, a developer painted the mural over with gray paint. Velasquez is now suing.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Mural de la Raza’ by Jose Meza Velasquez, Frank Torres and a local youth group. At the time, the building was a Payless Shoes store. Ahead of a recent sale of the property, a developer painted the mural over with gray paint. Velasquez is now suing. \u003ccite>(Photo: Courtesy of Jose Manuel Valle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals are delicate artworks, vulnerable to oblivious landlords, paint-bleaching sunshine and teenage taggers. So grab your camera and start photographing community treasures like \u003ci>La Medicina y La Comunidad\u003c/i>, by Gustavo Bernal, on the front of the \u003ca href=\"https://gardnerfamilyhealth.org\" target=\"_blank\" rel=\"noopener\">Gardner Health Center\u003c/a> on East Virginia Street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Health care providers are depicted alongside Aztec and Roman Catholic icons, making doctors look like the modern-day heroes they are. \u003ci>La Medicina \u003c/i>no doubt benefits from its position above street level. (It was also retouched in 2009 by San Jose artist \u003ca href=\"http://www.pauljgonzalezartstudios.com\" target=\"_blank\" rel=\"noopener\">Paul J. Gonzalez\u003c/a>.) Valle notes that Bernal also painted a mural on the side of Miller Elementary that’s no longer there.\u003c/p>\n\u003cp>Juan Carlos Araujo was a kid growing up in San Jose when he visited this health center with his mother. Back then, he didn’t know much about the artwork he passed by, but something must have stuck.\u003c/p>\n\u003cfigure id=\"attachment_13845896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-800x450.jpg\" alt='\"La Medicina y La Comunidad Mural\" (1990) by Gustavo Bernal, on the Gardner Health Center off of 5th and East Virginia in San Jose.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘La Medicina y La Comunidad Mural’ (1990) by Gustavo Bernal, on the Gardner Health Center off of 5th and East Virginia in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, the 36 year-old runs \u003ca href=\"https://www.empiresevenstudios.com/about-e7s-empiresevenstudios-japantown-sanjose/\" target=\"_blank\" rel=\"noopener\">Empire Seven Studios\u003c/a> along with Jennifer Ahn, helping to put up new murals by modern artists reflecting San Jose’s past, present and future.\u003c/p>\n\u003cp>“Like life itself, [murals don’t] last forever. What is important is to leave some knowledge, some history behind. You know, it’s generational,” Araujo says.\u003c/p>\n\u003cp>Next on the tour is \u003ca href=\"https://www.olgparishsj.org/index.html\" target=\"_blank\" rel=\"noopener\">Our Lady of Guadalupe Church\u003c/a> in East San Jose. Cesar Chavez attended services here, and started organizing farmworkers. McDonnell Hall, in the back of the church, is now a National Historic Landmark.\u003c/p>\n\u003cp>Technically, the church’s art isn’t a mural but a mosaic, a triptych traveling through time from the Aztecs to the 1960s. There are lots of clever touches: a toothy Quetzalcoatl on the bottom left corner, the two contrasting suns in the top corners, the labor union signs on the bottom right.\u003c/p>\n\u003cp>Katherine Oppenheimer of Sunnyvale originally created the mosaic in 1967, along with two fellow artist friends, for a planned Chicano community center that never came to be. Oppenheimer passed on about five years ago, but her son David Oppenheimer says she was “deeply inspired by the civil rights movement,” and meant the mosaic to celebrate how that movement freed so many people from colonial (and also religious) oppression.\u003c/p>\n\u003cfigure id=\"attachment_13845897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-800x600.jpg\" alt=\""Nuestra Senora de Guadalupe" by Katherine M. Oppenheimer, Marie G. Hutton, and Lois C. Cronemiller. The mosaic is visible from the street but you'll want to walk on to the campus of Our Lady of Guadalupe Church in San Jose to get a closer look.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nuestra Senora de Guadalupe’ by Katherine Oppenheimer, Marie Hutton, and Lois Cronemiller. The mosaic is visible from the street, but you’ll want to walk on to the campus of Our Lady of Guadalupe Church in San Jose to get a closer look. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He points out that we see a man bowing down in the left, a couple on their knees in the middle, and marchers “for the first time, standing on their feet” on the right. Ironically, a church became the caretaker for the piece after the community center fell through.\u003c/p>\n\u003cp>“It’s tradition. It’s heritage. It’s really our teachings, outside of English textbooks,” Araujo says, adding this mosaic is blessed to be on this church campus, because that means it’s not under the kind of threat those on commercial properties face. Take the mural that used to grace the Cal Foods store in the Five Wounds neighborhood: after gang members defaced large parts of it with graffiti, the property owner painted over those sections.\u003c/p>\n\u003cp>Araujo used to come to Cal Foods for the cheese burritos. “I’ve known the property owner for some time. She’s been here for over 25 years. At some point, she’s going to retire. Who am I to tell her ‘no’? So this will be another mural that will be gone.”\u003c/p>\n\u003cp>Murals are often intended to beautify the streets and alleys they’re chosen for. They may not erase the sight of homeless encampments, or empty parking lots, or other signs of urban decay. But their splashes of color and intricate storytelling brightens the neighborhood, shouting out to pedestrians passing by to stop, look and learn.\u003c/p>\n\u003cfigure id=\"attachment_13845898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-800x1068.jpg\" alt=\"What's left of a larger mural that included the Virgen de Guadalupe by an unknown artist on the wall of Cal Foods Tienda y Carniceria in the Five Wounds neighborhood of San Jose.\" width=\"800\" height=\"1068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-800x1068.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-1020x1362.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-899x1200.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut.jpg 1534w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of what’s left of a larger mural that included the Virgen de Guadalupe, by an unknown artist on the wall of Cal Foods Tienda y Carniceria in the Five Wounds neighborhood of San Jose. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of the iconography in Chicano murals is familiar to anyone who grew up in California, there are personal touches from the artists, who often work as a team, sometimes including young people on court order to do community service.\u003c/p>\n\u003cp>Those kids might not be up on Spanish colonialism, or the Valley of Heart’s Delight, or the early days of Silicon Valley, but murals like the one Opski Chan painted on an old IBM building near Roosevelt Park in San Jose give a nod to all of that history.\u003c/p>\n\u003cp>Chan pulled some of his imagery and fonts from the packing boxes of the fruit orchards that once filled the Santa Clara Valley. “It’s a lot like graffiti, but used in a different way,” says Araujo, who grew up doing graffiti himself before he turned to art.\u003c/p>\n\u003cfigure id=\"attachment_13845901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-800x379.jpg\" alt=\"Mural by Opski Chan on the wall of what used to be an IBM building near the corner of St. John and 16th in San Jose.\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-768x363.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-1020x483.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-960x454.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-520x246.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Opski Chan on the wall of what used to be an IBM building near the corner of St. John and 16th in San Jose. \u003ccite>(Photo: Courtesy of Empire Seven Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That sensibility is evident in many of the murals Empire Seven collaborates on.\u003c/p>\n\u003cp>\u003cem>Here & There\u003c/em> by Sam Rodriguez, in San Jose’s Japantown, mashes together bits from multiple visual languages. A lotus flower floats in the same scene with Mexican bread and images from the video game Pac-Man.\u003c/p>\n\u003cp>This is San Jose’s culture, Araujo says. It’s where Rodriguez comes from. It’s where we come from.\u003c/p>\n\u003cp>“We’ve lost a lot of murals,” Araujo says, but new murals are going up, too. “It’s hard to erase people’s culture. Our culture is rooted deep here.”\u003c/p>\n\u003cfigure id=\"attachment_13845942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-800x450.jpg\" alt=\"Detail of "Here & There" by Sam Rodriguez in San Jose's Japantown. The more you look, the more you see, like the letters "S" and "J" in Olde English font on either side of his daughter's face. You know: SJ, for San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of ‘Here & There’ by Sam Rodriguez in San Jose’s Japantown. Note the letters “S” and “J” in Olde English font on either side of his daughter’s face, for San Jose. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Want to go on your own Chicano mural walking tour in San Jose? In collaboration with Empire Seven, software engineer \u003ca href=\"https://www.yanyinchoy.com\" target=\"_blank\" rel=\"noopener\">Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a> developed \u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">\u003cem>Heart of the Valley\u003c/em>\u003c/a>, an open-source map of murals and other public art in the South Bay. \u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">Check it out here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago, news broke about Bay Area artist Jose Meza Velasquez \u003ca href=\"https://www.mercurynews.com/2018/11/05/mysterious-removal-of-historic-san-jose-mural-sparks-5-million-lawsuit/\" target=\"_blank\" rel=\"noopener\">filing a $5 million lawsuit\u003c/a> after a real estate developer painted over his historic \u003cem>Mural de la Raza\u003c/em> in San Jose.\u003c/p>\n\u003cp>But by and large, Chicano mural art is still thriving in the South Bay—and worth a sightseeing tour on your preferred set of wheels.\u003c/p>\n\u003cp>\u003cem>Mural de la Raza\u003c/em> was not the only mural to pay homage to Chicano culture, but it was up for more than 30 years; one of a shrinking number of murals to last that long. Murals, and especially Chicano murals, function as a form of visual history for the neighborhoods in which they sit. That helps to explain the outrage when Velasquez’s work disappeared under a coat of gray paint.\u003c/p>\n\u003cp>I asked a few people in the know where to spot some of San Jose’s most impressive older murals. Jose Manuel Valle of \u003ca href=\"https://www.siliconvalleydebug.org\" target=\"_blank\" rel=\"noopener\">Silicon Valley De-Bug\u003c/a> was more than happy to oblige with a list. He’s a key figure behind El Emergency Comité for the Preservation of Chicano Arts, which sponsored an \u003ca href=\"https://www.change.org/p/restore-mural-de-la-raza-in-san-jose\" target=\"_blank\" rel=\"noopener\">online petition in support of Velasquez\u003c/a> that’s garnered more than 2,900 signatures.\u003c/p>\n\u003cp>“Right now, the most important thing is to build public interest,” Valle says.\u003c/p>\n\u003cfigure id=\"attachment_13845893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-800x450.jpg\" alt=\"Detail of "Mural de la Raza' by Jose Meza Velasquez, Frank Torres and a local youth group. At the time, the building was a Payless Shoes store. Ahead of a recent sale of the property, a developer painted the mural over with gray paint. Velasquez is now suing.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Mural de la Raza’ by Jose Meza Velasquez, Frank Torres and a local youth group. At the time, the building was a Payless Shoes store. Ahead of a recent sale of the property, a developer painted the mural over with gray paint. Velasquez is now suing. \u003ccite>(Photo: Courtesy of Jose Manuel Valle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals are delicate artworks, vulnerable to oblivious landlords, paint-bleaching sunshine and teenage taggers. So grab your camera and start photographing community treasures like \u003ci>La Medicina y La Comunidad\u003c/i>, by Gustavo Bernal, on the front of the \u003ca href=\"https://gardnerfamilyhealth.org\" target=\"_blank\" rel=\"noopener\">Gardner Health Center\u003c/a> on East Virginia Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Health care providers are depicted alongside Aztec and Roman Catholic icons, making doctors look like the modern-day heroes they are. \u003ci>La Medicina \u003c/i>no doubt benefits from its position above street level. (It was also retouched in 2009 by San Jose artist \u003ca href=\"http://www.pauljgonzalezartstudios.com\" target=\"_blank\" rel=\"noopener\">Paul J. Gonzalez\u003c/a>.) Valle notes that Bernal also painted a mural on the side of Miller Elementary that’s no longer there.\u003c/p>\n\u003cp>Juan Carlos Araujo was a kid growing up in San Jose when he visited this health center with his mother. Back then, he didn’t know much about the artwork he passed by, but something must have stuck.\u003c/p>\n\u003cfigure id=\"attachment_13845896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-800x450.jpg\" alt='\"La Medicina y La Comunidad Mural\" (1990) by Gustavo Bernal, on the Gardner Health Center off of 5th and East Virginia in San Jose.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘La Medicina y La Comunidad Mural’ (1990) by Gustavo Bernal, on the Gardner Health Center off of 5th and East Virginia in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, the 36 year-old runs \u003ca href=\"https://www.empiresevenstudios.com/about-e7s-empiresevenstudios-japantown-sanjose/\" target=\"_blank\" rel=\"noopener\">Empire Seven Studios\u003c/a> along with Jennifer Ahn, helping to put up new murals by modern artists reflecting San Jose’s past, present and future.\u003c/p>\n\u003cp>“Like life itself, [murals don’t] last forever. What is important is to leave some knowledge, some history behind. You know, it’s generational,” Araujo says.\u003c/p>\n\u003cp>Next on the tour is \u003ca href=\"https://www.olgparishsj.org/index.html\" target=\"_blank\" rel=\"noopener\">Our Lady of Guadalupe Church\u003c/a> in East San Jose. Cesar Chavez attended services here, and started organizing farmworkers. McDonnell Hall, in the back of the church, is now a National Historic Landmark.\u003c/p>\n\u003cp>Technically, the church’s art isn’t a mural but a mosaic, a triptych traveling through time from the Aztecs to the 1960s. There are lots of clever touches: a toothy Quetzalcoatl on the bottom left corner, the two contrasting suns in the top corners, the labor union signs on the bottom right.\u003c/p>\n\u003cp>Katherine Oppenheimer of Sunnyvale originally created the mosaic in 1967, along with two fellow artist friends, for a planned Chicano community center that never came to be. Oppenheimer passed on about five years ago, but her son David Oppenheimer says she was “deeply inspired by the civil rights movement,” and meant the mosaic to celebrate how that movement freed so many people from colonial (and also religious) oppression.\u003c/p>\n\u003cfigure id=\"attachment_13845897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-800x600.jpg\" alt=\""Nuestra Senora de Guadalupe" by Katherine M. Oppenheimer, Marie G. Hutton, and Lois C. Cronemiller. The mosaic is visible from the street but you'll want to walk on to the campus of Our Lady of Guadalupe Church in San Jose to get a closer look.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nuestra Senora de Guadalupe’ by Katherine Oppenheimer, Marie Hutton, and Lois Cronemiller. The mosaic is visible from the street, but you’ll want to walk on to the campus of Our Lady of Guadalupe Church in San Jose to get a closer look. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He points out that we see a man bowing down in the left, a couple on their knees in the middle, and marchers “for the first time, standing on their feet” on the right. Ironically, a church became the caretaker for the piece after the community center fell through.\u003c/p>\n\u003cp>“It’s tradition. It’s heritage. It’s really our teachings, outside of English textbooks,” Araujo says, adding this mosaic is blessed to be on this church campus, because that means it’s not under the kind of threat those on commercial properties face. Take the mural that used to grace the Cal Foods store in the Five Wounds neighborhood: after gang members defaced large parts of it with graffiti, the property owner painted over those sections.\u003c/p>\n\u003cp>Araujo used to come to Cal Foods for the cheese burritos. “I’ve known the property owner for some time. She’s been here for over 25 years. At some point, she’s going to retire. Who am I to tell her ‘no’? So this will be another mural that will be gone.”\u003c/p>\n\u003cp>Murals are often intended to beautify the streets and alleys they’re chosen for. They may not erase the sight of homeless encampments, or empty parking lots, or other signs of urban decay. But their splashes of color and intricate storytelling brightens the neighborhood, shouting out to pedestrians passing by to stop, look and learn.\u003c/p>\n\u003cfigure id=\"attachment_13845898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-800x1068.jpg\" alt=\"What's left of a larger mural that included the Virgen de Guadalupe by an unknown artist on the wall of Cal Foods Tienda y Carniceria in the Five Wounds neighborhood of San Jose.\" width=\"800\" height=\"1068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-800x1068.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-1020x1362.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-899x1200.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut.jpg 1534w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of what’s left of a larger mural that included the Virgen de Guadalupe, by an unknown artist on the wall of Cal Foods Tienda y Carniceria in the Five Wounds neighborhood of San Jose. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of the iconography in Chicano murals is familiar to anyone who grew up in California, there are personal touches from the artists, who often work as a team, sometimes including young people on court order to do community service.\u003c/p>\n\u003cp>Those kids might not be up on Spanish colonialism, or the Valley of Heart’s Delight, or the early days of Silicon Valley, but murals like the one Opski Chan painted on an old IBM building near Roosevelt Park in San Jose give a nod to all of that history.\u003c/p>\n\u003cp>Chan pulled some of his imagery and fonts from the packing boxes of the fruit orchards that once filled the Santa Clara Valley. “It’s a lot like graffiti, but used in a different way,” says Araujo, who grew up doing graffiti himself before he turned to art.\u003c/p>\n\u003cfigure id=\"attachment_13845901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-800x379.jpg\" alt=\"Mural by Opski Chan on the wall of what used to be an IBM building near the corner of St. John and 16th in San Jose.\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-768x363.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-1020x483.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-960x454.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-520x246.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Opski Chan on the wall of what used to be an IBM building near the corner of St. John and 16th in San Jose. \u003ccite>(Photo: Courtesy of Empire Seven Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That sensibility is evident in many of the murals Empire Seven collaborates on.\u003c/p>\n\u003cp>\u003cem>Here & There\u003c/em> by Sam Rodriguez, in San Jose’s Japantown, mashes together bits from multiple visual languages. A lotus flower floats in the same scene with Mexican bread and images from the video game Pac-Man.\u003c/p>\n\u003cp>This is San Jose’s culture, Araujo says. It’s where Rodriguez comes from. It’s where we come from.\u003c/p>\n\u003cp>“We’ve lost a lot of murals,” Araujo says, but new murals are going up, too. “It’s hard to erase people’s culture. Our culture is rooted deep here.”\u003c/p>\n\u003cfigure id=\"attachment_13845942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-800x450.jpg\" alt=\"Detail of "Here & There" by Sam Rodriguez in San Jose's Japantown. The more you look, the more you see, like the letters "S" and "J" in Olde English font on either side of his daughter's face. You know: SJ, for San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of ‘Here & There’ by Sam Rodriguez in San Jose’s Japantown. Note the letters “S” and “J” in Olde English font on either side of his daughter’s face, for San Jose. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Want to go on your own Chicano mural walking tour in San Jose? In collaboration with Empire Seven, software engineer \u003ca href=\"https://www.yanyinchoy.com\" target=\"_blank\" rel=\"noopener\">Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a> developed \u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">\u003cem>Heart of the Valley\u003c/em>\u003c/a>, an open-source map of murals and other public art in the South Bay. \u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">Check it out here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Margaret Atwood Is Writing A Sequel To 'The Handmaid's Tale'",
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"content": "\u003cp>More than 30 years after the release of \u003cem>The Handmaid’s Tale\u003c/em>, author Margaret Atwood has announced there’s going to be a sequel.\u003c/p>\n\u003cp>Penguin Random House \u003ca href=\"http://global.penguinrandomhouse.com/announcements/margaret-atwood-writing-handmaids-tale-sequel-for-publication-september-10/\">said Wednesday\u003c/a> that the new novel is set to be published on Sept. 10, 2019. It’s called \u003cem>The Testaments\u003c/em> and will take place 15 years after \u003cem>The Handmaid’s Tale\u003c/em> left off. The story will be told by three female characters, according to the U.S. publisher.\u003c/p>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em>, a dystopian novel set in the fictional theocratic dictatorship of Gilead, has risen again to prominence with a critically acclaimed TV series based on the book that started airing in 2017.\u003c/p>\n\u003cp>[contextly_sidebar id=”nnIMDykalEpo8j5cIjzPAtxkrHoMuFN2″]\u003c/p>\n\u003cp>The action in the new book will be separate from the TV series, which is gearing up for a third season. In the second season, the action went beyond where the book left off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a message to readers, Atwood said it was their questions that inspired her to return to Gilead.\u003c/p>\n\u003cp>“Dear Readers: Everything you’ve ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything!” the Canadian writer said.\u003c/p>\n\u003cp>She added: “The other inspiration is the world we’ve been living in.”\u003c/p>\n\u003cp>[contextly_sidebar id=”JI6rj7b5P2DiBUbFkiSeHPNF4hRkCOwc”]\u003c/p>\n\u003cp>In the brutal world of \u003cem>The Handmaid’s Tale\u003c/em>, environmental catastrophe has rendered many women infertile. Those who can still conceive are forced to become “handmaids,” a role in which they are sexual captives and bear children for government officials whose own wives cannot.\u003c/p>\n\u003cp>The book has struck a political chord in recent years. At protests around the world, particularly those regarding reproductive issues, women have rallied wearing the red cloaks and white bonnets of handmaids.\u003c/p>\n\u003cp>The press release noted that the book has gained new prominence since President Trump was elected. It said, “Handmaids became a symbol of the movement against him, representing female empowerment and resistance in the face of misogyny and the rolling back of women’s rights.”\u003c/p>\n\u003cp>[contextly_sidebar id=”jmB4R69bsZU2dRuxioDgmnJEIr0JyBlT”]\u003c/p>\n\u003cp>It’s not clear how this new book will relate to the first. The publisher didn’t say who the three narrators would be, nor whether they were characters in the first book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since it was first published in 1985, the book has sold 8 million copies in English, according to Penguin Random House.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Margaret+Atwood+Is+Writing+A+Sequel+To+%27The+Handmaid%27s+Tale%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Atwood said that she was inspired by readers' questions about the dystopian world of Gilead — and, she says, by \"the world we've been living in.\" It's set to be released next September.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 30 years after the release of \u003cem>The Handmaid’s Tale\u003c/em>, author Margaret Atwood has announced there’s going to be a sequel.\u003c/p>\n\u003cp>Penguin Random House \u003ca href=\"http://global.penguinrandomhouse.com/announcements/margaret-atwood-writing-handmaids-tale-sequel-for-publication-september-10/\">said Wednesday\u003c/a> that the new novel is set to be published on Sept. 10, 2019. It’s called \u003cem>The Testaments\u003c/em> and will take place 15 years after \u003cem>The Handmaid’s Tale\u003c/em> left off. The story will be told by three female characters, according to the U.S. publisher.\u003c/p>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em>, a dystopian novel set in the fictional theocratic dictatorship of Gilead, has risen again to prominence with a critically acclaimed TV series based on the book that started airing in 2017.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The action in the new book will be separate from the TV series, which is gearing up for a third season. In the second season, the action went beyond where the book left off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a message to readers, Atwood said it was their questions that inspired her to return to Gilead.\u003c/p>\n\u003cp>“Dear Readers: Everything you’ve ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything!” the Canadian writer said.\u003c/p>\n\u003cp>She added: “The other inspiration is the world we’ve been living in.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the brutal world of \u003cem>The Handmaid’s Tale\u003c/em>, environmental catastrophe has rendered many women infertile. Those who can still conceive are forced to become “handmaids,” a role in which they are sexual captives and bear children for government officials whose own wives cannot.\u003c/p>\n\u003cp>The book has struck a political chord in recent years. At protests around the world, particularly those regarding reproductive issues, women have rallied wearing the red cloaks and white bonnets of handmaids.\u003c/p>\n\u003cp>The press release noted that the book has gained new prominence since President Trump was elected. It said, “Handmaids became a symbol of the movement against him, representing female empowerment and resistance in the face of misogyny and the rolling back of women’s rights.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s not clear how this new book will relate to the first. The publisher didn’t say who the three narrators would be, nor whether they were characters in the first book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since it was first published in 1985, the book has sold 8 million copies in English, according to Penguin Random House.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Margaret+Atwood+Is+Writing+A+Sequel+To+%27The+Handmaid%27s+Tale%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://noisepopfest.com\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> is preparing to take over Fillmore, Great American Music Hall, Starline Social Club and other Bay Area venues for a week of shows Feb. 25–Mar. 3, and the promotional outfit just announced its a big chunk of its lineup for the 2019 fest, with more acts to be revealed in January. Per usual, the concert series features an eclectic mix of hip-hop, R&B, indie rock, pop and experimental music. Best of all, unlike a weekend-long fest, you can choose your own adventure and attend the shows suited to your tastes.\u003c/p>\n\u003cp>Next year’s Noise Pop features some standout rising artists as well as established faves. \u003ca href=\"http://princessnokia.org/\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, the trendsetting New York rapper who puts body positivity and her Afro-Caribbean roots at the forefront of her work, is one of those acts, as well as \u003ca href=\"https://www.beirutband.com/\" target=\"_blank\" rel=\"noopener\">Beirut\u003c/a>, the horn-forward indie rock band whose work draws from Eastern European folk music. \u003ca href=\"https://www.facebook.com/bathsmusic/\" target=\"_blank\" rel=\"noopener\">Baths\u003c/a>, the LA producer, makes colorful electronic compositions that are as whimsical as they are danceable. Venerated guitarist \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener\">Bob Mould\u003c/a>, known for his work with Hüsker Dü in the ’80s and Sugar in the ’90s, also performs.\u003c/p>\n\u003cp>Check out the complete Noise Pop lineup below, and visit the festival’s website for the full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a>.\u003c/p>\n\u003cp>Beirut\u003cbr>\nBob Mould\u003cbr>\nPrincess Nokia\u003cbr>\nPetit Biscuit\u003cbr>\nTeenage Fanclub\u003cbr>\nAlbert Hammond Jr\u003cbr>\nJason Lytle (of Grandaddy)\u003cbr>\nBaths\u003cbr>\nTourist\u003cbr>\nUffie\u003cbr>\nMen I Trust\u003cbr>\nDaughters\u003cbr>\nCurrent Joys\u003cbr>\nDarlingside\u003cbr>\nYves Tumor\u003cbr>\nVHS Collection\u003cbr>\nCaroline Rose\u003cbr>\nThe Marías\u003cbr>\nMNEK\u003cbr>\nMy Brightest Diamond\u003cbr>\nMNDSGN\u003cbr>\nKllo\u003cbr>\nHaley Heynderickx\u003cbr>\nCharlotte Lawrence\u003cbr>\nJerry Paper\u003cbr>\nKodie Shane\u003cbr>\nHelado Negro\u003cbr>\nKamaal Williams\u003cbr>\nTommy Newport\u003cbr>\nMarissa Nadler\u003cbr>\nQrion\u003cbr>\nOh Pep!\u003cbr>\nJitwam\u003cbr>\nKERA\u003cbr>\nThe Love Language\u003cbr>\nRiver Whyless\u003cbr>\nIlluminati Hotties\u003cbr>\nClub Night\u003cbr>\nawakebutstillinbed\u003cbr>\nPartner\u003cbr>\nDude York\u003cbr>\nBlanck Mass\u003cbr>\nGilligan Moss\u003cbr>\nTravis Hayes\u003cbr>\nLos Wálters\u003cbr>\nField Medic\u003cbr>\nChynna\u003cbr>\nKatzù Oso\u003cbr>\nH.C. McEntire\u003cbr>\nHana Vu\u003cbr>\nHilary Woods\u003cbr>\nSwarvy\u003cbr>\nOuri\u003cbr>\nSunsleeper\u003cbr>\nSundressed\u003cbr>\nAlien Boy\u003cbr>\nGap Girls\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>They’re so catchy, you probably still know them by heart: songs like “I Love Trash,” “C is for Cookie,” “People in Your Neighborhood” and “Everybody Wash.”\u003c/p>\n\u003cp>Generations of kids grew up on \u003cem>Sesame Street\u003c/em>‘s beloved songs, a staple of the show from its very beginnings in 1969. Beyond teaching reading and arithmetic, the program instilled values like embracing ourselves (and others) for being different with “Bein’ Green” and following our dreams with “I’d Like to Visit the Moon.” When you think about it, “Rubber Duckie” was even the original self-care anthem before #selfcare became a trending topic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-800x263.jpg\" alt=\"\" width=\"800\" height=\"263\" class=\"aligncenter size-medium wp-image-13845799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Just in time for the nostalgic feels that creep up around the holidays, an extensive catalog of \u003cem>Sesame Street\u003c/em> tunes has been released on streaming platforms everywhere, including newly curated compilations on CD and vinyl. The new project from Warner Music Group is a partnership with educational nonprofit Sesame Workshop, and marks the first time in 20 years that music from \u003cem>Sesame Street\u003c/em> will roll out on a consistent schedule of releases.\u003c/p>\n\u003cp>And yes, those original albums are part of the streaming deal: LPs like \u003cem>Grover Sings the Blues, The Count Counts, Bob Sings, At Home With Ernie and Bert\u003c/em>, and \u003cem>My Name Is Roosevelt Franklin\u003c/em>. Even the 1970s disco album \u003cem>Sesame Street Fever\u003c/em> is part of the streaming deal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sesame Street Records’ latest, \u003cem>It’s Christmas Time!\u003c/em>, is out now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://open.spotify.com/album/186mAnA4b3xlcBr1zsqArw\u003c/p>\n\n",
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"excerpt": "\"I Love Trash,\" \"C is for Cookie,\" \"Bein' Green,\" \"People in Your Neighborhood\"—they're all available again as part of a new campaign.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They’re so catchy, you probably still know them by heart: songs like “I Love Trash,” “C is for Cookie,” “People in Your Neighborhood” and “Everybody Wash.”\u003c/p>\n\u003cp>Generations of kids grew up on \u003cem>Sesame Street\u003c/em>‘s beloved songs, a staple of the show from its very beginnings in 1969. Beyond teaching reading and arithmetic, the program instilled values like embracing ourselves (and others) for being different with “Bein’ Green” and following our dreams with “I’d Like to Visit the Moon.” When you think about it, “Rubber Duckie” was even the original self-care anthem before #selfcare became a trending topic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-800x263.jpg\" alt=\"\" width=\"800\" height=\"263\" class=\"aligncenter size-medium wp-image-13845799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Just in time for the nostalgic feels that creep up around the holidays, an extensive catalog of \u003cem>Sesame Street\u003c/em> tunes has been released on streaming platforms everywhere, including newly curated compilations on CD and vinyl. The new project from Warner Music Group is a partnership with educational nonprofit Sesame Workshop, and marks the first time in 20 years that music from \u003cem>Sesame Street\u003c/em> will roll out on a consistent schedule of releases.\u003c/p>\n\u003cp>And yes, those original albums are part of the streaming deal: LPs like \u003cem>Grover Sings the Blues, The Count Counts, Bob Sings, At Home With Ernie and Bert\u003c/em>, and \u003cem>My Name Is Roosevelt Franklin\u003c/em>. Even the 1970s disco album \u003cem>Sesame Street Fever\u003c/em> is part of the streaming deal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Stephen Hillenburg, who created SpongeBob SquarePants and the absurd undersea world he inhabited, has died at age 57, Nickelodeon announced Tuesday. Hillenburg died Monday of Lou Gehrig’s disease, also known as ALS, the cable network said in a statement. He was 57.\u003c/p>\n\u003cp>Hillenburg had announced he had the disease in March 2017. His death comes just weeks after the passing of another cartoon hero in Marvel creator Stan Lee.\u003c/p>\n\u003cp>An Oklahoma native with a love of both drawing and marine biology, Hillenburg conceived, wrote, produced and directed the animated series that began in 1999 and went on to spawn hundreds of episodes, movies and a Broadway show.\u003c/p>\n\u003cp>“He was a beloved friend and long-time creative partner to everyone at Nickelodeon, and our hearts go out to his entire family,” Nickelodeon’s statement said. “Steve imbued ‘SpongeBob SquarePants’ with a unique sense of humor and innocence that has brought joy to generations of kids and families everywhere. His utterly original characters and the world of Bikini Bottom will long stand as a reminder of the value of optimism, friendship and the limitless power of imagination.”\u003c/p>\n\u003cp>The absurdly jolly SpongeBob, his starfish sidekick Patrick, and a vast cast of oceanic creatures quickly appealed to college kids and parents as much as it did kids.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The fact that it’s undersea and isolated from our world helps the characters maintain their own culture,” Hillenburg told The Associated Press in 2001. “The essence of the show is that SpongeBob is an innocent in a world of jaded characters. The rest is absurd packaging.”\u003c/p>\n\u003cp>Born at his father’s army post in Lawton, Oklahoma, Hillenburg graduated from Humboldt State University in California in 1984 with a degree in natural resource planning with an emphasis on marine resources, and went on to teach marine biology at the Orange County Marine Institute.\u003c/p>\n\u003cp>He shifted to drawing and earned a master of fine arts degree in animation from the California Institute of the Arts in 1992.\u003c/p>\n\u003cp>That same year he created an animated short called “Wormholes” that won festival plaudits and helped land him a job on the Nickelodeon show “Rocko’s Modern Life,” where he worked from 1993 to 1996 before he began to build SpongeBob’s undersea world of Bikini Bottom, which showed off his knowledge of marine life and willingness to throw all the details out the window.\u003c/p>\n\u003cp>“We know that fish don’t walk,” he told the AP, “and that there is no organized community with roads, where cars are really boats. And if you know much about sponges, you know that living sponges aren’t square.”\u003c/p>\n\u003cp>The show was an immediate hit that has lost no momentum in the nearly 20 years since its creation. Its nearly 250 episodes have won four Emmys and 15 Kids Choice Awards, and led to an endless line of merchandise to rival any other pop cultural phenomenon of the 2000s.\u003c/p>\n\u003cp>In 2004, the show shifted to the big screen with “The SpongeBob SquarePants Movie” and a 2015 sequel, “The SpongeBob Movie: Sponge Out of Water.”\u003c/p>\n\u003cp>A musical stage adaptation bowed on Broadway in 2017, with music from such stars as Steven Tyler, Sara Bareilles and John Legend. It earned 12 Tony Award nominations, including one for best performance by a leading actor for Ethan Slater.\u003c/p>\n\u003cp>“I am heartbroken to hear of the passing of Stephen Hillenburg,” Slater said in an email Tuesday. “Through working on ‘SpongeBob,’ I got to know him not only as a creative genius, but as a truly generous and kind person. He warmly embraced us on Broadway as the newest members of his wonderful ‘SpongeBob’ family, and made it so clear from the get-go why he is so beloved: genuine kindness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hillenburg is survived by his wife of 20 years Karen Hillenburg, son Clay, mother Nancy Hillenburg, and a brother, Brian Kelly Hillenburg.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stephen Hillenburg, who created SpongeBob SquarePants and the absurd undersea world he inhabited, has died at age 57, Nickelodeon announced Tuesday. Hillenburg died Monday of Lou Gehrig’s disease, also known as ALS, the cable network said in a statement. He was 57.\u003c/p>\n\u003cp>Hillenburg had announced he had the disease in March 2017. His death comes just weeks after the passing of another cartoon hero in Marvel creator Stan Lee.\u003c/p>\n\u003cp>An Oklahoma native with a love of both drawing and marine biology, Hillenburg conceived, wrote, produced and directed the animated series that began in 1999 and went on to spawn hundreds of episodes, movies and a Broadway show.\u003c/p>\n\u003cp>“He was a beloved friend and long-time creative partner to everyone at Nickelodeon, and our hearts go out to his entire family,” Nickelodeon’s statement said. “Steve imbued ‘SpongeBob SquarePants’ with a unique sense of humor and innocence that has brought joy to generations of kids and families everywhere. His utterly original characters and the world of Bikini Bottom will long stand as a reminder of the value of optimism, friendship and the limitless power of imagination.”\u003c/p>\n\u003cp>The absurdly jolly SpongeBob, his starfish sidekick Patrick, and a vast cast of oceanic creatures quickly appealed to college kids and parents as much as it did kids.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The fact that it’s undersea and isolated from our world helps the characters maintain their own culture,” Hillenburg told The Associated Press in 2001. “The essence of the show is that SpongeBob is an innocent in a world of jaded characters. The rest is absurd packaging.”\u003c/p>\n\u003cp>Born at his father’s army post in Lawton, Oklahoma, Hillenburg graduated from Humboldt State University in California in 1984 with a degree in natural resource planning with an emphasis on marine resources, and went on to teach marine biology at the Orange County Marine Institute.\u003c/p>\n\u003cp>He shifted to drawing and earned a master of fine arts degree in animation from the California Institute of the Arts in 1992.\u003c/p>\n\u003cp>That same year he created an animated short called “Wormholes” that won festival plaudits and helped land him a job on the Nickelodeon show “Rocko’s Modern Life,” where he worked from 1993 to 1996 before he began to build SpongeBob’s undersea world of Bikini Bottom, which showed off his knowledge of marine life and willingness to throw all the details out the window.\u003c/p>\n\u003cp>“We know that fish don’t walk,” he told the AP, “and that there is no organized community with roads, where cars are really boats. And if you know much about sponges, you know that living sponges aren’t square.”\u003c/p>\n\u003cp>The show was an immediate hit that has lost no momentum in the nearly 20 years since its creation. Its nearly 250 episodes have won four Emmys and 15 Kids Choice Awards, and led to an endless line of merchandise to rival any other pop cultural phenomenon of the 2000s.\u003c/p>\n\u003cp>In 2004, the show shifted to the big screen with “The SpongeBob SquarePants Movie” and a 2015 sequel, “The SpongeBob Movie: Sponge Out of Water.”\u003c/p>\n\u003cp>A musical stage adaptation bowed on Broadway in 2017, with music from such stars as Steven Tyler, Sara Bareilles and John Legend. It earned 12 Tony Award nominations, including one for best performance by a leading actor for Ethan Slater.\u003c/p>\n\u003cp>“I am heartbroken to hear of the passing of Stephen Hillenburg,” Slater said in an email Tuesday. “Through working on ‘SpongeBob,’ I got to know him not only as a creative genius, but as a truly generous and kind person. He warmly embraced us on Broadway as the newest members of his wonderful ‘SpongeBob’ family, and made it so clear from the get-go why he is so beloved: genuine kindness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hillenburg is survived by his wife of 20 years Karen Hillenburg, son Clay, mother Nancy Hillenburg, and a brother, Brian Kelly Hillenburg.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bernardo Bertolucci, the Oscar-winning director whose groundbreaking films set in turbulent times, including \u003cem>Last Tango In Paris \u003c/em>and\u003cem> The Last Emperor, \u003c/em>died Monday at 77.\u003c/p>\n\u003cp>His publicist \u003ca href=\"https://variety.com/2018/film/global/bernardo-bertolucci-dead-dies-director-the-last-emperor-1203036077/\">confirmed to Variety\u003c/a> that Bertolucci died Monday morning in his home from cancer.\u003c/p>\n\u003cp>Bertolucci’s provocative five decades as a filmmaker left audiences thrilled and shocked thanks to his brazen subject matter and pristine visual talent. A key figure in Italian cinema, Bertolucci is the only filmmaker of his nationality to have won the Academy Award for best director.\u003c/p>\n\u003cp>His best films depicted “human nature as it messily expresses itself among others, in society,” Tomas Hachard has written\u003ca href=\"https://www.npr.org/2014/07/03/327657398/isolation-spells-frustration-in-bertoluccis-me-and-you\"> for NPR\u003c/a>.\u003c/p>\n\u003cp>“The word transgression, which was so common in the ’60s, I think I never hear it today,” Bertolucci \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1647586\">told NPR in 2004\u003c/a> upon the release of his film \u003cem>The Dreamers\u003c/em>. “It’s like a forgotten word.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His 1987 film \u003cem>The Last Emperor\u003c/em> swept up a total of nine Academy Awards, including Best Picture and Best Director — winning every category for which it recieved a nomination.\u003c/p>\n\u003cp>An adaptation of the autobiography of Pu Yi, China’s last imperial ruler, “was also the first Western epic about China made with the Chinese government’s cooperation,” \u003cem>Variety\u003c/em> reports.\u003c/p>\n\u003cp>Bertolucci was born in 1941 to a wealthy family in northern Italy. His father, Attilio Bertolucci, was a well-regarded poet. The elder Bertolucci was married to his third wife, British screenwriter and director \u003ca href=\"http://www.moviemaker.com/archives/moviemaking/directing/articles-directing/the-triumph-of-clare-peploe/\">Clare Peploe\u003c/a>, from 1979 until his death.\u003c/p>\n\u003cp>The filmmaker received his first Oscar nod in 1970 for the adapted screenplay of \u003cem>The Conformist. \u003c/em>The film, one of his most celebrated, follows a young man coming of age in fascist Italy who is recruited by state forces to take out his anti-Fascist former teacher.\u003c/p>\n\u003cp>\u003cem>Last Tango in Paris\u003c/em>, his provocative 1973 film starring Marlon Brando and Maria Schneider, became one of the first X-rated Hollywood “art” films to make it to mainstream American theaters.\u003c/p>\n\u003cp>The film chronicled the sexual relationship with a recently widowed American man and a young Parisian woman. As \u003cem>Variety\u003c/em> reports,\u003c/p>\n\u003cblockquote>\u003cp>“Although \u003cem>Tango \u003c/em>is regarded as one of the most important films of the 20th century, it generated particular controversy for its anal rape scene, in which butter is used as a lubricant. Bertolucci acknowledged later that \u003ca href=\"https://variety.com/2016/film/news/last-tango-in-paris-rape-scene-consensual-bernardo-bertolucci-1201933117/\">the scene was sprung as a surprise on Schneider\u003c/a>, then 19, in order to elicit an authentic reaction from her ‘as a girl, not as an actress.’\u003c/p>\n\u003cp>Before her death in 2011, Schneider told an interviewer that she had ‘felt humiliated and…a little raped’ by Brando and Bertolucci. But the director always denied he had mistreated her.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Bertolucci’s final film, 2014’s \u003cem>Me and You\u003c/em>, was his first in a decade due to ongoing health issues, including his use of a wheelchair.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Bernardo+Bertolucci%2C+%27Last+Tango+In+Paris%27+Director%2C+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bernardo Bertolucci, the Oscar-winning director whose groundbreaking films set in turbulent times, including \u003cem>Last Tango In Paris \u003c/em>and\u003cem> The Last Emperor, \u003c/em>died Monday at 77.\u003c/p>\n\u003cp>His publicist \u003ca href=\"https://variety.com/2018/film/global/bernardo-bertolucci-dead-dies-director-the-last-emperor-1203036077/\">confirmed to Variety\u003c/a> that Bertolucci died Monday morning in his home from cancer.\u003c/p>\n\u003cp>Bertolucci’s provocative five decades as a filmmaker left audiences thrilled and shocked thanks to his brazen subject matter and pristine visual talent. A key figure in Italian cinema, Bertolucci is the only filmmaker of his nationality to have won the Academy Award for best director.\u003c/p>\n\u003cp>His best films depicted “human nature as it messily expresses itself among others, in society,” Tomas Hachard has written\u003ca href=\"https://www.npr.org/2014/07/03/327657398/isolation-spells-frustration-in-bertoluccis-me-and-you\"> for NPR\u003c/a>.\u003c/p>\n\u003cp>“The word transgression, which was so common in the ’60s, I think I never hear it today,” Bertolucci \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1647586\">told NPR in 2004\u003c/a> upon the release of his film \u003cem>The Dreamers\u003c/em>. “It’s like a forgotten word.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His 1987 film \u003cem>The Last Emperor\u003c/em> swept up a total of nine Academy Awards, including Best Picture and Best Director — winning every category for which it recieved a nomination.\u003c/p>\n\u003cp>An adaptation of the autobiography of Pu Yi, China’s last imperial ruler, “was also the first Western epic about China made with the Chinese government’s cooperation,” \u003cem>Variety\u003c/em> reports.\u003c/p>\n\u003cp>Bertolucci was born in 1941 to a wealthy family in northern Italy. His father, Attilio Bertolucci, was a well-regarded poet. The elder Bertolucci was married to his third wife, British screenwriter and director \u003ca href=\"http://www.moviemaker.com/archives/moviemaking/directing/articles-directing/the-triumph-of-clare-peploe/\">Clare Peploe\u003c/a>, from 1979 until his death.\u003c/p>\n\u003cp>The filmmaker received his first Oscar nod in 1970 for the adapted screenplay of \u003cem>The Conformist. \u003c/em>The film, one of his most celebrated, follows a young man coming of age in fascist Italy who is recruited by state forces to take out his anti-Fascist former teacher.\u003c/p>\n\u003cp>\u003cem>Last Tango in Paris\u003c/em>, his provocative 1973 film starring Marlon Brando and Maria Schneider, became one of the first X-rated Hollywood “art” films to make it to mainstream American theaters.\u003c/p>\n\u003cp>The film chronicled the sexual relationship with a recently widowed American man and a young Parisian woman. As \u003cem>Variety\u003c/em> reports,\u003c/p>\n\u003cblockquote>\u003cp>“Although \u003cem>Tango \u003c/em>is regarded as one of the most important films of the 20th century, it generated particular controversy for its anal rape scene, in which butter is used as a lubricant. Bertolucci acknowledged later that \u003ca href=\"https://variety.com/2016/film/news/last-tango-in-paris-rape-scene-consensual-bernardo-bertolucci-1201933117/\">the scene was sprung as a surprise on Schneider\u003c/a>, then 19, in order to elicit an authentic reaction from her ‘as a girl, not as an actress.’\u003c/p>\n\u003cp>Before her death in 2011, Schneider told an interviewer that she had ‘felt humiliated and…a little raped’ by Brando and Bertolucci. But the director always denied he had mistreated her.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Bertolucci’s final film, 2014’s \u003cem>Me and You\u003c/em>, was his first in a decade due to ongoing health issues, including his use of a wheelchair.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Bernardo+Bertolucci%2C+%27Last+Tango+In+Paris%27+Director%2C+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like so many of his neighbors, Nate Smith survived the Camp Fire with the clothes on his back and not much else.\u003c/p>\n\u003cp>But now, Smith and his neighbors are close on a level he’s never experienced before. “This is the first time that I’ve felt like everybody’s family,” he says. “You go into any store, and now you stop and talk for 20 minutes. Like, ‘Oh, you lost your home? \u003cem>I\u003c/em> lost my home. Oh come here!'”\u003c/p>\n\u003cp>That was the spirit with which he wrote the song “\u003ca href=\"https://www.facebook.com/nate.smith.3344/posts/10213219771065673\" target=\"_blank\" rel=\"noopener\">One of These Days\u003c/a>” with his buddy Miykael Goodwin, who, like Smith, also grew up in Paradise. Goodwin lives in Chico now, and his parents’ home is one of three left standing on their block in Paradise. But even those whose homes survived the Camp Fire struggle to cope with the enormity of the loss.\u003c/p>\n\u003cp>“The whole area’s pretty much devastated,” Goodwin says.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=zhe1bFmvom8]\u003c/p>\n\u003cp>The entire town of Paradise was evacuated for more than two weeks. There’s still no power. You can’t flush a toilet. Birds chirp amidst a quiet hellscape of blackened trees. You have to use your imagination to picture what this community in the Sierra foothills once looked like, nestled in a sea of green Ponderosa pine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a beautiful place,” Goodwin says. The song, he explains, is “based on memories from our life up there.”\u003c/p>\n\u003cp>Hence the reference in the song lyrics to the green and gold team colors of Paradise High School, and the church on the corner—one where Smith was Director of Worship Arts before it burned down, along with his Gibson acoustic guitar.\u003c/p>\n\u003cp>“To be honest, we had no idea it would get this much attention,” Goodwin says of the song. “We’re really glad it’s helping people.”\u003c/p>\n\u003cp>“One of These Days” has received more than 104,000 views on Facebook. Smith and Goodwin are landing gigs now as far away as Sacramento. One woman asked them to sing at a memorial for a family member who died in the fire.\u003c/p>\n\u003cp>“It’s really an honor and humbling to have the community behind you, to be that kind of voice. We get a lot of comments from people and some of them are real heavy. We had a gentleman reach out to us saying that he’d been numb and in shock this whole time. We he heard our song, he was able to shed a tear for the first time.”\u003c/p>\n\u003cfigure id=\"attachment_13845596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845596\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-800x600.jpg\" alt=\"One of more than 6,400 homes destroyed in Paradise, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of more than 6,400 homes destroyed in Paradise, California. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others have expressed similar gratitude for the song. The guitar that Smith plays on was gifted. An offer to record in a Nashville studio was gifted. The plane tickets to get there this week were gifted. And any donations offered up for the song will be gifted to Camp Fire survivors as the city starts the long process of recovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wanted it to be a song of hope that would really reignite everybody’s heartbeat,” Smith says. “We’ll rebuild. That’s the future of Paradise, I think. It’s going to be stronger than it’s ever been.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like so many of his neighbors, Nate Smith survived the Camp Fire with the clothes on his back and not much else.\u003c/p>\n\u003cp>But now, Smith and his neighbors are close on a level he’s never experienced before. “This is the first time that I’ve felt like everybody’s family,” he says. “You go into any store, and now you stop and talk for 20 minutes. Like, ‘Oh, you lost your home? \u003cem>I\u003c/em> lost my home. Oh come here!'”\u003c/p>\n\u003cp>That was the spirit with which he wrote the song “\u003ca href=\"https://www.facebook.com/nate.smith.3344/posts/10213219771065673\" target=\"_blank\" rel=\"noopener\">One of These Days\u003c/a>” with his buddy Miykael Goodwin, who, like Smith, also grew up in Paradise. Goodwin lives in Chico now, and his parents’ home is one of three left standing on their block in Paradise. But even those whose homes survived the Camp Fire struggle to cope with the enormity of the loss.\u003c/p>\n\u003cp>“The whole area’s pretty much devastated,” Goodwin says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zhe1bFmvom8'\n title='//www.youtube.com/embed/zhe1bFmvom8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The entire town of Paradise was evacuated for more than two weeks. There’s still no power. You can’t flush a toilet. Birds chirp amidst a quiet hellscape of blackened trees. You have to use your imagination to picture what this community in the Sierra foothills once looked like, nestled in a sea of green Ponderosa pine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a beautiful place,” Goodwin says. The song, he explains, is “based on memories from our life up there.”\u003c/p>\n\u003cp>Hence the reference in the song lyrics to the green and gold team colors of Paradise High School, and the church on the corner—one where Smith was Director of Worship Arts before it burned down, along with his Gibson acoustic guitar.\u003c/p>\n\u003cp>“To be honest, we had no idea it would get this much attention,” Goodwin says of the song. “We’re really glad it’s helping people.”\u003c/p>\n\u003cp>“One of These Days” has received more than 104,000 views on Facebook. Smith and Goodwin are landing gigs now as far away as Sacramento. One woman asked them to sing at a memorial for a family member who died in the fire.\u003c/p>\n\u003cp>“It’s really an honor and humbling to have the community behind you, to be that kind of voice. We get a lot of comments from people and some of them are real heavy. We had a gentleman reach out to us saying that he’d been numb and in shock this whole time. We he heard our song, he was able to shed a tear for the first time.”\u003c/p>\n\u003cfigure id=\"attachment_13845596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845596\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-800x600.jpg\" alt=\"One of more than 6,400 homes destroyed in Paradise, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34101_Photo-Nov-25-8-24-29-AM-1-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of more than 6,400 homes destroyed in Paradise, California. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others have expressed similar gratitude for the song. The guitar that Smith plays on was gifted. An offer to record in a Nashville studio was gifted. The plane tickets to get there this week were gifted. And any donations offered up for the song will be gifted to Camp Fire survivors as the city starts the long process of recovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wanted it to be a song of hope that would really reignite everybody’s heartbeat,” Smith says. “We’ll rebuild. That’s the future of Paradise, I think. It’s going to be stronger than it’s ever been.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a moment in \u003cem>Bohemian Rhapsody,\u003c/em> the new biopic on the late \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a> lead singer Freddie Mercury, when Rami Malek, playing Mercury, steps onto the stage in a sequin leotard that leaves little to the imagination. The outfit is pure Mercury. But Malek, who also plays a withdrawn hacker on the hit television series \u003ca href=\"https://www.npr.org/2015/08/26/434872326/vigilante-computer-geeks-reign-in-the-addictive-mr-robot\">\u003cem>Mr. Robot\u003c/em>,\u003c/a> initially felt so uncomfortable in it that he had to talk himself into wearing it.\u003c/p>\n\u003cp>[contextly_sidebar id=”KrKx0xZQrYpOk1Sf1hnSAMi2GRvjNJS1″]\u003c/p>\n\u003cp>“I said [to myself], ‘Listen, if you’re going to play a man who [will] rock this thing out like nobody’s business … you better own this,'” Malek says.\u003c/p>\n\u003cp>Call it the power of sequins, but Malek ultimately found himself channeling Mercury’s charismatic stage presence so much so that toward the end of shooting the film, he asked the costume designer to make his character another sequin leotard, this time in ruby red.\u003c/p>\n\u003cp>Malek speculates that the singer’s showmanship sprung from a desire to find his place in the world. Born in Zanzibar as Farrokh Bulsara, Mercury had buck teeth and was called “Bucky” by most of the kids at the boarding school he attended in India. When Mercury returned to Zanzibar after boarding school, the country was in the midst of a revolution and his family had to immigrate to London. “At that point, trying to identify himself, [he] feels like a fish out of water,” Malek says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in front of a crowd, it was a different story: “When [Mercury] gets out on the stage, he holds everyone’s attention and says, ‘Hey, I may have been an outcast and a misfit, and I may feel like I don’t belong, but here on this stage, we belong together,'” Malek says. “It is the most beautiful thing to see realized.”\u003c/p>\n\u003cp>\u003cem>Click on the audio link to hear the full \u003c/em>Fresh Air \u003cem>interview with Rami Malek and read interview highlights below. \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/669850052/670086832\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On how audio engineers for the film mixed together Mercury and Malek’s vocals\u003c/strong>\u003c/p>\n\u003cp>It’s actually an amalgamation. The large majority is Freddie Mercury. I went out every day and sang at the top of my lungs, because that’s the only way to match what he’s doing. He’s giving everything 110 percent, always. And in order to sync it up properly they use bits of my voice. … It will lead in with my voice, and then pick up the majority using Freddie Mercury’s voice.\u003c/p>\n\u003cp>What I quickly realized was no one can sing like Freddie Mercury, and nor can I. It’s very difficult to get my voice up to those high notes, and at some point, my voice breaks. And it breaks pretty quickly when I’m trying to ascend what Freddie Mercury can do.\u003c/p>\n\u003cp>\u003cstrong>On shooting Queen’s iconic set at the 1985 Live Aid charity concert \u003c/strong>\u003c/p>\n\u003cp>It was the first thing we shot: Live Aid. Day one. We came out and it was that massive crane shot that goes through the audience and comes right up around the piano and opens to Freddie Mercury, myself playing him, singing “Bohemian Rhapsody.” … Talk about a baptism by fire! I had never worked that hard in my life on one particular piece of filming.\u003c/p>\n\u003cp>Every day I spent hours with a movement teacher. … I always wanted to keep it very spontaneous, but at the same time, honor this fantastic performance that he and Queen gave. … There are things he does with that microphone that defy what the mere mortal can do. He whips around with it with violence at times, with elegance he uses it as the air guitar — sometimes, right in front of one of the greatest guitar players of all time, Brian May. So as Brian May is crushing it on guitar, here is Freddie Mercury air-guitaring, and it’s still a magnificent thing to watch. It’s so compelling and only he could get away with that.\u003c/p>\n\u003cp>\u003cstrong>On wearing prosthetic teeth to play Mercury \u003c/strong>\u003c/p>\n\u003cp>The teeth were difficult to get used to in the beginning. Initially, I put them in my mouth a year prior to shooting and I immediately felt insecure. I felt like I was on my back foot, in a way. I didn’t feel like myself. …\u003c/p>\n\u003cp>It was a feeling of insecurity that I had to cover them up as well. I had been watching so much footage of him. You see him covering up his teeth so often that I thought, “How am I ever going to do that?” Well, as soon as those teeth went in, it was second nature. I found myself covering them up so often. My lips would dry up, so I found myself licking my lips as he did.\u003c/p>\n\u003cp>But another thing happened: I started to compensate physically by holding my posture better, elongating my body, sitting up very straight, and that’s something you also see him do. And I don’t know if that was something that affected him, or he was born with the elegance that he has, but it did give me a way into understanding a little bit more about him.\u003c/p>\n\u003cp>\u003cstrong>On how he relates to Mercury as a child of immigrants pursuing a life in the arts\u003c/strong>\u003c/p>\n\u003cp>I had to demystify him somehow. The way to do that was looking at his background, and I thought to myself, “Here’s a young man [who] immigrated to a country, defied all obstacles to do what he loved.” That was one thing that I could understand.\u003c/p>\n\u003cp>Not to compare myself to him in any way, shape or form, but I am a first generation American. My family came from Egypt and sought a better life for their children in the U.S. Obviously, like so many people, they would have loved for us to be doctors and lawyers. … It was very difficult to convince anyone that I wanted to do this, and that I could do this.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Better+Own+This%27%3A+How+Rami+Malek+Came+To+Embody+Freddie+Mercury&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in front of a crowd, it was a different story: “When [Mercury] gets out on the stage, he holds everyone’s attention and says, ‘Hey, I may have been an outcast and a misfit, and I may feel like I don’t belong, but here on this stage, we belong together,'” Malek says. “It is the most beautiful thing to see realized.”\u003c/p>\n\u003cp>\u003cem>Click on the audio link to hear the full \u003c/em>Fresh Air \u003cem>interview with Rami Malek and read interview highlights below. \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/669850052/670086832\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On how audio engineers for the film mixed together Mercury and Malek’s vocals\u003c/strong>\u003c/p>\n\u003cp>It’s actually an amalgamation. The large majority is Freddie Mercury. I went out every day and sang at the top of my lungs, because that’s the only way to match what he’s doing. He’s giving everything 110 percent, always. And in order to sync it up properly they use bits of my voice. … It will lead in with my voice, and then pick up the majority using Freddie Mercury’s voice.\u003c/p>\n\u003cp>What I quickly realized was no one can sing like Freddie Mercury, and nor can I. It’s very difficult to get my voice up to those high notes, and at some point, my voice breaks. And it breaks pretty quickly when I’m trying to ascend what Freddie Mercury can do.\u003c/p>\n\u003cp>\u003cstrong>On shooting Queen’s iconic set at the 1985 Live Aid charity concert \u003c/strong>\u003c/p>\n\u003cp>It was the first thing we shot: Live Aid. Day one. We came out and it was that massive crane shot that goes through the audience and comes right up around the piano and opens to Freddie Mercury, myself playing him, singing “Bohemian Rhapsody.” … Talk about a baptism by fire! I had never worked that hard in my life on one particular piece of filming.\u003c/p>\n\u003cp>Every day I spent hours with a movement teacher. … I always wanted to keep it very spontaneous, but at the same time, honor this fantastic performance that he and Queen gave. … There are things he does with that microphone that defy what the mere mortal can do. He whips around with it with violence at times, with elegance he uses it as the air guitar — sometimes, right in front of one of the greatest guitar players of all time, Brian May. So as Brian May is crushing it on guitar, here is Freddie Mercury air-guitaring, and it’s still a magnificent thing to watch. It’s so compelling and only he could get away with that.\u003c/p>\n\u003cp>\u003cstrong>On wearing prosthetic teeth to play Mercury \u003c/strong>\u003c/p>\n\u003cp>The teeth were difficult to get used to in the beginning. Initially, I put them in my mouth a year prior to shooting and I immediately felt insecure. I felt like I was on my back foot, in a way. I didn’t feel like myself. …\u003c/p>\n\u003cp>It was a feeling of insecurity that I had to cover them up as well. I had been watching so much footage of him. You see him covering up his teeth so often that I thought, “How am I ever going to do that?” Well, as soon as those teeth went in, it was second nature. I found myself covering them up so often. My lips would dry up, so I found myself licking my lips as he did.\u003c/p>\n\u003cp>But another thing happened: I started to compensate physically by holding my posture better, elongating my body, sitting up very straight, and that’s something you also see him do. And I don’t know if that was something that affected him, or he was born with the elegance that he has, but it did give me a way into understanding a little bit more about him.\u003c/p>\n\u003cp>\u003cstrong>On how he relates to Mercury as a child of immigrants pursuing a life in the arts\u003c/strong>\u003c/p>\n\u003cp>I had to demystify him somehow. The way to do that was looking at his background, and I thought to myself, “Here’s a young man [who] immigrated to a country, defied all obstacles to do what he loved.” That was one thing that I could understand.\u003c/p>\n\u003cp>Not to compare myself to him in any way, shape or form, but I am a first generation American. My family came from Egypt and sought a better life for their children in the U.S. Obviously, like so many people, they would have loved for us to be doctors and lawyers. … It was very difficult to convince anyone that I wanted to do this, and that I could do this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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