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"content": "\u003cp>Like any tantruming toddler, the 20-foot-tall baby Trump blimp hovering above Friday’s \u003ca href=\"https://www.npr.org/2018/07/13/628715766/large-protests-baby-blimp-greet-trump-in-london-and-the-u-k\">protests in London\u003c/a> was difficult to ignore.\u003c/p>\n\u003cp>Now a plan to bring a replica of the yellow-haired, phone-toting, sneering and diapered balloon stateside has garnered so much support that organizers say they will use the funds to buy multiple blimps “so we can go coast-to-coast, border-to-border.”\u003c/p>\n\u003cp>New Jersey activists Didier Jiminez-Castro and Jim Girvan said they “were inspired by the patriotic actions of our friends in the UK,” so they created a \u003ca href=\"https://www.gofundme.com/fund-to-bring-baby-trump-to-america\">GoFundMe page\u003c/a> to see if they could make a similar statement domestically.\u003c/p>\n\u003cp>They overshot their goal.\u003c/p>\n\u003cp>By Thursday, they had raised $23,693 of their $4,500 aim and closed the page to donations in order “to keep control” of the campaign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They expect the first balloon to be ready by mid-August and they plan to fly it near the president’s National Golf Club in Bedminster, N.J.\u003c/p>\n\u003cp>Girvan, an organizer of The People’s Motorcade, \u003ca href=\"https://www.cnn.com/2018/07/17/politics/trump-baby-blimp-new-jersey-trnd/index.html\">told CNN\u003c/a> his group holds frequent protests outside the club.\u003c/p>\n\u003cp>“We’re comfortable that we’re going to have the opportunity to fly the balloon in relatively close proximity to his golf club while he’s here,” Girvan told the news outlet.\u003c/p>\n\u003cp>Under the social media handle @babytrumptour, Jiminez-Castro and Girvan say the goal is to branch out and “to make Baby Trump available to various locations around the country.”\u003c/p>\n\u003cp>They said they are working closely with the creators of the original Trump blimp “to use their design and not a knock off.”\u003c/p>\n\u003cp>CNN reports the New Jersey activists have received permission to make their own balloons using the original patterns and molds.\u003c/p>\n\u003cp>The hope is it will elevate their protests in more ways than one.\u003c/p>\n\u003cp>“The baby Trump is not just a piece of humor, but it is also a symbol of the administration,” \u003ca href=\"https://www.nj.com/news/index.ssf/2018/07/baby_trump_balloon_is_coming_to_new_jersey.html?utm_medium=social&utm_source=twitter&utm_campaign=njdotcom_sf&utm_content=nj_twitter_njdotcom\">Jiminez-Castro told N.J.com\u003c/a>. “It’s symbolic of the children that are in cages, it’s a symbol of racism, and we know that he hates to be ridiculed.”\u003c/p>\n\u003cp>The original blimp flew the same day the actual Trump met with Prime Minister Theresa May at Chequers, about 40 miles outside London, followed by tea with Queen Elizabeth at Windsor Castle.\u003c/p>\n\u003cp>In an interview, he acknowledged he knew about the blimp imitation and was not flattered.\u003c/p>\n\u003cp>“I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London,” \u003ca href=\"https://www.thesun.co.uk/news/6766644/donald-trump-feels-unwelcome-london-protests/\">Trump told British newspaper the Sun\u003c/a>.\u003c/p>\n\u003cp>He spent a single night in London during his four-day U.K. trip.\u003c/p>\n\u003cp>Meantime, another apparent opponent of the Trump baby blimp had plans to pop the offending item.\u003c/p>\n\u003cp>Kathie Kitt Conklin of New Jersey started her own GoFundMe page, this one asking for donations, should she be arrested for deflating the balloon and need to be bailed out, \u003ca href=\"https://www.app.com/story/news/weird/2018/07/19/ocean-county-woman-vows-pop-trump-baby-balloon/799786002/\">reports the Asbury Park Press\u003c/a>.\u003c/p>\n\u003cp>“I’m tired of people disrespecting our President! I plan on taking out this ridiculous balloon…” the page stated, before GoFundMe reportedly took it down for violating its terms of service.\u003c/p>\n\u003cp>She reportedly raised $285 toward her $1,000 goal, with donors getting refunds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Reached by phone, the newspaper reports Conklin said, “I don’t want to talk to the press. They always twist things. Thanks,” then hung up.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=American+Baby+Trump+Blimp+Set+To+Breeze+Onto+Namesake%27s+Home+Turf&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like any tantruming toddler, the 20-foot-tall baby Trump blimp hovering above Friday’s \u003ca href=\"https://www.npr.org/2018/07/13/628715766/large-protests-baby-blimp-greet-trump-in-london-and-the-u-k\">protests in London\u003c/a> was difficult to ignore.\u003c/p>\n\u003cp>Now a plan to bring a replica of the yellow-haired, phone-toting, sneering and diapered balloon stateside has garnered so much support that organizers say they will use the funds to buy multiple blimps “so we can go coast-to-coast, border-to-border.”\u003c/p>\n\u003cp>New Jersey activists Didier Jiminez-Castro and Jim Girvan said they “were inspired by the patriotic actions of our friends in the UK,” so they created a \u003ca href=\"https://www.gofundme.com/fund-to-bring-baby-trump-to-america\">GoFundMe page\u003c/a> to see if they could make a similar statement domestically.\u003c/p>\n\u003cp>They overshot their goal.\u003c/p>\n\u003cp>By Thursday, they had raised $23,693 of their $4,500 aim and closed the page to donations in order “to keep control” of the campaign.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They expect the first balloon to be ready by mid-August and they plan to fly it near the president’s National Golf Club in Bedminster, N.J.\u003c/p>\n\u003cp>Girvan, an organizer of The People’s Motorcade, \u003ca href=\"https://www.cnn.com/2018/07/17/politics/trump-baby-blimp-new-jersey-trnd/index.html\">told CNN\u003c/a> his group holds frequent protests outside the club.\u003c/p>\n\u003cp>“We’re comfortable that we’re going to have the opportunity to fly the balloon in relatively close proximity to his golf club while he’s here,” Girvan told the news outlet.\u003c/p>\n\u003cp>Under the social media handle @babytrumptour, Jiminez-Castro and Girvan say the goal is to branch out and “to make Baby Trump available to various locations around the country.”\u003c/p>\n\u003cp>They said they are working closely with the creators of the original Trump blimp “to use their design and not a knock off.”\u003c/p>\n\u003cp>CNN reports the New Jersey activists have received permission to make their own balloons using the original patterns and molds.\u003c/p>\n\u003cp>The hope is it will elevate their protests in more ways than one.\u003c/p>\n\u003cp>“The baby Trump is not just a piece of humor, but it is also a symbol of the administration,” \u003ca href=\"https://www.nj.com/news/index.ssf/2018/07/baby_trump_balloon_is_coming_to_new_jersey.html?utm_medium=social&utm_source=twitter&utm_campaign=njdotcom_sf&utm_content=nj_twitter_njdotcom\">Jiminez-Castro told N.J.com\u003c/a>. “It’s symbolic of the children that are in cages, it’s a symbol of racism, and we know that he hates to be ridiculed.”\u003c/p>\n\u003cp>The original blimp flew the same day the actual Trump met with Prime Minister Theresa May at Chequers, about 40 miles outside London, followed by tea with Queen Elizabeth at Windsor Castle.\u003c/p>\n\u003cp>In an interview, he acknowledged he knew about the blimp imitation and was not flattered.\u003c/p>\n\u003cp>“I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London,” \u003ca href=\"https://www.thesun.co.uk/news/6766644/donald-trump-feels-unwelcome-london-protests/\">Trump told British newspaper the Sun\u003c/a>.\u003c/p>\n\u003cp>He spent a single night in London during his four-day U.K. trip.\u003c/p>\n\u003cp>Meantime, another apparent opponent of the Trump baby blimp had plans to pop the offending item.\u003c/p>\n\u003cp>Kathie Kitt Conklin of New Jersey started her own GoFundMe page, this one asking for donations, should she be arrested for deflating the balloon and need to be bailed out, \u003ca href=\"https://www.app.com/story/news/weird/2018/07/19/ocean-county-woman-vows-pop-trump-baby-balloon/799786002/\">reports the Asbury Park Press\u003c/a>.\u003c/p>\n\u003cp>“I’m tired of people disrespecting our President! I plan on taking out this ridiculous balloon…” the page stated, before GoFundMe reportedly took it down for violating its terms of service.\u003c/p>\n\u003cp>She reportedly raised $285 toward her $1,000 goal, with donors getting refunds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Reached by phone, the newspaper reports Conklin said, “I don’t want to talk to the press. They always twist things. Thanks,” then hung up.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=American+Baby+Trump+Blimp+Set+To+Breeze+Onto+Namesake%27s+Home+Turf&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "On 'Fanfare For The Common Man,' An Anthem For The American Century",
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"headTitle": "On ‘Fanfare For The Common Man,’ An Anthem For The American Century | KQED",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/629875534/630378178\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15404219/aaron-copland\">Aaron Copland\u003c/a>‘s “Fanfare for the Common Man” begins with dramatic percussion, heralding something big and exciting. Then comes a ladder of simple trumpet notes, solemn and heroic. The whole piece takes less than four minutes to play, but its admirers say it speaks volumes in that time.\u003c/p>\n\u003cp>“It’s a piece that feels like it was written by God,” says jazz trumpeter and composer \u003ca href=\"https://www.npr.org/artists/14864421/terence-blanchard\">Terence Blanchard\u003c/a>. “Whenever I hear it, it stops me in my tracks and makes me reflect on the goodness of man. And I know that sounds corny for some, but it really makes me think about [how], at the end of the day, most people in this country are good, God-fearing people. Honestly, that could have been our national anthem.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Copland: Fanfare for the Common Man - BBC Proms 2012\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZdqjcMmjeaA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In 1942, Copland was commissioned by the music director of the Cincinnati Symphony Orchestra to write a fanfare. The U.S. had entered World War II, and then-Vice President Henry A. Wallace was trying to rally Americans against imperialism. Copland was inspired by a speech Wallace gave that spring at the Free World Association in New York City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Some have spoken of the American Century,” Wallace proclaimed. “I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man.” Copland would later echo that sentiment himself, saying, “It was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.”\u003c/p>\n\u003cp>“Fanfare for the Common Man” premiered on March 12, 1943, in observance of income tax time — something every “common man” has to endure. Since then, it has been performed for presidents, played to honor victims at the opening of the National September 11 Memorial & Museum and lent a sense of gravity to television sports and news programs. It’s even been heard in space: In 2008, NASA pilot Eric Boe chose it as wake-up music for his crew of astronauts on the space shuttle Endeavor.\u003c/p>\n\u003cp>“What it made me think about is that, holy cow, I’m in space!” recalls Boe, who first heard the fanfare when he was studying at the Air Force Academy. He calls it magical, like his voyages above the globe: “You’re going around the planet once every 90 minutes, and just looking at the Earth and how beautiful it is and the thin layer that we call the atmosphere that’s protecting the planet — and then hearing this great music that goes with what’s going on down below.”\u003c/p>\n\u003cp>Back on Earth, \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones\u003c/a> have used the piece to open their concerts and British progressive rockers \u003ca href=\"https://www.npr.org/artists/16521011/emerson-lake-palmer\">Emerson, Lake & Palmer\u003c/a> went a step further and came up with their own version — which drummer Carl Palmer, the only living member, still plays at shows. Palmer says bandleader and keyboard player Keith Emerson once met with Aaron Copland in Switzerland and played him a bit of their version to ask for the composer’s blessing.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Fanfare for the Common Man - Emerson, Lake & Palmer (Olympic Stadium Montreal)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/fK92hdp6u18?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“We were a little bit worried about playing him the actual rock section of it where we were ad-libbing and having some fun,” Palmer says. “And he thought it was OK! … He said, ‘At least you’ve done something different with it — that works for me. Go ahead, guys, I wish you the best of luck with it.’ ”\u003c/p>\n\u003cp>“Fanfare for the Common Man” has also been an inspiration to other composers, including Joan Tower, who started writing what became a series of fanfares in 1986. She wrote her “Fanfare for the Uncommon Woman” to honor women in the classical music world, including conductor and NPR contributor \u003ca href=\"https://www.npr.org/artists/15033224/marin-alsop\">Marin Alsop\u003c/a>. Tower explains, ” ‘Uncommon woman’ actually means a woman who’s adventurous and takes risks.”\u003c/p>\n\u003cp>But it is Copland’s original fanfare that \u003cem>has\u003c/em> become a kind of national anthem for so-called “common” men and women — like public radio listener Lynne Gilbert, who spoke with NPR from Bristol, Maine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In spite of the current political landscape,” she says, “I guess I still believe that there is an American dream of peace and prosperity for everyone. Music that soars and inspires like this piece does bring hope for the future. It’s powerful, it’s direct and it’s really just American.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Fanfare+For+The+Common+Man%2C%27+An+Anthem+For+The+American+Century&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/629875534/630378178\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15404219/aaron-copland\">Aaron Copland\u003c/a>‘s “Fanfare for the Common Man” begins with dramatic percussion, heralding something big and exciting. Then comes a ladder of simple trumpet notes, solemn and heroic. The whole piece takes less than four minutes to play, but its admirers say it speaks volumes in that time.\u003c/p>\n\u003cp>“It’s a piece that feels like it was written by God,” says jazz trumpeter and composer \u003ca href=\"https://www.npr.org/artists/14864421/terence-blanchard\">Terence Blanchard\u003c/a>. “Whenever I hear it, it stops me in my tracks and makes me reflect on the goodness of man. And I know that sounds corny for some, but it really makes me think about [how], at the end of the day, most people in this country are good, God-fearing people. Honestly, that could have been our national anthem.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Copland: Fanfare for the Common Man - BBC Proms 2012\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZdqjcMmjeaA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In 1942, Copland was commissioned by the music director of the Cincinnati Symphony Orchestra to write a fanfare. The U.S. had entered World War II, and then-Vice President Henry A. Wallace was trying to rally Americans against imperialism. Copland was inspired by a speech Wallace gave that spring at the Free World Association in New York City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Some have spoken of the American Century,” Wallace proclaimed. “I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man.” Copland would later echo that sentiment himself, saying, “It was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.”\u003c/p>\n\u003cp>“Fanfare for the Common Man” premiered on March 12, 1943, in observance of income tax time — something every “common man” has to endure. Since then, it has been performed for presidents, played to honor victims at the opening of the National September 11 Memorial & Museum and lent a sense of gravity to television sports and news programs. It’s even been heard in space: In 2008, NASA pilot Eric Boe chose it as wake-up music for his crew of astronauts on the space shuttle Endeavor.\u003c/p>\n\u003cp>“What it made me think about is that, holy cow, I’m in space!” recalls Boe, who first heard the fanfare when he was studying at the Air Force Academy. He calls it magical, like his voyages above the globe: “You’re going around the planet once every 90 minutes, and just looking at the Earth and how beautiful it is and the thin layer that we call the atmosphere that’s protecting the planet — and then hearing this great music that goes with what’s going on down below.”\u003c/p>\n\u003cp>Back on Earth, \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones\u003c/a> have used the piece to open their concerts and British progressive rockers \u003ca href=\"https://www.npr.org/artists/16521011/emerson-lake-palmer\">Emerson, Lake & Palmer\u003c/a> went a step further and came up with their own version — which drummer Carl Palmer, the only living member, still plays at shows. Palmer says bandleader and keyboard player Keith Emerson once met with Aaron Copland in Switzerland and played him a bit of their version to ask for the composer’s blessing.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Fanfare for the Common Man - Emerson, Lake & Palmer (Olympic Stadium Montreal)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/fK92hdp6u18?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“We were a little bit worried about playing him the actual rock section of it where we were ad-libbing and having some fun,” Palmer says. “And he thought it was OK! … He said, ‘At least you’ve done something different with it — that works for me. Go ahead, guys, I wish you the best of luck with it.’ ”\u003c/p>\n\u003cp>“Fanfare for the Common Man” has also been an inspiration to other composers, including Joan Tower, who started writing what became a series of fanfares in 1986. She wrote her “Fanfare for the Uncommon Woman” to honor women in the classical music world, including conductor and NPR contributor \u003ca href=\"https://www.npr.org/artists/15033224/marin-alsop\">Marin Alsop\u003c/a>. Tower explains, ” ‘Uncommon woman’ actually means a woman who’s adventurous and takes risks.”\u003c/p>\n\u003cp>But it is Copland’s original fanfare that \u003cem>has\u003c/em> become a kind of national anthem for so-called “common” men and women — like public radio listener Lynne Gilbert, who spoke with NPR from Bristol, Maine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In spite of the current political landscape,” she says, “I guess I still believe that there is an American dream of peace and prosperity for everyone. Music that soars and inspires like this piece does bring hope for the future. It’s powerful, it’s direct and it’s really just American.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Fanfare+For+The+Common+Man%2C%27+An+Anthem+For+The+American+Century&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nelson Mandela, who died in 2013, would have been 100 years old on Wednesday. A new book is out to mark the occasion, \u003cem>The Prison Letters of Nelson Mandela.\u003c/em>\u003c/p>\n\u003cp>These deeply personal letters, many to his wife, his children and his closest friends, have never previously been published.\u003c/p>\n\u003cp>They were compiled by Sahm Venter, a senior researcher at the Nelson Mandela Foundation. Born in Johannesburg, Venter worked as a journalist for 20 years, reporting on South Africa and its struggles with apartheid. She and I worked together at The Associated Press in 1990 when Mandela was released from 27 years in prison.\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/629742101/629896571\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Venter spoke to NPR recently about the book. These interview highlights have been edited for length and clarity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nelson Mandela never liked to talk about personal matters. When you would ask him these kinds of questions, he would always steer the conversation somewhere else. What did you learn about him with these letters?\u003c/strong>\u003c/p>\n\u003cp>There was so many things that happened in prison that were devastating to him. The separation from his children, the death of his mother, the death of his son. So I don’t think he could be guarded.\u003c/p>\n\u003cp>\u003cstrong>What did he say after he lost his mother, and then a year later, his eldest son?\u003c/strong>\u003c/p>\n\u003cp>He wrote to family members thanking them for burying [his mother], for going to the funeral, for attending to all of the things that he should have attended to as the son.\u003c/p>\n\u003cp>His son Tembi got killed in a car accident in July 1969 and he has said that he applied for permission to go to his funeral. Not only was it denied, but [prison authorities] didn’t even write back to tell him it was denied.\u003c/p>\n\u003cp>People who were in prison with him said that he was very quiet. He sat in his cell and he wrapped a blanket extremely tightly around his shoulders, I suppose almost like a missing hug, and just sat there quietly for as long as he could.\u003c/p>\n\u003cp>\u003cstrong>Mandela had two daughters with Winnie Mandela and they were just ages 3 and 1 when he went to prison. They weren’t even allowed to see him until they were 16, so the only way he could really be a parent was through his letters. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13837321 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85.jpg\" alt=\"\" width=\"394\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-375x571.jpg 375w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003c/p>\n\u003cp>He had to try and be a father by remote control and I guess when [the girls] were really small they had little bits read to them. And then when they were older they were allowed to write letters and receive them.\u003c/p>\n\u003cp>Zindzi, his youngest daughter, visited him from the age of 16. Later on, when they were allowed a contact visit, she couldn’t believe how tall he was because all of the time that she was able to visit him, he was sitting down, and she didn’t realize how tall he was.\u003c/p>\n\u003cp>\u003cstrong>I’d like you to read one of the letters he wrote to his daughters, from 1969. So they were maybe 10 or 11 years old at the time.\u003c/strong>\u003c/p>\n\u003cp>“Zindzi says her heart is sore because I’m not at home and wants to know when I will come back. I do not know my darlings when I will return. You will remember that in the letter I wrote in 1966 I told you that the white judge said I should stay in jail for the rest of my life. It may be long before I come back. It may be soon. Nobody knows when it will be. Not even the judge who said I should be kept here but I am certain that one day I will be back at home to live in happiness with you until the end of my days.”\u003c/p>\n\u003cp>\u003cstrong>Sahm, you work at the Mandela Foundation so you have access to his documents. But these very private letters were scattered all over the place. How did you track them down?\u003c/strong>\u003c/p>\n\u003cp>There’s a large number of letters at the \u003ca href=\"http://www.national.archives.gov.za/\">National Archives\u003c/a> [of South Africa], which received them after the transition from apartheid. They kept boxes and boxes of his entire prison record.\u003c/p>\n\u003cp>There were also letters from what we called the Donald Card collection, named for a policeman who had them.\u003c/p>\n\u003cp>In 1971, these three hardcover notebooks that [Mandela] used to write copies of his letters, suddenly disappeared from Mandela’s cell on Robben Island [prison].\u003c/p>\n\u003cp>Nobody knew where they were until 2004, when this former policeman contacted the Nelson Mandela Foundation and said, “I have these books.” He said he was given them for safekeeping by somebody at some stage. But he then donated them back to Nelson Mandela.\u003c/p>\n\u003cp>\u003cstrong>What was your most surprising find in these letters?\u003c/strong>\u003c/p>\n\u003cp>There was a letter in one of the prison boxes. It was a beautiful letter written to his daughter Zindzi, probably for her 18th or 19th birthday, and her birthday is in December. And it was clearly never sent. There was a note from prison officials saying, “The prisoner does not have permission to send a letter with a Christmas card.” So they just didn’t send it. I contacted Zindzi and told her about it. She had no idea about it. So all these years later she got her letter.\u003c/p>\n\u003cp>\u003cstrong>Several years after Mandela got out of prison, he went back to Robben Island where he’d been held for so many years. You went with him. What did he tell you on that visit?\u003c/strong>\u003c/p>\n\u003cp>I was fascinated by the fact that every afternoon at 3:30, they would lock the doors and the prisoners would be in those single cells until about 5:30 the next morning. So I asked him, “What did he do when he was locked away like this every day.” And he said, “I read and I wrote letters.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So he spent a lot of time and effort on those letters. They were beautifully written full of detail and essentially he poured his heart into them.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nelson+Mandela%27s+Prison+Letters%3A+%27One+Day+I+Will+Be+Back+At+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nelson Mandela, who died in 2013, would have been 100 years old on Wednesday. A new book is out to mark the occasion, \u003cem>The Prison Letters of Nelson Mandela.\u003c/em>\u003c/p>\n\u003cp>These deeply personal letters, many to his wife, his children and his closest friends, have never previously been published.\u003c/p>\n\u003cp>They were compiled by Sahm Venter, a senior researcher at the Nelson Mandela Foundation. Born in Johannesburg, Venter worked as a journalist for 20 years, reporting on South Africa and its struggles with apartheid. She and I worked together at The Associated Press in 1990 when Mandela was released from 27 years in prison.\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/629742101/629896571\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Venter spoke to NPR recently about the book. These interview highlights have been edited for length and clarity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nelson Mandela never liked to talk about personal matters. When you would ask him these kinds of questions, he would always steer the conversation somewhere else. What did you learn about him with these letters?\u003c/strong>\u003c/p>\n\u003cp>There was so many things that happened in prison that were devastating to him. The separation from his children, the death of his mother, the death of his son. So I don’t think he could be guarded.\u003c/p>\n\u003cp>\u003cstrong>What did he say after he lost his mother, and then a year later, his eldest son?\u003c/strong>\u003c/p>\n\u003cp>He wrote to family members thanking them for burying [his mother], for going to the funeral, for attending to all of the things that he should have attended to as the son.\u003c/p>\n\u003cp>His son Tembi got killed in a car accident in July 1969 and he has said that he applied for permission to go to his funeral. Not only was it denied, but [prison authorities] didn’t even write back to tell him it was denied.\u003c/p>\n\u003cp>People who were in prison with him said that he was very quiet. He sat in his cell and he wrapped a blanket extremely tightly around his shoulders, I suppose almost like a missing hug, and just sat there quietly for as long as he could.\u003c/p>\n\u003cp>\u003cstrong>Mandela had two daughters with Winnie Mandela and they were just ages 3 and 1 when he went to prison. They weren’t even allowed to see him until they were 16, so the only way he could really be a parent was through his letters. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13837321 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85.jpg\" alt=\"\" width=\"394\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-375x571.jpg 375w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003c/p>\n\u003cp>He had to try and be a father by remote control and I guess when [the girls] were really small they had little bits read to them. And then when they were older they were allowed to write letters and receive them.\u003c/p>\n\u003cp>Zindzi, his youngest daughter, visited him from the age of 16. Later on, when they were allowed a contact visit, she couldn’t believe how tall he was because all of the time that she was able to visit him, he was sitting down, and she didn’t realize how tall he was.\u003c/p>\n\u003cp>\u003cstrong>I’d like you to read one of the letters he wrote to his daughters, from 1969. So they were maybe 10 or 11 years old at the time.\u003c/strong>\u003c/p>\n\u003cp>“Zindzi says her heart is sore because I’m not at home and wants to know when I will come back. I do not know my darlings when I will return. You will remember that in the letter I wrote in 1966 I told you that the white judge said I should stay in jail for the rest of my life. It may be long before I come back. It may be soon. Nobody knows when it will be. Not even the judge who said I should be kept here but I am certain that one day I will be back at home to live in happiness with you until the end of my days.”\u003c/p>\n\u003cp>\u003cstrong>Sahm, you work at the Mandela Foundation so you have access to his documents. But these very private letters were scattered all over the place. How did you track them down?\u003c/strong>\u003c/p>\n\u003cp>There’s a large number of letters at the \u003ca href=\"http://www.national.archives.gov.za/\">National Archives\u003c/a> [of South Africa], which received them after the transition from apartheid. They kept boxes and boxes of his entire prison record.\u003c/p>\n\u003cp>There were also letters from what we called the Donald Card collection, named for a policeman who had them.\u003c/p>\n\u003cp>In 1971, these three hardcover notebooks that [Mandela] used to write copies of his letters, suddenly disappeared from Mandela’s cell on Robben Island [prison].\u003c/p>\n\u003cp>Nobody knew where they were until 2004, when this former policeman contacted the Nelson Mandela Foundation and said, “I have these books.” He said he was given them for safekeeping by somebody at some stage. But he then donated them back to Nelson Mandela.\u003c/p>\n\u003cp>\u003cstrong>What was your most surprising find in these letters?\u003c/strong>\u003c/p>\n\u003cp>There was a letter in one of the prison boxes. It was a beautiful letter written to his daughter Zindzi, probably for her 18th or 19th birthday, and her birthday is in December. And it was clearly never sent. There was a note from prison officials saying, “The prisoner does not have permission to send a letter with a Christmas card.” So they just didn’t send it. I contacted Zindzi and told her about it. She had no idea about it. So all these years later she got her letter.\u003c/p>\n\u003cp>\u003cstrong>Several years after Mandela got out of prison, he went back to Robben Island where he’d been held for so many years. You went with him. What did he tell you on that visit?\u003c/strong>\u003c/p>\n\u003cp>I was fascinated by the fact that every afternoon at 3:30, they would lock the doors and the prisoners would be in those single cells until about 5:30 the next morning. So I asked him, “What did he do when he was locked away like this every day.” And he said, “I read and I wrote letters.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So he spent a lot of time and effort on those letters. They were beautifully written full of detail and essentially he poured his heart into them.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nelson+Mandela%27s+Prison+Letters%3A+%27One+Day+I+Will+Be+Back+At+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Trump Administration’s policies on travel and immigration have reignited interest in an old precedent from World War II: the mass incarceration of Japanese-Americans by the Roosevelt Administration with Executive Order 9066.\u003c/p>\n\u003cp>Opinion pieces on the right, left and in-between argue over the similarities and differences, but the arguments at the core of the debate are not about the specifics of how people are incarcerated or what legal principle is up for review. We are at a point in time when we are asking as a nation whether it’s OK to target specific ethnic groups to address large and complicated threats to our national welfare. That’s what brings to mind World War II.\u003c/p>\n\u003cp>“Today is the first time, so far as I am aware, that we have sustained a substantial restriction of the personal liberty of citizens of the United States based upon the accident of race or ancestry.” – \u003ci>Hirabayashi v. United States\u003c/i>, 320 U.S. 81 (1943)\u003c/p>\n\u003cp>That political context makes \u003cem>Hold These Truths\u003c/em>, a play written more than a decade ago about that case and the man behind the name Hirabayashi, strikingly resonant as it makes its Bay Area premiere this week with \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Gordon Hirabayashi was a college student in 1942 when he decided to turn himself in for refusing to abide by laws established to isolate Japanese and Japanese-Americans in the Western United States, on no other basis than race.\u003c/p>\n\u003cblockquote>\u003cp>Over sixty percent are American citizens, yet they are denied, without due process of law, the civil liberties which are theirs.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>If I were to register and cooperate under these circumstances, I would be giving helpless consent to the denial of practically all of the things which give me incentive to live.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>I consider it my duty to maintain the democratic standards for which this nation lives. Therefore–I must refuse this order for evacuation.\u003c/p>\n\u003cp>Signed, Gordon K. Hirabayashi.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13837156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg\" alt=\"Joel de la Fuente plays more than 35 characters in the one-man play "Hold These Truths." Director Lisa Rothe says, "It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who's got a tremendous range and flexibility. "\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel de la Fuente plays more than 35 characters in the one-man play “Hold These Truths.” Director Lisa Rothe says, “It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who’s got a tremendous range and flexibility. “ \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hold These Truths\u003c/em> was written by Watsonville-born, Los Angeles-based actress Jeanne Sakata. As a Japanese-American, she thought she knew the history of the internment camps.\u003cspan class=\"Apple-converted-space\"> So she was surprised to learn about Hirabayashi by watching a 1992 documentary, \u003ca href=\"https://caamedia.org/films/personal-matter-gordon-hirabayashi-vs-the-united-states/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Personal Matter\u003c/em>\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It just flabbergasted me that I didn’t know. At the same time, the story itself delighted me,” Sakata says.\u003c/p>\n\u003cp>Three Japanese-Americans took their fight against internment all the way to the U.S. Supreme Court in the 1940s. But most people, if they know about the court cases at all, know about \u003cem>Korematsu v. United States\u003c/em>. (The podcast \u003cem>More Perfect\u003c/em> provides an excellent history of that story \u003ca href=\"https://www.wnycstudios.org/story/radiolab-presents-more-perfect-american-pendulum-i/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>Sakata considered writing a play about all three: Korematsu, Hirabayashi and \u003ca href=\"https://www.minoruyasuitribute.org\" target=\"_blank\" rel=\"noopener\">Minoru Yasuri\u003c/a>. But the longtime actress had never written a play before, and that challenge seemed too daunting. “It was just a little too much to handle. So I thought I would just focus on telling this one story that I loved so much, and that I never saw in my history books,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13837158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837158\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg\" alt=\"After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist.\" width=\"800\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-768x896.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1020x1190.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1028x1200.jpg 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1180x1377.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-960x1120.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-240x280.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-375x438.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-520x607.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist. \u003ccite>(Photo: Courtesy of the Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of what intrigued Sakata was Hirabayashi’s Quaker faith. “I had grown up in a Japanese-American Presbyterian family, and that’s something I never heard of: a second generation Japanese-American Quaker.” Hirabayashi converted in college, but as Sakata learned, it wasn’t a big stretch, given that his parents were members of a Japanese Christian sect called \u003ci>Mukyōkaishugi\u003c/i>, known for its socially progressive values similar to those of the Quakers.\u003c/p>\n\u003cp>Perhaps it took a man given to iconoclasm to pick a fight with the federal government. He had already joined the Quaker-run \u003ca href=\"https://www.afsc.org\" target=\"_blank\" rel=\"noopener\">American Friends Service Committee\u003c/a> by that point, as the group was helping Japanese-Americans thrown into disarray by Executive Order 9066. Later, the ACLU would help him in court.\u003c/p>\n\u003cp>Like Korematsu and Yasui, Hirabayashi lost before the U.S. Supreme Court. He was legally vindicated in the 1980s, though. Hirabayashi’s convictions on both charges were overturned by the U.S. District Court in Seattle and the federal appeals curt, because evidence arose that the Solicitor General’s office cited examples of Japanese-American sabotage in its Supreme Court arguments, despite having determined the rumored incidents were indeed rumors only.\u003c/p>\n\u003cp>Hirabayashi died in 2012 and received a posthumous Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003ch2>A Showcase for An Asian-American Actor\u003c/h2>\n\u003cp>\u003cem>Hold These Truths\u003c/em> provides plenty of opportunity to stretch for Joel de la Fuente, perhaps best known for his role as Inspector Kido in Amazon’s \u003ca href=\"https://www.amazon.com/Man-High-Castle-Season/dp/B00RSGIVVO\" target=\"_blank\" rel=\"noopener\">\u003cem>The Man in the High Castle\u003c/em>\u003c/a>. He gets to play more than 35 characters, switching between them with impressively deft rapidity, sometimes mid-sentence.\u003c/p>\n\u003cp>Sakata says, “I really wanted one Asian-American actor to have a chance to show his virtuosity. You see him do one role on \u003cem>High Castle,\u003c/em> but in this play, you get to see him play an amazing array.” In a way, the role is a vindication for Sakata, too, she says, having suffered as an actress from the paucity of complex roles written for Asian-Americans during her own career.\u003c/p>\n\u003cp>Watch de la Fuente perform a conversation between Gordon Hirabayashi and his mother in \u003cem>Hold These Truths\u003c/em>.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=H-Gi2BMEYqA]\u003c/p>\n\u003cp>\u003cem>Hold These Truths\u003c/em> made its world premiere in 2007 in Los Angeles with \u003ca href=\"http://www.eastwestplayers.org\" target=\"_blank\" rel=\"noopener\">East West Players\u003c/a>, the nation’s oldest Asian-American theater company.\u003c/p>\n\u003cp>Sakata says she originally wrote the play to preserve and celebrate the history, even though now it sounds like it was ripped from today’s news headlines. “We are in a time right now politically where we need some beam of light, some hope, and I hope that the story will provide that, will inspire us to stand for what’s right even when times are going against us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.lisarothe.com\" target=\"_blank\" rel=\"noopener\">Lisa Rothe\u003c/a>, who’s been directing this play since 2009, agrees that audience reaction has changed markedly over the years the play has traveled the country. Rothe says, “Before the election [of President Donald Trump], the conversation was on a shelf. Like, ‘Aren’t we happy that we’ve moved beyond this?’ Now, to actually see it on the front pages of the newspaper is pretty extraordinary, and depressing.\u003c/p>\n\u003cp>Even if you don’t agree with the politics of the play, it is a rip-roaring ride through a dramatic chapter in American history, and a reminder that the civil liberties promised in this nation’s founding documents are still the subject of continuous debate and conflict.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hold These Truths\u003c/strong> runs through August 5th at the Lucie Stern Theatre in Palo Alto. More info \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'Hold These Truths' Remembers One Man's Refusal to Cede His Civil Rights During WWII | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Trump Administration’s policies on travel and immigration have reignited interest in an old precedent from World War II: the mass incarceration of Japanese-Americans by the Roosevelt Administration with Executive Order 9066.\u003c/p>\n\u003cp>Opinion pieces on the right, left and in-between argue over the similarities and differences, but the arguments at the core of the debate are not about the specifics of how people are incarcerated or what legal principle is up for review. We are at a point in time when we are asking as a nation whether it’s OK to target specific ethnic groups to address large and complicated threats to our national welfare. That’s what brings to mind World War II.\u003c/p>\n\u003cp>“Today is the first time, so far as I am aware, that we have sustained a substantial restriction of the personal liberty of citizens of the United States based upon the accident of race or ancestry.” – \u003ci>Hirabayashi v. United States\u003c/i>, 320 U.S. 81 (1943)\u003c/p>\n\u003cp>That political context makes \u003cem>Hold These Truths\u003c/em>, a play written more than a decade ago about that case and the man behind the name Hirabayashi, strikingly resonant as it makes its Bay Area premiere this week with \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Gordon Hirabayashi was a college student in 1942 when he decided to turn himself in for refusing to abide by laws established to isolate Japanese and Japanese-Americans in the Western United States, on no other basis than race.\u003c/p>\n\u003cblockquote>\u003cp>Over sixty percent are American citizens, yet they are denied, without due process of law, the civil liberties which are theirs.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>If I were to register and cooperate under these circumstances, I would be giving helpless consent to the denial of practically all of the things which give me incentive to live.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>I consider it my duty to maintain the democratic standards for which this nation lives. Therefore–I must refuse this order for evacuation.\u003c/p>\n\u003cp>Signed, Gordon K. Hirabayashi.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13837156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg\" alt=\"Joel de la Fuente plays more than 35 characters in the one-man play "Hold These Truths." Director Lisa Rothe says, "It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who's got a tremendous range and flexibility. "\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel de la Fuente plays more than 35 characters in the one-man play “Hold These Truths.” Director Lisa Rothe says, “It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who’s got a tremendous range and flexibility. “ \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hold These Truths\u003c/em> was written by Watsonville-born, Los Angeles-based actress Jeanne Sakata. As a Japanese-American, she thought she knew the history of the internment camps.\u003cspan class=\"Apple-converted-space\"> So she was surprised to learn about Hirabayashi by watching a 1992 documentary, \u003ca href=\"https://caamedia.org/films/personal-matter-gordon-hirabayashi-vs-the-united-states/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Personal Matter\u003c/em>\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It just flabbergasted me that I didn’t know. At the same time, the story itself delighted me,” Sakata says.\u003c/p>\n\u003cp>Three Japanese-Americans took their fight against internment all the way to the U.S. Supreme Court in the 1940s. But most people, if they know about the court cases at all, know about \u003cem>Korematsu v. United States\u003c/em>. (The podcast \u003cem>More Perfect\u003c/em> provides an excellent history of that story \u003ca href=\"https://www.wnycstudios.org/story/radiolab-presents-more-perfect-american-pendulum-i/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>Sakata considered writing a play about all three: Korematsu, Hirabayashi and \u003ca href=\"https://www.minoruyasuitribute.org\" target=\"_blank\" rel=\"noopener\">Minoru Yasuri\u003c/a>. But the longtime actress had never written a play before, and that challenge seemed too daunting. “It was just a little too much to handle. So I thought I would just focus on telling this one story that I loved so much, and that I never saw in my history books,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13837158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837158\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg\" alt=\"After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist.\" width=\"800\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-768x896.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1020x1190.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1028x1200.jpg 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1180x1377.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-960x1120.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-240x280.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-375x438.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-520x607.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist. \u003ccite>(Photo: Courtesy of the Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of what intrigued Sakata was Hirabayashi’s Quaker faith. “I had grown up in a Japanese-American Presbyterian family, and that’s something I never heard of: a second generation Japanese-American Quaker.” Hirabayashi converted in college, but as Sakata learned, it wasn’t a big stretch, given that his parents were members of a Japanese Christian sect called \u003ci>Mukyōkaishugi\u003c/i>, known for its socially progressive values similar to those of the Quakers.\u003c/p>\n\u003cp>Perhaps it took a man given to iconoclasm to pick a fight with the federal government. He had already joined the Quaker-run \u003ca href=\"https://www.afsc.org\" target=\"_blank\" rel=\"noopener\">American Friends Service Committee\u003c/a> by that point, as the group was helping Japanese-Americans thrown into disarray by Executive Order 9066. Later, the ACLU would help him in court.\u003c/p>\n\u003cp>Like Korematsu and Yasui, Hirabayashi lost before the U.S. Supreme Court. He was legally vindicated in the 1980s, though. Hirabayashi’s convictions on both charges were overturned by the U.S. District Court in Seattle and the federal appeals curt, because evidence arose that the Solicitor General’s office cited examples of Japanese-American sabotage in its Supreme Court arguments, despite having determined the rumored incidents were indeed rumors only.\u003c/p>\n\u003cp>Hirabayashi died in 2012 and received a posthumous Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003ch2>A Showcase for An Asian-American Actor\u003c/h2>\n\u003cp>\u003cem>Hold These Truths\u003c/em> provides plenty of opportunity to stretch for Joel de la Fuente, perhaps best known for his role as Inspector Kido in Amazon’s \u003ca href=\"https://www.amazon.com/Man-High-Castle-Season/dp/B00RSGIVVO\" target=\"_blank\" rel=\"noopener\">\u003cem>The Man in the High Castle\u003c/em>\u003c/a>. He gets to play more than 35 characters, switching between them with impressively deft rapidity, sometimes mid-sentence.\u003c/p>\n\u003cp>Sakata says, “I really wanted one Asian-American actor to have a chance to show his virtuosity. You see him do one role on \u003cem>High Castle,\u003c/em> but in this play, you get to see him play an amazing array.” In a way, the role is a vindication for Sakata, too, she says, having suffered as an actress from the paucity of complex roles written for Asian-Americans during her own career.\u003c/p>\n\u003cp>Watch de la Fuente perform a conversation between Gordon Hirabayashi and his mother in \u003cem>Hold These Truths\u003c/em>.\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/H-Gi2BMEYqA'\n title='//www.youtube.com/embed/H-Gi2BMEYqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Hold These Truths\u003c/em> made its world premiere in 2007 in Los Angeles with \u003ca href=\"http://www.eastwestplayers.org\" target=\"_blank\" rel=\"noopener\">East West Players\u003c/a>, the nation’s oldest Asian-American theater company.\u003c/p>\n\u003cp>Sakata says she originally wrote the play to preserve and celebrate the history, even though now it sounds like it was ripped from today’s news headlines. “We are in a time right now politically where we need some beam of light, some hope, and I hope that the story will provide that, will inspire us to stand for what’s right even when times are going against us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.lisarothe.com\" target=\"_blank\" rel=\"noopener\">Lisa Rothe\u003c/a>, who’s been directing this play since 2009, agrees that audience reaction has changed markedly over the years the play has traveled the country. Rothe says, “Before the election [of President Donald Trump], the conversation was on a shelf. Like, ‘Aren’t we happy that we’ve moved beyond this?’ Now, to actually see it on the front pages of the newspaper is pretty extraordinary, and depressing.\u003c/p>\n\u003cp>Even if you don’t agree with the politics of the play, it is a rip-roaring ride through a dramatic chapter in American history, and a reminder that the civil liberties promised in this nation’s founding documents are still the subject of continuous debate and conflict.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hold These Truths\u003c/strong> runs through August 5th at the Lucie Stern Theatre in Palo Alto. More info \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Large Protests, Baby Blimp Greet Trump In London And The U.K.",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/628715766/628725756\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A baby blimp mocking President Trump floated over London on Friday, an emblem of protests that are expected to draw thousands of people who are angry with the American president’s policies and his views of the U.K.\u003c/p>\n\u003cp>The protests had been expected and promised — and after Trump arrived in England on Thursday, the flames were fanned anew, \u003ca href=\"https://www.thesun.co.uk/news/6766531/trump-may-brexit-us-deal-off/\">thanks to an interview with a tabloid\u003c/a> in which he gave scathing critiques of Prime Minister Theresa May, his host for the visit between allies.\u003c/p>\n\u003cp>A large-scale demonstration began at 2 p.m. local time, or 9 a.m. ET.\u003c/p>\n\u003cp>https://twitter.com/JoFloto/status/1017764997190037509\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As he has done in the past, Trump also targeted London Mayor Sadiq Khan, who approved the protesters’ plan to fly a “Trump Baby” blimp.\u003c/p>\n\u003cp>It was a matter of free speech and protest, even if it offends someone, Khan told NPR’s Mary Louise Kelly, adding that both Americans and Britons should be proud of that tradition.\u003c/p>\n\u003cp>“The key thing is, it should be done in a peaceful manner; it should be good-spirited,” Khan added.\u003c/p>\n\u003cp>Trump acknowledged that he knew about the plan to float a blimp caricature, telling \u003cem>The Sun\u003c/em>, “I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London.”\u003c/p>\n\u003cp>The blimp depicts an angry-looking Trump-like figure in a diaper; a cellphone is clutched in its right hand. The protest balloon’s launch drew a large crowd to London’s Parliament Square, and media outlets covered the process of the baby blimp being inflated and lifting off into the sky.\u003c/p>\n\u003cp>One man in the crowd held up a sign addressed to Trump that read, “You know your name means fart here, right?” An old slang term, “trump,” has gained new prominence as the American politician rose to power.\u003c/p>\n\u003cp>https://twitter.com/BarryWeirSky/status/1017697591088250881\u003c/p>\n\u003cp>The baby blimp was airborne for around two hours, \u003ca href=\"https://www.instagram.com/p/BlK-ie5H2Uw/?hl=en&taken-by=becsully\">before it was deflated\u003c/a> and stowed in a bag.\u003c/p>\n\u003cp>Another elaborate protest \u003ca href=\"https://twitter.com/BenKentish/status/1017485301562990592\">saw a “Dalek Trump”\u003c/a> — a version of the robotic bad guys from \u003cem>Doctor Who\u003c/em>, customized with a red tie and blond wig — patrolling Whitehall in Central London amid a phalanx of mock security agents.\u003c/p>\n\u003cp>https://twitter.com/BenKentish/status/1017485301562990592\u003c/p>\n\u003cp>Security teams have put massive preparations into place for Trump’s visit. The U.S. Embassy in the country’s closest ally \u003ca href=\"https://uk.usembassy.gov/demonstration-alert-2018-july-10/\">warned Americans\u003c/a> to be aware of their surroundings and keep a low profile during the demonstrations in both England and Scotland (where Trump will spend the weekend). And London’s \u003ca href=\"https://www.standard.co.uk/news/politics/donald-trump-london-protests-ring-of-steel-in-westminster-with-thousands-set-to-protest-presidents-a3886341.html\">The Evening Standard says\u003c/a> a “ring of steel,” or temporary fencing, has been erected around Parliament to keep protesters at a distance.\u003c/p>\n\u003cp>Many of the president’s British critics are calling on May and other leaders to confront Trump \u003ca href=\"https://www.npr.org/2018/07/11/627961302/we-need-to-take-a-stand-protesters-mobilize-in-u-k-ahead-of-trumps-arrival\">“and take a firm moral stance”\u003c/a> against his policies, as one organizer told NPR’s Alice Fordham this week.\u003c/p>\n\u003cp>Chief among those policies is Trump’s program of separating migrant children from their parents at the southern border. Despite an easing of that policy, many of those families remain divided, detained hundreds of miles apart.\u003c/p>\n\u003cp>Trump’s trip to Britain had long been anticipated. It comes after a trip that had been planned for February — to officially open the new U.S. Embassy — was canceled.\u003c/p>\n\u003cp>When he was asked about the planned protests, \u003ca href=\"https://www.npr.org/2018/07/12/628329172/trump-says-no-problem-in-nato-touting-allies-spending-pledges\">Trump said on Thursday\u003c/a> as he prepared to fly to Britain from a NATO summit, “I think they like me a lot in the U.K. I think they agree with me on immigration.”\u003c/p>\n\u003cp>More protests are scheduled for this weekend in Scotland — where there are no signs that the public reception will be any warmer for Trump.\u003c/p>\n\u003cp>Glasgow-based Tennent’s brewery is joining those who have treated the American leader with derision. Directing a mocking tweet at Trump — a message that also promotes the brewery’s new small cans — Tennent’s posted a photo showing a small hand reaching out of a suit (with a U.S. flag cufflink) for a beer, beneath the slogan “Tiny cans for tiny hands.”\u003c/p>\n\u003cp>https://twitter.com/TennentsLager/status/1017358186523889664\u003c/p>\n\u003cp>And \u003ca href=\"https://twitter.com/Mark_Leggatt/status/1017385343967006720\">The Scotsman newspaper\u003c/a> published an op-ed in which it stated, “the 45th U.S. president is an appalling human being.” The paper went on to say that Trump “is a racist, a serial liar, and either a sexual abuser or someone who falsely brags about being one.”\u003c/p>\n\u003cp>Trump’s schedule on Friday includes another meeting and a working lunch with May at Chequers — the prime minister’s country house — and a visit to Queen Elizabeth II at Windsor Castle, where they’ll have tea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the White House schedule, from the moment Trump and first lady Melania Trump greet the queen to the moment they leave for the castle’s landing zone to begin their trip to Scotland, the royal visit will have lasted an entirety of 40 minutes.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Large+Protests%2C+Baby+Blimp+Greet+Trump+In+London+And+The+U.K.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Security teams have put massive preparations into place for Trump’s visit. The U.S. Embassy in the country’s closest ally \u003ca href=\"https://uk.usembassy.gov/demonstration-alert-2018-july-10/\">warned Americans\u003c/a> to be aware of their surroundings and keep a low profile during the demonstrations in both England and Scotland (where Trump will spend the weekend). And London’s \u003ca href=\"https://www.standard.co.uk/news/politics/donald-trump-london-protests-ring-of-steel-in-westminster-with-thousands-set-to-protest-presidents-a3886341.html\">The Evening Standard says\u003c/a> a “ring of steel,” or temporary fencing, has been erected around Parliament to keep protesters at a distance.\u003c/p>\n\u003cp>Many of the president’s British critics are calling on May and other leaders to confront Trump \u003ca href=\"https://www.npr.org/2018/07/11/627961302/we-need-to-take-a-stand-protesters-mobilize-in-u-k-ahead-of-trumps-arrival\">“and take a firm moral stance”\u003c/a> against his policies, as one organizer told NPR’s Alice Fordham this week.\u003c/p>\n\u003cp>Chief among those policies is Trump’s program of separating migrant children from their parents at the southern border. Despite an easing of that policy, many of those families remain divided, detained hundreds of miles apart.\u003c/p>\n\u003cp>Trump’s trip to Britain had long been anticipated. It comes after a trip that had been planned for February — to officially open the new U.S. Embassy — was canceled.\u003c/p>\n\u003cp>When he was asked about the planned protests, \u003ca href=\"https://www.npr.org/2018/07/12/628329172/trump-says-no-problem-in-nato-touting-allies-spending-pledges\">Trump said on Thursday\u003c/a> as he prepared to fly to Britain from a NATO summit, “I think they like me a lot in the U.K. I think they agree with me on immigration.”\u003c/p>\n\u003cp>More protests are scheduled for this weekend in Scotland — where there are no signs that the public reception will be any warmer for Trump.\u003c/p>\n\u003cp>Glasgow-based Tennent’s brewery is joining those who have treated the American leader with derision. Directing a mocking tweet at Trump — a message that also promotes the brewery’s new small cans — Tennent’s posted a photo showing a small hand reaching out of a suit (with a U.S. flag cufflink) for a beer, beneath the slogan “Tiny cans for tiny hands.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And \u003ca href=\"https://twitter.com/Mark_Leggatt/status/1017385343967006720\">The Scotsman newspaper\u003c/a> published an op-ed in which it stated, “the 45th U.S. president is an appalling human being.” The paper went on to say that Trump “is a racist, a serial liar, and either a sexual abuser or someone who falsely brags about being one.”\u003c/p>\n\u003cp>Trump’s schedule on Friday includes another meeting and a working lunch with May at Chequers — the prime minister’s country house — and a visit to Queen Elizabeth II at Windsor Castle, where they’ll have tea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the White House schedule, from the moment Trump and first lady Melania Trump greet the queen to the moment they leave for the castle’s landing zone to begin their trip to Scotland, the royal visit will have lasted an entirety of 40 minutes.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Large+Protests%2C+Baby+Blimp+Greet+Trump+In+London+And+The+U.K.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even if you don’t watch soccer, you’ve probably heard it referred to at some point as “the beautiful game.” While the exact origin of the phrase is in some dispute (like “beatnik,” there are a few claimants), it’s become one of the default phrases employed to describe the sport as a whole. And while beauty is very much in the eye of the beholder, one need only watch a replay of the \u003ca href=\"https://www.youtube.com/watch?v=XLa9wP-BVzQ\" target=\"_blank\" rel=\"noopener noreferrer\">first goal scored\u003c/a> in the England-Croatia World Cup semifinal match by English defender Kieran Trippier—a swooping arc flying first over the heads of Croatia’s defensive “wall,” then soaring above goalkeeper Danijel Subašić to smash into the back of the net—to get a sense of the game’s \u003cem>potential\u003c/em> for beautiful moments.\u003c/p>\n\u003cp>In fact, there’s so much potential for beauty in soccer, especially at the World Cup level, that it can move an arts journalist such as myself to spend the better part of a month lurking in dark bars at 7am. As the games have progressed from knockout rounds, to the final sixteen, the final eight, the quarterfinals, and the best of the best (or sometimes just the luckiest) inching their way to this weekend’s finals, I find I can hardly resist the very theatre-like qualities of the World Cup and, particularly in large outdoor public screenings, its fans.\u003c/p>\n\u003cfigure id=\"attachment_13836997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8531-800x533.jpg\" alt=\"Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soccer has so much happening that it could be said to encompass a wide variety of art forms within its sweaty bosom. The almost balletic precision of Spain’s “tiki-taka” passing game as contrasted with the spontaneous improv of a lucky header such as that of Belgium’s Jan Vertonghen against Japan, a literal long shot turned unexpected goal. The physical beauty of athletic bodies in motion, without giant helmets or baggy trousers to mar the view. The high drama of high stakes leading to shoving matches and shouted epithets on the pitch (to say nothing of the stands), some inspired by fresh insults, some by deep-seated rivalries stretching back generations. The low humor of a ball planted squarely in England defender Kyle Walker’s \u003cem>bollocks\u003c/em> and the unabashed emotion on the faces of the Croatian team after cementing their winning goal in the 109th minute of play, particularly \u003ca href=\"https://petapixel.com/2018/07/12/photographer-gets-dog-piled-at-world-cup-and-keeps-on-shooting/\">as captured by Salvadoran photojournalist Yuri Cortez\u003c/a>, who was buried in the middle of their celebratory dogpile.\u003c/p>\n\u003cfigure id=\"attachment_13836996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836996\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8528-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sue Bierman Park, a grassy knoll sandwiched between Drumm and the Embarcadero, a crowd gathered Wednesday to watch an outdoor screening of the World Cup semi-final match between England and Croatia, a courtesy provided by San Francisco Parks and Recreation (the final will be screened at the Civic Center on Sunday, July 15). Unlike many of the bars that show World Cup games in San Francisco, these outdoor screenings have a way of drawing supporters of both teams, and yet none (that I’ve been to) have had any serious altercations. We are civil “football” fans in SF, it seems, but that doesn’t stop the pageantry, people wrapped in flags, facepaint, team colors, or the palpable tension and anticipation that rises with each unpredictable twist in plot. Folks from all walks of life come to represent and be represented. For them, as well as for the players looming on the giant screen above us, a World Cup soccer game can be emotionally challenging, physically demanding, and potentially transcendent.\u003c/p>\n\u003cfigure id=\"attachment_13837003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8558-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although at first glance, and second count, supporters of England appeared to outnumber those of Croatia at the screening, as the game progressed and Croatia’s chances improved, those few appeared to swell in number, or at least in appreciative vocalization. And while it might be inappropriate to make such sounds at a particularly stirring Symphony performance, it would certainly not be out of place after a beautifully improvised jazz solo or a fan favorite rock anthem played third on the set list at the Independent. The groans and “come ooooooon”’s of fan frustration might just as easily (though not as publicly) come out of a stage-builder’s mouth at a wayward flat or a misplaced drill bit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And what other high-stakes sporting event in San Francisco could bring groups of friends (such as SF Hibernian teammates Carly Andler and Bethany Barker, supporting Croatia and England respectively), and even families (such as that of the Takhars, England supporters, save for grandmother Dori Jafarieh, holding out for Croatia), out in force to sit together while supporting different teams, yet still maintain conviviality and an appreciation not just for results, but for the experience of the game as performance?\u003c/p>\n\u003cfigure id=\"attachment_13836986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8483-800x533.jpg\" alt=\"Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>England-born Napa resident Nicky Robert might have come out ostensibly to support Gareth Southgate’s scrappy underdogs, but really, she was just glad for a day in the sun watching them go as far as they could in enthusiastic company. As for Croatian-born Ivana Zubonja however, nothing but a Croatian win would do. Her pride for her team radiated from her checkerboard jersey, and her cheers could be heard from halfway across the park when they equalized. And do any of them find beauty in the “beautiful game”? Not everyone seemed too sure about that, but England supporter Paul Griffith, “old enough to remember when the phrase applied to the Brazilian attacking game,” certainly did.\u003c/p>\n\u003cp>“I know it’s really physics, and all that. But watching the ball curve (into the goal) seems magical.”\u003c/p>\n\u003cfigure id=\"attachment_13836992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8504-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what a performance it was. With England up a point the entire first half, it felt like Croatia was having to chip away at their strength with Sisyphean struggle, one step forward, two steps back. But their practiced slog yielded the intended result in the 68th minute, as Croatian Ivan Perišić landed a controversial goal that fired up not just the patient Croatian supporters at Sue Bierman park, but the National team, who seemed in the moment to shake off any lingering dejection to dominate the rest of the game. England’s goalkeeper Jordan Pickford often seeming like the only player really standing between Croatia and the ball, as England’s defense appeared uncertain how to stop Croatia from shooting at a goal—save for that aforementioned Kyle Walker bollock-block, a sacrifice soon forgotten as Mario Mandžukić drove in a second goal for Croatia three minutes later at the 109th minute of play. A moment that seems to burden the English team with an extra 10 years’ worth of haggard lines (though the younger team by far), just as it washed the fraught exhaustion from Croatia’s faces as they mobbed each other, and Yuri Gomez, in their beatific joy.\u003c/p>\n\u003cfigure id=\"attachment_13837006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8570-800x533.jpg\" alt=\"Ivana Zubonja, Julia Wu and friends celebrate Croatia's win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivana Zubonja, Julia Wu and friends celebrate Croatia’s win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, like any performance, it was over. And the assembled audience, with all of our assorted reasons for being there, fair-weather fans and diehard supporters alike, rose almost as one, and began to file out of the outdoor theater of the park. Back to home or offices or Napa or whatever other obligations awaited our afternoon. On my way out, I ran into Ivana Zubonja and her friends again, and we exchanged high fives. “See you at the final,” she confirmed, as we dispersed our separate ways.\u003c/p>\n\u003cp>Definitely.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch the public screening of the World Cup final at the Civic Center on Sunday, July 15, at 8am. \u003ca href=\"https://www.worldcupsf.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you don’t watch soccer, you’ve probably heard it referred to at some point as “the beautiful game.” While the exact origin of the phrase is in some dispute (like “beatnik,” there are a few claimants), it’s become one of the default phrases employed to describe the sport as a whole. And while beauty is very much in the eye of the beholder, one need only watch a replay of the \u003ca href=\"https://www.youtube.com/watch?v=XLa9wP-BVzQ\" target=\"_blank\" rel=\"noopener noreferrer\">first goal scored\u003c/a> in the England-Croatia World Cup semifinal match by English defender Kieran Trippier—a swooping arc flying first over the heads of Croatia’s defensive “wall,” then soaring above goalkeeper Danijel Subašić to smash into the back of the net—to get a sense of the game’s \u003cem>potential\u003c/em> for beautiful moments.\u003c/p>\n\u003cp>In fact, there’s so much potential for beauty in soccer, especially at the World Cup level, that it can move an arts journalist such as myself to spend the better part of a month lurking in dark bars at 7am. As the games have progressed from knockout rounds, to the final sixteen, the final eight, the quarterfinals, and the best of the best (or sometimes just the luckiest) inching their way to this weekend’s finals, I find I can hardly resist the very theatre-like qualities of the World Cup and, particularly in large outdoor public screenings, its fans.\u003c/p>\n\u003cfigure id=\"attachment_13836997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8531-800x533.jpg\" alt=\"Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soccer has so much happening that it could be said to encompass a wide variety of art forms within its sweaty bosom. The almost balletic precision of Spain’s “tiki-taka” passing game as contrasted with the spontaneous improv of a lucky header such as that of Belgium’s Jan Vertonghen against Japan, a literal long shot turned unexpected goal. The physical beauty of athletic bodies in motion, without giant helmets or baggy trousers to mar the view. The high drama of high stakes leading to shoving matches and shouted epithets on the pitch (to say nothing of the stands), some inspired by fresh insults, some by deep-seated rivalries stretching back generations. The low humor of a ball planted squarely in England defender Kyle Walker’s \u003cem>bollocks\u003c/em> and the unabashed emotion on the faces of the Croatian team after cementing their winning goal in the 109th minute of play, particularly \u003ca href=\"https://petapixel.com/2018/07/12/photographer-gets-dog-piled-at-world-cup-and-keeps-on-shooting/\">as captured by Salvadoran photojournalist Yuri Cortez\u003c/a>, who was buried in the middle of their celebratory dogpile.\u003c/p>\n\u003cfigure id=\"attachment_13836996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836996\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8528-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sue Bierman Park, a grassy knoll sandwiched between Drumm and the Embarcadero, a crowd gathered Wednesday to watch an outdoor screening of the World Cup semi-final match between England and Croatia, a courtesy provided by San Francisco Parks and Recreation (the final will be screened at the Civic Center on Sunday, July 15). Unlike many of the bars that show World Cup games in San Francisco, these outdoor screenings have a way of drawing supporters of both teams, and yet none (that I’ve been to) have had any serious altercations. We are civil “football” fans in SF, it seems, but that doesn’t stop the pageantry, people wrapped in flags, facepaint, team colors, or the palpable tension and anticipation that rises with each unpredictable twist in plot. Folks from all walks of life come to represent and be represented. For them, as well as for the players looming on the giant screen above us, a World Cup soccer game can be emotionally challenging, physically demanding, and potentially transcendent.\u003c/p>\n\u003cfigure id=\"attachment_13837003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8558-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although at first glance, and second count, supporters of England appeared to outnumber those of Croatia at the screening, as the game progressed and Croatia’s chances improved, those few appeared to swell in number, or at least in appreciative vocalization. And while it might be inappropriate to make such sounds at a particularly stirring Symphony performance, it would certainly not be out of place after a beautifully improvised jazz solo or a fan favorite rock anthem played third on the set list at the Independent. The groans and “come ooooooon”’s of fan frustration might just as easily (though not as publicly) come out of a stage-builder’s mouth at a wayward flat or a misplaced drill bit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And what other high-stakes sporting event in San Francisco could bring groups of friends (such as SF Hibernian teammates Carly Andler and Bethany Barker, supporting Croatia and England respectively), and even families (such as that of the Takhars, England supporters, save for grandmother Dori Jafarieh, holding out for Croatia), out in force to sit together while supporting different teams, yet still maintain conviviality and an appreciation not just for results, but for the experience of the game as performance?\u003c/p>\n\u003cfigure id=\"attachment_13836986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8483-800x533.jpg\" alt=\"Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>England-born Napa resident Nicky Robert might have come out ostensibly to support Gareth Southgate’s scrappy underdogs, but really, she was just glad for a day in the sun watching them go as far as they could in enthusiastic company. As for Croatian-born Ivana Zubonja however, nothing but a Croatian win would do. Her pride for her team radiated from her checkerboard jersey, and her cheers could be heard from halfway across the park when they equalized. And do any of them find beauty in the “beautiful game”? Not everyone seemed too sure about that, but England supporter Paul Griffith, “old enough to remember when the phrase applied to the Brazilian attacking game,” certainly did.\u003c/p>\n\u003cp>“I know it’s really physics, and all that. But watching the ball curve (into the goal) seems magical.”\u003c/p>\n\u003cfigure id=\"attachment_13836992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8504-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what a performance it was. With England up a point the entire first half, it felt like Croatia was having to chip away at their strength with Sisyphean struggle, one step forward, two steps back. But their practiced slog yielded the intended result in the 68th minute, as Croatian Ivan Perišić landed a controversial goal that fired up not just the patient Croatian supporters at Sue Bierman park, but the National team, who seemed in the moment to shake off any lingering dejection to dominate the rest of the game. England’s goalkeeper Jordan Pickford often seeming like the only player really standing between Croatia and the ball, as England’s defense appeared uncertain how to stop Croatia from shooting at a goal—save for that aforementioned Kyle Walker bollock-block, a sacrifice soon forgotten as Mario Mandžukić drove in a second goal for Croatia three minutes later at the 109th minute of play. A moment that seems to burden the English team with an extra 10 years’ worth of haggard lines (though the younger team by far), just as it washed the fraught exhaustion from Croatia’s faces as they mobbed each other, and Yuri Gomez, in their beatific joy.\u003c/p>\n\u003cfigure id=\"attachment_13837006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8570-800x533.jpg\" alt=\"Ivana Zubonja, Julia Wu and friends celebrate Croatia's win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivana Zubonja, Julia Wu and friends celebrate Croatia’s win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, like any performance, it was over. And the assembled audience, with all of our assorted reasons for being there, fair-weather fans and diehard supporters alike, rose almost as one, and began to file out of the outdoor theater of the park. Back to home or offices or Napa or whatever other obligations awaited our afternoon. On my way out, I ran into Ivana Zubonja and her friends again, and we exchanged high fives. “See you at the final,” she confirmed, as we dispersed our separate ways.\u003c/p>\n\u003cp>Definitely.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch the public screening of the World Cup final at the Civic Center on Sunday, July 15, at 8am. \u003ca href=\"https://www.worldcupsf.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "twitter-deletes-millions-of-fake-followers-but-will-you-even-notice",
"title": "Twitter Deletes Millions of Fake Followers, But Will You Even Notice?",
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"content": "\u003cp>Twitter has \u003ca href=\"https://blog.twitter.com/official/en_us/topics/company/2018/Confidence-in-Follower-Counts.html\" target=\"_blank\" rel=\"noopener\">begun removing\u003c/a> tens of millions of suspicious accounts.\u003c/p>\n\u003cp>“As part of our ongoing and global effort to build trust and encourage \u003ca title=\"Twitter\" href=\"https://twitter.com/jack/status/969234275420655616\" target=\"_blank\" rel=\"noopener\">healthy conversation\u003c/a> on Twitter, every part of the service matters,” wrote Vijaya Gadde, Twitter’s Legal, Policy and Trust & Safety Lead, on the company’s blog. “Follower counts are a visible feature, and we want everyone to have confidence that the numbers are meaningful and accurate,” she added.\u003c/p>\n\u003cp>It’s an open secret: Many users inflate their follower count—on Twitter, Instagram and elsewhere—with automated or fake accounts, creating the \u003ci>appearance\u003c/i> of popularity to bolster their careers in entertainment, retail, even politics.\u003c/p>\n\u003cp>“It spoils the game for everybody. It makes the internet into more of a cesspool. It makes customers, consumers and users more suspicious of the results of the content of everything that they consume,” says \u003ca href=\"http://rebeccalieb.com\" target=\"_blank\" rel=\"noopener\">Rebecca Lieb\u003c/a>, a digital marketing consultant who says fake followers are the social media equivalent of spam, and they are bad for business.\u003c/p>\n\u003cp>Twitter, she says, “should absolutely be concerned about getting rid of bad actors, just as we passed legislation about spam, just as the search engines will kick off a site from search results if they’re trying to game the system.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Twitter \u003ca href=\"https://help.twitter.com/en/safety-and-security/fake-twitter-followers-and-interactions\" target=\"_blank\" rel=\"noopener\">forbids\u003c/a> selling or buying followers or retweets, but it also permits more automated access to its platform than other companies, making it easier to set up and control large numbers of accounts. Not that Facebook or Instagram are immune from automated manipulation.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nytimes.com/interactive/2018/01/27/technology/social-media-bots.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a> has exposed how dozens of companies openly sell accounts and activity such as likes. Individuals have posted \u003ca href=\"https://www.youtube.com/watch?v=SAbR78TapWE\" target=\"_blank\" rel=\"noopener\">videos on YouTube\u003c/a> to show you how it’s done. “Welcome to the new age of capitalism” says the copy on this jaw-dropping video on Twitter demonstrating how easy it is to automate likes on Instagram from halfway around the world in Russia.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">There you go. My friend \u003ca href=\"https://twitter.com/vsonkin?ref_src=twsrc%5Etfw\">@vsonkin\u003c/a> made a video of the Like machine in action. \u003ca href=\"https://t.co/v0EWkpGR3R\">pic.twitter.com/v0EWkpGR3R\u003c/a>\u003c/p>\n\u003cp>— Alexey Kovalev (@Alexey__Kovalev) \u003ca href=\"https://twitter.com/Alexey__Kovalev/status/872905528028090368?ref_src=twsrc%5Etfw\">June 8, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>For entertainers and entrepreneurs, especially would-be social media “personalities,” large follower counts are critical to land sponsorship deals from credulous advertisers.\u003c/p>\n\u003cp>“It’s very very difficult for the brands who are paying the big bucks to know [who’s faking it], which is why you’ve got to look at business results and goals, not just numbers,” says Lieb. “But the bad actors are pretty sophisticated and always getting more so, so the algorithms on the side of the social networks are racing to keep up. We’re always going to see the same dance danced in new media, in new channels and by new people. It’s human nature.\u003c/p>\n\u003cp>\u003cstrong>It’s easy to hide in a crowd \u003c/strong>\u003c/p>\n\u003cp>Fake followers, whether individuals or companies, tend to flock to accounts with large followings, according to David Caplan, co-founder of popular site \u003ca href=\"https://www.twitteraudit.com/\" target=\"_blank\" rel=\"noopener\">TwitterAudit\u003c/a>. Many large account holders will mindlessly follow back, and they don’t typically have the time to cull through their followers to find the fakes.\u003c/p>\n\u003cp>That makes it difficult to determine whether popular people are gaming the system, or simply encrusted with digital barnacles like a whale moving through a social media ocean.\u003c/p>\n\u003cp>Caplan says many scoop-hungry journalists have contacted him when they spot a large percentage of fake followers following a major pop star or politician.\u003c/p>\n\u003cfigure id=\"attachment_13837039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837039\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-800x976.png\" alt=\"No "gotcha" for this audit of President Donald Trump's Twitter followers on July 12, 2018.\" width=\"800\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-800x976.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-160x195.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-768x937.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-1020x1244.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-984x1200.png 984w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-960x1171.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-240x293.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-375x457.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-520x634.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM.png 1164w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No “gotcha” for this audit of President Donald Trump’s Twitter followers on July 12, 2018. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Caplan patiently explains how to read his site’s results. To start with, the percentage of real accounts needs to as low as 20 percent or less to raise alarm bells that the account is a fake one, as opposed to infested with fake followers.\u003c/p>\n\u003cp>Politicians, especially, attract enemies and obsessive fans. Who’s to say whether fake followers “discovered” with a TwitterAudit reveal a vain politician, a conniving campaign manager, or really, anybody rooting for a rival candidate, Caplan says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So if the rock star you love to hate looks like she just lost a lot of people today on Twitter, that doesn’t necessarily indicate she was cheating before this latest purge.\u003c/p>\n\n",
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"excerpt": "A drop in Twitter numbers could signal someone was buying followers, but it could also mean they were simply lazy about culling through fake accounts.",
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"title": "Twitter Deletes Millions of Fake Followers, But Will You Even Notice? | KQED",
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"headline": "Twitter Deletes Millions of Fake Followers, But Will You Even Notice?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twitter has \u003ca href=\"https://blog.twitter.com/official/en_us/topics/company/2018/Confidence-in-Follower-Counts.html\" target=\"_blank\" rel=\"noopener\">begun removing\u003c/a> tens of millions of suspicious accounts.\u003c/p>\n\u003cp>“As part of our ongoing and global effort to build trust and encourage \u003ca title=\"Twitter\" href=\"https://twitter.com/jack/status/969234275420655616\" target=\"_blank\" rel=\"noopener\">healthy conversation\u003c/a> on Twitter, every part of the service matters,” wrote Vijaya Gadde, Twitter’s Legal, Policy and Trust & Safety Lead, on the company’s blog. “Follower counts are a visible feature, and we want everyone to have confidence that the numbers are meaningful and accurate,” she added.\u003c/p>\n\u003cp>It’s an open secret: Many users inflate their follower count—on Twitter, Instagram and elsewhere—with automated or fake accounts, creating the \u003ci>appearance\u003c/i> of popularity to bolster their careers in entertainment, retail, even politics.\u003c/p>\n\u003cp>“It spoils the game for everybody. It makes the internet into more of a cesspool. It makes customers, consumers and users more suspicious of the results of the content of everything that they consume,” says \u003ca href=\"http://rebeccalieb.com\" target=\"_blank\" rel=\"noopener\">Rebecca Lieb\u003c/a>, a digital marketing consultant who says fake followers are the social media equivalent of spam, and they are bad for business.\u003c/p>\n\u003cp>Twitter, she says, “should absolutely be concerned about getting rid of bad actors, just as we passed legislation about spam, just as the search engines will kick off a site from search results if they’re trying to game the system.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Twitter \u003ca href=\"https://help.twitter.com/en/safety-and-security/fake-twitter-followers-and-interactions\" target=\"_blank\" rel=\"noopener\">forbids\u003c/a> selling or buying followers or retweets, but it also permits more automated access to its platform than other companies, making it easier to set up and control large numbers of accounts. Not that Facebook or Instagram are immune from automated manipulation.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nytimes.com/interactive/2018/01/27/technology/social-media-bots.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a> has exposed how dozens of companies openly sell accounts and activity such as likes. Individuals have posted \u003ca href=\"https://www.youtube.com/watch?v=SAbR78TapWE\" target=\"_blank\" rel=\"noopener\">videos on YouTube\u003c/a> to show you how it’s done. “Welcome to the new age of capitalism” says the copy on this jaw-dropping video on Twitter demonstrating how easy it is to automate likes on Instagram from halfway around the world in Russia.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">There you go. My friend \u003ca href=\"https://twitter.com/vsonkin?ref_src=twsrc%5Etfw\">@vsonkin\u003c/a> made a video of the Like machine in action. \u003ca href=\"https://t.co/v0EWkpGR3R\">pic.twitter.com/v0EWkpGR3R\u003c/a>\u003c/p>\n\u003cp>— Alexey Kovalev (@Alexey__Kovalev) \u003ca href=\"https://twitter.com/Alexey__Kovalev/status/872905528028090368?ref_src=twsrc%5Etfw\">June 8, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>For entertainers and entrepreneurs, especially would-be social media “personalities,” large follower counts are critical to land sponsorship deals from credulous advertisers.\u003c/p>\n\u003cp>“It’s very very difficult for the brands who are paying the big bucks to know [who’s faking it], which is why you’ve got to look at business results and goals, not just numbers,” says Lieb. “But the bad actors are pretty sophisticated and always getting more so, so the algorithms on the side of the social networks are racing to keep up. We’re always going to see the same dance danced in new media, in new channels and by new people. It’s human nature.\u003c/p>\n\u003cp>\u003cstrong>It’s easy to hide in a crowd \u003c/strong>\u003c/p>\n\u003cp>Fake followers, whether individuals or companies, tend to flock to accounts with large followings, according to David Caplan, co-founder of popular site \u003ca href=\"https://www.twitteraudit.com/\" target=\"_blank\" rel=\"noopener\">TwitterAudit\u003c/a>. Many large account holders will mindlessly follow back, and they don’t typically have the time to cull through their followers to find the fakes.\u003c/p>\n\u003cp>That makes it difficult to determine whether popular people are gaming the system, or simply encrusted with digital barnacles like a whale moving through a social media ocean.\u003c/p>\n\u003cp>Caplan says many scoop-hungry journalists have contacted him when they spot a large percentage of fake followers following a major pop star or politician.\u003c/p>\n\u003cfigure id=\"attachment_13837039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837039\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-800x976.png\" alt=\"No "gotcha" for this audit of President Donald Trump's Twitter followers on July 12, 2018.\" width=\"800\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-800x976.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-160x195.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-768x937.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-1020x1244.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-984x1200.png 984w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-960x1171.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-240x293.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-375x457.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM-520x634.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Screen-Shot-2018-07-12-at-12.14.45-PM.png 1164w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No “gotcha” for this audit of President Donald Trump’s Twitter followers on July 12, 2018. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Caplan patiently explains how to read his site’s results. To start with, the percentage of real accounts needs to as low as 20 percent or less to raise alarm bells that the account is a fake one, as opposed to infested with fake followers.\u003c/p>\n\u003cp>Politicians, especially, attract enemies and obsessive fans. Who’s to say whether fake followers “discovered” with a TwitterAudit reveal a vain politician, a conniving campaign manager, or really, anybody rooting for a rival candidate, Caplan says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So if the rock star you love to hate looks like she just lost a lot of people today on Twitter, that doesn’t necessarily indicate she was cheating before this latest purge.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "XO Music Festival Canceled After Bizarre Series of Red Flags",
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"content": "\u003cp>XO Music Festival, it turns out, was too good to be true.\u003c/p>\n\u003cp>After several performers pulled out of the XO Music Festival lineup, and multiple questions arose about organizers’ ability to deliver on their ambitious Antioch event, festival venue Contra Costa Event Park issued a press release this morning stating that the hip-hop and comedy festival slated for July 13–15 has been canceled.\u003c/p>\n\u003cp>[contextly_sidebar id=”L7RCY5MBP66BVdC1HZH6yc013vOAy6dx”]\u003c/p>\n\u003cp>“Due to promoters lack of fulfilling contractual obligations between the Contra Costa Event Park and World Class Entertainment, Event Park Management in the best interest and safety of our facility, event attendees and the City of Antioch have no choice but to cancel the XO Music Festival,” the press release reads, directing ticketholders to info@xoxomusicfestival.com and sams@xoxomusicfestival.com for refunds.\u003c/p>\n\u003cp>XO Festival’s website \u003ca href=\"https://xoxomusicfestival.com/event-terms/\" target=\"_blank\" rel=\"noopener\">stipulates\u003c/a> that organizers can “cancel the Festival without further legal or financial obligation or liability to you, including the obligation to issue You a refund or to reschedule the Festival.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, in a July 11 email, an unnamed XO Music Festival organizer told KQED, “Our tickets provider will 100% offer full refunds to anyone if the festival is terminated.”\u003c/p>\n\u003cp>[\u003cstrong>Update, 11:15am:\u003c/strong> XO Music Festival updated its website stating that the event was canceled due to low ticket sales, “in part due to the fact that there were some negative media reports targeting us, with which we strongly disagree.” The statement concluded that tickets will be refunded through the ticketing agent, GrowTix, and that the festival will be rescheduled for a later date.]\u003c/p>\n\u003cp>Things already looked dire in the weeks leading up to XO Fest: several artists canceled their sets, citing lack of compensation. And as of July 10, three days before the festival, the Contra Costa Event Park remained bare—with no evidence of the three stages with pyrotechnics, a color arena, a foam pit, a bounce house or carnival rides that marketing materials promised.\u003c/p>\n\u003cp>KQED reached organizers by email on July 11 with a series of questions. In an unsigned emailed response from the festival’s official email, an XO Music Festival representative declined to answer whether or not the festival would start on July 13 at noon as planned. The response also did not address whether set-up at the festival site had begun.\u003c/p>\n\u003cp>KQED \u003ca href=\"https://www.kqed.org/arts/13832625/xo-fest-in-antioch-already-being-called-the-next-fyre-festival\" target=\"_blank\" rel=\"noopener\">first reported on concerns about XO Music Festival in May\u003c/a>, after concert industry blog Amplify raised \u003ca href=\"http://ampthemag.com/the-real/is-xoxo-fest-in-northern-california-the-next-fyre-festival/\" target=\"_blank\" rel=\"noopener\">several red flags\u003c/a>. The Antioch hip-hop festival boasted an ambitious array of attractions and VIP experiences, plus a star-studded lineup featuring T.I., Ludacris and Bone Thugs-N-Harmony, with Carmen Electra and the \u003cem>Jersey Shore\u003c/em> cast as hosts.\u003c/p>\n\u003cp>After a series of public records requests, Amplify’s David Brooks discovered that XO Fest’s organizer Sami Habib, a.k.a. Habibullah Said Qadir, is one of two brothers currently out on bail in a \u003ca href=\"http://nixle.com/alert/6404263/\" target=\"_blank\" rel=\"noopener\">Fremont rental scam case\u003c/a>, in which the brothers allegedly moved into a series of high-end properties using falsified documents and then failed to pay rent.\u003c/p>\n\u003cfigure id=\"attachment_13836928\" class=\"wp-caption alignright\" style=\"max-width: 420px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/qadir-brothers.jpg\" alt=\"XO Festival organizer Habibullah Qadir, a.k.a. Sami Habib, and his brother Mohammed Qadir were indicted in a Fremont rental scam case in February 2018.\" width=\"420\" height=\"236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers.jpg 420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-375x211.jpg 375w\" sizes=\"(max-width: 420px) 100vw, 420px\">\u003cfigcaption class=\"wp-caption-text\">XO Festival organizer Habibullah Qadir, a.k.a. Sami Habib (right), and his brother Mohammed Qadir were indicted in a Fremont rental scam case in February 2018. \u003ccite>(Fremont Police Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were other strange details: XO Music Festival’s website relied on clip art and photos from other festivals around the world, and boasted sponsors like BART and Thizzler, who later confirmed that they were never affiliated with the fest (XO Fest since removed the logos from their website). The festival also changed its name from XOXO Music Festival after a trademark dispute with an event in Portland of the same name.\u003c/p>\n\u003cp>After KQED’s May 18 story ran, our office received a phone call on behalf of XO Fest from a man who refused to disclose his identity. He suggested that KQED remove the article, but could not identify any details in the story as factually incorrect.\u003c/p>\n\u003cp>A call from this reporter back to the phone number given went unreturned, as did a follow-up email. On July 10, KQED received an email from another unnamed XO Fest rep: “Honestly we are trying to create something amazing here, an outlet for up and coming artists,” they wrote. “This is not about money! You know that festivals like ours lose the first few years. If it was about money we would be doing something else.”\u003c/p>\n\u003cp>In subsequent correspondence, XO Fest organizers and representatives continued to decline to identify themselves.\u003c/p>\n\u003cp>Just days before XO Fest’s July 13 scheduled kickoff, several artists dropped out of the event, citing bad business practices on the part of the organizers.\u003c/p>\n\u003cp>“This was not of my choosing to not perform, but it appears that this company lead many of the artists to believe this was a legit concert, signed contracts, used our images and names (which btw was against contract stipulations) to sell tickets, but never confirmed with financial contractural agreements,” wrote artist Trinere in a \u003ca href=\"https://www.facebook.com/photo.php?fbid=10211238419816016&set=a.1579762693697.2068428.1224557504&type=3&theater\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a>, apologizing to her fans for pulling out of the fest.\u003c/p>\n\u003cp>https://twitter.com/BrentCurriden/status/1015289261556314112\u003c/p>\n\u003cp>San Francisco band Lords of Sealand also canceled their set, though as of July 11 their name remained on the lineup. Brent Curriden of the band explained \u003ca href=\"https://twitter.com/BrentCurriden/status/1016418108922138624\" target=\"_blank\" rel=\"noopener\">on Twitter\u003c/a> that after initially agreeing to play for free, the band asked to be paid when several other artists dropped out. “We named our price, they told us they would send the money,” he wrote. “After hounding for them for 2 months they offered less than half of what we asked.”\u003c/p>\n\u003cp>In an email, an unnamed XO Fest representative responded to KQED: “When the performer agrees to perform for free from the beginning and then raises the fee after we work so hard to promo them it’s extremely unethical. We have proof of this.”\u003c/p>\n\u003cp>https://twitter.com/pacoromane/status/1016025686811795457\u003c/p>\n\u003cp>San Francisco comedian Paco Romane tweeted that although his image and bio were featured on XO Fest’s website, he was on tour and was not scheduled to perform at the fest at all. Meanwhile, a representative for Vanilla Ice told the \u003ca href=\"https://www.sfchronicle.com/music/article/XO-Festival-a-new-music-event-in-the-East-Bay-13064632.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, “We are requesting full payment for Vanilla Ice before he gets on a plane.”\u003c/p>\n\u003cp>Bands Will to Power and Magic! also canceled their sets. The cast of \u003cem>Jersey Shore\u003c/em> and Carmen Electra disappeared from the flyers, as did high profile acts like Kid ‘n Play and Rev Run of Run DMC.\u003c/p>\n\u003cp>Nonetheless, a person using the XO Fest official Twitter account assured KPIX reporter Joe Vazquez that “honestly everything is perfect.” In an email to KQED, the unnamed XO representative explained Trinere and Will to Power’s cancellations: “After several attempts asking for a legitimate contract and no answer we decided to quickly remove the other 2 performers from our promotion and made a statement on social.”\u003c/p>\n\u003cp>https://twitter.com/XOMusicFestival/status/1016564324242882562\u003c/p>\n\u003cp>(Friday’s headliner, Oakland favorite Mistah F.A.B., confirmed to KQED that he had received advance payment in full for his performance.)\u003c/p>\n\u003cp>San Francisco rapper TroyLLF, featured on Sunday’s bill, sent screenshots to KQED of his email correspondence with representatives from XO Fest. He was asked to perform for free. In an email from XO Fest’s Linda Rodriguez, he was told that his DJ would have to purchase his own ticket despite being part of the performance.\u003c/p>\n\u003cp>“To me it seems super sketchy and unprofessional,” said TroyLLF. “And like a money scheme.”\u003c/p>\n\u003cp>Asked by KQED about performers needing to purchase their own tickets, the unnamed XO Fest representative suggested that the DJ in question was not a “legitimate” part of TroyLLF’s performance. “Artists get passes for every legitimate performer,” they wrote. “When artists out of the blue request passes for people that are not DJs or performers they need to purchase tickets. It’s very clear who’s a band member and who’s not.”\u003c/p>\n\u003cfigure id=\"attachment_13836864\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8186-1.png\" alt=\"In an email, XO Festival's Linda Rodriguez told artist TroyLLF that his DJ would have to purchase a ticket despite being part of the show. \" width=\"750\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-160x285.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-675x1200.png 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-240x427.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-375x667.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-520x925.png 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">In an email, XO Festival’s Linda Rodriguez told artist TroyLLF that his DJ would have to purchase a ticket despite being part of the show. \u003ccite>(TroyLLF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tony B. Conscious, an artist vendor, informed KQED that XO Fest organizers told him that vendors made $12,000 from festival booths last year, even though there was no festival in 2017.\u003c/p>\n\u003cp>“I’m f-cking living in my van trying to save me enough money to get me a Sprinter to get out of this situation,” he told KQED, “and they charged me $700 for this booth that I did not have.”\u003c/p>\n\u003cp>Tony B. Conscious informed KQED in the hours after the festival cancellation that he had gone to the Contra Costa Event Center and met with Habib, who refunded his money.\u003c/p>\n\u003cp>XO Fest originally promised seven stages, but scaled that number down to three stages in its advertising materials. But when KPIX \u003ca href=\"https://sanfrancisco.cbslocal.com/2018/07/10/xo-music-festival-artists-bay-area/\" target=\"_blank\" rel=\"noopener\">visited Contra Costa Event Park\u003c/a> on July 10, they saw no evidence of any set-up in progress—no crews, no trailers, just an empty field and uncollected garbage. The XO representative who returned KQED’s request for comment did not confirm whether or not set-up had begun, and ignored the question of whether the festival will begin at noon on Friday.\u003c/p>\n\u003cp>Now we know that will not be the case.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story will continue to be updated as more details emerge.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>XO Music Festival, it turns out, was too good to be true.\u003c/p>\n\u003cp>After several performers pulled out of the XO Music Festival lineup, and multiple questions arose about organizers’ ability to deliver on their ambitious Antioch event, festival venue Contra Costa Event Park issued a press release this morning stating that the hip-hop and comedy festival slated for July 13–15 has been canceled.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Due to promoters lack of fulfilling contractual obligations between the Contra Costa Event Park and World Class Entertainment, Event Park Management in the best interest and safety of our facility, event attendees and the City of Antioch have no choice but to cancel the XO Music Festival,” the press release reads, directing ticketholders to info@xoxomusicfestival.com and sams@xoxomusicfestival.com for refunds.\u003c/p>\n\u003cp>XO Festival’s website \u003ca href=\"https://xoxomusicfestival.com/event-terms/\" target=\"_blank\" rel=\"noopener\">stipulates\u003c/a> that organizers can “cancel the Festival without further legal or financial obligation or liability to you, including the obligation to issue You a refund or to reschedule the Festival.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, in a July 11 email, an unnamed XO Music Festival organizer told KQED, “Our tickets provider will 100% offer full refunds to anyone if the festival is terminated.”\u003c/p>\n\u003cp>[\u003cstrong>Update, 11:15am:\u003c/strong> XO Music Festival updated its website stating that the event was canceled due to low ticket sales, “in part due to the fact that there were some negative media reports targeting us, with which we strongly disagree.” The statement concluded that tickets will be refunded through the ticketing agent, GrowTix, and that the festival will be rescheduled for a later date.]\u003c/p>\n\u003cp>Things already looked dire in the weeks leading up to XO Fest: several artists canceled their sets, citing lack of compensation. And as of July 10, three days before the festival, the Contra Costa Event Park remained bare—with no evidence of the three stages with pyrotechnics, a color arena, a foam pit, a bounce house or carnival rides that marketing materials promised.\u003c/p>\n\u003cp>KQED reached organizers by email on July 11 with a series of questions. In an unsigned emailed response from the festival’s official email, an XO Music Festival representative declined to answer whether or not the festival would start on July 13 at noon as planned. The response also did not address whether set-up at the festival site had begun.\u003c/p>\n\u003cp>KQED \u003ca href=\"https://www.kqed.org/arts/13832625/xo-fest-in-antioch-already-being-called-the-next-fyre-festival\" target=\"_blank\" rel=\"noopener\">first reported on concerns about XO Music Festival in May\u003c/a>, after concert industry blog Amplify raised \u003ca href=\"http://ampthemag.com/the-real/is-xoxo-fest-in-northern-california-the-next-fyre-festival/\" target=\"_blank\" rel=\"noopener\">several red flags\u003c/a>. The Antioch hip-hop festival boasted an ambitious array of attractions and VIP experiences, plus a star-studded lineup featuring T.I., Ludacris and Bone Thugs-N-Harmony, with Carmen Electra and the \u003cem>Jersey Shore\u003c/em> cast as hosts.\u003c/p>\n\u003cp>After a series of public records requests, Amplify’s David Brooks discovered that XO Fest’s organizer Sami Habib, a.k.a. Habibullah Said Qadir, is one of two brothers currently out on bail in a \u003ca href=\"http://nixle.com/alert/6404263/\" target=\"_blank\" rel=\"noopener\">Fremont rental scam case\u003c/a>, in which the brothers allegedly moved into a series of high-end properties using falsified documents and then failed to pay rent.\u003c/p>\n\u003cfigure id=\"attachment_13836928\" class=\"wp-caption alignright\" style=\"max-width: 420px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/qadir-brothers.jpg\" alt=\"XO Festival organizer Habibullah Qadir, a.k.a. Sami Habib, and his brother Mohammed Qadir were indicted in a Fremont rental scam case in February 2018.\" width=\"420\" height=\"236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers.jpg 420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-375x211.jpg 375w\" sizes=\"(max-width: 420px) 100vw, 420px\">\u003cfigcaption class=\"wp-caption-text\">XO Festival organizer Habibullah Qadir, a.k.a. Sami Habib (right), and his brother Mohammed Qadir were indicted in a Fremont rental scam case in February 2018. \u003ccite>(Fremont Police Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were other strange details: XO Music Festival’s website relied on clip art and photos from other festivals around the world, and boasted sponsors like BART and Thizzler, who later confirmed that they were never affiliated with the fest (XO Fest since removed the logos from their website). The festival also changed its name from XOXO Music Festival after a trademark dispute with an event in Portland of the same name.\u003c/p>\n\u003cp>After KQED’s May 18 story ran, our office received a phone call on behalf of XO Fest from a man who refused to disclose his identity. He suggested that KQED remove the article, but could not identify any details in the story as factually incorrect.\u003c/p>\n\u003cp>A call from this reporter back to the phone number given went unreturned, as did a follow-up email. On July 10, KQED received an email from another unnamed XO Fest rep: “Honestly we are trying to create something amazing here, an outlet for up and coming artists,” they wrote. “This is not about money! You know that festivals like ours lose the first few years. If it was about money we would be doing something else.”\u003c/p>\n\u003cp>In subsequent correspondence, XO Fest organizers and representatives continued to decline to identify themselves.\u003c/p>\n\u003cp>Just days before XO Fest’s July 13 scheduled kickoff, several artists dropped out of the event, citing bad business practices on the part of the organizers.\u003c/p>\n\u003cp>“This was not of my choosing to not perform, but it appears that this company lead many of the artists to believe this was a legit concert, signed contracts, used our images and names (which btw was against contract stipulations) to sell tickets, but never confirmed with financial contractural agreements,” wrote artist Trinere in a \u003ca href=\"https://www.facebook.com/photo.php?fbid=10211238419816016&set=a.1579762693697.2068428.1224557504&type=3&theater\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a>, apologizing to her fans for pulling out of the fest.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>San Francisco band Lords of Sealand also canceled their set, though as of July 11 their name remained on the lineup. Brent Curriden of the band explained \u003ca href=\"https://twitter.com/BrentCurriden/status/1016418108922138624\" target=\"_blank\" rel=\"noopener\">on Twitter\u003c/a> that after initially agreeing to play for free, the band asked to be paid when several other artists dropped out. “We named our price, they told us they would send the money,” he wrote. “After hounding for them for 2 months they offered less than half of what we asked.”\u003c/p>\n\u003cp>In an email, an unnamed XO Fest representative responded to KQED: “When the performer agrees to perform for free from the beginning and then raises the fee after we work so hard to promo them it’s extremely unethical. We have proof of this.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>San Francisco comedian Paco Romane tweeted that although his image and bio were featured on XO Fest’s website, he was on tour and was not scheduled to perform at the fest at all. Meanwhile, a representative for Vanilla Ice told the \u003ca href=\"https://www.sfchronicle.com/music/article/XO-Festival-a-new-music-event-in-the-East-Bay-13064632.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, “We are requesting full payment for Vanilla Ice before he gets on a plane.”\u003c/p>\n\u003cp>Bands Will to Power and Magic! also canceled their sets. The cast of \u003cem>Jersey Shore\u003c/em> and Carmen Electra disappeared from the flyers, as did high profile acts like Kid ‘n Play and Rev Run of Run DMC.\u003c/p>\n\u003cp>Nonetheless, a person using the XO Fest official Twitter account assured KPIX reporter Joe Vazquez that “honestly everything is perfect.” In an email to KQED, the unnamed XO representative explained Trinere and Will to Power’s cancellations: “After several attempts asking for a legitimate contract and no answer we decided to quickly remove the other 2 performers from our promotion and made a statement on social.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>(Friday’s headliner, Oakland favorite Mistah F.A.B., confirmed to KQED that he had received advance payment in full for his performance.)\u003c/p>\n\u003cp>San Francisco rapper TroyLLF, featured on Sunday’s bill, sent screenshots to KQED of his email correspondence with representatives from XO Fest. He was asked to perform for free. In an email from XO Fest’s Linda Rodriguez, he was told that his DJ would have to purchase his own ticket despite being part of the performance.\u003c/p>\n\u003cp>“To me it seems super sketchy and unprofessional,” said TroyLLF. “And like a money scheme.”\u003c/p>\n\u003cp>Asked by KQED about performers needing to purchase their own tickets, the unnamed XO Fest representative suggested that the DJ in question was not a “legitimate” part of TroyLLF’s performance. “Artists get passes for every legitimate performer,” they wrote. “When artists out of the blue request passes for people that are not DJs or performers they need to purchase tickets. It’s very clear who’s a band member and who’s not.”\u003c/p>\n\u003cfigure id=\"attachment_13836864\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8186-1.png\" alt=\"In an email, XO Festival's Linda Rodriguez told artist TroyLLF that his DJ would have to purchase a ticket despite being part of the show. \" width=\"750\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-160x285.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-675x1200.png 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-240x427.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-375x667.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-520x925.png 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">In an email, XO Festival’s Linda Rodriguez told artist TroyLLF that his DJ would have to purchase a ticket despite being part of the show. \u003ccite>(TroyLLF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tony B. Conscious, an artist vendor, informed KQED that XO Fest organizers told him that vendors made $12,000 from festival booths last year, even though there was no festival in 2017.\u003c/p>\n\u003cp>“I’m f-cking living in my van trying to save me enough money to get me a Sprinter to get out of this situation,” he told KQED, “and they charged me $700 for this booth that I did not have.”\u003c/p>\n\u003cp>Tony B. Conscious informed KQED in the hours after the festival cancellation that he had gone to the Contra Costa Event Center and met with Habib, who refunded his money.\u003c/p>\n\u003cp>XO Fest originally promised seven stages, but scaled that number down to three stages in its advertising materials. But when KPIX \u003ca href=\"https://sanfrancisco.cbslocal.com/2018/07/10/xo-music-festival-artists-bay-area/\" target=\"_blank\" rel=\"noopener\">visited Contra Costa Event Park\u003c/a> on July 10, they saw no evidence of any set-up in progress—no crews, no trailers, just an empty field and uncollected garbage. The XO representative who returned KQED’s request for comment did not confirm whether or not set-up had begun, and ignored the question of whether the festival will begin at noon on Friday.\u003c/p>\n\u003cp>Now we know that will not be the case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The West Oakland nonprofit gallery \u003ca href=\"https://aggregatespacegallery.org/\" rel=\"noopener\" target=\"_blank\">Aggregate Space\u003c/a> announced Tuesday the receipt of a $90,000 grant from the \u003ca href=\"https://warholfoundation.org/\" rel=\"noopener\" target=\"_blank\">Andy Warhol Foundation for the Visual Arts\u003c/a>. It is one of five Bay Area arts organizations to receive funds from the New York-based nonprofit in this round of grantmaking—but also the newest, and by far the smallest, with a staff of one.\u003c/p>\n\u003cp>Other recipients include the \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Foundation of San Francisco\u003c/a>, the \u003ca href=\"https://www.moadsf.org/\" rel=\"noopener\" target=\"_blank\">Museum of the African Diaspora\u003c/a>, the \u003ca href=\"https://www.sfmoma.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Museum of Modern Art\u003c/a> and the \u003ca href=\"http://ias.ucsc.edu/\" rel=\"noopener\" target=\"_blank\">Institute of the Arts and Sciences at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cp>Aggregate Space Gallery (ASG), located on an industrial stretch of West Grand and founded in 2011, shows the work of emerging and mid-career artists, focusing on large-scale installation, video and performance—genres often unsupported in the commercial gallery world. The nonprofit is also rare in that they provide on-site fabrication and installation assistance to help artists realize “unimaginable” projects and museum-quality exhibitions.\u003c/p>\n\u003cp>“From the beginning, we have relied solely on volunteer labor to develop our community and build the space,” says Conrad Meyers, ASG’s co-founder and executive director. “This funding helps us on our journey of growth from an artist-run space to a reliable long-term resource for emerging artists.”\u003c/p>\n\u003cp>Meyers is technically ASG’s sole full-time employee, though he says he and Willis Meyers (co-founder and board president) both dedicate about 30 hours a week to the nonprofit. In addition to volunteer labor, ASG runs its programming with the help of part-time contract workers and grant-funded positions. The Warhol Foundation grant, which cannot be used for general operating costs, will fund 16 exhibitions, 40 artists and 64 public events over the next two years. The funds will also allow ASG to pay artists substantial stipends (upwards of $2,000 for a solo project, Meyers says) for the first time in the gallery’s seven-year history. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s still less than what people put into a show at Aggregate Space,” he says, “but I’m looking forward to using it as a bargaining chip to work with people who have said no in the past. It’s tough to do things for free in the Bay Area.”\u003c/p>\n\u003cp>In the Spring 2018 grant round, the Warhol Foundation awarded 42 recipients from an applicant pool of 224 nonprofit arts organizations, giving out a total of $3.6 million to organizations across the country. Individual grants range from $35,000 to $120,000. ASG and the Chinese Culture Foundation’s grants will go towards visual arts programming over the next two years, while MoAD, SFMOMA and UCSF received funding for specific exhibitions, all scheduled for 2019. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For ASG, this kind of national recognition is vindicating. “It feels like a lot of hard work paid off,” Meyers says. “It feels like it’s actually possible to do what a lot of people told us was impossible to do. Which was start a nonprofit with nothing and build toward something.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The West Oakland nonprofit gallery \u003ca href=\"https://aggregatespacegallery.org/\" rel=\"noopener\" target=\"_blank\">Aggregate Space\u003c/a> announced Tuesday the receipt of a $90,000 grant from the \u003ca href=\"https://warholfoundation.org/\" rel=\"noopener\" target=\"_blank\">Andy Warhol Foundation for the Visual Arts\u003c/a>. It is one of five Bay Area arts organizations to receive funds from the New York-based nonprofit in this round of grantmaking—but also the newest, and by far the smallest, with a staff of one.\u003c/p>\n\u003cp>Other recipients include the \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Foundation of San Francisco\u003c/a>, the \u003ca href=\"https://www.moadsf.org/\" rel=\"noopener\" target=\"_blank\">Museum of the African Diaspora\u003c/a>, the \u003ca href=\"https://www.sfmoma.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Museum of Modern Art\u003c/a> and the \u003ca href=\"http://ias.ucsc.edu/\" rel=\"noopener\" target=\"_blank\">Institute of the Arts and Sciences at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cp>Aggregate Space Gallery (ASG), located on an industrial stretch of West Grand and founded in 2011, shows the work of emerging and mid-career artists, focusing on large-scale installation, video and performance—genres often unsupported in the commercial gallery world. The nonprofit is also rare in that they provide on-site fabrication and installation assistance to help artists realize “unimaginable” projects and museum-quality exhibitions.\u003c/p>\n\u003cp>“From the beginning, we have relied solely on volunteer labor to develop our community and build the space,” says Conrad Meyers, ASG’s co-founder and executive director. “This funding helps us on our journey of growth from an artist-run space to a reliable long-term resource for emerging artists.”\u003c/p>\n\u003cp>Meyers is technically ASG’s sole full-time employee, though he says he and Willis Meyers (co-founder and board president) both dedicate about 30 hours a week to the nonprofit. In addition to volunteer labor, ASG runs its programming with the help of part-time contract workers and grant-funded positions. The Warhol Foundation grant, which cannot be used for general operating costs, will fund 16 exhibitions, 40 artists and 64 public events over the next two years. The funds will also allow ASG to pay artists substantial stipends (upwards of $2,000 for a solo project, Meyers says) for the first time in the gallery’s seven-year history. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s still less than what people put into a show at Aggregate Space,” he says, “but I’m looking forward to using it as a bargaining chip to work with people who have said no in the past. It’s tough to do things for free in the Bay Area.”\u003c/p>\n\u003cp>In the Spring 2018 grant round, the Warhol Foundation awarded 42 recipients from an applicant pool of 224 nonprofit arts organizations, giving out a total of $3.6 million to organizations across the country. Individual grants range from $35,000 to $120,000. ASG and the Chinese Culture Foundation’s grants will go towards visual arts programming over the next two years, while MoAD, SFMOMA and UCSF received funding for specific exhibitions, all scheduled for 2019. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For ASG, this kind of national recognition is vindicating. “It feels like a lot of hard work paid off,” Meyers says. “It feels like it’s actually possible to do what a lot of people told us was impossible to do. Which was start a nonprofit with nothing and build toward something.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tab Hunter, the blond actor and singer who was a heartthrob for millions of teenagers in the 1950s with such films as \u003cem>Battle Cry\u003c/em> and \u003cem>Damn Yankees\u003c/em> and received new attention decades later when he revealed that he was gay, has died. He was 86.\u003c/p>\n\u003cp>Producer and spouse Allan Glaser said Hunter died Sunday of a blood clot in his leg that caused cardiac arrest. Glaser called the death “sudden and unexpected.”\u003cbr>\nHunter was a star for several years. In addition to his hit movies, his recording of “Young Love” topped the Billboard pop chart in 1957.\u003c/p>\n\u003cp>But in his 2005 memoir, \u003cem>Tab Hunter Confidential: The Making of a Movie Star\u003c/em>, Hunter recounted the stresses of being a love object to millions of young women when he was, in reality, a gay man.\u003c/p>\n\u003cp>“I believed, wholeheartedly — still do — that a person’s happiness depends on being true to themselves,” he wrote. “The dilemma, of course, that was being true to myself — and I’m talking sexually now — was impossible in 1953.”\u003c/p>\n\u003cp>Among those stars honoring Hunter on Monday included Harvey Fierstein, who called Hunter a “gay icon” and a “true gentleman” on Twitter, adding, “We shared some good laughs back in the 80’s. I was always fond of this dear man.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Zachary Quinto on Instagram also cheered Hunter’s “vital and generous nature” and called him a “pioneer of self-acceptance” who moved through the world “with authenticity as his guide.” GLAAD tweeted “Our hearts are with Tab’s loved ones.”\u003cbr>\nBorn Arthur Andrew Kelm, his screen tab (slang for “name” at the time) was fabricated by Henry Willson, the same talent agent who came up with the names Rock Hudson and Rory Calhoun.\u003c/p>\n\u003cp>The legend goes that Willson said to the young man: “We’ve got to find something to tab you with. Do you have any hobbies?” His client answered, “I ride horses. Hunters.” Agent: “That’s it! We’ll call you Tab Hunter.”\u003c/p>\n\u003cp>With no dramatic training, Hunter was cast in a minor role in the 1950 drama, \u003cem>The Lawless\u003c/em>. The fuss over the young actor began two years later when he appeared bare-chested opposite Linda Darnell in the British-made \u003cem>Island of Desire\u003c/em>. Soon his handsome face and muscular build appeared on magazine covers. Warner Bros., alert to the increasingly important youth market, signed him to a contract.\u003c/p>\n\u003cp>Hunter made a flurry of movies in the latter half of the 1950s, aimed at capitalizing on his popularity with young girls. The films included such war dramas as \u003cem>Battle Cry\u003c/em> (with Van Heflin) and \u003cem>Lafayette Escadrille\u003c/em> (Clint Eastwood in a small role). He made the Westerns \u003cem>The Burning Hills\u003c/em> (Natalie Wood) and \u003cem>They Came to Cordura\u003c/em> (Gary Cooper, Rita Hayworth). And he made romantic comedies like \u003cem>The Pleasure of His Company \u003c/em>(Fred Astaire, Debbie Reynolds.)\u003c/p>\n\u003cp>A highlight was the 1958 \u003cem>Damn Yankees\u003c/em>, an adaptation of the hit Broadway musical with Gwen Verdon and Ray Walston in their Tony-winning New York roles and the original director, George Abbott, sharing direction with Stanley Donen. The New York Times’ critic noted that Hunter “has the clean, naive look of a lad breaking into the big leagues and into the magical company of a first-rate star.”\u003c/p>\n\u003cp>Besides the movies, he displayed his athletic skills — he had been a figure skater as well as horseman — in a TV special, \u003cem>Hans Brinker, or the Silver Skates\u003c/em>.\u003c/p>\n\u003cp>As with so many pop idols, his fans grew up and a new generation sought other favorites. His slide followed the classic pattern: to a television series (\u003cem>The Tab Hunter Show\u003c/em>, on NBC, 1960-62); European films (\u003cem>The Golden Arrow)\u003c/em> and cheap kid flicks (\u003cem>Ride the Wild Surf.\u003c/em>) In his memoir, he took pains to note that R\u003cem>ide the Wild Surf\u003c/em> was his only beach-party movie; his \u003cem>Operation Bikini\u003c/em>, despite its title, was “yet another war movie.”\u003c/p>\n\u003cp>Over the years, he also played small roles in \u003cem>The Loved One\u003c/em>, \u003cem>The Life and Times of Judge Roy Bean\u003c/em> and \u003cem>Grease 2.\u003c/em>\u003c/p>\n\u003cp>In the 1980s, he won new fans by appearing in cult movies with Divine, the 300-pound drag performer, notably John Waters’ 1981 \u003cem>Polyester\u003c/em> and Paul Bartel’s 1985 \u003cem>Lust in the Dust\u003c/em>, co-produced by Hunter himself.\u003c/p>\n\u003cp>Of \u003cem>Polyester\u003c/em>, Hunter wrote: “Everybody got the joke. … For both John and me, our collaboration paid huge dividends: I’d helped ‘legitimize’ his brand of movie, and he made me ‘hip’ overnight.”\u003c/p>\n\u003cp>Hunter appeared on Broadway in 1964 in Tennessee Williams’ \u003cem>The Milk Train Doesn’t Stop Here Anymore\u003c/em> opposite the formidable Tallulah Bankhead. The play closed within days, and he said it was “completely buried under Tallulah’s offhanded trademark campiness.”\u003c/p>\n\u003cp>Hunter was born in 1931 in New York City, the second son of a mechanic and his German immigrant wife. His father left the family two years later and the boy took his mother’s name, Gelien. Young Arthur Gelien grew up in San Francisco and Long Beach, California, and joined the Coast Guard at 15, lying about his age.\u003c/p>\n\u003cp>While in New York, he saw Broadway plays and became interested in acting. Back in California, Willson arranged for a two-word role in a small Western, \u003cem>The Lawless\u003c/em>. He got $500 and a new name.\u003c/p>\n\u003cp>In his memoir, he said that his career flourished despite some innuendo and smear articles in the scandal sheets — “clear evidence that despite its self-righteous claims, ‘Confidential’ magazine did not influence the taste and opinions of mainstream America.”\u003c/p>\n\u003cp>Writing the book was difficult, he told The Associated Press in 2005, “because I’m a really private person. I grew up full of denial. I just didn’t like any suggestions or questioning of my sexuality.”\u003c/p>\n\u003cp>In 1960, Hunter’s boy-next-door reputation did take a hit when he was charged with cruelty for allegedly beating his dog. (He was acquitted.) In recent years, Hunter appeared in dinner theaters and organized film projects. After living on a ranch in New Mexico for a time, he took a home in Montecito in Santa Barbara County with Glaser.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He didn’t dwell on his Hollywood career or regret losing it. “I had my fling, and I was very fortunate,” he remarked. “But that’s all in my past.”\u003cbr>\n___\u003cbr>\nThe late AP Entertainment Writer Bob Thomas contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tab Hunter, the blond actor and singer who was a heartthrob for millions of teenagers in the 1950s with such films as \u003cem>Battle Cry\u003c/em> and \u003cem>Damn Yankees\u003c/em> and received new attention decades later when he revealed that he was gay, has died. He was 86.\u003c/p>\n\u003cp>Producer and spouse Allan Glaser said Hunter died Sunday of a blood clot in his leg that caused cardiac arrest. Glaser called the death “sudden and unexpected.”\u003cbr>\nHunter was a star for several years. In addition to his hit movies, his recording of “Young Love” topped the Billboard pop chart in 1957.\u003c/p>\n\u003cp>But in his 2005 memoir, \u003cem>Tab Hunter Confidential: The Making of a Movie Star\u003c/em>, Hunter recounted the stresses of being a love object to millions of young women when he was, in reality, a gay man.\u003c/p>\n\u003cp>“I believed, wholeheartedly — still do — that a person’s happiness depends on being true to themselves,” he wrote. “The dilemma, of course, that was being true to myself — and I’m talking sexually now — was impossible in 1953.”\u003c/p>\n\u003cp>Among those stars honoring Hunter on Monday included Harvey Fierstein, who called Hunter a “gay icon” and a “true gentleman” on Twitter, adding, “We shared some good laughs back in the 80’s. I was always fond of this dear man.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Zachary Quinto on Instagram also cheered Hunter’s “vital and generous nature” and called him a “pioneer of self-acceptance” who moved through the world “with authenticity as his guide.” GLAAD tweeted “Our hearts are with Tab’s loved ones.”\u003cbr>\nBorn Arthur Andrew Kelm, his screen tab (slang for “name” at the time) was fabricated by Henry Willson, the same talent agent who came up with the names Rock Hudson and Rory Calhoun.\u003c/p>\n\u003cp>The legend goes that Willson said to the young man: “We’ve got to find something to tab you with. Do you have any hobbies?” His client answered, “I ride horses. Hunters.” Agent: “That’s it! We’ll call you Tab Hunter.”\u003c/p>\n\u003cp>With no dramatic training, Hunter was cast in a minor role in the 1950 drama, \u003cem>The Lawless\u003c/em>. The fuss over the young actor began two years later when he appeared bare-chested opposite Linda Darnell in the British-made \u003cem>Island of Desire\u003c/em>. Soon his handsome face and muscular build appeared on magazine covers. Warner Bros., alert to the increasingly important youth market, signed him to a contract.\u003c/p>\n\u003cp>Hunter made a flurry of movies in the latter half of the 1950s, aimed at capitalizing on his popularity with young girls. The films included such war dramas as \u003cem>Battle Cry\u003c/em> (with Van Heflin) and \u003cem>Lafayette Escadrille\u003c/em> (Clint Eastwood in a small role). He made the Westerns \u003cem>The Burning Hills\u003c/em> (Natalie Wood) and \u003cem>They Came to Cordura\u003c/em> (Gary Cooper, Rita Hayworth). And he made romantic comedies like \u003cem>The Pleasure of His Company \u003c/em>(Fred Astaire, Debbie Reynolds.)\u003c/p>\n\u003cp>A highlight was the 1958 \u003cem>Damn Yankees\u003c/em>, an adaptation of the hit Broadway musical with Gwen Verdon and Ray Walston in their Tony-winning New York roles and the original director, George Abbott, sharing direction with Stanley Donen. The New York Times’ critic noted that Hunter “has the clean, naive look of a lad breaking into the big leagues and into the magical company of a first-rate star.”\u003c/p>\n\u003cp>Besides the movies, he displayed his athletic skills — he had been a figure skater as well as horseman — in a TV special, \u003cem>Hans Brinker, or the Silver Skates\u003c/em>.\u003c/p>\n\u003cp>As with so many pop idols, his fans grew up and a new generation sought other favorites. His slide followed the classic pattern: to a television series (\u003cem>The Tab Hunter Show\u003c/em>, on NBC, 1960-62); European films (\u003cem>The Golden Arrow)\u003c/em> and cheap kid flicks (\u003cem>Ride the Wild Surf.\u003c/em>) In his memoir, he took pains to note that R\u003cem>ide the Wild Surf\u003c/em> was his only beach-party movie; his \u003cem>Operation Bikini\u003c/em>, despite its title, was “yet another war movie.”\u003c/p>\n\u003cp>Over the years, he also played small roles in \u003cem>The Loved One\u003c/em>, \u003cem>The Life and Times of Judge Roy Bean\u003c/em> and \u003cem>Grease 2.\u003c/em>\u003c/p>\n\u003cp>In the 1980s, he won new fans by appearing in cult movies with Divine, the 300-pound drag performer, notably John Waters’ 1981 \u003cem>Polyester\u003c/em> and Paul Bartel’s 1985 \u003cem>Lust in the Dust\u003c/em>, co-produced by Hunter himself.\u003c/p>\n\u003cp>Of \u003cem>Polyester\u003c/em>, Hunter wrote: “Everybody got the joke. … For both John and me, our collaboration paid huge dividends: I’d helped ‘legitimize’ his brand of movie, and he made me ‘hip’ overnight.”\u003c/p>\n\u003cp>Hunter appeared on Broadway in 1964 in Tennessee Williams’ \u003cem>The Milk Train Doesn’t Stop Here Anymore\u003c/em> opposite the formidable Tallulah Bankhead. The play closed within days, and he said it was “completely buried under Tallulah’s offhanded trademark campiness.”\u003c/p>\n\u003cp>Hunter was born in 1931 in New York City, the second son of a mechanic and his German immigrant wife. His father left the family two years later and the boy took his mother’s name, Gelien. Young Arthur Gelien grew up in San Francisco and Long Beach, California, and joined the Coast Guard at 15, lying about his age.\u003c/p>\n\u003cp>While in New York, he saw Broadway plays and became interested in acting. Back in California, Willson arranged for a two-word role in a small Western, \u003cem>The Lawless\u003c/em>. He got $500 and a new name.\u003c/p>\n\u003cp>In his memoir, he said that his career flourished despite some innuendo and smear articles in the scandal sheets — “clear evidence that despite its self-righteous claims, ‘Confidential’ magazine did not influence the taste and opinions of mainstream America.”\u003c/p>\n\u003cp>Writing the book was difficult, he told The Associated Press in 2005, “because I’m a really private person. I grew up full of denial. I just didn’t like any suggestions or questioning of my sexuality.”\u003c/p>\n\u003cp>In 1960, Hunter’s boy-next-door reputation did take a hit when he was charged with cruelty for allegedly beating his dog. (He was acquitted.) In recent years, Hunter appeared in dinner theaters and organized film projects. After living on a ranch in New Mexico for a time, he took a home in Montecito in Santa Barbara County with Glaser.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oakland DOT's New Mural Program is Street Art—Literally",
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"content": "\u003cp>This summer, the Oakland Department of Transportation (OakDOT) is bringing neighborhoods together to beautify their streets as part of a new program called “\u003ca href=\"https://www.oaklandca.gov/services/dot/paint-the-town\" rel=\"noopener\" target=\"_blank\">Paint The Town\u003c/a>.”\u003c/p>\n\u003cp>The program, which began in May of this year, supplies permission and resources to artists who want to paint temporary murals on Oakland streets. The OakDOT started Paint the Town with the intention of giving local residents a sense of ownership in their neighborhoods, especially in under-resourced areas. \u003c/p>\n\u003cp>“Paint the Town is the first step in re-imagining what our streets are and what they can be,” OakDOT transportation planner Lily Brown said. \u003c/p>\n\u003cfigure id=\"attachment_13836047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-800x450.jpg\" alt=\"Overhead shot of a new mural in Oakland, at Herman and Ayala Streets.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13836047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Overhead shot of a new mural in Oakland, at Herman and Ayala Streets. \u003ccite>(Courtesy of Oakland DOT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paint The Town came about from the results of the city’s 2017 \u003ca href=\"https://medium.com/@Oakland/transforming-oaklands-streets-into-public-space-b6ecb3fe7304\" rel=\"noopener\" target=\"_blank\">Request for Community Interest\u003c/a> survey. The 130 respondents said they wanted the city to use its resources to turn streets and crosswalks into works of art. \u003c/p>\n\u003cp>“Transforming a busy street doesn’t always need complicated plans or millions of dollars. There is real potential for Oaklanders to create playful and artistic public spaces,” the OakDOT report stated. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a call for submissions last winter, the city approved 30 mural applications. Each winner receives a $300 gift card for paint, plus liability insurance for the street closure. For seven winners, the Oakland Fund for Public Innovation pays for all materials and even assists with day-of logistics. \u003c/p>\n\u003cp>Of the 42 applications it received, the city focused on approving applications for projects in disadvantaged areas. For every one mural approved in a census tract with a low level of disadvantage, the city wanted two in high-to-medium disadvantaged areas. In the end, the city surpassed its intended 2-to-1 ratio, approving 27 projects in high-to-medium neighborhoods and three in areas of low disadvantage.\u003c/p>\n\u003cp>“We exceeded the goal for advancing equity in this program,” Brown said. \u003c/p>\n\u003cfigure id=\"attachment_13836668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-800x450.jpg\" alt=\"Students help paint a mural near the ASCEND School in Oakland.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13836668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students help paint a mural near the ASCEND School in Oakland. \u003ccite>(Courtesy of OakDOT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paint The Town is currently in its pilot phase, but Brown says it’s proven to be quite successful. Local groups have painted \u003ca href=\"https://hoodline.com/2018/06/street-art-deal-oakland-dot-rolls-out-beautification-program\" rel=\"noopener\" target=\"_blank\">four murals since May\u003c/a>—the most recent a giant hummingbird on 25th Street, between Telegraph and Northgate Avenues.\u003c/p>\n\u003cp>Brown says the mural events are much like block parties, with the bonus of providing “an activity where people have to work together to accomplish something.” She attended the first mural painting at Dashwood and Arthur in East Oakland, and said that the event was a joyous occasion where participants and visitors alike expressed pride in the resulting art work. “Some people even got out of their cars to take pictures,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s the best part about Paint The Town: it’s something that seems really simple and relatively cheap but it has this huge, positive ripple effect,” Brown added. “A street doesn’t just have to be gray asphalt that cars are speeding through; it can be a canvas for people to showcase their neighborhood pride and their uniqueness. They can help foster a sense of ownership.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, the Oakland Department of Transportation (OakDOT) is bringing neighborhoods together to beautify their streets as part of a new program called “\u003ca href=\"https://www.oaklandca.gov/services/dot/paint-the-town\" rel=\"noopener\" target=\"_blank\">Paint The Town\u003c/a>.”\u003c/p>\n\u003cp>The program, which began in May of this year, supplies permission and resources to artists who want to paint temporary murals on Oakland streets. The OakDOT started Paint the Town with the intention of giving local residents a sense of ownership in their neighborhoods, especially in under-resourced areas. \u003c/p>\n\u003cp>“Paint the Town is the first step in re-imagining what our streets are and what they can be,” OakDOT transportation planner Lily Brown said. \u003c/p>\n\u003cfigure id=\"attachment_13836047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-800x450.jpg\" alt=\"Overhead shot of a new mural in Oakland, at Herman and Ayala Streets.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13836047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Overhead shot of a new mural in Oakland, at Herman and Ayala Streets. \u003ccite>(Courtesy of Oakland DOT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paint The Town came about from the results of the city’s 2017 \u003ca href=\"https://medium.com/@Oakland/transforming-oaklands-streets-into-public-space-b6ecb3fe7304\" rel=\"noopener\" target=\"_blank\">Request for Community Interest\u003c/a> survey. The 130 respondents said they wanted the city to use its resources to turn streets and crosswalks into works of art. \u003c/p>\n\u003cp>“Transforming a busy street doesn’t always need complicated plans or millions of dollars. There is real potential for Oaklanders to create playful and artistic public spaces,” the OakDOT report stated. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a call for submissions last winter, the city approved 30 mural applications. Each winner receives a $300 gift card for paint, plus liability insurance for the street closure. For seven winners, the Oakland Fund for Public Innovation pays for all materials and even assists with day-of logistics. \u003c/p>\n\u003cp>Of the 42 applications it received, the city focused on approving applications for projects in disadvantaged areas. For every one mural approved in a census tract with a low level of disadvantage, the city wanted two in high-to-medium disadvantaged areas. In the end, the city surpassed its intended 2-to-1 ratio, approving 27 projects in high-to-medium neighborhoods and three in areas of low disadvantage.\u003c/p>\n\u003cp>“We exceeded the goal for advancing equity in this program,” Brown said. \u003c/p>\n\u003cfigure id=\"attachment_13836668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-800x450.jpg\" alt=\"Students help paint a mural near the ASCEND School in Oakland.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13836668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students help paint a mural near the ASCEND School in Oakland. \u003ccite>(Courtesy of OakDOT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paint The Town is currently in its pilot phase, but Brown says it’s proven to be quite successful. Local groups have painted \u003ca href=\"https://hoodline.com/2018/06/street-art-deal-oakland-dot-rolls-out-beautification-program\" rel=\"noopener\" target=\"_blank\">four murals since May\u003c/a>—the most recent a giant hummingbird on 25th Street, between Telegraph and Northgate Avenues.\u003c/p>\n\u003cp>Brown says the mural events are much like block parties, with the bonus of providing “an activity where people have to work together to accomplish something.” She attended the first mural painting at Dashwood and Arthur in East Oakland, and said that the event was a joyous occasion where participants and visitors alike expressed pride in the resulting art work. “Some people even got out of their cars to take pictures,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s the best part about Paint The Town: it’s something that seems really simple and relatively cheap but it has this huge, positive ripple effect,” Brown added. “A street doesn’t just have to be gray asphalt that cars are speeding through; it can be a canvas for people to showcase their neighborhood pride and their uniqueness. They can help foster a sense of ownership.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You’ve got one more week to check out \u003ci>\u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions/\" target=\"_blank\" rel=\"noopener\">Guns: Loaded Conversations \u003c/a>\u003c/i>at the San Jose Museum of Quilts and Textiles. So go!\u003c/p>\n\u003cp>Few issues are so polarizing politically, but as the number of mass shootings mount, artists across the country are taking to their studios to comment, persuade and provoke.\u003c/p>\n\u003cp>“I had to use my platform as a curator,” says Amy DiPlacido, who says one of her first priorities upon getting the job in San Jose was to do something in response to the shootings at Pulse, a nightclub in Orlando, Florida, which \u003ca href=\"http://www.orlandosentinel.com/news/breaking-news/os-updates-shooting-at-pulse-nightclub-20160612-htmlstory.html\" target=\"_blank\" rel=\"noopener\">left 49 dead and 53 wounded\u003c/a> in 2016. But really, take your pick from a host of mass shootings before and after that.\u003c/p>\n\u003cp>DiPlacido collaborated with the nonprofit \u003ca href=\"http://www.saqa.com/memberArt-full.php?ID=3617\">Studio Art Quilt Associates\u003c/a>, adding local, Bay Area contributions to this international traveling exhibition addressing gun violence. The result is a comprehensive survey of emotion and politics in more than 40 works of textile art.\u003c/p>\n\u003cp>Most people think of quilts as folksy bed linens, but textile art has been political from the get-go. Think of Betsy Ross. Quilts were sold in the early 19th century to raise funds for the abolitionist movement. More recently, gay rights activist \u003ca href=\"https://www.kqed.org/arts/12827647/cleve-jones-on-when-we-rise-and-the-power-of-activism\">Cleve Jones\u003c/a> conceived of the AIDS Memorial Quilt in the mid-1980s.\u003c/p>\n\u003cfigure id=\"attachment_13836676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-800x665.jpg\" alt=\"“Nothing Much Happened Today (for Eric and Dylan),” 2009 by Noelle Mason. \" width=\"800\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-800x665.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-768x638.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-1200x997.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-1180x980.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-960x798.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-520x432.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Nothing Much Happened Today (for Eric and Dylan),” 2009 by Noelle Mason. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to pick which piece is most affecting. For me, it might be \u003ca href=\"https://noellemason.com/home.html\" target=\"_blank\" rel=\"noopener\">Noelle Mason\u003c/a>‘s “Nothing Much Happened Today (for Eric and Dylan),” a landscape-sized cross-stitch embroidery version of a still from security footage of the \u003ca href=\"https://en.wikipedia.org/wiki/Columbine_High_School_massacre\" target=\"_blank\" rel=\"noopener\">Columbine High School Massacre\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It might be the disjuncture between this sedate art form, usually found on throw pillows and comfy beds, and the implied violence of the image — not to mention our memories of it. There’s no violence happening in the image itself, but I know the story, and so my throat clutches. The hair on the back of my neck rises.\u003c/p>\n\u003cp>I had a similar reaction to a real revolver covered in crochet, by the East Bay artist \u003ca href=\"https://www.modestocovarrubias.com/\" target=\"_blank\" rel=\"noopener\">Modesto Covarrubias\u003c/a>. He’s done this thing a number of times with guns and grenades.\u003c/p>\n\u003cp>DiPlacido says, “You have something very hard underneath, which is the gun. And then you have this kind of soft embrace of textures over this piece, so it doesn’t look so threatening anymore.”\u003c/p>\n\u003cp>This textile art may not be threatening, but it’s provocative.\u003c/p>\n\u003cfigure id=\"attachment_13836677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-800x450.jpg\" alt='\"(The Value of) Happiness, (Silver I)\" 2018 by Modesto Covarrubias. Part of an ongoing series of cozy-covered weapons.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“(The Value of) Happiness, (Silver I)” 2018 by Modesto Covarrubias. Part of an ongoing series of cozy-covered weapons. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not all the art is anti-gun, but most of it is. Or to be fair, the art is anti-gun violence. “Honestly, there have been a couple of people who didn’t like what we were presenting,” acknowledges DiPlacido. “If that’s happening, then you’re doing something right. You have a fruitful conversation happening,” she says.\u003c/p>\n\u003cp>The museum is also featuring a parallel exhibition by the Bay Area’s \u003ca href=\"http://www.sjsacademy.com\" target=\"_blank\" rel=\"noopener\">Social Justice Sewing Academy\u003c/a>, featuring cross-stitch and quilting by young people around the Bay Area whose work focuses on social justice issues.\u003c/p>\n\u003cp>\u003ca href=\"https://jewelrytoolery.wordpress.com\" target=\"_blank\" rel=\"noopener\">Angela Gleason\u003c/a> of Santa Cruz came up to San Jose to see this exhibition. She’s a jeweler and she makes necklaces that bear the names of people shot in America. “I’m especially moved by the pieces that were made by children and by people incarcerated in the Bay Area. That’s pretty powerful stuff.”\u003c/p>\n\u003cp>It’s not a given that the people who visit are all of one political opinion, either walking in or walking out. At the entrance, everyone is given a spent shell casing to cast a vote on whether gun control laws should be tighter — or not. One week out from the show’s close, the leading choice by far is: “Civilians should only own firearms for hunting and shooting sports.” A distant second: “Only the military and law enforcement.”\u003c/p>\n\u003cfigure id=\"attachment_13836678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-800x600.jpg\" alt='\"Mending Gold: When Will It Be Enough?\" 2017 by Brooke Harris-Stevens. Each thread anchored into the brass casings signifies the number of mass shootings in an American city.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Mending Gold: When Will It Be Enough?” 2017 by Brooke Harris-Stevens. Each thread anchored into the brass casings signifies the number of mass shootings in an American city. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To close out the show, the museum will host a talk led by Stanford law Prof. John J. Donohue called “Bang! Bang! Discussing America’s Second Amendment,” on July 15.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“\u003ci>Guns: Loaded Conversations” runs through July 15 at the San Jose Museum of Quilts and Textiles. For more information, click \u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve got one more week to check out \u003ci>\u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions/\" target=\"_blank\" rel=\"noopener\">Guns: Loaded Conversations \u003c/a>\u003c/i>at the San Jose Museum of Quilts and Textiles. So go!\u003c/p>\n\u003cp>Few issues are so polarizing politically, but as the number of mass shootings mount, artists across the country are taking to their studios to comment, persuade and provoke.\u003c/p>\n\u003cp>“I had to use my platform as a curator,” says Amy DiPlacido, who says one of her first priorities upon getting the job in San Jose was to do something in response to the shootings at Pulse, a nightclub in Orlando, Florida, which \u003ca href=\"http://www.orlandosentinel.com/news/breaking-news/os-updates-shooting-at-pulse-nightclub-20160612-htmlstory.html\" target=\"_blank\" rel=\"noopener\">left 49 dead and 53 wounded\u003c/a> in 2016. But really, take your pick from a host of mass shootings before and after that.\u003c/p>\n\u003cp>DiPlacido collaborated with the nonprofit \u003ca href=\"http://www.saqa.com/memberArt-full.php?ID=3617\">Studio Art Quilt Associates\u003c/a>, adding local, Bay Area contributions to this international traveling exhibition addressing gun violence. The result is a comprehensive survey of emotion and politics in more than 40 works of textile art.\u003c/p>\n\u003cp>Most people think of quilts as folksy bed linens, but textile art has been political from the get-go. Think of Betsy Ross. Quilts were sold in the early 19th century to raise funds for the abolitionist movement. More recently, gay rights activist \u003ca href=\"https://www.kqed.org/arts/12827647/cleve-jones-on-when-we-rise-and-the-power-of-activism\">Cleve Jones\u003c/a> conceived of the AIDS Memorial Quilt in the mid-1980s.\u003c/p>\n\u003cfigure id=\"attachment_13836676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-800x665.jpg\" alt=\"“Nothing Much Happened Today (for Eric and Dylan),” 2009 by Noelle Mason. \" width=\"800\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-800x665.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-768x638.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-1200x997.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-1180x980.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-960x798.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31734_Photo-Jul-06-11-26-19-AM-qut-520x432.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Nothing Much Happened Today (for Eric and Dylan),” 2009 by Noelle Mason. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to pick which piece is most affecting. For me, it might be \u003ca href=\"https://noellemason.com/home.html\" target=\"_blank\" rel=\"noopener\">Noelle Mason\u003c/a>‘s “Nothing Much Happened Today (for Eric and Dylan),” a landscape-sized cross-stitch embroidery version of a still from security footage of the \u003ca href=\"https://en.wikipedia.org/wiki/Columbine_High_School_massacre\" target=\"_blank\" rel=\"noopener\">Columbine High School Massacre\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It might be the disjuncture between this sedate art form, usually found on throw pillows and comfy beds, and the implied violence of the image — not to mention our memories of it. There’s no violence happening in the image itself, but I know the story, and so my throat clutches. The hair on the back of my neck rises.\u003c/p>\n\u003cp>I had a similar reaction to a real revolver covered in crochet, by the East Bay artist \u003ca href=\"https://www.modestocovarrubias.com/\" target=\"_blank\" rel=\"noopener\">Modesto Covarrubias\u003c/a>. He’s done this thing a number of times with guns and grenades.\u003c/p>\n\u003cp>DiPlacido says, “You have something very hard underneath, which is the gun. And then you have this kind of soft embrace of textures over this piece, so it doesn’t look so threatening anymore.”\u003c/p>\n\u003cp>This textile art may not be threatening, but it’s provocative.\u003c/p>\n\u003cfigure id=\"attachment_13836677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-800x450.jpg\" alt='\"(The Value of) Happiness, (Silver I)\" 2018 by Modesto Covarrubias. Part of an ongoing series of cozy-covered weapons.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31735_Photo-Jul-06-11-29-30-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“(The Value of) Happiness, (Silver I)” 2018 by Modesto Covarrubias. Part of an ongoing series of cozy-covered weapons. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not all the art is anti-gun, but most of it is. Or to be fair, the art is anti-gun violence. “Honestly, there have been a couple of people who didn’t like what we were presenting,” acknowledges DiPlacido. “If that’s happening, then you’re doing something right. You have a fruitful conversation happening,” she says.\u003c/p>\n\u003cp>The museum is also featuring a parallel exhibition by the Bay Area’s \u003ca href=\"http://www.sjsacademy.com\" target=\"_blank\" rel=\"noopener\">Social Justice Sewing Academy\u003c/a>, featuring cross-stitch and quilting by young people around the Bay Area whose work focuses on social justice issues.\u003c/p>\n\u003cp>\u003ca href=\"https://jewelrytoolery.wordpress.com\" target=\"_blank\" rel=\"noopener\">Angela Gleason\u003c/a> of Santa Cruz came up to San Jose to see this exhibition. She’s a jeweler and she makes necklaces that bear the names of people shot in America. “I’m especially moved by the pieces that were made by children and by people incarcerated in the Bay Area. That’s pretty powerful stuff.”\u003c/p>\n\u003cp>It’s not a given that the people who visit are all of one political opinion, either walking in or walking out. At the entrance, everyone is given a spent shell casing to cast a vote on whether gun control laws should be tighter — or not. One week out from the show’s close, the leading choice by far is: “Civilians should only own firearms for hunting and shooting sports.” A distant second: “Only the military and law enforcement.”\u003c/p>\n\u003cfigure id=\"attachment_13836678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-800x600.jpg\" alt='\"Mending Gold: When Will It Be Enough?\" 2017 by Brooke Harris-Stevens. Each thread anchored into the brass casings signifies the number of mass shootings in an American city.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31737_Photo-Jul-06-11-26-59-AM-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Mending Gold: When Will It Be Enough?” 2017 by Brooke Harris-Stevens. Each thread anchored into the brass casings signifies the number of mass shootings in an American city. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To close out the show, the museum will host a talk led by Stanford law Prof. John J. Donohue called “Bang! Bang! Discussing America’s Second Amendment,” on July 15.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“\u003ci>Guns: Loaded Conversations” runs through July 15 at the San Jose Museum of Quilts and Textiles. For more information, click \u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 9
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"id": "fresh-air",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"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>",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
"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.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
"link": "/podcasts/onourwatch",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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