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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15045892/elvis-costello\" target=\"_blank\" rel=\"noopener\">Elvis Costello\u003c/a> has canceled his remaining European tour dates through July 16 to recover from surgery of an “aggressive cancerous malignancy,” according to a \u003ca href=\"https://www.elviscostello.com/#!/news/297540\">statement\u003c/a> on his website.\u003c/p>\n\u003cp>The 63-year-old’s cancer was defeated six weeks ago after surgery, according to the statement, and Costello was “elated and relieved” the European tour would be able to continue. Last week Costello initially \u003ca href=\"https://www.elviscostello.com/#!/news/297522\" target=\"_blank\" rel=\"noopener\">canceled two dates \u003c/a>for medical reasons after “some surgery.”\u003c/p>\n\u003cp>At that time, the announcement did not specifically name the diagnosis, but in the new statement Costello suggests it was a cancer affecting primarily men: “Gentleman, do talk to your friends — you’ll find you are not alone — seek your doctor’s advice if you are in doubt.”\u003c/p>\n\u003cp>Costello was advised it would take three to four weeks to recover from the surgery. But the singer says, “it was impossible to judge how this advisory would line up with the demands on a traveling musician, playing 90-minute to 2-hour plus performances. I was almost fooled into thinking that normal service had been resumed.”\u003c/p>\n\u003cp>Six dates in the United Kingdom, Croatia, Austria, Norway and Sweden were canceled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Costello still has a \u003ca href=\"https://www.elviscostello.com/#!/news/297505\" target=\"_blank\" rel=\"noopener\">tour slated for November and December\u003c/a>, which will promote a new Elvis Costello & The Imposters’ album, which is planned for release in October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We will return at the soonest opportunity to play that music, and your favourite songs that still make sense to us all,” Costello says. \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=Elvis+Costello+Cancels+European+Tour+Dates+To+Recover+From+Cancer+Surgery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15045892/elvis-costello\" target=\"_blank\" rel=\"noopener\">Elvis Costello\u003c/a> has canceled his remaining European tour dates through July 16 to recover from surgery of an “aggressive cancerous malignancy,” according to a \u003ca href=\"https://www.elviscostello.com/#!/news/297540\">statement\u003c/a> on his website.\u003c/p>\n\u003cp>The 63-year-old’s cancer was defeated six weeks ago after surgery, according to the statement, and Costello was “elated and relieved” the European tour would be able to continue. Last week Costello initially \u003ca href=\"https://www.elviscostello.com/#!/news/297522\" target=\"_blank\" rel=\"noopener\">canceled two dates \u003c/a>for medical reasons after “some surgery.”\u003c/p>\n\u003cp>At that time, the announcement did not specifically name the diagnosis, but in the new statement Costello suggests it was a cancer affecting primarily men: “Gentleman, do talk to your friends — you’ll find you are not alone — seek your doctor’s advice if you are in doubt.”\u003c/p>\n\u003cp>Costello was advised it would take three to four weeks to recover from the surgery. But the singer says, “it was impossible to judge how this advisory would line up with the demands on a traveling musician, playing 90-minute to 2-hour plus performances. I was almost fooled into thinking that normal service had been resumed.”\u003c/p>\n\u003cp>Six dates in the United Kingdom, Croatia, Austria, Norway and Sweden were canceled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Costello still has a \u003ca href=\"https://www.elviscostello.com/#!/news/297505\" target=\"_blank\" rel=\"noopener\">tour slated for November and December\u003c/a>, which will promote a new Elvis Costello & The Imposters’ album, which is planned for release in October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We will return at the soonest opportunity to play that music, and your favourite songs that still make sense to us all,” Costello says. \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=Elvis+Costello+Cancels+European+Tour+Dates+To+Recover+From+Cancer+Surgery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”[youtube https://www.youtube.com/watch?v=hQ1dkl1ul-s]No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:[youtube https://www.youtube.com/watch?v=tYHGj19RrF0]Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n",
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"excerpt": "Video streaming sites have no incentive to maintain archives of our collective filmic history. But that doesn't mean it's not a thing we should have.",
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"title": "The Eradication of Memory on Netflix, Amazon and Other Streaming Video Sites | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”\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/hQ1dkl1ul-s'\n title='//www.youtube.com/embed/hQ1dkl1ul-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:\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/tYHGj19RrF0'\n title='//www.youtube.com/embed/tYHGj19RrF0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The “Trump Baby” blimp is nearly 20 feet tall, wearing nothing but a diaper and a grimace. A tuft of yellow hair tops his orange head. He is armed with a cellphone, ready to tweet.\u003c/p>\n\u003cp>And now he is nearly ready to fly over Parliament in London.\u003c/p>\n\u003cp>https://twitter.com/TrumpBabyUK/status/1014831369522999296\u003c/p>\n\u003cp>Mayor Sadiq Khan’s Greater London Authority has given activists permission to launch the bouncing behemoth from Parliament Square Garden on July 13, when President Trump is set to arrive in London for a three-day visit to the U.K.\u003c/p>\n\u003cp>“The Mayor supports the right to peaceful protest and understands that this can take many different forms. … However the organisers will also need to receive the necessary approvals from the Metropolitan Police and national air traffic service in order for it to fly,” a spokesperson for Khan tells NPR.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The blimp, which will be tethered to the ground, will be allowed to fly for two hours at a maximum height of about 100 feet, says organizer Leo Murray, who conceived of the idea of a Trump Baby blimp.\u003c/p>\n\u003cp>Another protest organizer, Max Wakefield, says the London authority initially objected to the idea.\u003c/p>\n\u003cp>“They just said, it’s not going to work, and that’s the end of it,” Wakefield says. But for the activists behind the blimp, that wasn’t the end of it at all.\u003c/p>\n\u003cp>They launched an online petition to “Let Trump Baby Fly,” garnering thousands of signatures and a fair amount of media attention.\u003c/p>\n\u003cp>Wakefield says, “Quite quickly after we managed to get some media interest, it didn’t take very long for this to blow up — excuse the pun.”\u003c/p>\n\u003cp>Organizers say they are still getting all the requisite approvals to fly the blimp. But in some ways, Wakefield says, they’ve already accomplished the goal of getting out their message.\u003c/p>\n\u003cp>“Behind all of the humor and the creativity is a really serious message for us,” Wakefield says. “This isn’t just about Trump, this is about the rise of far-right politics that dehumanizes people in order to get into power.” He mentioned the detention of immigrant children in the U.S. and Trump’s decision to pull out of the Paris climate agreement as among the reasons for the protest.\u003c/p>\n\u003cp>As for the method, Wakefield says: “The only way that you can make any impact with Donald Trump is to mock him, because you can’t engage him in any kind of argument — it never gets anywhere.”\u003c/p>\n\u003cp>“This is an attempt to introduce some good British humor into the political discourse surrounding Trump’s visit,” he says.\u003c/p>\n\u003cp>As NPR’s Laurel Wamsley \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567541702/trumps-retweets-of-extremist-group-cause-firestorm-in-uk\">reported last year\u003c/a>, “In January, Prime Minister Theresa May invited Trump for a state visit — an invitation that drew \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/01/30/512440720/dont-invite-trump-for-state-visit-say-more-than-1-million-in-u-k\">immediate criticism\u003c/a>. \u003ca href=\"https://petition.parliament.uk/archived/petitions/171928\">A petition\u003c/a> to prevent Trump from making an official state visit “because it would cause embarrassment to Her Majesty the Queen” drew nearly 2 million signatures and received parlimentary debate in February.\u003c/p>\n\u003cp>Khan has also been critical of a Trump visit, \u003ca href=\"https://twitter.com/SadiqKhan/status/936172776637026304\">tweeting\u003c/a> last fall that “it’s increasingly clear that any official visit from President Trump to Britain would not be welcomed.”\u003c/p>\n\u003cp>The July 13 airborne protest will coincide with a more traditional one on the ground: \u003ca href=\"https://www.facebook.com/events/144340712883728/\">a “Stop Trump” march\u003c/a> through central London.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \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=London+Mayor+Says+%27Trump+Baby%27+Blimp+Can+Fly+In+Protest+of+President+Trump%27s+Visit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Trump is scheduled to visit the U.K. next week. Mayor Sadiq Khan's office says activists who want to fly the 20-foot blimp still need to get approval from police and the national air traffic service.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Mayor Sadiq Khan’s Greater London Authority has given activists permission to launch the bouncing behemoth from Parliament Square Garden on July 13, when President Trump is set to arrive in London for a three-day visit to the U.K.\u003c/p>\n\u003cp>“The Mayor supports the right to peaceful protest and understands that this can take many different forms. … However the organisers will also need to receive the necessary approvals from the Metropolitan Police and national air traffic service in order for it to fly,” a spokesperson for Khan tells NPR.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The blimp, which will be tethered to the ground, will be allowed to fly for two hours at a maximum height of about 100 feet, says organizer Leo Murray, who conceived of the idea of a Trump Baby blimp.\u003c/p>\n\u003cp>Another protest organizer, Max Wakefield, says the London authority initially objected to the idea.\u003c/p>\n\u003cp>“They just said, it’s not going to work, and that’s the end of it,” Wakefield says. But for the activists behind the blimp, that wasn’t the end of it at all.\u003c/p>\n\u003cp>They launched an online petition to “Let Trump Baby Fly,” garnering thousands of signatures and a fair amount of media attention.\u003c/p>\n\u003cp>Wakefield says, “Quite quickly after we managed to get some media interest, it didn’t take very long for this to blow up — excuse the pun.”\u003c/p>\n\u003cp>Organizers say they are still getting all the requisite approvals to fly the blimp. But in some ways, Wakefield says, they’ve already accomplished the goal of getting out their message.\u003c/p>\n\u003cp>“Behind all of the humor and the creativity is a really serious message for us,” Wakefield says. “This isn’t just about Trump, this is about the rise of far-right politics that dehumanizes people in order to get into power.” He mentioned the detention of immigrant children in the U.S. and Trump’s decision to pull out of the Paris climate agreement as among the reasons for the protest.\u003c/p>\n\u003cp>As for the method, Wakefield says: “The only way that you can make any impact with Donald Trump is to mock him, because you can’t engage him in any kind of argument — it never gets anywhere.”\u003c/p>\n\u003cp>“This is an attempt to introduce some good British humor into the political discourse surrounding Trump’s visit,” he says.\u003c/p>\n\u003cp>As NPR’s Laurel Wamsley \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567541702/trumps-retweets-of-extremist-group-cause-firestorm-in-uk\">reported last year\u003c/a>, “In January, Prime Minister Theresa May invited Trump for a state visit — an invitation that drew \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/01/30/512440720/dont-invite-trump-for-state-visit-say-more-than-1-million-in-u-k\">immediate criticism\u003c/a>. \u003ca href=\"https://petition.parliament.uk/archived/petitions/171928\">A petition\u003c/a> to prevent Trump from making an official state visit “because it would cause embarrassment to Her Majesty the Queen” drew nearly 2 million signatures and received parlimentary debate in February.\u003c/p>\n\u003cp>Khan has also been critical of a Trump visit, \u003ca href=\"https://twitter.com/SadiqKhan/status/936172776637026304\">tweeting\u003c/a> last fall that “it’s increasingly clear that any official visit from President Trump to Britain would not be welcomed.”\u003c/p>\n\u003cp>The July 13 airborne protest will coincide with a more traditional one on the ground: \u003ca href=\"https://www.facebook.com/events/144340712883728/\">a “Stop Trump” march\u003c/a> through central London.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \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=London+Mayor+Says+%27Trump+Baby%27+Blimp+Can+Fly+In+Protest+of+President+Trump%27s+Visit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Moog Says Chinese Tariffs May Force A Move Overseas",
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"content": "\u003cp>Moog, the legendary synthesizer designer and manufacturer based in North Carolina, is the latest American company to sound an alarm over increased operation costs.\u003c/p>\n\u003cp>The next round of tariffs \u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">on Chinese \u003c/a>\u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">products\u003c/a> are scheduled to kick in on Friday on about $34 billion worth of goods imported from China. In return, China said it will impose tariffs on $34 billion worth of U.S. products.\u003c/p>\n\u003cp>As a result, Moog has urged customers to contact North Carolina’s Republican lawmakers Reps. Mark Meadows and Patrick McHenry, and Sens. Richard Burr and Thom Tillis, in \u003ca href=\"https://us2.campaign-archive.com/?e=&u=66ca69d70dceab5be9897856d&id=a2684e1453\" target=\"_blank\" rel=\"noopener\">an email\u003c/a> to its customers. The company warned that the tariffs “will immediately and drastically increase the cost of building our instruments, and have the very real potential of forcing us to lay off workers and could (in a worst case scenario) require us to move some, if not all, of our manufacturing overseas.”\u003c/p>\n\u003cp>The company came up with a template letter to North Carolina’s officials that it is asking customers to sign and send. In the template letter, Moog explains that it tries to make its circuit boards with U.S. suppliers when possible, sometimes paying up to 30 percent more than what it would cost to buy the same circuit boards overseas. Yet, even when Moog buys from domestic suppliers, most of the raw components still come from China. That’s why Moog is warning it can’t avoid “this substantial cost increase.”\u003c/p>\n\u003cp>None of the four lawmakers responded to a request for comment on Moog’s letter. Moog says it’s not commenting further.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moog Music was founded in 1967 as R.A. Moog, Inc. by its namesake, Robert Moog, an inventor and engineer who became indelibly linked to the electronic music his steady output of hardware during the last half of the 20th century helped facilitate. Moog was always a tinkerer first, however: “Musicians always come up with stuff I couldn’t imagine, using my instruments,” he \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\" target=\"_blank\" rel=\"noopener\">once said\u003c/a>.\u003c/p>\n\u003cp>In 2002 — decades after founding, selling and departing his company, which subsequently went bankrupt and ceased operations \u003ca href=\"https://gearpatrol.com/2015/07/07/history-of-moog-music-synthesizers/\" target=\"_blank\" rel=\"noopener\">in 1993\u003c/a> — Robert Moog \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\">regained\u003c/a> the right to use his name, which he immediately did, renaming his Asheville, N.C.-based company, Big Briar. Moog died three years later.\u003c/p>\n\u003cp>Three years ago, its CEO, Mike Adams, announced that he was selling part of the company \u003ca href=\"https://www.nytimes.com/2015/06/11/arts/music/moog-music-gives-employees-more-control.html?_r=3\" target=\"_blank\" rel=\"noopener\">to its employees\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moog isn’t the only American company to be affected by recent changes in international trade. On June 25, the iconic American motorcycle manufacturer Harley-Davidson \u003ca href=\"https://www.npr.org/2018/06/25/623140949/casualty-of-trade-tensions-harley-davidson-shifting-more-production-overseas\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it was considering shifting some of its own production overseas in response to tariffs on American goods that the European Union is implementing, which are coming in response to the tariffs President Trump placed on European goods. \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=Moog+Says+Chinese+Tariffs+May+Force+A+Move+Overseas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moog, the legendary synthesizer designer and manufacturer based in North Carolina, is the latest American company to sound an alarm over increased operation costs.\u003c/p>\n\u003cp>The next round of tariffs \u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">on Chinese \u003c/a>\u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">products\u003c/a> are scheduled to kick in on Friday on about $34 billion worth of goods imported from China. In return, China said it will impose tariffs on $34 billion worth of U.S. products.\u003c/p>\n\u003cp>As a result, Moog has urged customers to contact North Carolina’s Republican lawmakers Reps. Mark Meadows and Patrick McHenry, and Sens. Richard Burr and Thom Tillis, in \u003ca href=\"https://us2.campaign-archive.com/?e=&u=66ca69d70dceab5be9897856d&id=a2684e1453\" target=\"_blank\" rel=\"noopener\">an email\u003c/a> to its customers. The company warned that the tariffs “will immediately and drastically increase the cost of building our instruments, and have the very real potential of forcing us to lay off workers and could (in a worst case scenario) require us to move some, if not all, of our manufacturing overseas.”\u003c/p>\n\u003cp>The company came up with a template letter to North Carolina’s officials that it is asking customers to sign and send. In the template letter, Moog explains that it tries to make its circuit boards with U.S. suppliers when possible, sometimes paying up to 30 percent more than what it would cost to buy the same circuit boards overseas. Yet, even when Moog buys from domestic suppliers, most of the raw components still come from China. That’s why Moog is warning it can’t avoid “this substantial cost increase.”\u003c/p>\n\u003cp>None of the four lawmakers responded to a request for comment on Moog’s letter. Moog says it’s not commenting further.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moog Music was founded in 1967 as R.A. Moog, Inc. by its namesake, Robert Moog, an inventor and engineer who became indelibly linked to the electronic music his steady output of hardware during the last half of the 20th century helped facilitate. Moog was always a tinkerer first, however: “Musicians always come up with stuff I couldn’t imagine, using my instruments,” he \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\" target=\"_blank\" rel=\"noopener\">once said\u003c/a>.\u003c/p>\n\u003cp>In 2002 — decades after founding, selling and departing his company, which subsequently went bankrupt and ceased operations \u003ca href=\"https://gearpatrol.com/2015/07/07/history-of-moog-music-synthesizers/\" target=\"_blank\" rel=\"noopener\">in 1993\u003c/a> — Robert Moog \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\">regained\u003c/a> the right to use his name, which he immediately did, renaming his Asheville, N.C.-based company, Big Briar. Moog died three years later.\u003c/p>\n\u003cp>Three years ago, its CEO, Mike Adams, announced that he was selling part of the company \u003ca href=\"https://www.nytimes.com/2015/06/11/arts/music/moog-music-gives-employees-more-control.html?_r=3\" target=\"_blank\" rel=\"noopener\">to its employees\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moog isn’t the only American company to be affected by recent changes in international trade. On June 25, the iconic American motorcycle manufacturer Harley-Davidson \u003ca href=\"https://www.npr.org/2018/06/25/623140949/casualty-of-trade-tensions-harley-davidson-shifting-more-production-overseas\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it was considering shifting some of its own production overseas in response to tariffs on American goods that the European Union is implementing, which are coming in response to the tariffs President Trump placed on European goods. \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=Moog+Says+Chinese+Tariffs+May+Force+A+Move+Overseas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/16116923/richard-swift\" target=\"_blank\" rel=\"noopener\">Richard Swift\u003c/a>, a highly regarded producer and solo artist, died early Tuesday morning in Washington state. His death was confirmed by a manager, Adam Katz, but no cause of death was given. He was 41 years old.\u003c/p>\n\u003cp>A crowdfunding campaign was created last month on Swift’s behalf to help pay for treatment of a “life-threatening condition,” the details of which were not shared.\u003c/p>\n\u003cp>“We are thankful he burned as bright as he did,” a statement from Swift’s label, Secretly Canadian, reads, “and was as productive as he was, during his time with us. Swift belongs in the canon of urgent, raw American art — alongside his heroes like Walt Whitman, Bo Diddley, Captain Beefheart and Kerouac. Through his music, illustrations, photography and poetry, he created a complex, caustic and, more often than not, devastatingly funny personal language and mythology.”\u003c/p>\n\u003cp>Swift began self-releasing music in the early 2000s, first on his own, then\u003ca href=\"https://www.discogs.com/artist/434952-Richard-Swift\" target=\"_blank\" rel=\"noopener\"> through\u003c/a> smaller independent labels like Velvet Blue Music and Spunk Records. His work attracted the attention of Secretly Canadian Records, which released a compilation of his previous material, \u003cem>The Richard Swift Collection, Vol. 1\u003c/em>, in 2005. He went on to release three more solo albums for the label, \u003cem>Dressed Up for the Letdown (\u003c/em>2006), the double-EP \u003cem>Richard Swift As Onasis \u003c/em>(2008) and \u003cem>The Atlantic Ocean \u003c/em>(2009).\u003c/p>\n\u003cp>Besides working as both a collaborative and touring sideman for\u003ca href=\"https://www.npr.org/artists/14837976/the-shins\" target=\"_blank\" rel=\"noopener\"> The Shins\u003c/a>,\u003ca href=\"https://www.npr.org/artists/15193815/the-black-keys\" target=\"_blank\" rel=\"noopener\"> The Black Keys\u003c/a> and most recently, \u003ca href=\"https://www.npr.org/artists/412705517/the-arcs\" target=\"_blank\" rel=\"noopener\">The Arcs\u003c/a>, Swift was also an in-demand producer for a wide range of artists, most of whom recorded at his Cottage Grove, Ore., studio, National Freedom. They’ve included Kevin Morby, Foxygen, Damien Jurado and the well-received 2015 debut of \u003ca href=\"https://www.npr.org/sections/allsongs/2018/03/09/591883223/guest-dj-nathaniel-rateliff-the-night-sweats-hop-across-an-eclectic-playlist\" target=\"_blank\" rel=\"noopener\">Nathaniel Rateliff & The Night Sweats\u003c/a>, among\u003ca href=\"https://www.allmusic.com/artist/richard-swift-mn0000126287/credits\" target=\"_blank\" rel=\"noopener\"> many others\u003c/a>. Swift’s projects always tended towards warm, but garage-indebted, textures influenced by classic recordings from Sly & The Family Stone and The Beatles. The Black Keys’ Dan Auberach confirmed Swift’s death on\u003ca href=\"https://www.instagram.com/p/BkxX-H3BkNl/?hl=en&taken-by=easyeyesound\" target=\"_blank\" rel=\"noopener\"> Instagram\u003c/a>, writing, “Today the world lost one of the most talented musicians I know. He’s now with his mom and sister. I will miss you my friend.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Raised in rural Minnesota before relocating to Oregon as a teenager, Swift eventually landed in Southern California in 2001, hoping to further his artistic ambitions. “I wanted to make my dreams come true down in L.A., and they did,” he \u003ca href=\"https://tapeop.com/interviews/120/richard-swift/\" target=\"_blank\" rel=\"noopener\">told \u003cem>Tape Op\u003c/em>\u003c/a>\u003cem> \u003c/em>in 2017.\u003c/p>\n\u003cp>Swift leaves behind a wife, Shea, and three children.\u003c/p>\n\u003chr>\n\u003ch3>Select Richard Swift Productions\u003c/h3>\n\u003cul>\n\u003cli>Damien Jurado, \u003cem>Saint Bartlett\u003c/em> (2010)\u003c/li>\n\u003cli>The Mynabirds, \u003cem>What We Lose in the Fire We Gain in the Flood\u003c/em> (2010)\u003cem>\u003cbr>\u003c/em>\u003c/li>\n\u003cli>Laetitia Sadier, \u003cem>The Trip\u003c/em> (2010)\u003c/li>\n\u003cli>Foxygen, \u003cem>We Are the 21st Century Ambassadors of Peace & Magic\u003c/em> (2013)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Nathaniel Rateliff & The Night Sweats\u003c/em> (2015)\u003c/li>\n\u003cli>Damien Jurado, \u003cem>Visions Of Us On The Land\u003c/em> (2016)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>A Little Something More From\u003c/em> (2016)\u003c/li>\n\u003cli>Valerie June, \u003cem>The Order Of Time\u003c/em> (2017)\u003c/li>\n\u003cli>The Shins, \u003cem>Heartworms\u003c/em> (2017)\u003c/li>\n\u003cli>Kevin Morby, \u003cem>City Music\u003c/em> (2017)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Tearing At The Seams\u003c/em> (2018)\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Updated \u003c/strong>2:56 p.m. ET, Jul. 3 with a statement from Secretly Canadian.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Auser%3Anpr_music%3Aplaylist%3A3keKmXaZmCuPJ6hXIbyWak\" width=\"600\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\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=Richard+Swift%2C+Producer+Of+Indie+Stars+And+Solo+Artist%2C+Dies+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/16116923/richard-swift\" target=\"_blank\" rel=\"noopener\">Richard Swift\u003c/a>, a highly regarded producer and solo artist, died early Tuesday morning in Washington state. His death was confirmed by a manager, Adam Katz, but no cause of death was given. He was 41 years old.\u003c/p>\n\u003cp>A crowdfunding campaign was created last month on Swift’s behalf to help pay for treatment of a “life-threatening condition,” the details of which were not shared.\u003c/p>\n\u003cp>“We are thankful he burned as bright as he did,” a statement from Swift’s label, Secretly Canadian, reads, “and was as productive as he was, during his time with us. Swift belongs in the canon of urgent, raw American art — alongside his heroes like Walt Whitman, Bo Diddley, Captain Beefheart and Kerouac. Through his music, illustrations, photography and poetry, he created a complex, caustic and, more often than not, devastatingly funny personal language and mythology.”\u003c/p>\n\u003cp>Swift began self-releasing music in the early 2000s, first on his own, then\u003ca href=\"https://www.discogs.com/artist/434952-Richard-Swift\" target=\"_blank\" rel=\"noopener\"> through\u003c/a> smaller independent labels like Velvet Blue Music and Spunk Records. His work attracted the attention of Secretly Canadian Records, which released a compilation of his previous material, \u003cem>The Richard Swift Collection, Vol. 1\u003c/em>, in 2005. He went on to release three more solo albums for the label, \u003cem>Dressed Up for the Letdown (\u003c/em>2006), the double-EP \u003cem>Richard Swift As Onasis \u003c/em>(2008) and \u003cem>The Atlantic Ocean \u003c/em>(2009).\u003c/p>\n\u003cp>Besides working as both a collaborative and touring sideman for\u003ca href=\"https://www.npr.org/artists/14837976/the-shins\" target=\"_blank\" rel=\"noopener\"> The Shins\u003c/a>,\u003ca href=\"https://www.npr.org/artists/15193815/the-black-keys\" target=\"_blank\" rel=\"noopener\"> The Black Keys\u003c/a> and most recently, \u003ca href=\"https://www.npr.org/artists/412705517/the-arcs\" target=\"_blank\" rel=\"noopener\">The Arcs\u003c/a>, Swift was also an in-demand producer for a wide range of artists, most of whom recorded at his Cottage Grove, Ore., studio, National Freedom. They’ve included Kevin Morby, Foxygen, Damien Jurado and the well-received 2015 debut of \u003ca href=\"https://www.npr.org/sections/allsongs/2018/03/09/591883223/guest-dj-nathaniel-rateliff-the-night-sweats-hop-across-an-eclectic-playlist\" target=\"_blank\" rel=\"noopener\">Nathaniel Rateliff & The Night Sweats\u003c/a>, among\u003ca href=\"https://www.allmusic.com/artist/richard-swift-mn0000126287/credits\" target=\"_blank\" rel=\"noopener\"> many others\u003c/a>. Swift’s projects always tended towards warm, but garage-indebted, textures influenced by classic recordings from Sly & The Family Stone and The Beatles. The Black Keys’ Dan Auberach confirmed Swift’s death on\u003ca href=\"https://www.instagram.com/p/BkxX-H3BkNl/?hl=en&taken-by=easyeyesound\" target=\"_blank\" rel=\"noopener\"> Instagram\u003c/a>, writing, “Today the world lost one of the most talented musicians I know. He’s now with his mom and sister. I will miss you my friend.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Raised in rural Minnesota before relocating to Oregon as a teenager, Swift eventually landed in Southern California in 2001, hoping to further his artistic ambitions. “I wanted to make my dreams come true down in L.A., and they did,” he \u003ca href=\"https://tapeop.com/interviews/120/richard-swift/\" target=\"_blank\" rel=\"noopener\">told \u003cem>Tape Op\u003c/em>\u003c/a>\u003cem> \u003c/em>in 2017.\u003c/p>\n\u003cp>Swift leaves behind a wife, Shea, and three children.\u003c/p>\n\u003chr>\n\u003ch3>Select Richard Swift Productions\u003c/h3>\n\u003cul>\n\u003cli>Damien Jurado, \u003cem>Saint Bartlett\u003c/em> (2010)\u003c/li>\n\u003cli>The Mynabirds, \u003cem>What We Lose in the Fire We Gain in the Flood\u003c/em> (2010)\u003cem>\u003cbr>\u003c/em>\u003c/li>\n\u003cli>Laetitia Sadier, \u003cem>The Trip\u003c/em> (2010)\u003c/li>\n\u003cli>Foxygen, \u003cem>We Are the 21st Century Ambassadors of Peace & Magic\u003c/em> (2013)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Nathaniel Rateliff & The Night Sweats\u003c/em> (2015)\u003c/li>\n\u003cli>Damien Jurado, \u003cem>Visions Of Us On The Land\u003c/em> (2016)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>A Little Something More From\u003c/em> (2016)\u003c/li>\n\u003cli>Valerie June, \u003cem>The Order Of Time\u003c/em> (2017)\u003c/li>\n\u003cli>The Shins, \u003cem>Heartworms\u003c/em> (2017)\u003c/li>\n\u003cli>Kevin Morby, \u003cem>City Music\u003c/em> (2017)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Tearing At The Seams\u003c/em> (2018)\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Updated \u003c/strong>2:56 p.m. ET, Jul. 3 with a statement from Secretly Canadian.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Auser%3Anpr_music%3Aplaylist%3A3keKmXaZmCuPJ6hXIbyWak\" width=\"600\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\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=Richard+Swift%2C+Producer+Of+Indie+Stars+And+Solo+Artist%2C+Dies+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Orleans Pianist Henry Butler Dead at 69",
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"content": "\u003cp>Henry Butler, a pianist, singer and cornerstone of the New Orleans sound, died of cancer Monday morning in the Bronx, New York. His death was confirmed by his agent, Maurice Montoya. Butler was 69 years old.\u003c/p>\n\u003cp>Born Sept. 21, 1948 in New Orleans, La., Butler was a prime force in the city’s piano tradition — gifted with an exuberant touch and a keen, razor-sharp musicality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=30&v=cRMfiAjKcfQ\u003c/p>\n\u003cp>Blind since birth, Butler grew up in the city’s Calliope Projects, and taught himself piano by ear. He went on to study classical music at the Louisiana State School for the Blind, where he memorized scores written in Braille and at Southern University, he majored in voice and minored in piano. He also studied with such exemplars of New Orleans piano as Professor Longhair and James Booker. \u003c/p>\n\u003cp>Musically, Butler was the heir to his birth city’s vital piano tradition, and he passed that tradition along. He taught across the United States and developed a summer \u003ca href=\"https://itvs.org/films/musics-gonna-get-you-through\">camp\u003c/a> for visually impaired teenage musicians. That program was depicted in a documentary film that aired on PBS stations in 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CI4qfIYKipA\u003c/p>\n\u003cp>Away from the piano, Butler was an enthusiastic photographer — shooting images of scenes described by friends — and pursued that passion for more than three decades, exhibiting his work around the world.\u003c/p>\n\u003cp>Butler’s piano and music collection, along with much of his other possessions, were ruined during Hurricane Katrina. He left his beloved city, and eventually resettled in Brooklyn. But home, in his heart and under his fingers, was always New Orleans.\u003c/p>\n\u003cp>Butler was diagnosed with advanced-stage cancer last year. All through his illness, however, he kept playing: This May and June, he performed in Beijing, Melbourne and New York, with tour dates scheduled in France and Vienna for later this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“His approach was, ‘I’m going to keep playing until this thing overtakes me,'” his agent, Maurice Montoya, tells NPR. “He was committed to the band, and to the music, and advocating for the art form. That’s who Henry is.” \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=New+Orleans+Pianist+Henry+Butler+Dead+At+69&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Henry Butler, a pianist, singer and cornerstone of the New Orleans sound, died of cancer Monday morning in the Bronx, New York. His death was confirmed by his agent, Maurice Montoya. Butler was 69 years old.\u003c/p>\n\u003cp>Born Sept. 21, 1948 in New Orleans, La., Butler was a prime force in the city’s piano tradition — gifted with an exuberant touch and a keen, razor-sharp musicality.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cRMfiAjKcfQ'\n title='//www.youtube.com/embed/cRMfiAjKcfQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blind since birth, Butler grew up in the city’s Calliope Projects, and taught himself piano by ear. He went on to study classical music at the Louisiana State School for the Blind, where he memorized scores written in Braille and at Southern University, he majored in voice and minored in piano. He also studied with such exemplars of New Orleans piano as Professor Longhair and James Booker. \u003c/p>\n\u003cp>Musically, Butler was the heir to his birth city’s vital piano tradition, and he passed that tradition along. He taught across the United States and developed a summer \u003ca href=\"https://itvs.org/films/musics-gonna-get-you-through\">camp\u003c/a> for visually impaired teenage musicians. That program was depicted in a documentary film that aired on PBS stations in 2010.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nile Rodgers, co-founder of the band Chic and a widely hailed producer, songwriter and guitarist, is adding one more feather to his ever-present cap: On Monday, the Songwriters Hall of Fame \u003ca href=\"https://www.songhall.org/news/view/nile_rodgers_elected_chairman_of_songwriters_hall_of_fame\">announced\u003c/a> that Rodgers has been named as its new chairman for a three-year term. He follows Philadelphia soul legends Kenneth Gamble and Leon Huff, who previously served as co-chairs.\u003c/p>\n\u003cp>In a statement, Rodgers said, “I will try and serve with all my heart. I hope I can make you half as proud of me as I am to even sit in the room with you who’ve done so much for the furtherance of composition.”\u003c/p>\n\u003cp>The Hall of Fame’s president and CEO, Linda Moran, noted in the same statement that Rodger’s broad experience made him an appealing candidate. “Nile is respected and admired by his fans and his peers alike for his multi/cross-genre music and for being a musical pioneer. More importantly, Nile’s eloquence in talking about songwriting and its process makes him the ideal voice for the songwriting community as chairman of the SHOF.”\u003c/p>\n\u003cp>Rodgers was himself inducted to the Songwriters Hall of Fame in 2016, and to the Rock & Roll Hall of Fame in 2017. Chic will be releasing its first new album in 25 years, \u003cem>It’s About Time\u003c/em>, on September 14.\u003c/p>\n\u003cp>In 2017, the organization \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/16/533200940/barack-obama-honors-jay-z-at-songwriters-hall-of-fame-gala\">inducted Jay-Z\u003c/a>, the first rapper to be recognized by the Hall. “I’m pretty sure I’m still the only President to listen to Jay-Z’s music in the Oval Office,” former President Barack Obama said in a pre-taped address. \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=Nile+Rodgers+Named+Chairman+Of+Songwriters%27+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nile Rodgers, co-founder of the band Chic and a widely hailed producer, songwriter and guitarist, is adding one more feather to his ever-present cap: On Monday, the Songwriters Hall of Fame \u003ca href=\"https://www.songhall.org/news/view/nile_rodgers_elected_chairman_of_songwriters_hall_of_fame\">announced\u003c/a> that Rodgers has been named as its new chairman for a three-year term. He follows Philadelphia soul legends Kenneth Gamble and Leon Huff, who previously served as co-chairs.\u003c/p>\n\u003cp>In a statement, Rodgers said, “I will try and serve with all my heart. I hope I can make you half as proud of me as I am to even sit in the room with you who’ve done so much for the furtherance of composition.”\u003c/p>\n\u003cp>The Hall of Fame’s president and CEO, Linda Moran, noted in the same statement that Rodger’s broad experience made him an appealing candidate. “Nile is respected and admired by his fans and his peers alike for his multi/cross-genre music and for being a musical pioneer. More importantly, Nile’s eloquence in talking about songwriting and its process makes him the ideal voice for the songwriting community as chairman of the SHOF.”\u003c/p>\n\u003cp>Rodgers was himself inducted to the Songwriters Hall of Fame in 2016, and to the Rock & Roll Hall of Fame in 2017. Chic will be releasing its first new album in 25 years, \u003cem>It’s About Time\u003c/em>, on September 14.\u003c/p>\n\u003cp>In 2017, the organization \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/16/533200940/barack-obama-honors-jay-z-at-songwriters-hall-of-fame-gala\">inducted Jay-Z\u003c/a>, the first rapper to be recognized by the Hall. “I’m pretty sure I’m still the only President to listen to Jay-Z’s music in the Oval Office,” former President Barack Obama said in a pre-taped address. \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=Nile+Rodgers+Named+Chairman+Of+Songwriters%27+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In the Shadow of a Terrorist Attack, Rapper is Targeted by France's Right Wing",
"headTitle": "In the Shadow of a Terrorist Attack, Rapper is Targeted by France’s Right Wing | KQED",
"content": "\u003cp>A Paris concert that’s still months away is generating controversy. Muslim rapper Médine is scheduled to play at the \u003ca href=\"https://www.npr.org/2016/11/13/501904188/one-year-after-paris-attacks-bataclan-concert-hall-reopens\">Bataclan\u003c/a>, the concert hall where 89 people were killed by Islamist extremists in a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">terrorist attack\u003c/a> two and a half years ago. \u003c/p>\n\u003cp>The concert is stoking outrage among France’s right wing. Laurent Wauquiez, the head of the mainstream right party Les Republicans, tweeted that holding this concert would be sacrilege for the victims of the 2015 attack and a dishonor for France. Far right leader Marine Le Pen gathered thousands of signatures on a petition to ban the concert. \u003c/p>\n\u003cp>“Is it normal that a militant, fundamentalist, Islamist goes to the Bataclan to express his hatred and defend ideas that I believe are inciting crimes?” she asked a reporter during an appearance on France’s \u003ca href=\"https://www.bfmtv.com/mediaplayer/video/marine-le-pen-sur-medine-un-trouble-epouvantable-a-l-ordre-public-de-voir-un-islamiste-chanter-au-bataclan-1082683.html\" target=\"_blank\" rel=\"noopener\">BFM TV\u003c/a>. \u003c/p>\n\u003cp>But Médine says he’s always fought against radicalization in his music. And in a statement released by his record company he asked, “When did we start letting the far right manage the country’s concert halls?”\u003c/p>\n\u003cp>The 35-year-old rapper grew up in the working-class port town of Le Havre, France, the son of Algerian immigrants. Médine has described himself as an “Islamo-hooligan.” His lyrics talk mostly about the French Muslim experience — living in the ghetto, facing discrimination. His tone toward French society is often hostile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Médine’s critics are focusing on a song he wrote in 2015 called “Don’t Laïk.” It is a double play on words: on the French word \u003cem>laïcité\u003c/em>, which means secularism, and on the English “don’t like.” A lot of French Muslims feel the country’s official policy of secularism is used as an excuse to target their faith. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wfo-RIsACPw\u003c/p>\n\u003cp>“Your beard, my brother, it’s don’t laïk / Your veil, my sister in this country, it’s don’t laïk,” Médine raps in the song. \u003c/p>\n\u003cp>The song, which talks of “crucifying the secularists like at Golgotha,” happened to come out just a week before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">terrorists killed 12 people\u003c/a> at the satirical weekly magazine \u003ca href=\"https://www.npr.org/tags/141928624/charlie-hebdo\" target=\"_blank\" rel=\"noopener\">\u003cem>Charlie Hebdo\u003c/em>\u003c/a> in 2015.\u003c/p>\n\u003cp>Detractors are also criticizing one of Médine’s albums, entitled \u003ca href=\"https://www.dailymotion.com/video/x1ia5a2\" target=\"_blank\" rel=\"noopener\">\u003cem>Jihad\u003c/em>\u003c/a>. In a recent \u003ca href=\"https://twitter.com/ajplusfrancais/status/1006219512486744065/video/1\" target=\"_blank\" rel=\"noopener\">TV interview\u003c/a>, Médine said people are twisting his lyrics and taking them out of context.\u003c/p>\n\u003cp>“First of all, the album had a subtitle, which was, ‘The biggest battle is against oneself’ — because jihad signifies the internal struggle above all,” Médine said. “And secondly, this album came out in 2005 in a completely different context. It would be impossible to title an album \u003cem>Jihad\u003c/em> today.”\u003c/p>\n\u003cp>Médine has also worked to diffuse the French culture war over Islam. He co-wrote a book with a historian about racism in France. And his record label sells a line of T-shirts with the slogan, “\u003ca href=\"http://din-records.com/boutique/t-shirt-lsa-im-muslim-dont-panik/\">I’m Muslim, Don’t Panik\u003c/a>.”\u003c/p>\n\u003cp>Karim Amellal is working on a presidential commission to fight anti-Semitism and Islamophobia in France. He says this controversy has gotten so big because every Muslim identifies with the accusations against Médine. \u003c/p>\n\u003cp>“Muslims have the feeling they are not recognized for their accomplishments and they are always [associated] with terrorists and jihadists,” Amellal says.\u003c/p>\n\u003cp>Some of the survivors of the Bataclan terrorist attack have defended Médine. One tweeted that right-wing politicians should not exploit the victims of the attack for their bogus controversy.\u003c/p>\n\u003cp>“Marine Le Pen is even talking about ‘our deaths,’ ” attack survivor Emmanuel Domenach \u003ca href=\"https://twitter.com/edomenach/status/1005821663013998593?s=11\" target=\"_blank\" rel=\"noopener\">wrote on Twitter\u003c/a>. “It’s shameful.”\u003c/p>\n\u003cp>One victims’ association, \u003ca href=\"http://www.lifeforparis.org/\" target=\"_blank\" rel=\"noopener\">Life for Paris\u003c/a>, defended the Bataclan, saying it was against censorship, and the venue should be free to book who it wants. “We will not let anyone use the memory of the victims for political ends, as is the case here,” the association said in an official statement.\u003c/p>\n\u003cp>The theater itself has refused to get involved in the fray. But when reached on the phone, a Bataclan employee said that Médine has nothing to do with the terrorists.\u003c/p>\n\u003cp>Amellal says other rappers have much more offensive lyrics than Médine and that Médine never caused much controversy because he’s actually an intellectual rapper with very complicated lyrics. Amellal believes this debate has galvanized public opinion because it involves two groups that are victims. \u003c/p>\n\u003cp>“It’s like a showdown between two legitimate symbols,” he says. “The Bataclan, which is a very symbolic place because of the terrorist attack, and Médine and Islam.”\u003c/p>\n\u003cp>This spring, Médine released a new song, a sentimental ballad about the Bataclan. He raps, “All I ever wanted was to play the Bataclan.” \u003c/p>\n\u003cp>The lyrics don’t mention the attack. Writing in left-wing weekly magazine \u003cem>Marianne\u003c/em>, novelist Arthur Dreyfus, who describes himself as being from the same generation as Médine, says \u003ca href=\"https://www.marianne.net/debattons/tribunes/cher-medine-comment-le-bataclan-t-il-pu-deja-devenir-un-lieu-neutre-tes-yeux\" target=\"_blank\" rel=\"noopener\">the omission stuns him\u003c/a>. \u003c/p>\n\u003cp>“That you dream of crucifying secularists, that’s your right and privilege living in this country. … I’m not in favor of censorship and I’m surely not a fascist,” Dreyfus writes. “But how can you, less than three years after one of the worst massacres ever perpetrated in Paris, write a song about the Bataclan, where it took place, without even mentioning it?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Médine’s concert at the Bataclan is not until October. This debate is far from over. \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=In+The+Shadow+Of+A+Terrorist+Attack%2C+Rapper+Is+Targeted+By+France%27s+Right+Wing+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Paris concert that’s still months away is generating controversy. Muslim rapper Médine is scheduled to play at the \u003ca href=\"https://www.npr.org/2016/11/13/501904188/one-year-after-paris-attacks-bataclan-concert-hall-reopens\">Bataclan\u003c/a>, the concert hall where 89 people were killed by Islamist extremists in a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">terrorist attack\u003c/a> two and a half years ago. \u003c/p>\n\u003cp>The concert is stoking outrage among France’s right wing. Laurent Wauquiez, the head of the mainstream right party Les Republicans, tweeted that holding this concert would be sacrilege for the victims of the 2015 attack and a dishonor for France. Far right leader Marine Le Pen gathered thousands of signatures on a petition to ban the concert. \u003c/p>\n\u003cp>“Is it normal that a militant, fundamentalist, Islamist goes to the Bataclan to express his hatred and defend ideas that I believe are inciting crimes?” she asked a reporter during an appearance on France’s \u003ca href=\"https://www.bfmtv.com/mediaplayer/video/marine-le-pen-sur-medine-un-trouble-epouvantable-a-l-ordre-public-de-voir-un-islamiste-chanter-au-bataclan-1082683.html\" target=\"_blank\" rel=\"noopener\">BFM TV\u003c/a>. \u003c/p>\n\u003cp>But Médine says he’s always fought against radicalization in his music. And in a statement released by his record company he asked, “When did we start letting the far right manage the country’s concert halls?”\u003c/p>\n\u003cp>The 35-year-old rapper grew up in the working-class port town of Le Havre, France, the son of Algerian immigrants. Médine has described himself as an “Islamo-hooligan.” His lyrics talk mostly about the French Muslim experience — living in the ghetto, facing discrimination. His tone toward French society is often hostile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Médine’s critics are focusing on a song he wrote in 2015 called “Don’t Laïk.” It is a double play on words: on the French word \u003cem>laïcité\u003c/em>, which means secularism, and on the English “don’t like.” A lot of French Muslims feel the country’s official policy of secularism is used as an excuse to target their faith. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wfo-RIsACPw'\n title='//www.youtube.com/embed/wfo-RIsACPw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Your beard, my brother, it’s don’t laïk / Your veil, my sister in this country, it’s don’t laïk,” Médine raps in the song. \u003c/p>\n\u003cp>The song, which talks of “crucifying the secularists like at Golgotha,” happened to come out just a week before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">terrorists killed 12 people\u003c/a> at the satirical weekly magazine \u003ca href=\"https://www.npr.org/tags/141928624/charlie-hebdo\" target=\"_blank\" rel=\"noopener\">\u003cem>Charlie Hebdo\u003c/em>\u003c/a> in 2015.\u003c/p>\n\u003cp>Detractors are also criticizing one of Médine’s albums, entitled \u003ca href=\"https://www.dailymotion.com/video/x1ia5a2\" target=\"_blank\" rel=\"noopener\">\u003cem>Jihad\u003c/em>\u003c/a>. In a recent \u003ca href=\"https://twitter.com/ajplusfrancais/status/1006219512486744065/video/1\" target=\"_blank\" rel=\"noopener\">TV interview\u003c/a>, Médine said people are twisting his lyrics and taking them out of context.\u003c/p>\n\u003cp>“First of all, the album had a subtitle, which was, ‘The biggest battle is against oneself’ — because jihad signifies the internal struggle above all,” Médine said. “And secondly, this album came out in 2005 in a completely different context. It would be impossible to title an album \u003cem>Jihad\u003c/em> today.”\u003c/p>\n\u003cp>Médine has also worked to diffuse the French culture war over Islam. He co-wrote a book with a historian about racism in France. And his record label sells a line of T-shirts with the slogan, “\u003ca href=\"http://din-records.com/boutique/t-shirt-lsa-im-muslim-dont-panik/\">I’m Muslim, Don’t Panik\u003c/a>.”\u003c/p>\n\u003cp>Karim Amellal is working on a presidential commission to fight anti-Semitism and Islamophobia in France. He says this controversy has gotten so big because every Muslim identifies with the accusations against Médine. \u003c/p>\n\u003cp>“Muslims have the feeling they are not recognized for their accomplishments and they are always [associated] with terrorists and jihadists,” Amellal says.\u003c/p>\n\u003cp>Some of the survivors of the Bataclan terrorist attack have defended Médine. One tweeted that right-wing politicians should not exploit the victims of the attack for their bogus controversy.\u003c/p>\n\u003cp>“Marine Le Pen is even talking about ‘our deaths,’ ” attack survivor Emmanuel Domenach \u003ca href=\"https://twitter.com/edomenach/status/1005821663013998593?s=11\" target=\"_blank\" rel=\"noopener\">wrote on Twitter\u003c/a>. “It’s shameful.”\u003c/p>\n\u003cp>One victims’ association, \u003ca href=\"http://www.lifeforparis.org/\" target=\"_blank\" rel=\"noopener\">Life for Paris\u003c/a>, defended the Bataclan, saying it was against censorship, and the venue should be free to book who it wants. “We will not let anyone use the memory of the victims for political ends, as is the case here,” the association said in an official statement.\u003c/p>\n\u003cp>The theater itself has refused to get involved in the fray. But when reached on the phone, a Bataclan employee said that Médine has nothing to do with the terrorists.\u003c/p>\n\u003cp>Amellal says other rappers have much more offensive lyrics than Médine and that Médine never caused much controversy because he’s actually an intellectual rapper with very complicated lyrics. Amellal believes this debate has galvanized public opinion because it involves two groups that are victims. \u003c/p>\n\u003cp>“It’s like a showdown between two legitimate symbols,” he says. “The Bataclan, which is a very symbolic place because of the terrorist attack, and Médine and Islam.”\u003c/p>\n\u003cp>This spring, Médine released a new song, a sentimental ballad about the Bataclan. He raps, “All I ever wanted was to play the Bataclan.” \u003c/p>\n\u003cp>The lyrics don’t mention the attack. Writing in left-wing weekly magazine \u003cem>Marianne\u003c/em>, novelist Arthur Dreyfus, who describes himself as being from the same generation as Médine, says \u003ca href=\"https://www.marianne.net/debattons/tribunes/cher-medine-comment-le-bataclan-t-il-pu-deja-devenir-un-lieu-neutre-tes-yeux\" target=\"_blank\" rel=\"noopener\">the omission stuns him\u003c/a>. \u003c/p>\n\u003cp>“That you dream of crucifying secularists, that’s your right and privilege living in this country. … I’m not in favor of censorship and I’m surely not a fascist,” Dreyfus writes. “But how can you, less than three years after one of the worst massacres ever perpetrated in Paris, write a song about the Bataclan, where it took place, without even mentioning it?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Médine’s concert at the Bataclan is not until October. This debate is far from over. \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=In+The+Shadow+Of+A+Terrorist+Attack%2C+Rapper+Is+Targeted+By+France%27s+Right+Wing+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Power of Taking Up Space: Marshawn Lynch's Oakland Rideout",
"headTitle": "The Power of Taking Up Space: Marshawn Lynch’s Oakland Rideout | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> wasn’t sure what to expect when I rode up on my 21-speed to the Beastmode store in downtown Oakland, my daughter sitting comfy in the child seat attached to the back of my bike. Even though it was past her nap time, I figured we’d just see what all the commotion was about.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>At first, I only saw 25-35 other people on bikes gathered on Broadway in front of the store, awaiting the start of Oakland Rideout 2, the second city-wide ride hosted by NFL players Marshawn Lynch and Josh Johnson. But then I pushed past the first cadre of cyclists, peeked around the corner at 10th Street toward Washington Street, and boom: a massive fleet of cyclists and scooter riders. \u003cem>Hundreds\u003c/em> of them. All waiting on the start of the ride.\u003c/p>\n\u003cp>Oakland Rideout is just that: a bike ride. It’s not a protest, or a demonstration. But in a year when people of color have had the police called on them for \u003ca href=\"https://www.youtube.com/watch?v=Fh9D_PUe7QI\" target=\"_blank\" rel=\"noopener noreferrer\">BBQing\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11676866/permit-patty-goes-viral-after-threatening-to-call-cops-on-girl-selling-water-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">selling water\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/06/26/us/oakland-black-firefighter-bias.html\" target=\"_blank\" rel=\"noopener noreferrer\">being a firefighter\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/05/08/us/airbnb-black-women-police.html\" target=\"_blank\" rel=\"noopener noreferrer\">checking out of an Airbnb\u003c/a>, \u003ca href=\"https://www.motherjones.com/crime-justice/2018/05/11-more-things-you-cannot-do-while-black-starbucks-nordstrom-rack-1/\" target=\"_blank\" rel=\"noopener noreferrer\">sleeping in their own dorm\u003c/a>—the \u003ca href=\"https://www.washingtonpost.com/national/living-while-black-viral-videos-raise-concerns-about-everyday-racial-profiling/2018/05/29/d4bd630a-5b74-11e8-8836-a4a123c359ab_story.html?noredirect=on&utm_term=.1346554b7279\" target=\"_blank\" rel=\"noopener noreferrer\">list goes on\u003c/a>—simply \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">taking up space and celebrating together\u003c/a> is an act of liberation in itself.\u003c/p>\n\u003cp>And yeah, there were big names involved. Along with Marshawn Lynch, the ride involved a handful of pro BMX riders, SE Bikes, and even a business sponsor (Lime, which manages those green bikes around town).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But really, the ride was about the young people.\u003c/p>\n\u003cfigure id=\"attachment_13836228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile waiting for the ride to start, one young brother rode in my direction, standing with one foot on his seat and the other on his handlebars, as he “surfed” his bike past the “For Lease” sign at the base of a newly constructed building full of overpriced apartments.\u003c/p>\n\u003cp>Moments later, NFL star Marshawn Lynch, Beastmode himself, pulled up and hopped out of the passenger seat of what looked to be a late-’90s–early-2000s four-door Honda Civic; “an under bucket” would probably be the best local colloquialism I’d use to describe the vehicle. A crowd of teenagers flocked around him as he and his cousin, NFL Quarterback Josh Johnson, prepared to ride out.\u003c/p>\n\u003cp>A couple minutes after noon, the platoon took to the streets; I fell inline. First commandeering Broadway, headed north to 11th street, where we made a right and headed east. We went through the tunnel by the museum and around the southern fringe of Lake Merritt, before banging a right on \u003ca href=\"https://www.sfgate.com/bayarea/article/Oakland-Renames-East-14th-Street-It-ll-be-2983004.php\" target=\"_blank\" rel=\"noopener noreferrer\">East 14th Street\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13836226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836226\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first neighborhood we hit is commonly referred to as Funktown. There, Asian storeowners and residents stood curbside, cameras in hand as they recorded the stream of what had easily grown to over 1,000 cyclists.\u003c/p>\n\u003cp>All shades of black, brown and white people were in motion through East Oakland—mostly boys and men, but plenty of women scattered in the pack too. All ages, too: I saw some artists who are OGs in the graffiti world, and cheered on the push of an elementary-aged kid as he rode a bike that looked like its training wheels had just been taken off.\u003c/p>\n\u003cp>All the while, my daughter was comfy in her seat, waving at people; she didn’t appear to be thinking about that nap, and probably wouldn’t have been able to sleep through the music anyway. There were people with Bluetooth speakers, a couple folks with three-wheel bikes allowing them to carry larger speakers, and even one guy who had a studio monitor-sized speaker strapped to his back.\u003c/p>\n\u003cfigure id=\"attachment_13836227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These mobile sound systems blasted well-known hits from local artists, folks like Mac Dre, Kamaiyah and ALLBLACK, and the people on the streets couldn’t help but watch in amazement. The young black sister on the corner with the short skirt and tall heels who smiled as we passed. The older Latino brother in the 10-gallon hat who waved as he stepped outside of the Iglesia. The little Filipino kids on their apartment stairs who pointed in awe as the fleet flew by.\u003c/p>\n\u003cp>This procession might sound chaotic, but it wasn’t. The professional BMX riders and others working the event paused at each intersection to make sure traffic didn’t cross our path. They were also vocal toward the cyclists, demanding we all stay to the right, so as to not block oncoming traffic.\u003c/p>\n\u003cp>We dodged potholes and kept pedaling as we came around the corner near Rainbow Recreational Center, where the scene was parade-like. People stood on their porches cheering for us and asking us where we were going. We traveled up Seminary, in the direction of where a man had been killed on the Friday night prior to the ride, but turned a left on Foothill before reaching the crime scene. Some people cut through the parking lot of the newly constructed Seminary Point shopping center, hitting wheelies and doing bunny hops over the curbs.\u003c/p>\n\u003cfigure id=\"attachment_13836223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We biked through the smell of weed being smoked and BBQ grills getting lit. We passed the Muslim Brothers in suits in front of the mosque, past Fremont High, then past the Mac Dre mural and the “We Buy Ugly Homes” advertisement. People in cars stuck their arms out the window for high-fives.\u003c/p>\n\u003cp>We eventually ended up at San Antonio Park for our first real rest. It was enough time for my daughter to have a snack, run through the grass and play on the swings. (Nap? What nap?) An impromptu bike sideshow started in the middle of the street, as someone on a dirt bike swang donuts and people gathered around to watch; Marshawn and Josh included.\u003c/p>\n\u003cp>After the smokers got their tokes and the sippers wet their lips, people were back on the road: Lake Merritt bound.\u003c/p>\n\u003cfigure id=\"attachment_13836225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s we descended on the Lakeshore side of Lake Merritt, I thought about all that’s transpired in that area over the past few weeks: the stories of “BBQ Becky” and “Jogger Joe,” and how those cases were largely about power, privilege and policing the lives of people of color. Even the story from a day prior to the bike ride, across the Bay, where a white woman called the police on a little black girl for selling water—the “Permit Patty” incident.\u003c/p>\n\u003cp>Whether it’s the selling of water, sleeping in a makeshift dwelling or preparing food with family, these stories are about people of color simply existing, and people with perceived power policing their existence.\u003c/p>\n\u003cfigure id=\"attachment_13836224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13836224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-801x1200.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-960x1438.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs.jpg 1282w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on Sunday afternoon, the bikers weren’t having that. They were existing to the fullest; living their best life, as the kids say.\u003c/p>\n\u003cp>I saw the late June sun bounce off of so many gold grills that day.\u003c/p>\n\u003cp>I mean, I also saw a half-dozen minor bike accidents; people falling after trying to stunt on wheelies or ride with no hands. One young man on a double-decker scraper bike without brakes rear-ended someone else. But I didn’t see any injuries, nor any major conflicts between bikers or drivers. Everyone who fell got back up and kept riding.\u003c/p>\n\u003cp>And even that aspect of the ride is important. These kids were free to make mistakes, which all too often isn’t the case for young people of color in America. Mistakes? Hell, for some, simply existing is its own consequence.\u003c/p>\n\u003cfigure id=\"attachment_13836230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And no, Marshawn and Josh, the sponsors and the BMX riders—they weren’t organizing a protest. They weren’t politicizing the people of Oakland. They were just giving folks a chance to get out, exist in public, and claim their space. That’s worth a lot these days.\u003c/p>\n\u003cp>As the seemingly never-ending trail of bikes wrapped around the northern portion of Lake Merritt, flowing from Lakeshore to Grand, eventually back downtown and then toward Marshawn and Josh’s alma mater, Oakland Tech, my daughter and I spun off. It was well past her nap time, and almost time for mine.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "At Beastmode's community bike ride, I witnessed Oakland living its best life in the streets.",
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"title": "The Power of Taking Up Space: Marshawn Lynch's Oakland Rideout | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> wasn’t sure what to expect when I rode up on my 21-speed to the Beastmode store in downtown Oakland, my daughter sitting comfy in the child seat attached to the back of my bike. Even though it was past her nap time, I figured we’d just see what all the commotion was about.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>At first, I only saw 25-35 other people on bikes gathered on Broadway in front of the store, awaiting the start of Oakland Rideout 2, the second city-wide ride hosted by NFL players Marshawn Lynch and Josh Johnson. But then I pushed past the first cadre of cyclists, peeked around the corner at 10th Street toward Washington Street, and boom: a massive fleet of cyclists and scooter riders. \u003cem>Hundreds\u003c/em> of them. All waiting on the start of the ride.\u003c/p>\n\u003cp>Oakland Rideout is just that: a bike ride. It’s not a protest, or a demonstration. But in a year when people of color have had the police called on them for \u003ca href=\"https://www.youtube.com/watch?v=Fh9D_PUe7QI\" target=\"_blank\" rel=\"noopener noreferrer\">BBQing\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11676866/permit-patty-goes-viral-after-threatening-to-call-cops-on-girl-selling-water-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">selling water\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/06/26/us/oakland-black-firefighter-bias.html\" target=\"_blank\" rel=\"noopener noreferrer\">being a firefighter\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/05/08/us/airbnb-black-women-police.html\" target=\"_blank\" rel=\"noopener noreferrer\">checking out of an Airbnb\u003c/a>, \u003ca href=\"https://www.motherjones.com/crime-justice/2018/05/11-more-things-you-cannot-do-while-black-starbucks-nordstrom-rack-1/\" target=\"_blank\" rel=\"noopener noreferrer\">sleeping in their own dorm\u003c/a>—the \u003ca href=\"https://www.washingtonpost.com/national/living-while-black-viral-videos-raise-concerns-about-everyday-racial-profiling/2018/05/29/d4bd630a-5b74-11e8-8836-a4a123c359ab_story.html?noredirect=on&utm_term=.1346554b7279\" target=\"_blank\" rel=\"noopener noreferrer\">list goes on\u003c/a>—simply \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">taking up space and celebrating together\u003c/a> is an act of liberation in itself.\u003c/p>\n\u003cp>And yeah, there were big names involved. Along with Marshawn Lynch, the ride involved a handful of pro BMX riders, SE Bikes, and even a business sponsor (Lime, which manages those green bikes around town).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But really, the ride was about the young people.\u003c/p>\n\u003cfigure id=\"attachment_13836228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile waiting for the ride to start, one young brother rode in my direction, standing with one foot on his seat and the other on his handlebars, as he “surfed” his bike past the “For Lease” sign at the base of a newly constructed building full of overpriced apartments.\u003c/p>\n\u003cp>Moments later, NFL star Marshawn Lynch, Beastmode himself, pulled up and hopped out of the passenger seat of what looked to be a late-’90s–early-2000s four-door Honda Civic; “an under bucket” would probably be the best local colloquialism I’d use to describe the vehicle. A crowd of teenagers flocked around him as he and his cousin, NFL Quarterback Josh Johnson, prepared to ride out.\u003c/p>\n\u003cp>A couple minutes after noon, the platoon took to the streets; I fell inline. First commandeering Broadway, headed north to 11th street, where we made a right and headed east. We went through the tunnel by the museum and around the southern fringe of Lake Merritt, before banging a right on \u003ca href=\"https://www.sfgate.com/bayarea/article/Oakland-Renames-East-14th-Street-It-ll-be-2983004.php\" target=\"_blank\" rel=\"noopener noreferrer\">East 14th Street\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13836226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836226\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first neighborhood we hit is commonly referred to as Funktown. There, Asian storeowners and residents stood curbside, cameras in hand as they recorded the stream of what had easily grown to over 1,000 cyclists.\u003c/p>\n\u003cp>All shades of black, brown and white people were in motion through East Oakland—mostly boys and men, but plenty of women scattered in the pack too. All ages, too: I saw some artists who are OGs in the graffiti world, and cheered on the push of an elementary-aged kid as he rode a bike that looked like its training wheels had just been taken off.\u003c/p>\n\u003cp>All the while, my daughter was comfy in her seat, waving at people; she didn’t appear to be thinking about that nap, and probably wouldn’t have been able to sleep through the music anyway. There were people with Bluetooth speakers, a couple folks with three-wheel bikes allowing them to carry larger speakers, and even one guy who had a studio monitor-sized speaker strapped to his back.\u003c/p>\n\u003cfigure id=\"attachment_13836227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These mobile sound systems blasted well-known hits from local artists, folks like Mac Dre, Kamaiyah and ALLBLACK, and the people on the streets couldn’t help but watch in amazement. The young black sister on the corner with the short skirt and tall heels who smiled as we passed. The older Latino brother in the 10-gallon hat who waved as he stepped outside of the Iglesia. The little Filipino kids on their apartment stairs who pointed in awe as the fleet flew by.\u003c/p>\n\u003cp>This procession might sound chaotic, but it wasn’t. The professional BMX riders and others working the event paused at each intersection to make sure traffic didn’t cross our path. They were also vocal toward the cyclists, demanding we all stay to the right, so as to not block oncoming traffic.\u003c/p>\n\u003cp>We dodged potholes and kept pedaling as we came around the corner near Rainbow Recreational Center, where the scene was parade-like. People stood on their porches cheering for us and asking us where we were going. We traveled up Seminary, in the direction of where a man had been killed on the Friday night prior to the ride, but turned a left on Foothill before reaching the crime scene. Some people cut through the parking lot of the newly constructed Seminary Point shopping center, hitting wheelies and doing bunny hops over the curbs.\u003c/p>\n\u003cfigure id=\"attachment_13836223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We biked through the smell of weed being smoked and BBQ grills getting lit. We passed the Muslim Brothers in suits in front of the mosque, past Fremont High, then past the Mac Dre mural and the “We Buy Ugly Homes” advertisement. People in cars stuck their arms out the window for high-fives.\u003c/p>\n\u003cp>We eventually ended up at San Antonio Park for our first real rest. It was enough time for my daughter to have a snack, run through the grass and play on the swings. (Nap? What nap?) An impromptu bike sideshow started in the middle of the street, as someone on a dirt bike swang donuts and people gathered around to watch; Marshawn and Josh included.\u003c/p>\n\u003cp>After the smokers got their tokes and the sippers wet their lips, people were back on the road: Lake Merritt bound.\u003c/p>\n\u003cfigure id=\"attachment_13836225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s we descended on the Lakeshore side of Lake Merritt, I thought about all that’s transpired in that area over the past few weeks: the stories of “BBQ Becky” and “Jogger Joe,” and how those cases were largely about power, privilege and policing the lives of people of color. Even the story from a day prior to the bike ride, across the Bay, where a white woman called the police on a little black girl for selling water—the “Permit Patty” incident.\u003c/p>\n\u003cp>Whether it’s the selling of water, sleeping in a makeshift dwelling or preparing food with family, these stories are about people of color simply existing, and people with perceived power policing their existence.\u003c/p>\n\u003cfigure id=\"attachment_13836224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13836224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-801x1200.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-960x1438.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs.jpg 1282w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on Sunday afternoon, the bikers weren’t having that. They were existing to the fullest; living their best life, as the kids say.\u003c/p>\n\u003cp>I saw the late June sun bounce off of so many gold grills that day.\u003c/p>\n\u003cp>I mean, I also saw a half-dozen minor bike accidents; people falling after trying to stunt on wheelies or ride with no hands. One young man on a double-decker scraper bike without brakes rear-ended someone else. But I didn’t see any injuries, nor any major conflicts between bikers or drivers. Everyone who fell got back up and kept riding.\u003c/p>\n\u003cp>And even that aspect of the ride is important. These kids were free to make mistakes, which all too often isn’t the case for young people of color in America. Mistakes? Hell, for some, simply existing is its own consequence.\u003c/p>\n\u003cfigure id=\"attachment_13836230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And no, Marshawn and Josh, the sponsors and the BMX riders—they weren’t organizing a protest. They weren’t politicizing the people of Oakland. They were just giving folks a chance to get out, exist in public, and claim their space. That’s worth a lot these days.\u003c/p>\n\u003cp>As the seemingly never-ending trail of bikes wrapped around the northern portion of Lake Merritt, flowing from Lakeshore to Grand, eventually back downtown and then toward Marshawn and Josh’s alma mater, Oakland Tech, my daughter and I spun off. It was well past her nap time, and almost time for mine.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Harlan Ellison, Award-Winning Science Fiction Writer, Dies at 84",
"headTitle": "Harlan Ellison, Award-Winning Science Fiction Writer, Dies at 84 | KQED",
"content": "\u003cp>Science fiction writer and provocateur Harlan Ellison, who wrote stories including “Jeffty Is Five,” “‘Repent, Harlequin!’ Said the Ticktockman,” and “I Have No Mouth and I Must Scream,” died in his sleep at home in Los Angeles at age 84. Like many who write short stories and novellas in genres like speculative fiction, the sweep of his career is evident in his collection of awards: Hugo Awards, Nebula Awards, Edgar Awards and many others. He wrote episodes of \u003cem>Star Trek \u003c/em>(“The City on the Edge of Forever” won him a Writer’s Guild of America Award), as well as \u003cem>The Outer Limits\u003c/em> and \u003cem>The Twilight Zone\u003c/em>. He wrote comics and read audiobooks.\u003c/p>\n\u003cp>He also had a reputation for being, as Jason Sheehan called him in \u003ca href=\"https://www.npr.org/2015/12/28/461281398/harlan-ellison-returns-with-a-cantankerous-new-collection\">a review of his 2015 collection \u003cem>Can and Can’tankerous\u003c/em>\u003c/a>, “America’s weird uncle.” Words like that one from the title — “cantankerous” — and “irascible” and “difficult” followed him for much of his life. His rants were legendary, including a profanity-filled \u003ca href=\"https://www.youtube.com/watch?v=mj5IV23g-fE\">one about the need to pay writers\u003c/a> that has been viewed on YouTube more than a million times. Sheehan also said:\u003c/p>\n\u003cblockquote>\n\u003cp>He fronts \u003cem>Weariness \u003c/em>[a story in the collection] by telling the tale of running a workshop at a convention in Washington. A bunch of art pieces handed around as inspiration. A bunch of writers given one hour to compose a complete story.\u003c/p>\n\u003cp>And then there’s Harlan, at the front of the room, with his portable Olympia typewriter, poking away at 120 words per minute (with two fingers and no typos, he brags), feeling sad and tired and coming up with a story about the heat death of the universe which begins: “Very near the final thaw of the universe, the last of them left behind, the last three of the most perfect beings who had ever existed, stood waiting for the transitional moment. The neap tide of all time.”\u003c/p>\n\u003cp>One draft. No idea where he was going with it. Just start hitting the keys and seeing what happens next. That’s how Ellison rolls. Tired, old, ornery — and yet kind, too. Generous. Giving us stories, and then stories about the stories. The lettuce story? Inspired by a Chinese dinner with Norman Spinrad in 1956, sold to \u003cem>Amazing Stories \u003c/em>that same year for $49.50, then remastered for this collection. \u003cem>Weariness\u003c/em> is just a few hundred words long but his afterword is a kind of love letter to Ray Bradbury, and runs for five times the story’s length, maybe more. And it is beautiful.\u003c/p>\n\u003c/blockquote>\n\u003cp>Ellison, who won so many awards, wrote a \u003ca href=\"https://variety.com/2013/film/awards/harlan-ellison-award-shows-the-oscar-1200857501/\">column in \u003cem>Variety\u003c/em>\u003c/a>\u003cem> \u003c/em>in 2013 about the Oscars in which he said, “I do not merely hate all awards shows, I wish to see them beheaded, stakes driven through their black and corrupted widdle hearts, and to see the decapitated remains buried at a crossroads come midnight.” \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=Harlan+Ellison%2C+Award-Winning+Science+Fiction+Writer%2C+Dies+at+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The writer of award-winning stories, as well as episodes of 'Star Trek,' 'The Outer Limits' and 'The Twilight Zone,' died Thursday.",
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"description": "The writer of award-winning stories, as well as episodes of 'Star Trek,' 'The Outer Limits' and 'The Twilight Zone,' died Thursday.",
"title": "Harlan Ellison, Award-Winning Science Fiction Writer, Dies at 84 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Science fiction writer and provocateur Harlan Ellison, who wrote stories including “Jeffty Is Five,” “‘Repent, Harlequin!’ Said the Ticktockman,” and “I Have No Mouth and I Must Scream,” died in his sleep at home in Los Angeles at age 84. Like many who write short stories and novellas in genres like speculative fiction, the sweep of his career is evident in his collection of awards: Hugo Awards, Nebula Awards, Edgar Awards and many others. He wrote episodes of \u003cem>Star Trek \u003c/em>(“The City on the Edge of Forever” won him a Writer’s Guild of America Award), as well as \u003cem>The Outer Limits\u003c/em> and \u003cem>The Twilight Zone\u003c/em>. He wrote comics and read audiobooks.\u003c/p>\n\u003cp>He also had a reputation for being, as Jason Sheehan called him in \u003ca href=\"https://www.npr.org/2015/12/28/461281398/harlan-ellison-returns-with-a-cantankerous-new-collection\">a review of his 2015 collection \u003cem>Can and Can’tankerous\u003c/em>\u003c/a>, “America’s weird uncle.” Words like that one from the title — “cantankerous” — and “irascible” and “difficult” followed him for much of his life. His rants were legendary, including a profanity-filled \u003ca href=\"https://www.youtube.com/watch?v=mj5IV23g-fE\">one about the need to pay writers\u003c/a> that has been viewed on YouTube more than a million times. Sheehan also said:\u003c/p>\n\u003cblockquote>\n\u003cp>He fronts \u003cem>Weariness \u003c/em>[a story in the collection] by telling the tale of running a workshop at a convention in Washington. A bunch of art pieces handed around as inspiration. A bunch of writers given one hour to compose a complete story.\u003c/p>\n\u003cp>And then there’s Harlan, at the front of the room, with his portable Olympia typewriter, poking away at 120 words per minute (with two fingers and no typos, he brags), feeling sad and tired and coming up with a story about the heat death of the universe which begins: “Very near the final thaw of the universe, the last of them left behind, the last three of the most perfect beings who had ever existed, stood waiting for the transitional moment. The neap tide of all time.”\u003c/p>\n\u003cp>One draft. No idea where he was going with it. Just start hitting the keys and seeing what happens next. That’s how Ellison rolls. Tired, old, ornery — and yet kind, too. Generous. Giving us stories, and then stories about the stories. The lettuce story? Inspired by a Chinese dinner with Norman Spinrad in 1956, sold to \u003cem>Amazing Stories \u003c/em>that same year for $49.50, then remastered for this collection. \u003cem>Weariness\u003c/em> is just a few hundred words long but his afterword is a kind of love letter to Ray Bradbury, and runs for five times the story’s length, maybe more. And it is beautiful.\u003c/p>\n\u003c/blockquote>\n\u003cp>Ellison, who won so many awards, wrote a \u003ca href=\"https://variety.com/2013/film/awards/harlan-ellison-award-shows-the-oscar-1200857501/\">column in \u003cem>Variety\u003c/em>\u003c/a>\u003cem> \u003c/em>in 2013 about the Oscars in which he said, “I do not merely hate all awards shows, I wish to see them beheaded, stakes driven through their black and corrupted widdle hearts, and to see the decapitated remains buried at a crossroads come midnight.” \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=Harlan+Ellison%2C+Award-Winning+Science+Fiction+Writer%2C+Dies+at+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A division of the American Library Association \u003ca href=\"http://www.alsc.ala.org/blog/2018/06/childrens-literature-legacy-award-alaac18/\" target=\"_blank\" rel=\"noopener\">voted unanimously Saturday\u003c/a> to strip Laura Ingalls Wilder’s name from a major children’s literature award over concerns about how the author referred to Native Americans and blacks.\u003c/p>\n\u003cp>The Association for Library Service to Children says the Laura Ingalls Wilder Award will now be known as the Children’s Literature Legacy Award.\u003c/p>\n\u003cp>Wilder, who wrote the \u003cem>Little House \u003c/em>book series\u003cem>, \u003c/em>was the first recipient of the award, which was established in 1954 and intended to honor books published in the U.S. that have had a big impact on children’s literature.\u003c/p>\n\u003cp>The \u003cem>Little House\u003c/em> series was based on Wilder’s own life and told the story of the Ingalls family as it moved around the Great Plains in the 19th century. While many of the \u003cem>Little House \u003c/em>books became widely read, critics said her work included many stereotypical and reductive depictions of Native Americans and people of color.\u003c/p>\n\u003cp>In 1935’s \u003cem>Little House on the Prairie, \u003c/em>for example, Wilder described one setting as a place where “there were no people. Only Indians lived there.” That description was changed in later editions of the book. And multiple characters in the \u003cem>Little House\u003c/em> series intone that “the only good Indian is a dead Indian.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ALSC had been considering whether it should strip Wilder’s name from the award since February and \u003ca href=\"http://www.alsc.ala.org/blog/2018/02/board-action-update-laura-ingalls-wilder-award/\">announced at the time\u003c/a> that the author’s legacy “may no longer be consistent with the intention of the award named for her.”\u003c/p>\n\u003cp>“The decision was made in consideration of the fact that Wilder’s legacy, as represented by her body of work, includes expressions of stereotypical attitudes inconsistent with ALSC’s core values of inclusiveness, integrity and respect, and responsiveness,” the ALSC said in a \u003ca href=\"http://www.ala.org/alsc/awardsgrants/bookmedia/wildermedal\" target=\"_blank\" rel=\"noopener\">brief statement\u003c/a> following the vote. Previously, \u003ca href=\"http://www.alsc.ala.org/blog/2018/02/board-action-update-laura-ingalls-wilder-award/\">the organization had noted\u003c/a> the “anti-Native and anti-Black sentiments” in Wilder’s writing.\u003c/p>\n\u003cp>However, some Wilder scholars say the author’s work shouldn’t be downplayed. Instead, they say, it should be scrutinized — and taken as an opportunity to inform children of the context surrounding it.\u003c/p>\n\u003cp>The \u003ca href=\"http://beyondlittlehouse.com/tag/laura-ingalls-wilder-legacy-and-research-association/\" target=\"_blank\" rel=\"noopener\">Laura Ingalls Wilder Legacy and Research Association\u003c/a> released a \u003ca href=\"https://www.facebook.com/LIWLegacy/\" target=\"_blank\" rel=\"noopener\">statement defending Wilder’s work\u003c/a>, saying that while her writing included “the perspectives of racism that were representative of her time and place,” it also made “positive contributions to children’s literature”:\u003c/p>\n\u003cblockquote>\n\u003cp>“We believe it is not beneficial to the body of literature to sweep away her name as though the perspectives in her books never existed. Those perspectives are teaching moments to show generations to come how the past was and how we, as a society, must move forward with a more inclusive and diverse perspective.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Debbie Reese, a scholar and the founder of \u003ca href=\"https://americanindiansinchildrensliterature.blogspot.com/\" target=\"_blank\" rel=\"noopener\">American Indians In Children’s Literature\u003c/a>, tweeted that the vote to change the award’s name was a “\u003ca href=\"https://twitter.com/debreese/status/1010842553921482755\" target=\"_blank\" rel=\"noopener\">significant and historic moment\u003c/a>” but still only a step. “There are many more, ahead of us. The backlash to the change is already evident.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The author Jacqueline Woodson, known for award-winning books including \u003cem>Brown Girl Dreaming\u003c/em> and \u003cem>Another Brooklyn,\u003c/em> will be the first honoree of the newly named Children’s Literature Legacy Award. \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=Little+House+On+The+Controversy%3A+Laura+Ingalls+Wilder%27s+Name+Removed+From+Book+Award&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A division of the American Library Association \u003ca href=\"http://www.alsc.ala.org/blog/2018/06/childrens-literature-legacy-award-alaac18/\" target=\"_blank\" rel=\"noopener\">voted unanimously Saturday\u003c/a> to strip Laura Ingalls Wilder’s name from a major children’s literature award over concerns about how the author referred to Native Americans and blacks.\u003c/p>\n\u003cp>The Association for Library Service to Children says the Laura Ingalls Wilder Award will now be known as the Children’s Literature Legacy Award.\u003c/p>\n\u003cp>Wilder, who wrote the \u003cem>Little House \u003c/em>book series\u003cem>, \u003c/em>was the first recipient of the award, which was established in 1954 and intended to honor books published in the U.S. that have had a big impact on children’s literature.\u003c/p>\n\u003cp>The \u003cem>Little House\u003c/em> series was based on Wilder’s own life and told the story of the Ingalls family as it moved around the Great Plains in the 19th century. While many of the \u003cem>Little House \u003c/em>books became widely read, critics said her work included many stereotypical and reductive depictions of Native Americans and people of color.\u003c/p>\n\u003cp>In 1935’s \u003cem>Little House on the Prairie, \u003c/em>for example, Wilder described one setting as a place where “there were no people. Only Indians lived there.” That description was changed in later editions of the book. And multiple characters in the \u003cem>Little House\u003c/em> series intone that “the only good Indian is a dead Indian.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ALSC had been considering whether it should strip Wilder’s name from the award since February and \u003ca href=\"http://www.alsc.ala.org/blog/2018/02/board-action-update-laura-ingalls-wilder-award/\">announced at the time\u003c/a> that the author’s legacy “may no longer be consistent with the intention of the award named for her.”\u003c/p>\n\u003cp>“The decision was made in consideration of the fact that Wilder’s legacy, as represented by her body of work, includes expressions of stereotypical attitudes inconsistent with ALSC’s core values of inclusiveness, integrity and respect, and responsiveness,” the ALSC said in a \u003ca href=\"http://www.ala.org/alsc/awardsgrants/bookmedia/wildermedal\" target=\"_blank\" rel=\"noopener\">brief statement\u003c/a> following the vote. Previously, \u003ca href=\"http://www.alsc.ala.org/blog/2018/02/board-action-update-laura-ingalls-wilder-award/\">the organization had noted\u003c/a> the “anti-Native and anti-Black sentiments” in Wilder’s writing.\u003c/p>\n\u003cp>However, some Wilder scholars say the author’s work shouldn’t be downplayed. Instead, they say, it should be scrutinized — and taken as an opportunity to inform children of the context surrounding it.\u003c/p>\n\u003cp>The \u003ca href=\"http://beyondlittlehouse.com/tag/laura-ingalls-wilder-legacy-and-research-association/\" target=\"_blank\" rel=\"noopener\">Laura Ingalls Wilder Legacy and Research Association\u003c/a> released a \u003ca href=\"https://www.facebook.com/LIWLegacy/\" target=\"_blank\" rel=\"noopener\">statement defending Wilder’s work\u003c/a>, saying that while her writing included “the perspectives of racism that were representative of her time and place,” it also made “positive contributions to children’s literature”:\u003c/p>\n\u003cblockquote>\n\u003cp>“We believe it is not beneficial to the body of literature to sweep away her name as though the perspectives in her books never existed. Those perspectives are teaching moments to show generations to come how the past was and how we, as a society, must move forward with a more inclusive and diverse perspective.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Debbie Reese, a scholar and the founder of \u003ca href=\"https://americanindiansinchildrensliterature.blogspot.com/\" target=\"_blank\" rel=\"noopener\">American Indians In Children’s Literature\u003c/a>, tweeted that the vote to change the award’s name was a “\u003ca href=\"https://twitter.com/debreese/status/1010842553921482755\" target=\"_blank\" rel=\"noopener\">significant and historic moment\u003c/a>” but still only a step. “There are many more, ahead of us. The backlash to the change is already evident.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The author Jacqueline Woodson, known for award-winning books including \u003cem>Brown Girl Dreaming\u003c/em> and \u003cem>Another Brooklyn,\u003c/em> will be the first honoree of the newly named Children’s Literature Legacy Award. \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=Little+House+On+The+Controversy%3A+Laura+Ingalls+Wilder%27s+Name+Removed+From+Book+Award&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just months after California legalized recreational marijuana the state is giving stoner comedian Cheech Marin’s Chicano art museum $9.7 million.\u003c/p>\n\u003cp>It must be kismet.\u003c/p>\n\u003cp>The money was rolled up in the $139 billion California budget for 2018-2019 that Gov. Jerry Brown signed Wednesday.\u003c/p>\n\u003cp>The Cheech Marin Center for Chicano Art, Culture and Industry is scheduled to open in 2020 in Riverside, east of Los Angeles.\u003c/p>\n\u003cp>“The Cheech,” as Marin prefers to call it, will include approximately 700 paintings, drawings, sculptures and other works he’s collected over more than 30 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among them are works by such internationally acclaimed Chicano artists as Gilbert “Magú” Lujan, Frank Romero and Carlos Almaraz.\u003c/p>\n\u003cp>“I have dreamed for many years of finding a home for the hundreds of pieces of art that I have spent much of my life collecting, protecting and showing, when possible, at major museums around the world,” Marin said Wednesday. “The Riverside community has made this dream a reality.”\u003c/p>\n\u003cp>Marin and the Riverside Art Museum had already raised approximately $3 million since plans for the museum were unveiled last year.\u003c/p>\n\u003cp>It will be located in a refurbished building next door to Riverside’s historic Mission Inn, a stopping point since it opened in the 1870s for numerous celebrities and presidents including Theodore Roosevelt, Richard Nixon and George W. Bush.\u003c/p>\n\u003cp>Marin, a lifelong art lover, began collecting soon after he and cannabis comedy partner Tommy Chong became famous in the 1970s.\u003c/p>\n\u003cp>He’s said over the years he focused on Chicano art not so much because he’s a Chicano but because of how brilliant he found the artists to be and how, in the early years, so few people were aware of their work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That began to change as Marin, 71, persuaded museums across the country to stage exhibitions. After one at the Riverside Art Museum last year drew more than double its normal attendance officials approached him about permanently housing his collection there.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just months after California legalized recreational marijuana the state is giving stoner comedian Cheech Marin’s Chicano art museum $9.7 million.\u003c/p>\n\u003cp>It must be kismet.\u003c/p>\n\u003cp>The money was rolled up in the $139 billion California budget for 2018-2019 that Gov. Jerry Brown signed Wednesday.\u003c/p>\n\u003cp>The Cheech Marin Center for Chicano Art, Culture and Industry is scheduled to open in 2020 in Riverside, east of Los Angeles.\u003c/p>\n\u003cp>“The Cheech,” as Marin prefers to call it, will include approximately 700 paintings, drawings, sculptures and other works he’s collected over more than 30 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among them are works by such internationally acclaimed Chicano artists as Gilbert “Magú” Lujan, Frank Romero and Carlos Almaraz.\u003c/p>\n\u003cp>“I have dreamed for many years of finding a home for the hundreds of pieces of art that I have spent much of my life collecting, protecting and showing, when possible, at major museums around the world,” Marin said Wednesday. “The Riverside community has made this dream a reality.”\u003c/p>\n\u003cp>Marin and the Riverside Art Museum had already raised approximately $3 million since plans for the museum were unveiled last year.\u003c/p>\n\u003cp>It will be located in a refurbished building next door to Riverside’s historic Mission Inn, a stopping point since it opened in the 1870s for numerous celebrities and presidents including Theodore Roosevelt, Richard Nixon and George W. Bush.\u003c/p>\n\u003cp>Marin, a lifelong art lover, began collecting soon after he and cannabis comedy partner Tommy Chong became famous in the 1970s.\u003c/p>\n\u003cp>He’s said over the years he focused on Chicano art not so much because he’s a Chicano but because of how brilliant he found the artists to be and how, in the early years, so few people were aware of their work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That began to change as Marin, 71, persuaded museums across the country to stage exhibitions. After one at the Riverside Art Museum last year drew more than double its normal attendance officials approached him about permanently housing his collection there.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
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