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"content": "\u003cp>A piece of San Francisco musical history will be brought back to life at the end of the month, at least temporarily. The historic Fillmore West—most recently the site of a Honda dealership on the corner of Market Street and South Van Ness—is reopening under new management and will host events for the first time in 45 years. But before music fans start celebrating the reemergence of the storied venue, there’s a catch: the events company managing the former Fillmore West may only have three to five years to utilize it before the developer who owns the underlying land turns the site into a high-rise apartment tower.\u003c/p>\n\u003cp>SVN West, once a ’60s counterculture mecca, utilizes much of the Fillmore West’s original architecture and will feature a mezzanine, an approximately 25,000-square-foot ballroom with high ceilings and a similarly sized outdoor terrace. The ballroom holds 4,000 to 6,000 people—a rarity among independent venues in the city.\u003c/p>\n\u003cfigure id=\"attachment_13835051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg\" alt=\"The main ballroom at SVN West. \" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1020x431.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1200x508.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1180x499.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-960x406.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-240x102.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-375x159.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-520x220.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main ballroom at SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://nonplusultrainc.com/\" target=\"_blank\" rel=\"noopener\">Non Plus Ultra, Inc.\u003c/a>, a local company with philanthropic roots, manages SVN West. (Its leadership team helped found \u003ca href=\"https://projectwreckless.org/\" target=\"_blank\" rel=\"noopener\">Project Wreckless\u003c/a>, which teaches at-risk youth to restore classic cars, and the company frequently donates proceeds from events to community organizations.) Non Plus Ultra (NPU) also runs The Mint, Palace of Fine Arts and The Midway.\u003c/p>\n\u003cp>Although the company hasn’t disclosed many details about upcoming booking at SVN West, NPU president Jordan Langer says he plans to host a variety of corporate and community events. The first event at the new SVN West is a \u003ca href=\"https://www.eventbrite.com/e/juanita-more-pride-saturday-night-2018-tickets-46416900198\" target=\"_blank\" rel=\"noopener\">Pride celebration\u003c/a> featuring several DJs and drag star Juanita MORE! on Saturday, June 23.\u003c/p>\n\u003cp>“We’ll do some parties, live music and art stuff including installations,” NPU President Jordan Langer said of his vision for SVN West. “Rather than the building sitting empty or underutilized, we wanted to activate it in a cool, positive light. It’s an incredible venue—and if those walls could talk!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ballroom of 10 South Van Ness is certainly hallowed ground. Originally a big band dance hall called The Carousel Ballroom and a stop on the West Coast Chitlin’ Circuit, the network of venues where African-American artists performed during segregation, the venue became the epicenter of the San Francisco scene under the stewardship of concert impresario Bill Graham in the late ’60s. Graham renamed the venue Fillmore West after leaving his original location (today’s current Fillmore), and promoted a 1967 BB King show that became the legendary guitarist’s first performance in front of a \u003ca href=\"https://www.sfgate.com/music/article/Music-A-night-at-the-Fillmore-changed-B-B-6266457.php\" target=\"_blank\" rel=\"noopener\">majority white audience\u003c/a>.\u003c/p>\n\u003cp>The space was also briefly run by a collective formed by Jefferson Airplane, Quicksilver Messenger Service, Big Brother and the Holding Company and The Grateful Dead—all of whom would become regulars on the Fillmore West stage. The Fillmore West closed in 1971 with 14 bands performing between June 29 and July 4; an album and documentary titled \u003cem>Last Days at The Fillmore\u003c/em> was released in 1972.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_SDWjfsy-GA\u003c/p>\n\u003cp>While NPU is contacting some of those living legends from the Bay Area’s heyday for future programming, Langer noted that SVN West won’t strictly be a throwback. “We really want to keep it as a continuation of the cool stuff that’s happened in the building as opposed to re-launching the Fillmore West. Those are somewhat impossible shoes to fill.”\u003c/p>\n\u003cp>Non Plus Ultra will likely have several years to take advantage of the space. The building is owned by developers \u003ca href=\"https://www.crescentheights.com/\" target=\"_blank\" rel=\"noopener\">Crescent Heights\u003c/a>, which aims to build a 984-unit mixed-use development on the site and has undergone a years-long planning process with the city. The Miami-based company acquired the land in 2014 and Langer estimates that in three to five years, development will begin. Crescent Heights could not be reached for comment on this story.\u003c/p>\n\u003cp>“Crescent Heights is looking at this being a test run pilot program for potentially doing something more long term,” Langer said. Ultimately, NPU hopes to convince Crescent Heights that a ballroom will suit their plans.\u003c/p>\n\u003cp>In the interim, NPU is acquiring a sound system and securing its fixed-place permit from the city’s Entertainment Commission, which would allow SVN West to host events on an ongoing basis. That lengthy process involves multiple public hearings in front of the commission as well as neighborhood outreach, in addition to standard building, health and fire inspections. While it waits for a permanent permit, the company has secured multiple one-time entertainment event permits to host events such as its Pride celebration. NPU can have up to 12 such permits each year.\u003c/p>\n\u003cfigure id=\"attachment_13835052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835052\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg\" alt=\"The mezzanine of SVN West. \" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-768x309.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1200x483.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1180x475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-960x387.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-240x97.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-375x151.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-520x209.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The mezzanine of SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s great to see new places crop up, especially one that was so major in the city,” said Maggie Weiland, acting director of the city’s Entertainment Commission. “We’ve definitely seen a trend of some of those [larger capacity] venues we’ve known and loved for so many years going away. Any way we can support bringing them back and support the people who are working to bring them back is great.”\u003c/p>\n\u003cp>The opening of SVN West comes at a time of corporate consolidation in the Bay Area’s live music scene. Live Nation and Goldenvoice, which recently took control of the Great American Music Hall and Slim’s, along with Another Planet Entertainment, have an effective stronghold on booking in San Francisco; each controls small clubs, larger venues and music festivals such as Outside Lands. \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">speculated\u003c/a> whether corporate control of San Francisco’s clubs and concert halls could homogenize live music in the region at the expense of local acts and promoters.\u003c/p>\n\u003cp>Langer, however, is unfazed and surprisingly upbeat. “I’m a huge believer in the more, the merrier,” he said, adding that, while NPU works well with bigger companies, he does not intend to use any of those corporate names as full-time bookers. Instead, NPU plans to keep booking in-house and is actively hiring a booker who can bring in unique talent and national acts that aren’t quite a fit for the nearby Bill Graham Civic Auditorium, which Langer jokingly referred to as the “900 pound gorilla in the room.”\u003c/p>\n\u003cfigure id=\"attachment_13835056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835056\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg\" alt=\"The rooftop terrace at SVN West. \" width=\"800\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-768x306.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1020x407.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1200x479.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1180x471.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-960x383.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-520x207.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rooftop terrace at SVN West. \u003ccite>(Non Plus Ultra, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not concerned about the competition. More artists and DJs and talent and events will make everything better,” Langer said. “We’re really excited to be in the booking arena. I think that San Francisco is ready for more of the unique stuff that we’re going to bring the space.”\u003c/p>\n\u003cp>Langer’s pointed to an exhibit at The Midway called “\u003ca href=\"http://www.themidwaygallery.com/current-1/\" target=\"_blank\" rel=\"noopener\">She Bends: Women in Neon\u003c/a>” as an example of future art installations that could be held at SVN West. His other dreams for the venue include the return of Aretha Franklin, who recorded \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Vyx34kgHGng\" target=\"_blank\" rel=\"noopener\">Aretha Live at the Fillmore West\u003c/a>\u003c/em> in 1971. However, Langer cautioned against pigeonholing SVN as a venue dedicated to a specific genre of music.\u003c/p>\n\u003cp>“My hope is that we knock it out of the park in the next three to five years and there’s a longer-term solution for keeping this space in San Francisco,” Langer said. “Every day, spaces are closing and changing, very often not for development, but just the cost of doing stuff in the Bay Area is crazy. Hopefully we’re going to be able to show Crescent Heights and the city as a whole that spaces are a viable business still. You don’t need a tech company to come in and fill out your space; we can make it cooler and more fun and definitely more engaging to the community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>NPU hasn’t announced a calendar of events at SVN West (the space was scheduled to host a benefit for Project Wreckless on June 14 with a workshop, go-kart racing, rooftop zip lining and performance by local funk band The Humidors, but the event was moved to The Midway) but Langer said there are multiple projects in the pipeline. He expects to host an official grand opening party in the near future.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A piece of San Francisco musical history will be brought back to life at the end of the month, at least temporarily. The historic Fillmore West—most recently the site of a Honda dealership on the corner of Market Street and South Van Ness—is reopening under new management and will host events for the first time in 45 years. But before music fans start celebrating the reemergence of the storied venue, there’s a catch: the events company managing the former Fillmore West may only have three to five years to utilize it before the developer who owns the underlying land turns the site into a high-rise apartment tower.\u003c/p>\n\u003cp>SVN West, once a ’60s counterculture mecca, utilizes much of the Fillmore West’s original architecture and will feature a mezzanine, an approximately 25,000-square-foot ballroom with high ceilings and a similarly sized outdoor terrace. The ballroom holds 4,000 to 6,000 people—a rarity among independent venues in the city.\u003c/p>\n\u003cfigure id=\"attachment_13835051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg\" alt=\"The main ballroom at SVN West. \" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1020x431.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1200x508.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1180x499.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-960x406.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-240x102.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-375x159.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-520x220.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main ballroom at SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://nonplusultrainc.com/\" target=\"_blank\" rel=\"noopener\">Non Plus Ultra, Inc.\u003c/a>, a local company with philanthropic roots, manages SVN West. (Its leadership team helped found \u003ca href=\"https://projectwreckless.org/\" target=\"_blank\" rel=\"noopener\">Project Wreckless\u003c/a>, which teaches at-risk youth to restore classic cars, and the company frequently donates proceeds from events to community organizations.) Non Plus Ultra (NPU) also runs The Mint, Palace of Fine Arts and The Midway.\u003c/p>\n\u003cp>Although the company hasn’t disclosed many details about upcoming booking at SVN West, NPU president Jordan Langer says he plans to host a variety of corporate and community events. The first event at the new SVN West is a \u003ca href=\"https://www.eventbrite.com/e/juanita-more-pride-saturday-night-2018-tickets-46416900198\" target=\"_blank\" rel=\"noopener\">Pride celebration\u003c/a> featuring several DJs and drag star Juanita MORE! on Saturday, June 23.\u003c/p>\n\u003cp>“We’ll do some parties, live music and art stuff including installations,” NPU President Jordan Langer said of his vision for SVN West. “Rather than the building sitting empty or underutilized, we wanted to activate it in a cool, positive light. It’s an incredible venue—and if those walls could talk!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ballroom of 10 South Van Ness is certainly hallowed ground. Originally a big band dance hall called The Carousel Ballroom and a stop on the West Coast Chitlin’ Circuit, the network of venues where African-American artists performed during segregation, the venue became the epicenter of the San Francisco scene under the stewardship of concert impresario Bill Graham in the late ’60s. Graham renamed the venue Fillmore West after leaving his original location (today’s current Fillmore), and promoted a 1967 BB King show that became the legendary guitarist’s first performance in front of a \u003ca href=\"https://www.sfgate.com/music/article/Music-A-night-at-the-Fillmore-changed-B-B-6266457.php\" target=\"_blank\" rel=\"noopener\">majority white audience\u003c/a>.\u003c/p>\n\u003cp>The space was also briefly run by a collective formed by Jefferson Airplane, Quicksilver Messenger Service, Big Brother and the Holding Company and The Grateful Dead—all of whom would become regulars on the Fillmore West stage. The Fillmore West closed in 1971 with 14 bands performing between June 29 and July 4; an album and documentary titled \u003cem>Last Days at The Fillmore\u003c/em> was released in 1972.\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/_SDWjfsy-GA'\n title='//www.youtube.com/embed/_SDWjfsy-GA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While NPU is contacting some of those living legends from the Bay Area’s heyday for future programming, Langer noted that SVN West won’t strictly be a throwback. “We really want to keep it as a continuation of the cool stuff that’s happened in the building as opposed to re-launching the Fillmore West. Those are somewhat impossible shoes to fill.”\u003c/p>\n\u003cp>Non Plus Ultra will likely have several years to take advantage of the space. The building is owned by developers \u003ca href=\"https://www.crescentheights.com/\" target=\"_blank\" rel=\"noopener\">Crescent Heights\u003c/a>, which aims to build a 984-unit mixed-use development on the site and has undergone a years-long planning process with the city. The Miami-based company acquired the land in 2014 and Langer estimates that in three to five years, development will begin. Crescent Heights could not be reached for comment on this story.\u003c/p>\n\u003cp>“Crescent Heights is looking at this being a test run pilot program for potentially doing something more long term,” Langer said. Ultimately, NPU hopes to convince Crescent Heights that a ballroom will suit their plans.\u003c/p>\n\u003cp>In the interim, NPU is acquiring a sound system and securing its fixed-place permit from the city’s Entertainment Commission, which would allow SVN West to host events on an ongoing basis. That lengthy process involves multiple public hearings in front of the commission as well as neighborhood outreach, in addition to standard building, health and fire inspections. While it waits for a permanent permit, the company has secured multiple one-time entertainment event permits to host events such as its Pride celebration. NPU can have up to 12 such permits each year.\u003c/p>\n\u003cfigure id=\"attachment_13835052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835052\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg\" alt=\"The mezzanine of SVN West. \" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-768x309.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1200x483.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1180x475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-960x387.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-240x97.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-375x151.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-520x209.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The mezzanine of SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s great to see new places crop up, especially one that was so major in the city,” said Maggie Weiland, acting director of the city’s Entertainment Commission. “We’ve definitely seen a trend of some of those [larger capacity] venues we’ve known and loved for so many years going away. Any way we can support bringing them back and support the people who are working to bring them back is great.”\u003c/p>\n\u003cp>The opening of SVN West comes at a time of corporate consolidation in the Bay Area’s live music scene. Live Nation and Goldenvoice, which recently took control of the Great American Music Hall and Slim’s, along with Another Planet Entertainment, have an effective stronghold on booking in San Francisco; each controls small clubs, larger venues and music festivals such as Outside Lands. \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">speculated\u003c/a> whether corporate control of San Francisco’s clubs and concert halls could homogenize live music in the region at the expense of local acts and promoters.\u003c/p>\n\u003cp>Langer, however, is unfazed and surprisingly upbeat. “I’m a huge believer in the more, the merrier,” he said, adding that, while NPU works well with bigger companies, he does not intend to use any of those corporate names as full-time bookers. Instead, NPU plans to keep booking in-house and is actively hiring a booker who can bring in unique talent and national acts that aren’t quite a fit for the nearby Bill Graham Civic Auditorium, which Langer jokingly referred to as the “900 pound gorilla in the room.”\u003c/p>\n\u003cfigure id=\"attachment_13835056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835056\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg\" alt=\"The rooftop terrace at SVN West. \" width=\"800\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-768x306.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1020x407.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1200x479.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1180x471.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-960x383.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-520x207.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rooftop terrace at SVN West. \u003ccite>(Non Plus Ultra, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not concerned about the competition. More artists and DJs and talent and events will make everything better,” Langer said. “We’re really excited to be in the booking arena. I think that San Francisco is ready for more of the unique stuff that we’re going to bring the space.”\u003c/p>\n\u003cp>Langer’s pointed to an exhibit at The Midway called “\u003ca href=\"http://www.themidwaygallery.com/current-1/\" target=\"_blank\" rel=\"noopener\">She Bends: Women in Neon\u003c/a>” as an example of future art installations that could be held at SVN West. His other dreams for the venue include the return of Aretha Franklin, who recorded \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Vyx34kgHGng\" target=\"_blank\" rel=\"noopener\">Aretha Live at the Fillmore West\u003c/a>\u003c/em> in 1971. However, Langer cautioned against pigeonholing SVN as a venue dedicated to a specific genre of music.\u003c/p>\n\u003cp>“My hope is that we knock it out of the park in the next three to five years and there’s a longer-term solution for keeping this space in San Francisco,” Langer said. “Every day, spaces are closing and changing, very often not for development, but just the cost of doing stuff in the Bay Area is crazy. Hopefully we’re going to be able to show Crescent Heights and the city as a whole that spaces are a viable business still. You don’t need a tech company to come in and fill out your space; we can make it cooler and more fun and definitely more engaging to the community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NPU hasn’t announced a calendar of events at SVN West (the space was scheduled to host a benefit for Project Wreckless on June 14 with a workshop, go-kart racing, rooftop zip lining and performance by local funk band The Humidors, but the event was moved to The Midway) but Langer said there are multiple projects in the pipeline. He expects to host an official grand opening party in the near future.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Elvis Presley's Longtime Drummer, D.J. Fontana, Has Died",
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"content": "\u003cp>D.J. Fontana, the drummer who helped create Elvis Presley’s early, rockabilly sound and who played with him throughout the 1950s on hits like “Heartbreak Hotel” and “Hound Dog,” has died, his wife Karen Fontana confirmed to NPR. Fontana died on Wednesday night in his sleep at the age of 87, while in hospice in Nashville.\u003c/p>\n\u003cp>Fontana was born March 15, 1931 as Dominic Joseph Fontana in Shreveport, Louisiana. In a 1999 \u003ca href=\"https://www.youtube.com/watch?v=RAIYHXG8TVg\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> with music producer and filmmaker Dan Griffin, Fontana said that he began playing the drums in high school marching bands, and started really learning about structure and style by listening to recordings of big bands fronted by the likes of Stan Kenton, Woody Herman and the Dorsey Brothers. Later, he began playing with western swing bands and serving as the house drummer for a popular radio program broadcast from Shreveport called \u003cem>The Louisiana Hayride\u003c/em>.\u003c/p>\n\u003cp>When Presley appeared on \u003cem>Hayride\u003c/em> with bassist Bill Black and guitarist Scotty Moore in 1955, Fontana sat in with them — and a few months later, Presley asked Fontana to join his group full-time, taking the band from the three-piece setup assembled by producer Sam Phillips at Sun Records to its four-member lineup. Fontana was the last surviving member of that band, after Bill Black’s death in 1965, Presley’s in 1977 and Moore’s in 2016.\u003c/p>\n\u003cp>Fontana remained with Presley throughout the rest of the 1950s, and was a key contributor during the construction of Presley’s sound, providing an easy groove that evoked both rockabilly and swing, and helped to define hits like “Heartbreak Hotel,” “Don’t Be Cruel,” “Jailhouse Rock” and “Hound Dog.” In all, Fontana recorded more than 400 sides with Presley for RCA Victor.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MMmljYkdr-w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Presley turned to movie stardom in the following decade, Fontana began playing as a session musician in Nashville for other artists, though he continued recording with Presley regularly and appeared with him on his 1968 comeback TV special. But when Presley offered a spot for Fontana and Moore in his Las Vegas band in 1969, they both declined. The drummer last met with Presley in the mid-’70s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XLhLeJNugmA\u003c/p>\n\u003cp>In 1997, Fontana linked up with Scotty Moore again to record an album called \u003cem>All the King’s Men\u003c/em>, on which they were joined by artists like Keith Richards of The Rolling Stones and The Band. Fontana and Moore also appeared together on the 2000 album \u003cem>Good Rockin’ Tonight: The Legacy of Sun Records\u003c/em>, backing Paul McCartney on “That’s All Right.”\u003c/p>\n\u003cp>For his sideman work, Fontana was \u003ca href=\"https://www.rockhall.com/inductees/dj-fontana\">inducted\u003c/a> into the Rock and Roll Hall of Fame in 1999. At his induction, Fontana was affable and modest about his contributions. “This is great,” he said at the press conference marking the occasion. “I’ve had so much fun these last few days. It’s a great honor just to be here … I’m glad I got it before I died.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cFIojisIjHA\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+Presley%27s+Longtime+Drummer%2C+D.J.+Fontana%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Presley turned to movie stardom in the following decade, Fontana began playing as a session musician in Nashville for other artists, though he continued recording with Presley regularly and appeared with him on his 1968 comeback TV special. But when Presley offered a spot for Fontana and Moore in his Las Vegas band in 1969, they both declined. The drummer last met with Presley in the mid-’70s.\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/XLhLeJNugmA'\n title='//www.youtube.com/embed/XLhLeJNugmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1997, Fontana linked up with Scotty Moore again to record an album called \u003cem>All the King’s Men\u003c/em>, on which they were joined by artists like Keith Richards of The Rolling Stones and The Band. Fontana and Moore also appeared together on the 2000 album \u003cem>Good Rockin’ Tonight: The Legacy of Sun Records\u003c/em>, backing Paul McCartney on “That’s All Right.”\u003c/p>\n\u003cp>For his sideman work, Fontana was \u003ca href=\"https://www.rockhall.com/inductees/dj-fontana\">inducted\u003c/a> into the Rock and Roll Hall of Fame in 1999. At his induction, Fontana was affable and modest about his contributions. “This is great,” he said at the press conference marking the occasion. “I’ve had so much fun these last few days. It’s a great honor just to be here … I’m glad I got it before I died.” \u003c/p>\n\u003cp>\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/cFIojisIjHA'\n title='//www.youtube.com/embed/cFIojisIjHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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+Presley%27s+Longtime+Drummer%2C+D.J.+Fontana%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Activists urging the removal of a prominent 19th century statue in San Francisco depicting a Native American at the feet of a Spanish cowboy and a Catholic missionary will get another chance to make their case.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Proposal-to-remove-Early-Days-statue-in-SF-12992952.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> reports the city’s Board of Appeals voted Wednesday to grant a rehearing on removing the “Early Days” statue near City Hall.\u003c/p>\n\u003cp>The San Francisco Arts Commission and Historic Preservation Commission decided to put the statue in storage amid complaints it was racist and demeaned Native Americans.\u003c/p>\n\u003cp>But the Board of Appeals in April overturned their decisions, saying the historic commission had overlooked its duty to preserve history.\u003c/p>\n\u003cp>Mayor Mark Farrell said he was embarrassed by the board’s decision, and the city’s Board of Supervisors unanimously called for the statue’s removal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The board received more than a dozen letters and emails advocating the statue’s removal and two in support of its public display.\u003c/p>\n\u003cp>“If we wipe away the traces of injustice, we will forget that injustice and repeat it,” Eric Heisdorf wrote the board in support of the statue.\u003c/p>\n\u003cp>The issue gained momentum last year after sometime-violent debates erupted across the country over removing Confederate statues. The Southern Poverty Law Center, an Alabama civil rights legal clinic, reported that 47 Confederate monuments have been removed across the country since the June 2015\u003c/p>\n\u003cp>According to a new report from the Southern Poverty Law Center, 110 Confederate symbols — 47 of them monuments — have been removed across the nation since the Charleston murders.\u003c/p>\n\u003cp>Native American activists have advocated for the statue’s removal for decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new hearing will be held later in the summer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Activists urging the removal of a prominent 19th century statue in San Francisco depicting a Native American at the feet of a Spanish cowboy and a Catholic missionary will get another chance to make their case.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Proposal-to-remove-Early-Days-statue-in-SF-12992952.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> reports the city’s Board of Appeals voted Wednesday to grant a rehearing on removing the “Early Days” statue near City Hall.\u003c/p>\n\u003cp>The San Francisco Arts Commission and Historic Preservation Commission decided to put the statue in storage amid complaints it was racist and demeaned Native Americans.\u003c/p>\n\u003cp>But the Board of Appeals in April overturned their decisions, saying the historic commission had overlooked its duty to preserve history.\u003c/p>\n\u003cp>Mayor Mark Farrell said he was embarrassed by the board’s decision, and the city’s Board of Supervisors unanimously called for the statue’s removal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The board received more than a dozen letters and emails advocating the statue’s removal and two in support of its public display.\u003c/p>\n\u003cp>“If we wipe away the traces of injustice, we will forget that injustice and repeat it,” Eric Heisdorf wrote the board in support of the statue.\u003c/p>\n\u003cp>The issue gained momentum last year after sometime-violent debates erupted across the country over removing Confederate statues. The Southern Poverty Law Center, an Alabama civil rights legal clinic, reported that 47 Confederate monuments have been removed across the country since the June 2015\u003c/p>\n\u003cp>According to a new report from the Southern Poverty Law Center, 110 Confederate symbols — 47 of them monuments — have been removed across the nation since the Charleston murders.\u003c/p>\n\u003cp>Native American activists have advocated for the statue’s removal for decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new hearing will be held later in the summer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003cem>San Francisco Bay Times\u003c/em>, the city’s first newspaper founded jointly by gay men\u003cbr>\nand women, is celebrating its 40th birthday this year, starting this LGBTQ Pride month.\u003c/p>\n\u003cp>Though the first issue came out in May of 1978, the newspaper’s publishers plan to celebrate its anniversary through the entire year, starting with having a big presence during this year’s pride parade. They’ve even adopted a slogan for the birthday: “A million stories in 40 years.”\u003c/p>\n\u003cfigure id=\"attachment_13834832\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-800x600.jpg\" alt=\"First issue of San Francisco Bay Times\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13834832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">First issue of the \u003cem>San Francisco Bay Times\u003c/em>. \u003ccite>(Courtesy of SF Bay Times)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s kind of metaphorical because I don’t know if we’ve really published a million stories,” \u003cem>Bay Times\u003c/em> publisher Betty Sullivan said. “It doesn’t really matter; it’s symbolic.”\u003c/p>\n\u003cp>Roland G. Schembari, a journalist who worked on KPFA’s \u003cem>Fruit Punch\u003c/em>, the nation’s first gay-themed radio show, started the paper with friend and respected journalist Randy Alfred. The two had big dreams for the newspaper, which was one of the first to focus exclusively on issues in the gay community. \u003c/p>\n\u003cp>“These guys decided they wanted lesbians involved, which is very forward-thinking because it recognizes that we need to put effort into that,” Sullivan said. “Otherwise, we just fall into segments.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the first issue was fraught with problems — it had articles that said they continued on page 13, yet the paper was only 12 pages. It ended its run after three issues. Alfred, the paper’s first news editor, would later say that the publication was “ahead of its time and under budget.”\u003c/p>\n\u003cfigure id=\"attachment_13834889\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-800x1197.jpg\" alt=\"Cover of SF Bay Times for June 21, 2018\" width=\"800\" height=\"1197\" class=\"size-medium wp-image-13834889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-520x778.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover of SF Bay Times for June 21, 2018 \u003ccite>(Debra Walker/SF Bay Times)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schembari and his friend Bill Hartman tried again the following year, starting a new four-page publication called \u003cem>Coming Up!\u003c/em>, which acted more as a gay-themed event calendar but still included some news coverage. It couldn’t have come at a better time, as 1979 was a huge year for gay issues, being the year of the National March on Washington for Lesbian and Gay Rights, which was then the largest ever political gathering in support of LGBTQ rights. It was also the year after Harvey Milk’s assassination and the White Night Riots.\u003c/p>\n\u003cp>In 1981, photographer Kim Corsaro became editor and publisher, and helped grow the paper to a circulation in the tens of thousands. That period was important, with the AIDS crisis wiping out much of the community and inspiring queer activism. Seven years after Corsaro became publisher, the newspaper changed its name back to the \u003cem>San Francisco Bay Times\u003c/em>.\u003c/p>\n\u003cp>The paper was at the center of controversy in 1992, after it ran a provactive graphic of then-San Francisco police chief Richard Hongisto, criticizing his handling of local protests over the Rodney King verdict. Hongisto reportedly ordered three officers take and destroy about 2,000 issues of the paper with the offending graphic. After some of the \u003ca href=\"http://articles.latimes.com/1992-05-16/news/mn-1980_1_police-chief\" rel=\"noopener\" target=\"_blank\">officers revealed Hongisto’s commands\u003c/a>, he was fired. He had been on the job for only 44 days.\u003c/p>\n\u003cp>Around a decade ago, the paper saw a change in leadership. Schembari \u003ca href=\"https://www.sfgate.com/news/article/Roland-Schembari-Co-Founder-of-S-F-Bay-Times-2773437.php\" rel=\"noopener\" target=\"_blank\">died in 2000 of cancer\u003c/a>, and Corsaro stepped down as publisher in 2011 because of some health and family issues, according to Sullivan. \u003c/p>\n\u003cp>“[Corsaro] held onto that position for 30 years. Being the publisher of a small gay-and-lesbian newspaper for three solid decades is pretty amazing,” Sullivan said. \u003c/p>\n\u003cp>Sullivan, a longtime journalist and founder of the influential LGBTQ listserve \u003ca href=\"http://www.bettyslist.com/\" rel=\"noopener\" target=\"_blank\">Betty’s List\u003c/a>, and Discovery Channel senior news correspondent Jennifer L. Viegas both took over the publisher roles at the \u003cem>Bay Times\u003c/em>. They focused expanding on their web presence and ensuring they stay an important voice in the community.\u003c/p>\n\u003cp>“I think we also want to make sure that we uphold our educational goal that we are providing information that people need to be in control of their own lives,” Sullivan said. \u003c/p>\n\u003cfigure id=\"attachment_13834831\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-800x450.jpg\" alt=\"SF Bay Times publisher Betty Sullivan (center), surrounded by LGBTQ leaders Gary Virginia and Donna Sachet\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13834831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>San Francisco Bay Times\u003c/em> publisher Betty Sullivan (center), surrounded by LGBTQ leaders Gary Virginia and Donna Sachet. \u003ccite>(Courtesy of SF Bay Times)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sullivan and Viegas also work to ensure that the Times is a leading voice in the community. For example, in 2014, after then-San Francisco 49er Chris Culliver made offensive comments about the gay community at that year’s Super Bowl, \u003ca href=\"http://sfbaytimes.com/new-and-improved-chris-culliver/\" rel=\"noopener\" target=\"_blank\">he gave an exclusive interview \u003c/a>to the \u003cem>Bay Times\u003c/em> discussing how he had spent the following months learning about the LGTBQ community. \u003c/p>\n\u003cp>Last year, the paper set up the \u003ca href=\"http://sfbaytimes.com/castro-street-cam/\" rel=\"noopener\" target=\"_blank\">Castro Street Cam\u003c/a>, a webcam providing 24/7 live streaming views of the historic Castro Street in San Francisco. The cam provides a real look at the epicenter of culture, so people all over the world can see what it’s really like there. \u003c/p>\n\u003cp>“It is amazing to me how often people start dancing o\u003c!--more-->\u003c/p>\n\u003cp>n Castro Street,” Sullivan said. “I think it shows the happiness and joy of this community.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fihxfjr3g6g\u003c/p>\n\u003cp>Sullivan and staff are working on a few events to celebrate the paper’s 40th year of publication, such as a dance party cruise around the San Francisco Bay and a panel talk that will include original news editor Alfred. Dates and venues are still being determined.\u003c/p>\n\u003cp>As for the future of the paper, Sullivan says they plan to keep doing what they’re doing. They hope to keep publishing a physical newspaper, but continue to expand their growing online audience and social media presence. The one thing Sullivan says will never change is the paper’s mission to having gay men and women working side-by-side. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are bound and determine to carry the flag or torch for that stated purpose of bringing men and women together,” Sullivan said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cem>San Francisco Bay Times\u003c/em>, the city’s first newspaper founded jointly by gay men\u003cbr>\nand women, is celebrating its 40th birthday this year, starting this LGBTQ Pride month.\u003c/p>\n\u003cp>Though the first issue came out in May of 1978, the newspaper’s publishers plan to celebrate its anniversary through the entire year, starting with having a big presence during this year’s pride parade. They’ve even adopted a slogan for the birthday: “A million stories in 40 years.”\u003c/p>\n\u003cfigure id=\"attachment_13834832\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-800x600.jpg\" alt=\"First issue of San Francisco Bay Times\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13834832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-Bay-Times-First-Issue-Cover-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">First issue of the \u003cem>San Francisco Bay Times\u003c/em>. \u003ccite>(Courtesy of SF Bay Times)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s kind of metaphorical because I don’t know if we’ve really published a million stories,” \u003cem>Bay Times\u003c/em> publisher Betty Sullivan said. “It doesn’t really matter; it’s symbolic.”\u003c/p>\n\u003cp>Roland G. Schembari, a journalist who worked on KPFA’s \u003cem>Fruit Punch\u003c/em>, the nation’s first gay-themed radio show, started the paper with friend and respected journalist Randy Alfred. The two had big dreams for the newspaper, which was one of the first to focus exclusively on issues in the gay community. \u003c/p>\n\u003cp>“These guys decided they wanted lesbians involved, which is very forward-thinking because it recognizes that we need to put effort into that,” Sullivan said. “Otherwise, we just fall into segments.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the first issue was fraught with problems — it had articles that said they continued on page 13, yet the paper was only 12 pages. It ended its run after three issues. Alfred, the paper’s first news editor, would later say that the publication was “ahead of its time and under budget.”\u003c/p>\n\u003cfigure id=\"attachment_13834889\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-800x1197.jpg\" alt=\"Cover of SF Bay Times for June 21, 2018\" width=\"800\" height=\"1197\" class=\"size-medium wp-image-13834889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/1-SFVT-COVER-6.21.18-t-shirt-520x778.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover of SF Bay Times for June 21, 2018 \u003ccite>(Debra Walker/SF Bay Times)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schembari and his friend Bill Hartman tried again the following year, starting a new four-page publication called \u003cem>Coming Up!\u003c/em>, which acted more as a gay-themed event calendar but still included some news coverage. It couldn’t have come at a better time, as 1979 was a huge year for gay issues, being the year of the National March on Washington for Lesbian and Gay Rights, which was then the largest ever political gathering in support of LGBTQ rights. It was also the year after Harvey Milk’s assassination and the White Night Riots.\u003c/p>\n\u003cp>In 1981, photographer Kim Corsaro became editor and publisher, and helped grow the paper to a circulation in the tens of thousands. That period was important, with the AIDS crisis wiping out much of the community and inspiring queer activism. Seven years after Corsaro became publisher, the newspaper changed its name back to the \u003cem>San Francisco Bay Times\u003c/em>.\u003c/p>\n\u003cp>The paper was at the center of controversy in 1992, after it ran a provactive graphic of then-San Francisco police chief Richard Hongisto, criticizing his handling of local protests over the Rodney King verdict. Hongisto reportedly ordered three officers take and destroy about 2,000 issues of the paper with the offending graphic. After some of the \u003ca href=\"http://articles.latimes.com/1992-05-16/news/mn-1980_1_police-chief\" rel=\"noopener\" target=\"_blank\">officers revealed Hongisto’s commands\u003c/a>, he was fired. He had been on the job for only 44 days.\u003c/p>\n\u003cp>Around a decade ago, the paper saw a change in leadership. Schembari \u003ca href=\"https://www.sfgate.com/news/article/Roland-Schembari-Co-Founder-of-S-F-Bay-Times-2773437.php\" rel=\"noopener\" target=\"_blank\">died in 2000 of cancer\u003c/a>, and Corsaro stepped down as publisher in 2011 because of some health and family issues, according to Sullivan. \u003c/p>\n\u003cp>“[Corsaro] held onto that position for 30 years. Being the publisher of a small gay-and-lesbian newspaper for three solid decades is pretty amazing,” Sullivan said. \u003c/p>\n\u003cp>Sullivan, a longtime journalist and founder of the influential LGBTQ listserve \u003ca href=\"http://www.bettyslist.com/\" rel=\"noopener\" target=\"_blank\">Betty’s List\u003c/a>, and Discovery Channel senior news correspondent Jennifer L. Viegas both took over the publisher roles at the \u003cem>Bay Times\u003c/em>. They focused expanding on their web presence and ensuring they stay an important voice in the community.\u003c/p>\n\u003cp>“I think we also want to make sure that we uphold our educational goal that we are providing information that people need to be in control of their own lives,” Sullivan said. \u003c/p>\n\u003cfigure id=\"attachment_13834831\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-800x450.jpg\" alt=\"SF Bay Times publisher Betty Sullivan (center), surrounded by LGBTQ leaders Gary Virginia and Donna Sachet\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13834831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5-Betty-Sullivan-with-Gary-Virginia-and-Donna-SachetCROPPED-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>San Francisco Bay Times\u003c/em> publisher Betty Sullivan (center), surrounded by LGBTQ leaders Gary Virginia and Donna Sachet. \u003ccite>(Courtesy of SF Bay Times)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sullivan and Viegas also work to ensure that the Times is a leading voice in the community. For example, in 2014, after then-San Francisco 49er Chris Culliver made offensive comments about the gay community at that year’s Super Bowl, \u003ca href=\"http://sfbaytimes.com/new-and-improved-chris-culliver/\" rel=\"noopener\" target=\"_blank\">he gave an exclusive interview \u003c/a>to the \u003cem>Bay Times\u003c/em> discussing how he had spent the following months learning about the LGTBQ community. \u003c/p>\n\u003cp>Last year, the paper set up the \u003ca href=\"http://sfbaytimes.com/castro-street-cam/\" rel=\"noopener\" target=\"_blank\">Castro Street Cam\u003c/a>, a webcam providing 24/7 live streaming views of the historic Castro Street in San Francisco. The cam provides a real look at the epicenter of culture, so people all over the world can see what it’s really like there. \u003c/p>\n\u003cp>“It is amazing to me how often people start dancing o\u003c!--more-->\u003c/p>\n\u003cp>n Castro Street,” Sullivan said. “I think it shows the happiness and joy of this community.”\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/fihxfjr3g6g'\n title='//www.youtube.com/embed/fihxfjr3g6g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sullivan and staff are working on a few events to celebrate the paper’s 40th year of publication, such as a dance party cruise around the San Francisco Bay and a panel talk that will include original news editor Alfred. Dates and venues are still being determined.\u003c/p>\n\u003cp>As for the future of the paper, Sullivan says they plan to keep doing what they’re doing. They hope to keep publishing a physical newspaper, but continue to expand their growing online audience and social media presence. The one thing Sullivan says will never change is the paper’s mission to having gay men and women working side-by-side. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are bound and determine to carry the flag or torch for that stated purpose of bringing men and women together,” Sullivan said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Los Angeles police are investigating reports of elder abuse against Stan Lee that come amid a struggle over the life and fortune of the 95-year-old Marvel Comics mogul, court documents showed Wednesday.\u003c/p>\n\u003cp>The investigation was revealed in a restraining order granted against Keya Morgan, who in recent months has been acting as Lee’s business manager and personal adviser.\u003c/p>\n\u003cp>Morgan has inserted himself into the life of the Lee, according to the order. The filing accuses Morgan, 42, of taking advantage of Lee’s impaired hearing, vision and judgment, moving Lee from his longtime family home and preventing family and associates from contacting him.\u003c/p>\n\u003cp>Morgan was arrested on Monday for allegedly filing a false police report by calling 911 and saying burglars were in his house when in fact two detectives and a social worker were conducting a welfare check on Lee.\u003c/p>\n\u003cp>“I have a very dear friend I take care of who is 95 and um, uh, three unidentified people have gone inside this house and locked the door and locked his security out and I’m very, very scared that they’re harming him,” Morgan said on the 911 call made on May 30, according to a transcript filed with the restraining order.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Attempts to reach Morgan on Wednesday were not immediately successful. An attorney he hired on a previous criminal case said he no longer works for Morgan, and it’s not clear if he’s retained a new attorney. Morgan’s cell phone was no longer accepting messages.\u003c/p>\n\u003cp>Morgan’s arrest and ouster is the latest and most dramatic move in the fight that has emerged over Lee’s business and estimated $50 million fortune since his wife of 69 years Joan died in July.\u003c/p>\n\u003cp>Police have been investigating reports of elder abuse against Lee since at least February, and had issued an emergency order keeping Morgan from Lee even before Wednesday’s order was issued.\u003c/p>\n\u003cp>Lee has for decades been revered as a comic book giant for his central role in creating the Incredible Hulk, Spider-Man, Iron Man and other major Marvel characters. In more recent years he has become a grandfatherly figure over the Marvel Cinematic Universe, with his comical cameos in each film beloved by fans.\u003c/p>\n\u003cp>Morgan is a memorabilia dealer and Marilyn Monroe expert who befriended Lee’s daughter and only child J.C. Lee, and since February has increasingly taken personal control of Lee’s life and household, taking advantage of Lee’s age to influence and isolate him, Lee’s attorney Tom Lallas said in the restraining order request.\u003c/p>\n\u003cp>He got rid of many who had worked for Lee, including Lallas, who had been helping with Lee’s estate planning and other financial matters before his ouster, and has now returned. Morgan prevented friends, employees and relatives, eventually even J.C. Lee, from contact with Lee, police said in reports included with the restraining order.\u003c/p>\n\u003cp>Detectives said in the reports that in interviews Lee acknowledged that Morgan had helped him, but would frequently forget his name when talking about him.\u003c/p>\n\u003cp>The reports said they had twice done welfare checks on Lee, on Feb. 23 and again on May 30, when Morgan was not home. Morgan returned and was denied entry. After his 911 call reporting burglars, he again called 911 to say a security guard was being threatening and aggressive.\u003c/p>\n\u003cp>Morgan was released Monday after his arrest. He is already serving two years of probation for making criminal threats in an unrelated dispute, and he has been summoned back to court to determine whether he has violated the probation.\u003c/p>\n\u003cp>A day before the arrest, Lee appeared in a video posted to his Twitter account declaring that Morgan was his only partner and representative, and anyone claiming otherwise was lying.\u003c/p>\n\u003cp>“Anybody else who claims to be my rep is just making that story up,” Lee says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Morgan shared the video on his own Twitter account, whose bio calls him, “Co-creator with Stan Lee.”\u003cbr>\n___\u003cbr>\nFollow Andrew Dalton on Twitter: https://twitter.com/andyjamesdalton\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Attempts to reach Morgan on Wednesday were not immediately successful. An attorney he hired on a previous criminal case said he no longer works for Morgan, and it’s not clear if he’s retained a new attorney. Morgan’s cell phone was no longer accepting messages.\u003c/p>\n\u003cp>Morgan’s arrest and ouster is the latest and most dramatic move in the fight that has emerged over Lee’s business and estimated $50 million fortune since his wife of 69 years Joan died in July.\u003c/p>\n\u003cp>Police have been investigating reports of elder abuse against Lee since at least February, and had issued an emergency order keeping Morgan from Lee even before Wednesday’s order was issued.\u003c/p>\n\u003cp>Lee has for decades been revered as a comic book giant for his central role in creating the Incredible Hulk, Spider-Man, Iron Man and other major Marvel characters. In more recent years he has become a grandfatherly figure over the Marvel Cinematic Universe, with his comical cameos in each film beloved by fans.\u003c/p>\n\u003cp>Morgan is a memorabilia dealer and Marilyn Monroe expert who befriended Lee’s daughter and only child J.C. Lee, and since February has increasingly taken personal control of Lee’s life and household, taking advantage of Lee’s age to influence and isolate him, Lee’s attorney Tom Lallas said in the restraining order request.\u003c/p>\n\u003cp>He got rid of many who had worked for Lee, including Lallas, who had been helping with Lee’s estate planning and other financial matters before his ouster, and has now returned. Morgan prevented friends, employees and relatives, eventually even J.C. Lee, from contact with Lee, police said in reports included with the restraining order.\u003c/p>\n\u003cp>Detectives said in the reports that in interviews Lee acknowledged that Morgan had helped him, but would frequently forget his name when talking about him.\u003c/p>\n\u003cp>The reports said they had twice done welfare checks on Lee, on Feb. 23 and again on May 30, when Morgan was not home. Morgan returned and was denied entry. After his 911 call reporting burglars, he again called 911 to say a security guard was being threatening and aggressive.\u003c/p>\n\u003cp>Morgan was released Monday after his arrest. He is already serving two years of probation for making criminal threats in an unrelated dispute, and he has been summoned back to court to determine whether he has violated the probation.\u003c/p>\n\u003cp>A day before the arrest, Lee appeared in a video posted to his Twitter account declaring that Morgan was his only partner and representative, and anyone claiming otherwise was lying.\u003c/p>\n\u003cp>“Anybody else who claims to be my rep is just making that story up,” Lee says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Morgan shared the video on his own Twitter account, whose bio calls him, “Co-creator with Stan Lee.”\u003cbr>\n___\u003cbr>\nFollow Andrew Dalton on Twitter: https://twitter.com/andyjamesdalton\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Composer and playwright Lin-Manuel Miranda begins his search Wednesday for the Puerto Rican cast of his \u003cem>Hamilton\u003c/em> production that will take the stage on the storm-battered island in January 2019.\u003c/p>\n\u003cp>His father, Luis Miranda, Jr., flew to Puerto Rico to help with logistics and tweeted the \u003ca href=\"https://twitter.com/Vegalteno/status/1006123804433829888\">call for actors\u003c/a>: “Seeking men and women, ages 20s-30s, for the non-white characters as written and conceived for the currently running and upcoming Broadway, Chicago and touring productions HAMILTON.”\u003c/p>\n\u003cp>https://twitter.com/Vegalteno/status/1006123804433829888\u003c/p>\n\u003cp>The younger Miranda promised that he will headline the production on the island where his parents were born, even “if I have to play Hamilton with a f—ing flashlight under my face in one hand and a dueling pistol in the other.”\u003c/p>\n\u003cp>Since Hurricane Maria devastated Puerto Rico in late September, the playwright has aimed his star power at helping with recovery. He recorded a single, “Almost Like Praying,” and donated proceeds from the song’s release to the Hispanic Federation’s Unidos disaster relief fund for the island. He also spoke on the steps of the Lincoln Memorial during a November protest against slow hurricane recovery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hundreds of people signed up to audition Wednesday, but some empty slots remain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Candidates gushed their thanks to Miranda in their registration. One woman, Paula Lebrón, wrote: “Not throwing away this shot! So excited for this opportunity!!!” \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=Auditions+Begin+For+%27Hamilton%27+In+Puerto+Rico&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>The \u003ca href=\"http://www.arts.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> has announced more than a thousand grants to cultural organizations across the state this year. The $16.3 million in funds, announced Tuesday, will mostly go to support groups working with underserved communities.\u003c/p>\n\u003cp>“Our goal is to reach and to represent all of the citizens in the state of California,” says Anne Bown-Crawford, California Arts Council director. “I want to support as many historically marginalized communities as possible.”\u003c/p>\n\u003cp>Among the groups benefitting from this round of funding is \u003ca href=\"https://www.916ink.org/\" target=\"_blank\" rel=\"noopener\">916 Ink\u003c/a>, a creative writing nonprofit based in Sacramento. Development director Justin Self says the $45,000 his organization receives from the California Arts Council will provide writing workshops for at-risk and incarcerated youth.\u003c/p>\n\u003cp>“Without communication and literacy skills, these kids are essentially on a pathway from school to prison,” Self says. “We can take those kids that are most at risk of ending up in that situation and engage them in a program where they’re able to express themselves with honesty and authenticity, so they can process the trauma they’ve experienced.”\u003c/p>\n\u003cp>Self says 916 Ink has received California Arts Council funding for the past three years and that the funds are critical to his organization’s success.\u003c/p>\n\u003cfigure id=\"attachment_13834927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/TeatroVision1-800x533.jpg\" alt=\"Teatro Vision of San Jose is another group to receive funding this year from the California Arts Council.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Teatro Vision of San Jose is another group to receive funding this year from the California Arts Council. \u003ccite>(Photo: Courtesy of the California Arts Council.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Without these grants, it’s very likely that we would only be able to do maybe 10 or 20 percent of the amount of this work that we do,” Self says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A study commissioned by the \u003ca href=\"https://www.irvine.org/arts/learning/californias-arts-ecology\">Irvine Foundation\u003c/a> shows that California has 11,000 arts and culture nonprofits, placing the state ahead of most nations in the world.\u003c/p>\n\u003cp>The California Arts Council provides grants to around 6 percent — or roughly 700 organizations — of the total field each year, and to between 60 to 70 percent of applicants to its programs.\u003c/p>\n\u003cp>Yet according to 2018 data from the \u003ca href=\"https://nasaa-arts.org/\" target=\"_blank\" rel=\"noopener\">National Association of State Arts Agencies\u003c/a>, California ranks 38th in the United States for cultural funding, investing 46 cents per person in the arts. The national median is $1.03.\u003c/p>\n\u003cp>The relatively low ranking may improve in the coming months. The state arts funding budget is up by $1.3 million over last year. And, in an unusual move a few weeks ago, Gov. Jerry Brown proposed boosting the state arts budget by a further $5 million.Since then, thanks to calls for additional funds from the legislature, that number could be as high as $10 million next year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It is my goal to keep the ranking rising,” Bown-Crawford says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.arts.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> has announced more than a thousand grants to cultural organizations across the state this year. The $16.3 million in funds, announced Tuesday, will mostly go to support groups working with underserved communities.\u003c/p>\n\u003cp>“Our goal is to reach and to represent all of the citizens in the state of California,” says Anne Bown-Crawford, California Arts Council director. “I want to support as many historically marginalized communities as possible.”\u003c/p>\n\u003cp>Among the groups benefitting from this round of funding is \u003ca href=\"https://www.916ink.org/\" target=\"_blank\" rel=\"noopener\">916 Ink\u003c/a>, a creative writing nonprofit based in Sacramento. Development director Justin Self says the $45,000 his organization receives from the California Arts Council will provide writing workshops for at-risk and incarcerated youth.\u003c/p>\n\u003cp>“Without communication and literacy skills, these kids are essentially on a pathway from school to prison,” Self says. “We can take those kids that are most at risk of ending up in that situation and engage them in a program where they’re able to express themselves with honesty and authenticity, so they can process the trauma they’ve experienced.”\u003c/p>\n\u003cp>Self says 916 Ink has received California Arts Council funding for the past three years and that the funds are critical to his organization’s success.\u003c/p>\n\u003cfigure id=\"attachment_13834927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/TeatroVision1-800x533.jpg\" alt=\"Teatro Vision of San Jose is another group to receive funding this year from the California Arts Council.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Teatro Vision of San Jose is another group to receive funding this year from the California Arts Council. \u003ccite>(Photo: Courtesy of the California Arts Council.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Without these grants, it’s very likely that we would only be able to do maybe 10 or 20 percent of the amount of this work that we do,” Self says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A study commissioned by the \u003ca href=\"https://www.irvine.org/arts/learning/californias-arts-ecology\">Irvine Foundation\u003c/a> shows that California has 11,000 arts and culture nonprofits, placing the state ahead of most nations in the world.\u003c/p>\n\u003cp>The California Arts Council provides grants to around 6 percent — or roughly 700 organizations — of the total field each year, and to between 60 to 70 percent of applicants to its programs.\u003c/p>\n\u003cp>Yet according to 2018 data from the \u003ca href=\"https://nasaa-arts.org/\" target=\"_blank\" rel=\"noopener\">National Association of State Arts Agencies\u003c/a>, California ranks 38th in the United States for cultural funding, investing 46 cents per person in the arts. The national median is $1.03.\u003c/p>\n\u003cp>The relatively low ranking may improve in the coming months. The state arts funding budget is up by $1.3 million over last year. And, in an unusual move a few weeks ago, Gov. Jerry Brown proposed boosting the state arts budget by a further $5 million.Since then, thanks to calls for additional funds from the legislature, that number could be as high as $10 million next year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It is my goal to keep the ranking rising,” Bown-Crawford says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Danny Kirwan, the guitarist who joined Fleetwood Mac at age 18 and played on five of the band’s albums, died Friday in London at age 68. His death was announced by Mick Fleetwood on the group’s \u003ca href=\"https://www.facebook.com/FleetwoodMac/posts/10156505690944138\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>; no cause was given.\u003c/p>\n\u003cp>“Danny was a huge force in our early years … Danny’s true legacy, in my mind, will forever live on in the music he wrote and played so beautifully as a part of the foundation of Fleetwood Mac, that has now endured for over fifty years,” Fleetwood wrote.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dmC5Bt0cCsI\u003c/p>\n\u003cp>Kirwan was born on May 13, 1950 and joined the band in 1968. He appeared on five of Fleetwood Mac’s albums: 1969’s \u003cem>Then Play On\u003c/em> and \u003cem>Blues Jam at Chess\u003c/em>; 1970’s \u003cem>Kiln House\u003c/em>; 1971’s \u003cem>Future Games\u003c/em>; and finally on 1972’s \u003cem>Bare Trees\u003c/em>. In a 2017 interview, Mick Fleetwood recalled Kirwan as a massively important force in the group: “Danny was a quantum leap ahead of us creatively … He is the lost component. In many ways, Danny is a forgotten hero,” he \u003ca href=\"https://web.musicaficionado.com/main.html#!/article/fleetwood_macs_forgotten_hero_by_jimfarber\">told\u003c/a> music critic Jim Farber.\u003c/p>\n\u003cp>Kirwan was fired from the band in 1972, reportedly after an incident in which he and bandmate Bob Welch fought over tuning before a gig. Kirwan reportedly refused to go onstage, smashed his guitar, and then criticized the band’s performance. (“It was the straw that broke the camel’s back,” Fleetwood told Farber.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After leaving Fleetwood Mac, Kirwan issued a few solo projects for DJM Records, but battled mental illness, alcoholism and homelessness. In 1993, after Mick Fleetwood made inquiries about his well-being, the London paper \u003cem>The Independent\u003c/em> and the U.K.’s Missing Persons Bureau \u003ca href=\"https://www.independent.co.uk/news/he-went-his-own-way-to-oblivion-fleetwood-macs-former-guitarist-is-found-a-little-the-worse-for-wear-1511056.html\">tracked him down\u003c/a> in a homeless shelter in London’s West End, where Kirwan had been living for the past four years.\u003c/p>\n\u003cp>In that \u003cem>Independent\u003c/em> interview, Kirwan expressed little resentment towards his former bandmates, and downplayed his contributions to Fleetwood Mac’s sound and ethos. “I was lucky to have played for the band at all,” Kirwan told the British paper. “I just started off following them around, but I could play the guitar a bit and Mick felt sorry for me and put me in. I did it for about four years, to about 1972, but … I couldn’t handle the lifestyle and the women and the traveling.” The guitarist also told the \u003cem>Independent \u003c/em>that he had been functionally homeless since leaving the band.\u003c/p>\n\u003cp>Kirwan was inducted into the Rock and Roll Hall of Fame as a member of Fleetwood Mac in 1998, but he did not show up to the ceremony. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HQ8AcEYTEFY\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=Fleetwood+Mac%27s+%27Forgotten+Hero%2C%27+Guitarist+Danny+Kirwan%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Danny Kirwan, the guitarist who joined Fleetwood Mac at age 18 and played on five of the band’s albums, died Friday in London at age 68. His death was announced by Mick Fleetwood on the group’s \u003ca href=\"https://www.facebook.com/FleetwoodMac/posts/10156505690944138\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>; no cause was given.\u003c/p>\n\u003cp>“Danny was a huge force in our early years … Danny’s true legacy, in my mind, will forever live on in the music he wrote and played so beautifully as a part of the foundation of Fleetwood Mac, that has now endured for over fifty years,” Fleetwood wrote.\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/dmC5Bt0cCsI'\n title='//www.youtube.com/embed/dmC5Bt0cCsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kirwan was born on May 13, 1950 and joined the band in 1968. He appeared on five of Fleetwood Mac’s albums: 1969’s \u003cem>Then Play On\u003c/em> and \u003cem>Blues Jam at Chess\u003c/em>; 1970’s \u003cem>Kiln House\u003c/em>; 1971’s \u003cem>Future Games\u003c/em>; and finally on 1972’s \u003cem>Bare Trees\u003c/em>. In a 2017 interview, Mick Fleetwood recalled Kirwan as a massively important force in the group: “Danny was a quantum leap ahead of us creatively … He is the lost component. In many ways, Danny is a forgotten hero,” he \u003ca href=\"https://web.musicaficionado.com/main.html#!/article/fleetwood_macs_forgotten_hero_by_jimfarber\">told\u003c/a> music critic Jim Farber.\u003c/p>\n\u003cp>Kirwan was fired from the band in 1972, reportedly after an incident in which he and bandmate Bob Welch fought over tuning before a gig. Kirwan reportedly refused to go onstage, smashed his guitar, and then criticized the band’s performance. (“It was the straw that broke the camel’s back,” Fleetwood told Farber.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Tony Awards felt a little different this year than they have recently. It was a year without a \u003cem>Hamilton \u003c/em>or a \u003cem>Dear Evan Hansen\u003c/em>; there was no one original, out-of-nowhere show that came into the Tony Awards as a pop phenomenon. In fact, all four of the four nominated musicals were adaptations of existing properties: \u003cem>SpongeBob SquarePants\u003c/em>, Disney’s \u003cem>Frozen\u003c/em> and the non-musical films \u003cem>Mean Girls \u003c/em>and \u003cem>The Band’s Visit\u003c/em>.\u003c/p>\n\u003cp>In fact, it was a relatively quiet but contemplative ceremony on the whole. Hosts Sara Bareilles and Josh Groban were just what this kind of evening needs: They are theater people (well, they are now, having starred respectively in \u003cem>Waitress \u003c/em>and \u003cem>The Great Comet\u003c/em>). They were amiable and game, opening with a funny and chill little pop song about losing at the Tonys (which they both have done). It wasn’t a big blowout welcome like the ones Neil Patrick Harris used to do, but there’s genuinely no point in trying to compete with that. These two are singers, and they leaned into their voices. And they did end with a display of ensemble members from every nominated musical. And if you don’t love the ensembles, you can’t possibly love the Tonys.\u003c/p>\n\u003cp>As for the awards themselves, some things that seemed highly likely panned out, including generous attention for the current revival of Tony Kushner’s \u003cem>Angels in America\u003c/em>. Andrew Garfield won for his lead performance, talking in general terms about the LGBTQ community and the human spirit before saying, “Let’s just bake a cake for everyone who wants a cake to be baked,” which now \u003ca href=\"https://www.npr.org/2018/06/04/605003519/supreme-court-decides-in-favor-of-baker-over-same-sex-couple-in-cake-shop-case\" target=\"_blank\" rel=\"noopener\">qualifies as a political stance\u003c/a>. Nathan Lane won for his featured performance, breaking up as he addressed his husband in the audience and placing the play in the context of a recent effort to take his life in a different direction. \u003cem>Angels \u003c/em>also won best revival of a play, beating out versions of \u003cem>Lobby Hero \u003c/em>and \u003cem>The Iceman Cometh\u003c/em>, among others.\u003c/p>\n\u003cp>One of those others, \u003cem>Three Tall Women\u003c/em>, may not have won for the play itself, but both its lead actress and its featured actress did win. Laurie Metcalf, doubtless having more fun collecting a Tony than she would be having talking about the cancellation of \u003cem>Roseanne\u003c/em>, won in the featured category. And Glenda Jackson, who’s only recently returned from a long break from acting during which she served in the British Parliament (yes, you may insert your exclamation points here if this is new information) won in the lead category.\u003c/p>\n\u003cp>Best play was won by \u003cem>Harry Potter and the Cursed Child\u003c/em> — another piece of intellectual property stretched to make something new — and it grabbed best direction of a play as well. (Director John Tiffany said it was his boyfriend’s birthday and asked everyone to sing “Happy Birthday,” which they did. This was either the most darling or the most mortifying thing you have ever seen, and you should disclose to each other which one you think it is before you marry anyone.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The big winner in musicals was \u003cem>The Band’s Visit\u003c/em>, based on a 2007 film about a group of Egyptian musicians who accidentally end up staying in an Israeli town. It won best musical, and it took three out of the four acting awards: lead actor Tony Shalhoub (who, yes, you may know from \u003cem>Monk \u003c/em>and \u003cem>Wings \u003c/em>and \u003cem>Big Night \u003c/em>and all sorts of things); lead actress Katrina Lenk; and featured actor Ari’el Stachel, who spoke of what it meant to him as a Middle Eastern actor to be playing a Middle Eastern character.\u003c/p>\n\u003cp>Featured actress in a musical was given to Lindsay Mendez for \u003cem>Carousel\u003c/em>, and while she may have been in a different show, she touched on one of the same themes Stachel did, recalling that when she was younger, she was told to change her name to Matthews if she wanted to work.\u003c/p>\n\u003cp>The ceremony producers went well out of their way to include quite a bit of Bruce Springsteen, whose Broadway show received a special award — seemingly for bringing new people into Broadway theaters. On top of that, Springsteen performed a long monologue and a bit of “My Hometown,” as he does in the show. While his piece isn’t a musical in any traditional sense, it seemed to suffer a little from the same thing that usually plagues musicals that try to present themselves on the Tonys broadcast: Out of context, it didn’t really land the way it would in an intimate theater.\u003c/p>\n\u003cp>But again, that’s a common problem in the musicals category. The Tonys broadcast serves as a time to introduce people to shows, but particularly in the case of \u003cem>Mean Girls\u003c/em>, it was hard to believe the relatively lifeless and disjointed presentation we saw was going to entice a lot of people to see it. (Although all hail Tina Fey for introducing it by saying, “All four of tonight’s best musical nominees are based on movies. But only one of these movies paid for my boat.”)\u003c/p>\n\u003cp>The \u003cem>SpongeBob SquarePants \u003c/em>song featured some of the fun work of presenting Squidward with at least some of his multiple legs — plus it featured group tap dancing, which every Tonys broadcast should have — but it seemed not to quite pop off the stage the way they might have hoped. \u003cem>Frozen \u003c/em>was pleasantly Disney, but not much more than that. \u003cem>The Band’s Visit \u003c/em>did by far the best: “Omar Sharif,” a song primarily sung by Lenk as she recalls movies and music she’s loved, conveyed the intimacy of the show and of the relationships between the characters without sagging or feeling underpowered just because it was seen in isolation.\u003c/p>\n\u003cp>The revivals of \u003cem>My Fair Lady \u003c/em>and \u003cem>Carousel \u003c/em>fared fine, with the former highlighting its star, Lauren Ambrose, and then the crowd-pleasing “Get Me To The Church On Time,” and the latter going with the choreography of the lesser-known number “Blow High, Blow Low,” which is about going out on the sea to go whaling, in case you were wondering. The revival of \u003cem>Once On This Island —\u003c/em> which ultimately won the revival category — had better luck with a high-energy performance from Alex Newell. The show may not be as familiar to some audiences as \u003cem>Carousel \u003c/em>or \u003cem>My Fair Lady\u003c/em>, but the number seemed better-suited for the context of the Tony Awards than some.\u003c/p>\n\u003cp>But there was more going on here than awards.\u003c/p>\n\u003cp>It can be awkward when awards shows try to address current events — very awkward, in fact. But as it happened, the Tonys had a natural connection to the shooting at Marjory Stoneman Douglas High School in February. The drama teacher, Melody Herzfeld, won the Excellence in Theatre Education Award — not only for keeping students safe during the initial event, but for encouraging her students to use drama and art and music to express themselves after. And while it would have been lovely to see her speech during the ceremony itself (it happened \u003ca href=\"https://slate.com/culture/2018/06/watch-marjorie-stoneman-douglas-high-school-theater-teacher-melody-herzfelds-full-tony-acceptance-speech.html\" target=\"_blank\" rel=\"noopener\">earlier in the evening\u003c/a>), what did make the prime-time show was her kids — her drama kids — performing “Seasons Of Love” from \u003cem>Rent\u003c/em>. Well, of course they did. It could have been something from \u003cem>Hamilton\u003c/em>, yes. But \u003cem>Rent \u003c/em>is still a touchstone for theater kids.\u003c/p>\n\u003cp>This has always been the secret ingredient of the Tony Awards: They embrace their kids. Not \u003cem>their \u003c/em>kids, not their \u003cem>actual \u003c/em>kids — their communal kids. The theater kids, the drama nerds, the kids who find their tribe in plays and the kids who know they want something special but don’t find that tribe until they make it out of school and get somewhere else. The Tonys telecast always takes the time to speak to those kids, and while it would have been far better if it had been in different circumstances, it seemed appropriate, rather than forced, to let Herzfeld’s students demonstrate some of what she’s done for them under these difficult circumstances.\u003c/p>\n\u003cp>It was a lovely broadcast. It felt calm. It didn’t feel rapturous, like it did when it was full of \u003cem>Hamilton\u003c/em>, and it didn’t feel downright riotous, like it did when \u003ca href=\"https://www.youtube.com/watch?v=qo6lPifGnGA\">Sutton Foster performed\u003c/a> with the cast of \u003cem>Anything Goes\u003c/em>. But it felt charged with the emotion of theater people — talking about welcoming immigrants, talking about supporting people who don’t look like us, talking about supporting kids whose lives are touched by violence. Even Robert De Niro, standing up and twice directing his favorite profanity at the president of the United States, seemed anguished more than petulant.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Theater people have a lot of feelings. On this night, it showed. \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=%27The+Band%27s+Visit%27+And+Harry+Potter+Win+Big+At+A+Quieter+Tony+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Tony Awards paid off for 'The Band's Visit,' 'Harry Potter and the Cursed Child,' the 'Angels in America' revival and a scrappy theater kid named Bruce Springsteen.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Tony Awards felt a little different this year than they have recently. It was a year without a \u003cem>Hamilton \u003c/em>or a \u003cem>Dear Evan Hansen\u003c/em>; there was no one original, out-of-nowhere show that came into the Tony Awards as a pop phenomenon. In fact, all four of the four nominated musicals were adaptations of existing properties: \u003cem>SpongeBob SquarePants\u003c/em>, Disney’s \u003cem>Frozen\u003c/em> and the non-musical films \u003cem>Mean Girls \u003c/em>and \u003cem>The Band’s Visit\u003c/em>.\u003c/p>\n\u003cp>In fact, it was a relatively quiet but contemplative ceremony on the whole. Hosts Sara Bareilles and Josh Groban were just what this kind of evening needs: They are theater people (well, they are now, having starred respectively in \u003cem>Waitress \u003c/em>and \u003cem>The Great Comet\u003c/em>). They were amiable and game, opening with a funny and chill little pop song about losing at the Tonys (which they both have done). It wasn’t a big blowout welcome like the ones Neil Patrick Harris used to do, but there’s genuinely no point in trying to compete with that. These two are singers, and they leaned into their voices. And they did end with a display of ensemble members from every nominated musical. And if you don’t love the ensembles, you can’t possibly love the Tonys.\u003c/p>\n\u003cp>As for the awards themselves, some things that seemed highly likely panned out, including generous attention for the current revival of Tony Kushner’s \u003cem>Angels in America\u003c/em>. Andrew Garfield won for his lead performance, talking in general terms about the LGBTQ community and the human spirit before saying, “Let’s just bake a cake for everyone who wants a cake to be baked,” which now \u003ca href=\"https://www.npr.org/2018/06/04/605003519/supreme-court-decides-in-favor-of-baker-over-same-sex-couple-in-cake-shop-case\" target=\"_blank\" rel=\"noopener\">qualifies as a political stance\u003c/a>. Nathan Lane won for his featured performance, breaking up as he addressed his husband in the audience and placing the play in the context of a recent effort to take his life in a different direction. \u003cem>Angels \u003c/em>also won best revival of a play, beating out versions of \u003cem>Lobby Hero \u003c/em>and \u003cem>The Iceman Cometh\u003c/em>, among others.\u003c/p>\n\u003cp>One of those others, \u003cem>Three Tall Women\u003c/em>, may not have won for the play itself, but both its lead actress and its featured actress did win. Laurie Metcalf, doubtless having more fun collecting a Tony than she would be having talking about the cancellation of \u003cem>Roseanne\u003c/em>, won in the featured category. And Glenda Jackson, who’s only recently returned from a long break from acting during which she served in the British Parliament (yes, you may insert your exclamation points here if this is new information) won in the lead category.\u003c/p>\n\u003cp>Best play was won by \u003cem>Harry Potter and the Cursed Child\u003c/em> — another piece of intellectual property stretched to make something new — and it grabbed best direction of a play as well. (Director John Tiffany said it was his boyfriend’s birthday and asked everyone to sing “Happy Birthday,” which they did. This was either the most darling or the most mortifying thing you have ever seen, and you should disclose to each other which one you think it is before you marry anyone.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The big winner in musicals was \u003cem>The Band’s Visit\u003c/em>, based on a 2007 film about a group of Egyptian musicians who accidentally end up staying in an Israeli town. It won best musical, and it took three out of the four acting awards: lead actor Tony Shalhoub (who, yes, you may know from \u003cem>Monk \u003c/em>and \u003cem>Wings \u003c/em>and \u003cem>Big Night \u003c/em>and all sorts of things); lead actress Katrina Lenk; and featured actor Ari’el Stachel, who spoke of what it meant to him as a Middle Eastern actor to be playing a Middle Eastern character.\u003c/p>\n\u003cp>Featured actress in a musical was given to Lindsay Mendez for \u003cem>Carousel\u003c/em>, and while she may have been in a different show, she touched on one of the same themes Stachel did, recalling that when she was younger, she was told to change her name to Matthews if she wanted to work.\u003c/p>\n\u003cp>The ceremony producers went well out of their way to include quite a bit of Bruce Springsteen, whose Broadway show received a special award — seemingly for bringing new people into Broadway theaters. On top of that, Springsteen performed a long monologue and a bit of “My Hometown,” as he does in the show. While his piece isn’t a musical in any traditional sense, it seemed to suffer a little from the same thing that usually plagues musicals that try to present themselves on the Tonys broadcast: Out of context, it didn’t really land the way it would in an intimate theater.\u003c/p>\n\u003cp>But again, that’s a common problem in the musicals category. The Tonys broadcast serves as a time to introduce people to shows, but particularly in the case of \u003cem>Mean Girls\u003c/em>, it was hard to believe the relatively lifeless and disjointed presentation we saw was going to entice a lot of people to see it. (Although all hail Tina Fey for introducing it by saying, “All four of tonight’s best musical nominees are based on movies. But only one of these movies paid for my boat.”)\u003c/p>\n\u003cp>The \u003cem>SpongeBob SquarePants \u003c/em>song featured some of the fun work of presenting Squidward with at least some of his multiple legs — plus it featured group tap dancing, which every Tonys broadcast should have — but it seemed not to quite pop off the stage the way they might have hoped. \u003cem>Frozen \u003c/em>was pleasantly Disney, but not much more than that. \u003cem>The Band’s Visit \u003c/em>did by far the best: “Omar Sharif,” a song primarily sung by Lenk as she recalls movies and music she’s loved, conveyed the intimacy of the show and of the relationships between the characters without sagging or feeling underpowered just because it was seen in isolation.\u003c/p>\n\u003cp>The revivals of \u003cem>My Fair Lady \u003c/em>and \u003cem>Carousel \u003c/em>fared fine, with the former highlighting its star, Lauren Ambrose, and then the crowd-pleasing “Get Me To The Church On Time,” and the latter going with the choreography of the lesser-known number “Blow High, Blow Low,” which is about going out on the sea to go whaling, in case you were wondering. The revival of \u003cem>Once On This Island —\u003c/em> which ultimately won the revival category — had better luck with a high-energy performance from Alex Newell. The show may not be as familiar to some audiences as \u003cem>Carousel \u003c/em>or \u003cem>My Fair Lady\u003c/em>, but the number seemed better-suited for the context of the Tony Awards than some.\u003c/p>\n\u003cp>But there was more going on here than awards.\u003c/p>\n\u003cp>It can be awkward when awards shows try to address current events — very awkward, in fact. But as it happened, the Tonys had a natural connection to the shooting at Marjory Stoneman Douglas High School in February. The drama teacher, Melody Herzfeld, won the Excellence in Theatre Education Award — not only for keeping students safe during the initial event, but for encouraging her students to use drama and art and music to express themselves after. And while it would have been lovely to see her speech during the ceremony itself (it happened \u003ca href=\"https://slate.com/culture/2018/06/watch-marjorie-stoneman-douglas-high-school-theater-teacher-melody-herzfelds-full-tony-acceptance-speech.html\" target=\"_blank\" rel=\"noopener\">earlier in the evening\u003c/a>), what did make the prime-time show was her kids — her drama kids — performing “Seasons Of Love” from \u003cem>Rent\u003c/em>. Well, of course they did. It could have been something from \u003cem>Hamilton\u003c/em>, yes. But \u003cem>Rent \u003c/em>is still a touchstone for theater kids.\u003c/p>\n\u003cp>This has always been the secret ingredient of the Tony Awards: They embrace their kids. Not \u003cem>their \u003c/em>kids, not their \u003cem>actual \u003c/em>kids — their communal kids. The theater kids, the drama nerds, the kids who find their tribe in plays and the kids who know they want something special but don’t find that tribe until they make it out of school and get somewhere else. The Tonys telecast always takes the time to speak to those kids, and while it would have been far better if it had been in different circumstances, it seemed appropriate, rather than forced, to let Herzfeld’s students demonstrate some of what she’s done for them under these difficult circumstances.\u003c/p>\n\u003cp>It was a lovely broadcast. It felt calm. It didn’t feel rapturous, like it did when it was full of \u003cem>Hamilton\u003c/em>, and it didn’t feel downright riotous, like it did when \u003ca href=\"https://www.youtube.com/watch?v=qo6lPifGnGA\">Sutton Foster performed\u003c/a> with the cast of \u003cem>Anything Goes\u003c/em>. But it felt charged with the emotion of theater people — talking about welcoming immigrants, talking about supporting people who don’t look like us, talking about supporting kids whose lives are touched by violence. Even Robert De Niro, standing up and twice directing his favorite profanity at the president of the United States, seemed anguished more than petulant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Theater people have a lot of feelings. On this night, it showed. \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=%27The+Band%27s+Visit%27+And+Harry+Potter+Win+Big+At+A+Quieter+Tony+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bobby Castro, the photographer who documented San Francisco’s wilder side in the 1970s and ’80s, died Monday. He was 66. \u003c/p>\n\u003cp>Although mostly unrecognized outside of the Bay Area, Castro photographed national luminaries like the Rolling Stones, Billy Idol, Carol Channing and George Lucas. But Castro made his mark documenting the San Francisco punk scene from its very beginning. \u003c/p>\n\u003cp>“He was a real gentleman and didn’t let his ego get in the way of his eye,” fellow San Francisco punk photographer Ruby Ray said. “He was tirelessly dedicated to the punk scene for years without much credit.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HWp79_YFODw\u003c/p>\n\u003cp>Castro was born and raised in San Francisco, and he experimented with art as a high school student, making collages for fun. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I didn’t even think of it as art when I was doing it back then,” Castro said during \u003ca href=\"http://www.blogtalkradio.com/girl-george/2015/05/31/bobby-castro-sf-rock-photographergirlgeo-radio-show-53115\" rel=\"noopener\" target=\"_blank\">an online radio show\u003c/a> in 2015. \u003c/p>\n\u003cp>In the 1970s, Castro began taking photos of San Francisco. He focused on the darker, sadder side of the city, like the then-crumbling amusement park at Ocean Beach, Playland at the Beach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G3q7pH96nfs\u003c/p>\n\u003cp>When punk came to San Francisco, Castro was there with his camera. He had taken pictures of bands before — most notably the Rolling Stones when they played Winterland in 1972. But the burgeoning punk scene inspired Castro, and he became a fixture at clubs like Mabuhay Gardens, Temple Beautiful and the Sound of Music. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K3s5q-HMn8w\u003c/p>\n\u003cp>Castro also focused his camera on the women in the male-dominated scene, taking just as many photos of female-fronted bands as he did of the male ones. Notable San Francisco bands he shot include the Avengers, the Mutants and VKTMS. He was also a big supporter of San Francisco’s feminist punks Frightwig, documenting them through their decades-long career, which ended when drummer \u003ca href=\"https://www.kqed.org/arts/13186602/cecilia-kuhn-drummer-for-influential-feminist-punks-frightwig-dies-at-61\" rel=\"noopener\" target=\"_blank\">Cecelia Kuhn passed in 2017\u003c/a>. Frightwig guitarist Mia Simmans said that the band “owes him a huge debt.” \u003c/p>\n\u003cp>“[Castro] was a very dear and close friend. We refinished hardwood floors together for years, and I have eaten my lunch with him hundreds of times,” Simmans said. “He has documented my life mdash; every episode, every band, every kid.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-eH-8jLigKo\u003c/p>\n\u003cp>In recent years, Castro’s been recognized for his work. A film he made featuring his photos of the Mabuhay Gardens was included in the \u003ca href=\"https://www.kqed.org/arts/10963517/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk\" rel=\"noopener\" target=\"_blank\">San Francisco Punk Renaissance celebration\u003c/a> in 2015 and later, he had a brick dedicated to him in the San Francisco Music Walk of Fame. \u003c/p>\n\u003cp>Friends of Castro’s said he died of a heart attack Monday morning. There’s been no announcements of any public memorials, but he can be remembered through all the work he posted online on his \u003ca href=\"https://www.youtube.com/channel/UCaq-IsgJZfAKvX9bAEyH4zQ\" rel=\"noopener\" target=\"_blank\">YouTube channel\u003c/a>. But take note: he’d probably prefer you to see his work in person and not on a computer.\u003c/p>\n\u003cp>“It’s not art. It’s not photography if it’s still on a screen,” Castro said in 2015. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DprmUHYRAn8\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bobby Castro, the photographer who documented San Francisco’s wilder side in the 1970s and ’80s, died Monday. He was 66. \u003c/p>\n\u003cp>Although mostly unrecognized outside of the Bay Area, Castro photographed national luminaries like the Rolling Stones, Billy Idol, Carol Channing and George Lucas. But Castro made his mark documenting the San Francisco punk scene from its very beginning. \u003c/p>\n\u003cp>“He was a real gentleman and didn’t let his ego get in the way of his eye,” fellow San Francisco punk photographer Ruby Ray said. “He was tirelessly dedicated to the punk scene for years without much credit.”\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/HWp79_YFODw'\n title='//www.youtube.com/embed/HWp79_YFODw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Castro was born and raised in San Francisco, and he experimented with art as a high school student, making collages for fun. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t even think of it as art when I was doing it back then,” Castro said during \u003ca href=\"http://www.blogtalkradio.com/girl-george/2015/05/31/bobby-castro-sf-rock-photographergirlgeo-radio-show-53115\" rel=\"noopener\" target=\"_blank\">an online radio show\u003c/a> in 2015. \u003c/p>\n\u003cp>In the 1970s, Castro began taking photos of San Francisco. He focused on the darker, sadder side of the city, like the then-crumbling amusement park at Ocean Beach, Playland at the Beach.\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/G3q7pH96nfs'\n title='//www.youtube.com/embed/G3q7pH96nfs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When punk came to San Francisco, Castro was there with his camera. He had taken pictures of bands before — most notably the Rolling Stones when they played Winterland in 1972. But the burgeoning punk scene inspired Castro, and he became a fixture at clubs like Mabuhay Gardens, Temple Beautiful and the Sound of Music. \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/K3s5q-HMn8w'\n title='//www.youtube.com/embed/K3s5q-HMn8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Castro also focused his camera on the women in the male-dominated scene, taking just as many photos of female-fronted bands as he did of the male ones. Notable San Francisco bands he shot include the Avengers, the Mutants and VKTMS. He was also a big supporter of San Francisco’s feminist punks Frightwig, documenting them through their decades-long career, which ended when drummer \u003ca href=\"https://www.kqed.org/arts/13186602/cecilia-kuhn-drummer-for-influential-feminist-punks-frightwig-dies-at-61\" rel=\"noopener\" target=\"_blank\">Cecelia Kuhn passed in 2017\u003c/a>. Frightwig guitarist Mia Simmans said that the band “owes him a huge debt.” \u003c/p>\n\u003cp>“[Castro] was a very dear and close friend. We refinished hardwood floors together for years, and I have eaten my lunch with him hundreds of times,” Simmans said. “He has documented my life mdash; every episode, every band, every kid.”\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/-eH-8jLigKo'\n title='//www.youtube.com/embed/-eH-8jLigKo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, Castro’s been recognized for his work. A film he made featuring his photos of the Mabuhay Gardens was included in the \u003ca href=\"https://www.kqed.org/arts/10963517/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk\" rel=\"noopener\" target=\"_blank\">San Francisco Punk Renaissance celebration\u003c/a> in 2015 and later, he had a brick dedicated to him in the San Francisco Music Walk of Fame. \u003c/p>\n\u003cp>Friends of Castro’s said he died of a heart attack Monday morning. There’s been no announcements of any public memorials, but he can be remembered through all the work he posted online on his \u003ca href=\"https://www.youtube.com/channel/UCaq-IsgJZfAKvX9bAEyH4zQ\" rel=\"noopener\" target=\"_blank\">YouTube channel\u003c/a>. But take note: he’d probably prefer you to see his work in person and not on a computer.\u003c/p>\n\u003cp>“It’s not art. It’s not photography if it’s still on a screen,” Castro said in 2015. \u003c/p>\n\u003cp>\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/DprmUHYRAn8'\n title='//www.youtube.com/embed/DprmUHYRAn8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Musician and 'Whale Whisperer' Sued for Defrauding Investors of $3.3 Million",
"headTitle": "Musician and ‘Whale Whisperer’ Sued for Defrauding Investors of $3.3 Million | KQED",
"content": "\u003cp>The New Age composer, rock music producer, entrepreneur and filmmaker Paul Gilman, who produced a film about using music to communicate with ocean mammals, is being sued by the Securities and Exchange Commission for allegedly defrauding 40 investors of $3.3 million over the course of three years.\u003c/p>\n\u003cp>Filed Monday in Texas federal court, \u003ca href=\"https://www.sec.gov/litigation/complaints/2018/comp24156.pdf\">the SEC’s suit\u003c/a> against Paul Gilman, who it says refers to himself as a “whale whisperer,” accuses him of misleading investors in his three companies, GilmanSound, WaveTech and Oil Migration Group (OMG). GIlman claimed that OMG had developed “revolutionary technology based on ‘sonication’ that would transform the oil and gas industry by using soundwaves to cheaply and effectively lower the viscosity of oil,” according to the complaint, which would presumably lower the cost of oil distribution and processing. With WaveTech, Gilman claimed to have developed a separate sound-based technology for water separation and purification of oil, the SEC alleges.\u003c/p>\n\u003cp>Multiple attempts to contact Gilman’s representation, Dallas-based attorney John Teakell, were not returned. Teakell did give \u003ca href=\"https://www.usatoday.com/story/money/2018/06/05/whale-whisperer-charged-3-million-financial-scam-sec/672510002/\" target=\"_blank\" rel=\"noopener\">a statement to \u003cem>USA Today\u003c/em>\u003c/a> on Tuesday however, saying his client “believes that the evidence will show that the subject technology was being developed and continued to be developed. Therefore, he had no intent to defraud anyone.” Multiple attempts to contact WaveTech were not returned. Calls to Raymond McGlamery, the registered agent of Oil Migration Group, were also not returned.\u003c/p>\n\u003cp>The SEC claims Gilman misled several individuals about what their investments would be used for, and that he instead spent the funding on travel, designer clothes and cash withdrawals at casinos. Those investors included a nurse in Dallas, from whom he is said to have taken $540,000, a psychology professor in Parker, Texas,. from whom he received $60,000 and a church minister in Franklin, Tenn., who gave him $100,000. The latter received a repayment of $100,000 after he became “disillusioned with Gilman” and asked for his money back, which the SEC refers to as a “Ponzi payment” — besides that Ponzi payment and a separate legal settlement, the government claims no money raised by Gilman was ever returned to investors.\u003c/p>\n\u003cp>The companies were the most recent in a long line of projects related to sound and music from Gilman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While GilmanSound’s exact purpose isn’t clear — \u003ca href=\"https://www.sportsvideo.org/2014/06/03/gilmansounds-black-box-audio-processor-attracts-nfl-mlb-attention/\" target=\"_blank\" rel=\"noopener\">a report on its work from 2014\u003c/a> said Gilman was “coy about how the system works” — it was founded in order to improve the audio of sports stadiums, and secured at least two clients, both in Texas, that NPR could confirm. And the work it did still gets a thumbs-up from at least one of its customers.\u003c/p>\n\u003cp>“In 2011, the Texas Rangers purchased equipment and paid for service from GilmanSound to improve the audio system in the Globe Life Park seating bowl,” says John Blake, executive vice president for the Texas Rangers, in a statement to NPR. “The work certainly enhanced the sound, especially as it pertained to the audio on the video boards and the ballpark speakers. Our dealings with GilmanSound have been very professional. Other than that, we really have no other comment.”\u003c/p>\n\u003cp>The Houston Astros declined a request to comment, but did confirm that Minute Maid Park, its home stadium, also installed technology from GilmanSound. However, the SEC accuses Gilman of misappropriating investor funds from GilmanSound as well, after it “failed to perform” — NPR was unable to find up-to-date contact information for GilmanSound.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=ZXvEzV0eisU\" target=\"_blank\" rel=\"noopener\">a 2015 interview\u003c/a> with author\u003cstrong>\u003cem> \u003c/em>\u003c/strong>Alena Chapman, Gilman explained his work with whales and dolphins, which eventually led to the 2004 film \u003ca href=\"https://www.imdb.com/title/tt0447676/\" target=\"_blank\" rel=\"noopener\">\u003cem>Ocean Odyssey\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>During that interview, Gilman said he was led to the project after receiving a call while working with John Phillips, of The Mamas and The Papas. “I’m in a studio with Papa John Phillips, producing for him … I get this call from a gentleman named [indecipherable] from Hawaii, and he’s a kahuna, a medicine man, who had heard my music through friends. He called up and said ‘You are the one who will carry the message to the whales and dolphins, you must be here tomorrow.’ I looked at John and said, ‘I have to go now.’ ” Gilman goes on to explain how he cultivated a relationship with that kahuna, which led him to research direct communication, through music, with whales and dolphins.\u003c/p>\n\u003cp>Ten years before \u003cem>Ocean Odyssey\u003c/em>, Gilman released an album of ocean-themed ambient music, \u003ca href=\"https://www.allmusic.com/album/uncharted-seas-mw0000884949\">\u003cem>Uncharted Seas\u003c/em>\u003c/a>. That album was followed in 1997 by another New Age record, \u003ca href=\"https://www.amazon.com/Other-Side-Paul-Gilman/dp/B000003TJC/ref=ntt_mus_ep_dpi_2\" target=\"_blank\" rel=\"noopener\">\u003cem>From the Other Side\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In that same 2015 interview, Gilman claimed to have worked with Apple on audio technologies alongside the engineer John Worthington, who did not respond to a request for confirmation. Apple did not immediately respond to a request for confirmation that Gilman had worked with the company.\u003c/p>\n\u003cp>So, given that Gilman appears to have spent his life working in both music and technology, the question has to be asked: Could this oil project of his ever, if developed, bear fruit?\u003c/p>\n\u003cp>Sanat Kumar, professor of chemical engineering at Columbia, tells NPR that Gilman’s oil viscosity technology is “not out of the realm of possibility, but very unlikely. To reduce a liquid’s viscosity you would need to apply sound at frequencies comparable to or faster than that of the liquid molecule — a molecule in a liquid is bouncing around like a dust particle in a beam of light, only much, much more rapidly. These frequencies are much too high, something like 10\u003csup>9\u003c/sup> or 10\u003csup>10\u003c/sup> Hz – remember that humans only hear between 20 and 20,000 Hz. At these frequencies you will cause cavitation in the liquid that could cause damage and possibly destroy whatever [is] carrying the oil.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cNad5dsIKAU\" target=\"_blank\" rel=\"noopener\">a trailer for \u003cem>Ocean Odyssey\u003c/em>\u003c/a>, a voice-over explains: “Paul Gilman’s calling will bring him face to face with a defining moment that will help us all realize how little we know, how much we have to learn. A moment that will inspire us to believe in those things we can’t prove with research and statistics. Things that can only be explained with our hearts.” \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=Musician+And+%27Whale+Whisperer%27+Sued+For+Defrauding+Investors+Of+%243.3+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New Age composer, rock music producer, entrepreneur and filmmaker Paul Gilman, who produced a film about using music to communicate with ocean mammals, is being sued by the Securities and Exchange Commission for allegedly defrauding 40 investors of $3.3 million over the course of three years.\u003c/p>\n\u003cp>Filed Monday in Texas federal court, \u003ca href=\"https://www.sec.gov/litigation/complaints/2018/comp24156.pdf\">the SEC’s suit\u003c/a> against Paul Gilman, who it says refers to himself as a “whale whisperer,” accuses him of misleading investors in his three companies, GilmanSound, WaveTech and Oil Migration Group (OMG). GIlman claimed that OMG had developed “revolutionary technology based on ‘sonication’ that would transform the oil and gas industry by using soundwaves to cheaply and effectively lower the viscosity of oil,” according to the complaint, which would presumably lower the cost of oil distribution and processing. With WaveTech, Gilman claimed to have developed a separate sound-based technology for water separation and purification of oil, the SEC alleges.\u003c/p>\n\u003cp>Multiple attempts to contact Gilman’s representation, Dallas-based attorney John Teakell, were not returned. Teakell did give \u003ca href=\"https://www.usatoday.com/story/money/2018/06/05/whale-whisperer-charged-3-million-financial-scam-sec/672510002/\" target=\"_blank\" rel=\"noopener\">a statement to \u003cem>USA Today\u003c/em>\u003c/a> on Tuesday however, saying his client “believes that the evidence will show that the subject technology was being developed and continued to be developed. Therefore, he had no intent to defraud anyone.” Multiple attempts to contact WaveTech were not returned. Calls to Raymond McGlamery, the registered agent of Oil Migration Group, were also not returned.\u003c/p>\n\u003cp>The SEC claims Gilman misled several individuals about what their investments would be used for, and that he instead spent the funding on travel, designer clothes and cash withdrawals at casinos. Those investors included a nurse in Dallas, from whom he is said to have taken $540,000, a psychology professor in Parker, Texas,. from whom he received $60,000 and a church minister in Franklin, Tenn., who gave him $100,000. The latter received a repayment of $100,000 after he became “disillusioned with Gilman” and asked for his money back, which the SEC refers to as a “Ponzi payment” — besides that Ponzi payment and a separate legal settlement, the government claims no money raised by Gilman was ever returned to investors.\u003c/p>\n\u003cp>The companies were the most recent in a long line of projects related to sound and music from Gilman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While GilmanSound’s exact purpose isn’t clear — \u003ca href=\"https://www.sportsvideo.org/2014/06/03/gilmansounds-black-box-audio-processor-attracts-nfl-mlb-attention/\" target=\"_blank\" rel=\"noopener\">a report on its work from 2014\u003c/a> said Gilman was “coy about how the system works” — it was founded in order to improve the audio of sports stadiums, and secured at least two clients, both in Texas, that NPR could confirm. And the work it did still gets a thumbs-up from at least one of its customers.\u003c/p>\n\u003cp>“In 2011, the Texas Rangers purchased equipment and paid for service from GilmanSound to improve the audio system in the Globe Life Park seating bowl,” says John Blake, executive vice president for the Texas Rangers, in a statement to NPR. “The work certainly enhanced the sound, especially as it pertained to the audio on the video boards and the ballpark speakers. Our dealings with GilmanSound have been very professional. Other than that, we really have no other comment.”\u003c/p>\n\u003cp>The Houston Astros declined a request to comment, but did confirm that Minute Maid Park, its home stadium, also installed technology from GilmanSound. However, the SEC accuses Gilman of misappropriating investor funds from GilmanSound as well, after it “failed to perform” — NPR was unable to find up-to-date contact information for GilmanSound.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=ZXvEzV0eisU\" target=\"_blank\" rel=\"noopener\">a 2015 interview\u003c/a> with author\u003cstrong>\u003cem> \u003c/em>\u003c/strong>Alena Chapman, Gilman explained his work with whales and dolphins, which eventually led to the 2004 film \u003ca href=\"https://www.imdb.com/title/tt0447676/\" target=\"_blank\" rel=\"noopener\">\u003cem>Ocean Odyssey\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>During that interview, Gilman said he was led to the project after receiving a call while working with John Phillips, of The Mamas and The Papas. “I’m in a studio with Papa John Phillips, producing for him … I get this call from a gentleman named [indecipherable] from Hawaii, and he’s a kahuna, a medicine man, who had heard my music through friends. He called up and said ‘You are the one who will carry the message to the whales and dolphins, you must be here tomorrow.’ I looked at John and said, ‘I have to go now.’ ” Gilman goes on to explain how he cultivated a relationship with that kahuna, which led him to research direct communication, through music, with whales and dolphins.\u003c/p>\n\u003cp>Ten years before \u003cem>Ocean Odyssey\u003c/em>, Gilman released an album of ocean-themed ambient music, \u003ca href=\"https://www.allmusic.com/album/uncharted-seas-mw0000884949\">\u003cem>Uncharted Seas\u003c/em>\u003c/a>. That album was followed in 1997 by another New Age record, \u003ca href=\"https://www.amazon.com/Other-Side-Paul-Gilman/dp/B000003TJC/ref=ntt_mus_ep_dpi_2\" target=\"_blank\" rel=\"noopener\">\u003cem>From the Other Side\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In that same 2015 interview, Gilman claimed to have worked with Apple on audio technologies alongside the engineer John Worthington, who did not respond to a request for confirmation. Apple did not immediately respond to a request for confirmation that Gilman had worked with the company.\u003c/p>\n\u003cp>So, given that Gilman appears to have spent his life working in both music and technology, the question has to be asked: Could this oil project of his ever, if developed, bear fruit?\u003c/p>\n\u003cp>Sanat Kumar, professor of chemical engineering at Columbia, tells NPR that Gilman’s oil viscosity technology is “not out of the realm of possibility, but very unlikely. To reduce a liquid’s viscosity you would need to apply sound at frequencies comparable to or faster than that of the liquid molecule — a molecule in a liquid is bouncing around like a dust particle in a beam of light, only much, much more rapidly. These frequencies are much too high, something like 10\u003csup>9\u003c/sup> or 10\u003csup>10\u003c/sup> Hz – remember that humans only hear between 20 and 20,000 Hz. At these frequencies you will cause cavitation in the liquid that could cause damage and possibly destroy whatever [is] carrying the oil.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cNad5dsIKAU\" target=\"_blank\" rel=\"noopener\">a trailer for \u003cem>Ocean Odyssey\u003c/em>\u003c/a>, a voice-over explains: “Paul Gilman’s calling will bring him face to face with a defining moment that will help us all realize how little we know, how much we have to learn. A moment that will inspire us to believe in those things we can’t prove with research and statistics. Things that can only be explained with our hearts.” \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=Musician+And+%27Whale+Whisperer%27+Sued+For+Defrauding+Investors+Of+%243.3+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What do you go to Facebook for? Given how many of us use it — 68 percent of Americans, according to the Pew Research Center, with 74 percent of them visiting the site at least once a day — it’s striking that, anecdotally at least, using the site evokes a sort of dissociative muscle memory, the ritual of dutifully giving posts from family and close-enough friends a thumbs-up.\u003c/p>\n\u003cp>Bringing joy to our lives would seem to be an existential priority for social media companies, whose stated goal is to facilitate connection and community — but which, \u003ca href=\"https://www.apa.org/news/press/releases/stress/2017/technology-social-media.PDF\" target=\"_blank\" rel=\"noopener\">by some measures\u003c/a>, have the opposite effect, driving us further into ourselves. Squaring this circle isn’t easy — and it probably won’t be helped along much by Facebook’s announcement on Tuesday that it is more deeply integrating music into its platform.\u003c/p>\n\u003cp>“Together with our amazing music partners, we’ve been building a foundation for new music experiences on Facebook,” the company’s head of music partnerships, Tamara Hrivnak, \u003ca href=\"https://www.facebook.com/tamara.hrivnak/posts/10155377184852385\" target=\"_blank\" rel=\"noopener\">posted yesterday\u003c/a>, alluding to the \u003ca href=\"https://www.facebook.com/facebookmedia/blog/building-community-together-with-music/\" target=\"_blank\" rel=\"noopener\">many deals\u003c/a> the company has struck \u003ca href=\"https://www.facebook.com/facebookmedia/blog/a-diverse-music-community-is-a-very-good-thing/\" target=\"_blank\" rel=\"noopener\">with the music industry\u003c/a> since she first started there in January 2017.\u003c/p>\n\u003cp>The company announced two new features on Tuesday. One is “Lip Sync Live,” a classic Facebook carbon-copying of another company’s core usefulness — in this case, the sing-along app Musical.ly, which \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563290820/chinese-firm-buying-lip-sync-app-musical-ly-for-up-to-1-billion\" target=\"_blank\" rel=\"noopener\">sold to a Chinese company for $1 billion\u003c/a> last fall and is said to be used by half of America’s children. With it, folks can turn their smartphone camera on themselves as they karaoke away to a song of their choosing. The other announcement on Tuesday was a new option to legally include music on video uploads; now, finally, Ed Sheeran can soundtrack the evidence of your beer pong tournament.\u003c/p>\n\u003cp>Both moves are safe bets, early toe-dips into what Facebook promises will be more music-related features in the future. And like the Spotify integration that Facebook subsidiary Instagram \u003ca href=\"https://artists.spotify.com/blog/we%27ve-made-it-easier-to-share-spotify-to-instagram-stories\" target=\"_blank\" rel=\"noopener\">just released\u003c/a>, which allows people to post what they’re listening to on Spotify to their “Story” (another \u003ca href=\"https://www.nytimes.com/2016/08/03/technology/instagram-stories-snapchat-facebook.html\" target=\"_blank\" rel=\"noopener\">copycat feature\u003c/a>, this time from Snapchat), they point to the performative nature of social media. The new features are there to telegraph taste, or to augment self-expression through it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting aside your feelings about these platforms and their capacity to be \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">culturally\u003c/a> or \u003ca href=\"https://www.npr.org/2018/06/06/617530138/facebooks-data-sharing-deals-included-huawei-under-u-s-suspicion-since-2012\" target=\"_blank\" rel=\"noopener\">geopolitically\u003c/a> \u003ca href=\"https://www.npr.org/2017/09/07/549184076/facebooks-russia-ads-could-be-tip-of-the-iceberg-warns-senate-intel-dem\" target=\"_blank\" rel=\"noopener\">problematic\u003c/a>, there’s nothing wrong with sharing what you’re listening to: adding a hilariously counterintuitive backing track to your birthday party video, or broadcasting yourself live while singing whatever-it-may-be. Music has been a product since the player piano. But in the digital age, our preferences are mines — and the more information we share about ourselves, the richer our veins become for those with the means to extract it. With every new feature meant to connect joy to those preferences (laid over with a patina of promotion for the artists being sung along to), it’s become a matter of mental health to wonder if it’s really all that fun, or just for show. \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=Facebook%27s+New+Features+Encourage+Users+To+Telegraph+Their+Music+Taste&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you go to Facebook for? Given how many of us use it — 68 percent of Americans, according to the Pew Research Center, with 74 percent of them visiting the site at least once a day — it’s striking that, anecdotally at least, using the site evokes a sort of dissociative muscle memory, the ritual of dutifully giving posts from family and close-enough friends a thumbs-up.\u003c/p>\n\u003cp>Bringing joy to our lives would seem to be an existential priority for social media companies, whose stated goal is to facilitate connection and community — but which, \u003ca href=\"https://www.apa.org/news/press/releases/stress/2017/technology-social-media.PDF\" target=\"_blank\" rel=\"noopener\">by some measures\u003c/a>, have the opposite effect, driving us further into ourselves. Squaring this circle isn’t easy — and it probably won’t be helped along much by Facebook’s announcement on Tuesday that it is more deeply integrating music into its platform.\u003c/p>\n\u003cp>“Together with our amazing music partners, we’ve been building a foundation for new music experiences on Facebook,” the company’s head of music partnerships, Tamara Hrivnak, \u003ca href=\"https://www.facebook.com/tamara.hrivnak/posts/10155377184852385\" target=\"_blank\" rel=\"noopener\">posted yesterday\u003c/a>, alluding to the \u003ca href=\"https://www.facebook.com/facebookmedia/blog/building-community-together-with-music/\" target=\"_blank\" rel=\"noopener\">many deals\u003c/a> the company has struck \u003ca href=\"https://www.facebook.com/facebookmedia/blog/a-diverse-music-community-is-a-very-good-thing/\" target=\"_blank\" rel=\"noopener\">with the music industry\u003c/a> since she first started there in January 2017.\u003c/p>\n\u003cp>The company announced two new features on Tuesday. One is “Lip Sync Live,” a classic Facebook carbon-copying of another company’s core usefulness — in this case, the sing-along app Musical.ly, which \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563290820/chinese-firm-buying-lip-sync-app-musical-ly-for-up-to-1-billion\" target=\"_blank\" rel=\"noopener\">sold to a Chinese company for $1 billion\u003c/a> last fall and is said to be used by half of America’s children. With it, folks can turn their smartphone camera on themselves as they karaoke away to a song of their choosing. The other announcement on Tuesday was a new option to legally include music on video uploads; now, finally, Ed Sheeran can soundtrack the evidence of your beer pong tournament.\u003c/p>\n\u003cp>Both moves are safe bets, early toe-dips into what Facebook promises will be more music-related features in the future. And like the Spotify integration that Facebook subsidiary Instagram \u003ca href=\"https://artists.spotify.com/blog/we%27ve-made-it-easier-to-share-spotify-to-instagram-stories\" target=\"_blank\" rel=\"noopener\">just released\u003c/a>, which allows people to post what they’re listening to on Spotify to their “Story” (another \u003ca href=\"https://www.nytimes.com/2016/08/03/technology/instagram-stories-snapchat-facebook.html\" target=\"_blank\" rel=\"noopener\">copycat feature\u003c/a>, this time from Snapchat), they point to the performative nature of social media. The new features are there to telegraph taste, or to augment self-expression through it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting aside your feelings about these platforms and their capacity to be \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">culturally\u003c/a> or \u003ca href=\"https://www.npr.org/2018/06/06/617530138/facebooks-data-sharing-deals-included-huawei-under-u-s-suspicion-since-2012\" target=\"_blank\" rel=\"noopener\">geopolitically\u003c/a> \u003ca href=\"https://www.npr.org/2017/09/07/549184076/facebooks-russia-ads-could-be-tip-of-the-iceberg-warns-senate-intel-dem\" target=\"_blank\" rel=\"noopener\">problematic\u003c/a>, there’s nothing wrong with sharing what you’re listening to: adding a hilariously counterintuitive backing track to your birthday party video, or broadcasting yourself live while singing whatever-it-may-be. Music has been a product since the player piano. But in the digital age, our preferences are mines — and the more information we share about ourselves, the richer our veins become for those with the means to extract it. With every new feature meant to connect joy to those preferences (laid over with a patina of promotion for the artists being sung along to), it’s become a matter of mental health to wonder if it’s really all that fun, or just for show. \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=Facebook%27s+New+Features+Encourage+Users+To+Telegraph+Their+Music+Taste&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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