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"content": "\u003cp>If you’re the sort of sentimental filmgoer who believes in the power of auteur directors and star actors to carry a movie, \u003ca href=\"https://www.realartists.film/\" target=\"_blank\" rel=\"noopener\">\u003cem>Real Artists\u003c/em>\u003c/a>\u003cem>,\u003c/em> a new, slickly sinister short film, will provide much to talk about—and fret over.\u003c/p>\n\u003cp>Written and directed by up-and-coming San Francisco filmmaker Cameo Wood, the 12-minute movie tells the story of a young woman (played by Tiffany Hines) who lands her dream job at a major digital animation studio. She soon discovers a creative process so machine-driven and manipulative that it’s impossible to tell who—or what—ultimately has control over the end product and its reception.\u003c/p>\n\u003cp>Wood came to filmmaking from a career in tech. \u003cem>Real Artists\u003c/em>, which is based on a short story by fantasy writer Ken Liu, is up for a “Best Short” prize for emerging filmmakers at Saturday’s AT&T Film Awards in Los Angeles, with director Ava DuVernay presiding over the event. KQED caught up with Wood to hear more of her thoughts about this weekend’s festivities and the future of the movie industry.\u003c/p>\n\u003cfigure id=\"attachment_13833887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg\" alt=\"Cameo Wood directs a shoot.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameo Wood directs a shoot. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What inspired you to make this film?\u003c/strong>\u003c/p>\n\u003cp>I love science fiction and have a background in neuroscience and artificial intelligence. So when I read the short story that \u003cem>Real Artists\u003c/em> was based on, I thought this is a movie that I could uniquely tell in an authentic and science-based way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Although your film is set at a fictional animation company, Semaphore, it clearly takes a dig at the real-world animation player, Pixar. Why go after that studio in particular?\u003c/strong>\u003c/p>\n\u003cp>It sort of digs at Pixar. I think we as a society are very tolerant of companies abusing our email, relationships, locations, conversation, etc. for marketing use. It makes sense to me that in the near future, corporations can verify Non-Disclosure Agreements (NDAs) with neurochemical means, not just pieces of paper. I think this may be the future, and it has nothing to do with Pixar per se, but rather with large and powerful corporations in general. Also, I think that it is very human for us to believe that artistic merit is based in our humanity. We don’t like the idea that Artificial Intelligence (AI) could make better films than any human auteur. So the film is mostly about how people would respond to learning that a highly respected animation company is using AI to make their beloved movies. I have nothing against Pixar. I love their work; they are the epitome of animation excellence. And so, of course, we modeled Semaphore after them. That said, there is a line in the film about hiring women to work in the industry that is certainly a dig at all animation studios, Pixar included. They all need to do better. We need more women directing and leading the development of films. Pixar has a massively influential impact on world culture, and they need to do better.\u003c/p>\n\u003cfigure id=\"attachment_13833885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg\" alt=\"San Francisco Filmmaker Cameo Wood with the cast and crew of 'Real Artists'.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1200x678.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561.jpg 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Filmmaker Cameo Wood with the cast and crew of ‘Real Artists’. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What message do you want to convey about the future of filmmaking with this movie?\u003c/strong>\u003c/p>\n\u003cp>We already use AI in filmmaking. We use AI to cut trailers, write screenplays and even analyze scripts. I think that as AI becomes more intelligent and nuanced, we absolutely will see more of an analytical and algorithmic focus on screenplays and production.\u003c/p>\n\u003cp>\u003cstrong>The film presents quite a dark view of the animation industry. Can you envisage any rays of light or redeeming qualities? And if so, what are they?\u003c/strong>\u003c/p>\n\u003cp>My film does portray a potential dark future, but I am personally very optimistic. Movies like \u003cem>Moana\u003c/em> show what I hope is a new wave of storytelling that embraces and lifts up cultures, instead of making caricatures of them. I think that animation is a very special medium that engages and inspires people of all ages. Now that animation tools are becoming cheaper and easier to use, I think that it will become much easier for a person to make a film on their phone or home computer, and have it be as beautiful and dynamic as the films we see today. Animation is also special because of how easy it is to re-dub animated films into other languages, so that films appear to have been made in the native language of the viewer. This is exciting and empowering, and something Pixar does perfectly.\u003c/p>\n\u003cp>\u003cstrong>How important are the AT&T Film Awards to you in terms of your trajectory as a director?\u003c/strong>\u003c/p>\n\u003cp>The AT&T Film Awards are very prestigious, and the Emerging Filmmaker Award allows all three nominated directors to meet with Ava DuVernay to discuss our careers and projects. Because I live in San Francisco, not Los Angeles, I find that any chance to show my work in front of professional L.A. audiences is always a massive benefit to my career. Plus, this award comes with a large cash prize, which would help me with my next film!\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183600832?dnt=1&app_id=122963\" width=\"640\" height=\"320\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>How would you describe current landscape of opportunity for movie directors of color and female movie directors? What will it take for things to get to a place of more equal opportunity?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a strange balancing act. For my film, I insisted that the cast and crew be 50 percent people of color and 50 percent women. That was a massive challenge, mostly because there are so few of both of these groups in the industry. We were relentless, though, and we achieved 75 percent women, 50 percent people of color, 20 percent LGBTQ, and 20 percent people with disabilities. I’m incredibly proud of those numbers and I look forward to doing it again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re the sort of sentimental filmgoer who believes in the power of auteur directors and star actors to carry a movie, \u003ca href=\"https://www.realartists.film/\" target=\"_blank\" rel=\"noopener\">\u003cem>Real Artists\u003c/em>\u003c/a>\u003cem>,\u003c/em> a new, slickly sinister short film, will provide much to talk about—and fret over.\u003c/p>\n\u003cp>Written and directed by up-and-coming San Francisco filmmaker Cameo Wood, the 12-minute movie tells the story of a young woman (played by Tiffany Hines) who lands her dream job at a major digital animation studio. She soon discovers a creative process so machine-driven and manipulative that it’s impossible to tell who—or what—ultimately has control over the end product and its reception.\u003c/p>\n\u003cp>Wood came to filmmaking from a career in tech. \u003cem>Real Artists\u003c/em>, which is based on a short story by fantasy writer Ken Liu, is up for a “Best Short” prize for emerging filmmakers at Saturday’s AT&T Film Awards in Los Angeles, with director Ava DuVernay presiding over the event. KQED caught up with Wood to hear more of her thoughts about this weekend’s festivities and the future of the movie industry.\u003c/p>\n\u003cfigure id=\"attachment_13833887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg\" alt=\"Cameo Wood directs a shoot.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameo Wood directs a shoot. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What inspired you to make this film?\u003c/strong>\u003c/p>\n\u003cp>I love science fiction and have a background in neuroscience and artificial intelligence. So when I read the short story that \u003cem>Real Artists\u003c/em> was based on, I thought this is a movie that I could uniquely tell in an authentic and science-based way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Although your film is set at a fictional animation company, Semaphore, it clearly takes a dig at the real-world animation player, Pixar. Why go after that studio in particular?\u003c/strong>\u003c/p>\n\u003cp>It sort of digs at Pixar. I think we as a society are very tolerant of companies abusing our email, relationships, locations, conversation, etc. for marketing use. It makes sense to me that in the near future, corporations can verify Non-Disclosure Agreements (NDAs) with neurochemical means, not just pieces of paper. I think this may be the future, and it has nothing to do with Pixar per se, but rather with large and powerful corporations in general. Also, I think that it is very human for us to believe that artistic merit is based in our humanity. We don’t like the idea that Artificial Intelligence (AI) could make better films than any human auteur. So the film is mostly about how people would respond to learning that a highly respected animation company is using AI to make their beloved movies. I have nothing against Pixar. I love their work; they are the epitome of animation excellence. And so, of course, we modeled Semaphore after them. That said, there is a line in the film about hiring women to work in the industry that is certainly a dig at all animation studios, Pixar included. They all need to do better. We need more women directing and leading the development of films. Pixar has a massively influential impact on world culture, and they need to do better.\u003c/p>\n\u003cfigure id=\"attachment_13833885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg\" alt=\"San Francisco Filmmaker Cameo Wood with the cast and crew of 'Real Artists'.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1200x678.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561.jpg 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Filmmaker Cameo Wood with the cast and crew of ‘Real Artists’. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What message do you want to convey about the future of filmmaking with this movie?\u003c/strong>\u003c/p>\n\u003cp>We already use AI in filmmaking. We use AI to cut trailers, write screenplays and even analyze scripts. I think that as AI becomes more intelligent and nuanced, we absolutely will see more of an analytical and algorithmic focus on screenplays and production.\u003c/p>\n\u003cp>\u003cstrong>The film presents quite a dark view of the animation industry. Can you envisage any rays of light or redeeming qualities? And if so, what are they?\u003c/strong>\u003c/p>\n\u003cp>My film does portray a potential dark future, but I am personally very optimistic. Movies like \u003cem>Moana\u003c/em> show what I hope is a new wave of storytelling that embraces and lifts up cultures, instead of making caricatures of them. I think that animation is a very special medium that engages and inspires people of all ages. Now that animation tools are becoming cheaper and easier to use, I think that it will become much easier for a person to make a film on their phone or home computer, and have it be as beautiful and dynamic as the films we see today. Animation is also special because of how easy it is to re-dub animated films into other languages, so that films appear to have been made in the native language of the viewer. This is exciting and empowering, and something Pixar does perfectly.\u003c/p>\n\u003cp>\u003cstrong>How important are the AT&T Film Awards to you in terms of your trajectory as a director?\u003c/strong>\u003c/p>\n\u003cp>The AT&T Film Awards are very prestigious, and the Emerging Filmmaker Award allows all three nominated directors to meet with Ava DuVernay to discuss our careers and projects. Because I live in San Francisco, not Los Angeles, I find that any chance to show my work in front of professional L.A. audiences is always a massive benefit to my career. Plus, this award comes with a large cash prize, which would help me with my next film!\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183600832?dnt=1&app_id=122963\" width=\"640\" height=\"320\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>How would you describe current landscape of opportunity for movie directors of color and female movie directors? What will it take for things to get to a place of more equal opportunity?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a strange balancing act. For my film, I insisted that the cast and crew be 50 percent people of color and 50 percent women. That was a massive challenge, mostly because there are so few of both of these groups in the industry. We were relentless, though, and we achieved 75 percent women, 50 percent people of color, 20 percent LGBTQ, and 20 percent people with disabilities. I’m incredibly proud of those numbers and I look forward to doing it again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tower of Power, the pioneering Oakland funk and R&B band, have been around for a half-century, but they still sing “You’re Still a Young Man” with as much gusto as when they wrote it in 1972.\u003c/p>\n\u003cp>On Wednesday, the City of Oakland honored the influential ensemble by declaring May 31 Tower of Power Day at a ceremony in Frank Ogawa Plaza in front of about 100 fans. The band came up with fellow Oaklanders Sly and the Family Stone in the ’70s and became known for their “Oakland sound,” notable for its dynamic horn section. Over the years, Tower of Power’s horn players have worked with heavy-hitting artists like Elton John, Phish and Santana.\u003c/p>\n\u003cp>https://twitter.com/ljfernandez/status/1002238747201519617\u003c/p>\n\u003cp>“Oakland has always been the background of our lives and certainly of our music,” said Emilio Castillo at the ceremony, as reported by \u003ca href=\"https://twitter.com/SovernNation/status/1002265689015500800\" target=\"_blank\" rel=\"noopener\">\u003cem>East Bay Times\u003c/em>\u003c/a>. “We wound up traveling the world and promoting the Oakland Sound, and it turned out to be one of the wisest decisions we ever made.”\u003c/p>\n\u003cp>https://twitter.com/SovernNation/status/1002265689015500800\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though the lineup has changed over the years and some band members have moved away (founders Emilio Castillo lives in Los Angeles and Stephen “Doc” Kupka is in Phoenix), Tower of Power regularly plays at Oakland venues like Yoshi’s in Jack London Square. Their next gig is at the \u003ca href=\"http://thefoxoakland.com/events/tower-of-power\" target=\"_blank\" rel=\"noopener\">Fox Theater\u003c/a> on June 2.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Oakland has always been the background of our lives and certainly of our music,” said Emilio Castillo at the ceremony, as reported by \u003ca href=\"https://twitter.com/SovernNation/status/1002265689015500800\" target=\"_blank\" rel=\"noopener\">\u003cem>East Bay Times\u003c/em>\u003c/a>. “We wound up traveling the world and promoting the Oakland Sound, and it turned out to be one of the wisest decisions we ever made.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=615752582&mediaId=615791546\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Black Thought rarely unmasks.\u003c/p>\n\u003cp>Not even in our in-depth interview, which lasted more than an hour, did he remove the shades that enable him to observe the world — and reflect a bit of its pain – while concealing his own. Yet the story he shared of personal trauma and transcendence reveals so much more.\u003c/p>\n\u003cp>His moniker, Black Thought, has always been a double-entendre that felt like it belonged to all of us for the way it communicates a collective angst and rage, darkness and genius. For the South Philly-bred co-founder of The Roots, born Tariq Trotter, that nuance is equally reflected in his life and rhymes. It’s lent him a depth and duality rare in this age. To find his equal, one almost must look beyond the confines of rap.\u003c/p>\n\u003cp>Onstage at Washington D.C.’s Kennedy Center in April at a dramatic stage reading of Ta-Nehisi Coates’ book \u003cem>Between the World and Me\u003c/em>, Black Thought delivered a gripping remix of his \u003ca href=\"https://www.youtube.com/watch?v=M8DxO-66jrA\">Harvard University freestyle\u003c/a> at the climactic high point of the performance:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Black as oblivion\u003c/em>\u003cbr>\n\u003cem>Black as obsidian\u003c/em>\u003cbr>\n\u003cem>Black as the sky at midnight ante meridian\u003c/em>\u003cbr>\n\u003cem>I am black as a portrait with Diddy, 2Pac and Biggie in\u003c/em>\u003cbr>\n\u003cem>Black as the influence on the culture we living in\u003c/em>\u003c/p>\n\u003cp>When Coates took the stage near the program’s conclusion, the celebrated chronicler of contemporary black American life paused first to pay respect to his literary peer. Looking over at the bearded and brimmed Black Thought, Coates nodded and told the crowd, “I wish I wrote them Thought verses. I’d trade this whole book for that, man.”\u003c/p>\n\u003cp>It was a huge accolade from one clear-eyed realist to another.\u003c/p>\n\u003cp>Black Thought’s been basking in overdue props lately. The viral \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/15/571088054/heres-why-black-thoughts-10-minute-freestyle-is-so-remarkable\">Hot 97 freestyle\u003c/a> that sent the Internet into a tizzy six months ago made him something of an anomaly — a hip-hop vet, 30 years into his career, finally recognized for being at the top of his game.\u003c/p>\n\u003cp>Now, with the release of his first side project, \u003cem>Streams of Thought Vol. 1\u003c/em> (produced by 9th Wonder and The Soul Council), he’s further emerging from the shadows. It’s a new reckoning for an artful dodger who’s always excelled at drawing complex illustrations while disappearing into his own canvas, but he stops short of calling \u003cem>Streams of Thought\u003c/em> a solo project. For Black Thought, the appeal of a collaborative series featuring a rotating cast of producers is less about hogging the spotlight than delivering stream-of-consciousness flows without the meticulous plotting associated with The Roots’ high-concept approach.\u003c/p>\n\u003cp>But there’s a bigger reveal behind Black Thought’s album release, and it drove our conversation, which took place in Manhattan in April. By 16, he’d lost both parents and found his life’s calling. It became his saving grace. At 46, he’s beginning to unmask in music and life. And it feels like the self-professed introvert is honing in on another growth spurt, 30 years later.\u003c/p>\n\u003cp>There’s a line from \u003cem>Between the World and Me\u003c/em> in which Coates writes to his son, “Part of me thinks that your very vulnerability brings you closer to the meaning of life.” After a career spent processing all our angst and pain, Black Thought is finding comfort with baring open to the world his whole soul.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Black Thought on Ta-Nehisi Coates saying he’d trade \u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> for Black Thought’s verses\u003c/strong>\u003c/p>\n\u003cp>For me it lent a certain sort of validity to what I’m doing, what I’ve been doing. We communicate via social media and had been doing so for the past couple of years. But we met in person earlier in the week at the same sort of event at the Apollo, and it was there that he kind of revealed to me that during that time in his life when he was still trying to become a writer and trying to be a writer, that my style of writing on a particular record — I think it was the \u003cem>Things Fall Apart\u003c/em> album — was what he was kind of modeling his style of writing after. He was trying to capture a similar voice. So I was super-impressed by that and I just felt like it was a moment in which things had sort of come full circle. Because I’ve definitely been inspired by the book and by his writing. So, to come to the realization that my work inspired the work that, in turn, re-inspired — it was just a dope sort of revelation.\u003c/p>\n\u003cp>\u003cstrong>On learning later in life of his father’s connections to the Philly Black Mafia\u003c/strong>\u003c/p>\n\u003cp>I was, I want to say, 6 or 7 or so when I really began to realize my father was murdered. But as far back as I can remember I’d always known that he had passed away. Even now, I continue to just acquire little tidbits of information. I might run into somebody on the street who’s like, “I’m a big fan. By the way, I was a good friend of your father’s.” And they’ll give me some information, something that I may not have ever known about my father in the way he was. Just because it was the ’70s at the time that I lost my father — there wasn’t as much documentation. There were a couple stories, like newspaper clippings, that were around the time that his body was found. But this is the era of microfiche as opposed to just being able to Google what had taken place. There have been some books that have come out over the years about the Philly Black Mafia, or an organization called Black Brothers, Inc. And just information that has come out in more recent years about a particular mosque in Philly, Mosque No. 12 in the Philadelphia Islamic community at that time, that has shed a little bit more light on my father and what his sort of dealings were — one side of what his dealings were. But there’s still very much that remains a mystery to me, even to this day.\u003c/p>\n\u003cp>\u003cstrong>On the harsh reality of losing his mother as a teenager\u003c/strong>\u003c/p>\n\u003cp>Knowing that she was a fighter, I know that she put up as much of a fight as she could. But we lost her. No one had heard from her for about three or four days, which seemed strange. She would go on binges; she would disappear sometimes for 24 hours, maybe 48 hours at a time. But when you start hitting three days, four days, it’s like, what’s up. And the sad part about growing up where I did and when I did is, when you haven’t heard from someone for a couple of days, the first thing we do instinctively is start the search. We start with the hospitals and then we start with the jails and then we start, you know, beyond that it’s the morgue, you know what I mean. So as we expanded our search, my mother was found to have been in the morgue. And it was it was crazy. Our gut told us that we had found her, but she wasn’t identifiable. We had to identify her by some old dental records. So it was crazy, it was messy, and we couldn’t have an open-casket funeral. The worst that you could expect is the end that she met.”\u003c/p>\n\u003cp>\u003cstrong>On using art to heal personal tragedy\u003c/strong>\u003c/p>\n\u003cp>For me, the arts has always been sort of my saving grace. The moments in life that I cherish most were those brief moments when I would get to escape: either like mentally I would get to escape, because I would be deep in the creative process, or physically — I would leave the neighborhood for a little bit to go to art class on Saturday mornings, or in the summertime my mom would sign me up for art camp, and that took place out in the middle of Fairmount Park in Philly. So just those little small pockets of getting away from the neighborhood gave me just a different perspective when I returned. Yeah, it’s always been, for me, about the arts.\u003c/p>\n\u003cp>\u003cstrong>On overcoming his early doubts about The Roots\u003c/strong>\u003c/p>\n\u003cp>We had reached a point during that time where it was like, ahh, maybe this isn’t the best idea. Maybe live instrumentation with me rapping over it wasn’t the best plan. There weren’t very many other artists who were doing that at the time and, I don’t know, sometimes you second-guess yourself. You, know you think, “Well, I think I should just get a DJ, because that would be a better format within which to showcase my skills.” I felt like the band at the time, like just how cumbersome the instruments were — a huge upright bass and then Questlove, you know, a big dude on the drums — I felt like that was all taking away, sort of, from the focus on me. That being said, we took it to the streets sort of as a last resort — like, “Well, let’s just go and see if this works out.”\u003c/p>\n\u003cp>\u003cstrong>On the overwhelming response to his Hot 97 freestyle\u003c/strong>\u003c/p>\n\u003cp>The art of lyricism is now in its greatest decline. That’s why it’s like, somebody comes out and you drop some bars of substance, it’s like it’s amazing. It’s like a unicorn. But, you know, I come from a school. People who have known me for years, they were less than impressed. Like, “I’ve seen you do better.” You know what I mean? They pick out little mistakes: “Oh, you faltered here. This syllable came out weird.” And that’s cool, you know what I’m saying — because that’s how they know me. But I feel like the standard, like the bar right now, is particularly low. So I’m continually trying to raise the bar.”\u003c/p>\n\u003cp>\u003cstrong>On putting off solo pursuits for years out of obligation to The Roots as a collective\u003c/strong>\u003c/p>\n\u003cp>It’s always been about the greater good of our organization for me. All those solo efforts that I’ve announced, it breathes new life into the awareness of me as an artist. The Roots brand always has to be maintained, and we’re just at a place now where prime-time TV affords us a different sort of visibility and I’m able to kind of take a step back and focus on some of the other creative energy that I still need to get out. None of this is my solo album. It’s just a chance to see me in a different light doing a different thing.\u003c/p>\n\u003cp>\u003cstrong>On whether his rap moniker, Black Thought, is too black for TV\u003c/strong>\u003c/p>\n\u003cp>It has presented \u003cem>some\u003c/em> internal conflict, and the way I address it is just maintaining that separatism. The fact that Jimmy refers to me only as Tariq on prime-time television is right on par with me making a conscious effort to be more vulnerable and show more vulnerability and to be more human and to be more accessible to my audience. In the beginning, I stopped wearing sunglasses and everything. When we started the show, that was short-lived. But yeah, I was trying to just be more transparent in that way. I feel like Black Thought is a name that has so much meaning and depth, not only to me but to my fans, that it’s something that I wanted to hold onto a little bit tighter. At the onset of late night with Jimmy Fallon when it was like, “What are we going to refer to you guys as?” I don’t know, I chose to [be] Tariq.\u003c/p>\n\u003cp>\u003cstrong>On frequently being mistaken for Rick Ross\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Something that is funny, that I use sometimes if I’m doing comedy, is the fact that I’m now often mistaken for the rapper Rick Ross. And I don’t know that I’ve ever corrected anyone — like I’ve never said, “No no, I’m not Rick Ross, I’m Black Thought from The Roots.” Sometimes little kids come up to me shaking: “You mind if I take a picture?” And I’ll take a picture and I’ll hear one whisper to the other: ‘I \u003cem>love \u003c/em>Rick Ross.” Or someone will come up to me on the street, you know, and say “bawse.” Just a couple weeks ago I went to Puerto Rico to do a benefit concert down there. I arrived at the hotel, the doorman came and opened the car door and I stepped out, and dude was talking and I just heard him — in broken English because he had, like, a Spanish accent — I heard him, just, “\u003cem>Welcome, Mr. Ross\u003c/em>.” I’d rather not correct them. I let people have that moment, because for them it’s just as special. I don’t say, “No, no. It’s me, the dude from The Roots.” But sometimes I’ve had people come in [and] talk to me for you know five, seven, 10 minutes about how I’ve impacted their lives and, you know, how important my music has been. And I might start to assume that they recognize me. And then they’ll get to the end and it’s like, you know, ‘Thank you, Rick.”\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=Between+The+World+And+Black+Thought&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=615752582&mediaId=615791546\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Black Thought rarely unmasks.\u003c/p>\n\u003cp>Not even in our in-depth interview, which lasted more than an hour, did he remove the shades that enable him to observe the world — and reflect a bit of its pain – while concealing his own. Yet the story he shared of personal trauma and transcendence reveals so much more.\u003c/p>\n\u003cp>His moniker, Black Thought, has always been a double-entendre that felt like it belonged to all of us for the way it communicates a collective angst and rage, darkness and genius. For the South Philly-bred co-founder of The Roots, born Tariq Trotter, that nuance is equally reflected in his life and rhymes. It’s lent him a depth and duality rare in this age. To find his equal, one almost must look beyond the confines of rap.\u003c/p>\n\u003cp>Onstage at Washington D.C.’s Kennedy Center in April at a dramatic stage reading of Ta-Nehisi Coates’ book \u003cem>Between the World and Me\u003c/em>, Black Thought delivered a gripping remix of his \u003ca href=\"https://www.youtube.com/watch?v=M8DxO-66jrA\">Harvard University freestyle\u003c/a> at the climactic high point of the performance:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Black as oblivion\u003c/em>\u003cbr>\n\u003cem>Black as obsidian\u003c/em>\u003cbr>\n\u003cem>Black as the sky at midnight ante meridian\u003c/em>\u003cbr>\n\u003cem>I am black as a portrait with Diddy, 2Pac and Biggie in\u003c/em>\u003cbr>\n\u003cem>Black as the influence on the culture we living in\u003c/em>\u003c/p>\n\u003cp>When Coates took the stage near the program’s conclusion, the celebrated chronicler of contemporary black American life paused first to pay respect to his literary peer. Looking over at the bearded and brimmed Black Thought, Coates nodded and told the crowd, “I wish I wrote them Thought verses. I’d trade this whole book for that, man.”\u003c/p>\n\u003cp>It was a huge accolade from one clear-eyed realist to another.\u003c/p>\n\u003cp>Black Thought’s been basking in overdue props lately. The viral \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/15/571088054/heres-why-black-thoughts-10-minute-freestyle-is-so-remarkable\">Hot 97 freestyle\u003c/a> that sent the Internet into a tizzy six months ago made him something of an anomaly — a hip-hop vet, 30 years into his career, finally recognized for being at the top of his game.\u003c/p>\n\u003cp>Now, with the release of his first side project, \u003cem>Streams of Thought Vol. 1\u003c/em> (produced by 9th Wonder and The Soul Council), he’s further emerging from the shadows. It’s a new reckoning for an artful dodger who’s always excelled at drawing complex illustrations while disappearing into his own canvas, but he stops short of calling \u003cem>Streams of Thought\u003c/em> a solo project. For Black Thought, the appeal of a collaborative series featuring a rotating cast of producers is less about hogging the spotlight than delivering stream-of-consciousness flows without the meticulous plotting associated with The Roots’ high-concept approach.\u003c/p>\n\u003cp>But there’s a bigger reveal behind Black Thought’s album release, and it drove our conversation, which took place in Manhattan in April. By 16, he’d lost both parents and found his life’s calling. It became his saving grace. At 46, he’s beginning to unmask in music and life. And it feels like the self-professed introvert is honing in on another growth spurt, 30 years later.\u003c/p>\n\u003cp>There’s a line from \u003cem>Between the World and Me\u003c/em> in which Coates writes to his son, “Part of me thinks that your very vulnerability brings you closer to the meaning of life.” After a career spent processing all our angst and pain, Black Thought is finding comfort with baring open to the world his whole soul.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Black Thought on Ta-Nehisi Coates saying he’d trade \u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> for Black Thought’s verses\u003c/strong>\u003c/p>\n\u003cp>For me it lent a certain sort of validity to what I’m doing, what I’ve been doing. We communicate via social media and had been doing so for the past couple of years. But we met in person earlier in the week at the same sort of event at the Apollo, and it was there that he kind of revealed to me that during that time in his life when he was still trying to become a writer and trying to be a writer, that my style of writing on a particular record — I think it was the \u003cem>Things Fall Apart\u003c/em> album — was what he was kind of modeling his style of writing after. He was trying to capture a similar voice. So I was super-impressed by that and I just felt like it was a moment in which things had sort of come full circle. Because I’ve definitely been inspired by the book and by his writing. So, to come to the realization that my work inspired the work that, in turn, re-inspired — it was just a dope sort of revelation.\u003c/p>\n\u003cp>\u003cstrong>On learning later in life of his father’s connections to the Philly Black Mafia\u003c/strong>\u003c/p>\n\u003cp>I was, I want to say, 6 or 7 or so when I really began to realize my father was murdered. But as far back as I can remember I’d always known that he had passed away. Even now, I continue to just acquire little tidbits of information. I might run into somebody on the street who’s like, “I’m a big fan. By the way, I was a good friend of your father’s.” And they’ll give me some information, something that I may not have ever known about my father in the way he was. Just because it was the ’70s at the time that I lost my father — there wasn’t as much documentation. There were a couple stories, like newspaper clippings, that were around the time that his body was found. But this is the era of microfiche as opposed to just being able to Google what had taken place. There have been some books that have come out over the years about the Philly Black Mafia, or an organization called Black Brothers, Inc. And just information that has come out in more recent years about a particular mosque in Philly, Mosque No. 12 in the Philadelphia Islamic community at that time, that has shed a little bit more light on my father and what his sort of dealings were — one side of what his dealings were. But there’s still very much that remains a mystery to me, even to this day.\u003c/p>\n\u003cp>\u003cstrong>On the harsh reality of losing his mother as a teenager\u003c/strong>\u003c/p>\n\u003cp>Knowing that she was a fighter, I know that she put up as much of a fight as she could. But we lost her. No one had heard from her for about three or four days, which seemed strange. She would go on binges; she would disappear sometimes for 24 hours, maybe 48 hours at a time. But when you start hitting three days, four days, it’s like, what’s up. And the sad part about growing up where I did and when I did is, when you haven’t heard from someone for a couple of days, the first thing we do instinctively is start the search. We start with the hospitals and then we start with the jails and then we start, you know, beyond that it’s the morgue, you know what I mean. So as we expanded our search, my mother was found to have been in the morgue. And it was it was crazy. Our gut told us that we had found her, but she wasn’t identifiable. We had to identify her by some old dental records. So it was crazy, it was messy, and we couldn’t have an open-casket funeral. The worst that you could expect is the end that she met.”\u003c/p>\n\u003cp>\u003cstrong>On using art to heal personal tragedy\u003c/strong>\u003c/p>\n\u003cp>For me, the arts has always been sort of my saving grace. The moments in life that I cherish most were those brief moments when I would get to escape: either like mentally I would get to escape, because I would be deep in the creative process, or physically — I would leave the neighborhood for a little bit to go to art class on Saturday mornings, or in the summertime my mom would sign me up for art camp, and that took place out in the middle of Fairmount Park in Philly. So just those little small pockets of getting away from the neighborhood gave me just a different perspective when I returned. Yeah, it’s always been, for me, about the arts.\u003c/p>\n\u003cp>\u003cstrong>On overcoming his early doubts about The Roots\u003c/strong>\u003c/p>\n\u003cp>We had reached a point during that time where it was like, ahh, maybe this isn’t the best idea. Maybe live instrumentation with me rapping over it wasn’t the best plan. There weren’t very many other artists who were doing that at the time and, I don’t know, sometimes you second-guess yourself. You, know you think, “Well, I think I should just get a DJ, because that would be a better format within which to showcase my skills.” I felt like the band at the time, like just how cumbersome the instruments were — a huge upright bass and then Questlove, you know, a big dude on the drums — I felt like that was all taking away, sort of, from the focus on me. That being said, we took it to the streets sort of as a last resort — like, “Well, let’s just go and see if this works out.”\u003c/p>\n\u003cp>\u003cstrong>On the overwhelming response to his Hot 97 freestyle\u003c/strong>\u003c/p>\n\u003cp>The art of lyricism is now in its greatest decline. That’s why it’s like, somebody comes out and you drop some bars of substance, it’s like it’s amazing. It’s like a unicorn. But, you know, I come from a school. People who have known me for years, they were less than impressed. Like, “I’ve seen you do better.” You know what I mean? They pick out little mistakes: “Oh, you faltered here. This syllable came out weird.” And that’s cool, you know what I’m saying — because that’s how they know me. But I feel like the standard, like the bar right now, is particularly low. So I’m continually trying to raise the bar.”\u003c/p>\n\u003cp>\u003cstrong>On putting off solo pursuits for years out of obligation to The Roots as a collective\u003c/strong>\u003c/p>\n\u003cp>It’s always been about the greater good of our organization for me. All those solo efforts that I’ve announced, it breathes new life into the awareness of me as an artist. The Roots brand always has to be maintained, and we’re just at a place now where prime-time TV affords us a different sort of visibility and I’m able to kind of take a step back and focus on some of the other creative energy that I still need to get out. None of this is my solo album. It’s just a chance to see me in a different light doing a different thing.\u003c/p>\n\u003cp>\u003cstrong>On whether his rap moniker, Black Thought, is too black for TV\u003c/strong>\u003c/p>\n\u003cp>It has presented \u003cem>some\u003c/em> internal conflict, and the way I address it is just maintaining that separatism. The fact that Jimmy refers to me only as Tariq on prime-time television is right on par with me making a conscious effort to be more vulnerable and show more vulnerability and to be more human and to be more accessible to my audience. In the beginning, I stopped wearing sunglasses and everything. When we started the show, that was short-lived. But yeah, I was trying to just be more transparent in that way. I feel like Black Thought is a name that has so much meaning and depth, not only to me but to my fans, that it’s something that I wanted to hold onto a little bit tighter. At the onset of late night with Jimmy Fallon when it was like, “What are we going to refer to you guys as?” I don’t know, I chose to [be] Tariq.\u003c/p>\n\u003cp>\u003cstrong>On frequently being mistaken for Rick Ross\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Something that is funny, that I use sometimes if I’m doing comedy, is the fact that I’m now often mistaken for the rapper Rick Ross. And I don’t know that I’ve ever corrected anyone — like I’ve never said, “No no, I’m not Rick Ross, I’m Black Thought from The Roots.” Sometimes little kids come up to me shaking: “You mind if I take a picture?” And I’ll take a picture and I’ll hear one whisper to the other: ‘I \u003cem>love \u003c/em>Rick Ross.” Or someone will come up to me on the street, you know, and say “bawse.” Just a couple weeks ago I went to Puerto Rico to do a benefit concert down there. I arrived at the hotel, the doorman came and opened the car door and I stepped out, and dude was talking and I just heard him — in broken English because he had, like, a Spanish accent — I heard him, just, “\u003cem>Welcome, Mr. Ross\u003c/em>.” I’d rather not correct them. I let people have that moment, because for them it’s just as special. I don’t say, “No, no. It’s me, the dude from The Roots.” But sometimes I’ve had people come in [and] talk to me for you know five, seven, 10 minutes about how I’ve impacted their lives and, you know, how important my music has been. And I might start to assume that they recognize me. And then they’ll get to the end and it’s like, you know, ‘Thank you, Rick.”\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=Between+The+World+And+Black+Thought&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Kesha Loses Appeal to Break Deals with Dr. Luke",
"headTitle": "Kesha Loses Appeal to Break Deals with Dr. Luke | KQED",
"content": "\u003cp>Singer Kesha has lost the latest round in her long-standing and acrimonious legal battle with producer Dr. Luke, which began with a suit filed in California in October 2014 accusing him of drugging and raping her.\u003c/p>\n\u003cp>On Tuesday, the New York State Supreme Court in Manhattan ruled that the singer cannot pursue a countersuit aiming to void her business contracts with Dr. Luke, born Lukasz Gottwald.\u003c/p>\n\u003cp>At every point thus far, Kesha has either lost in court or has dropped her claims. Requests for comment from the attorneys representing Kesha and Dr. Luke were not immediately returned.\u003c/p>\n\u003cp>The appeal Kesha lost this week was in response to a New York suit filed by Dr. Luke in October 2016, accusing her of \u003ca href=\"https://www.nytimes.com/2016/10/22/arts/music/kesha-dr-luke-lawsuit.html\" target=\"_blank\" rel=\"noopener\">defamation\u003c/a> and breach of contract; he asserted that her rape and abuse allegations were rooted in bitter contract renegotiations.\u003c/p>\n\u003cp>In Tuesday’s decision, the court ruled that Kesha’s appeal was “palpably insufficient and devoid of merit” and that her counterclaims were in part “speculative, contradicted by her own allegations that she had continued performing under the agreements.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dr. Luke first signed the singer in 2005, when she was 18 years old.\u003c/p>\n\u003cp>Kesha’s original suit, filed in Los Angeles County Superior Court, accused Dr. Luke of sexual assault and battery, sexual harassment, gender violence, civil harassment, unfair business, and intentional and negligent infliction of emotional distress.\u003c/p>\n\u003cp>Dr. Luke denied Kesha’s allegations and countersued the singer for defamation.\u003c/p>\n\u003cp>In February 2015, the singer (born Kesha Rose Sebert) filed an injunction, asking to be let out of her recording contract with Dr. Luke’s label, Kemosabe, a label imprint owned by Sony Music Entertainment. Four months later, she amended her injunction request, charging that SME was aware of the alleged abuse against her and also knew about other alleged victims of Dr. Luke. She also submitted a motion asking for the New York litigation to be put on pause so that her case in California could continue; Dr. Luke filed an opposing motion, which he was granted.\u003c/p>\n\u003cp>A year later, Kesha’s injunction to to be released from her Sony contract was denied. Afterwards, fans and fellow artists publicly \u003ca href=\"https://www.npr.org/2016/02/23/467819740/-freekesha-puts-a-legal-battle-in-a-public-spotlight\" target=\"_blank\" rel=\"noopener\">rallied\u003c/a> to her side, including Lady Gaga and Kelly Clarkson. Dr. Luke had also worked closely with Clarkson, producing such smashes for her as “Since U Been Gone” and “My Life Would Suck Without You.” In an interview with Australian radio station \u003ca href=\"http://www.kiis1065.com.au/entertainment/entertainment-news/kelly-clarkson-slams-dr-luke-after-kesha-rape-scandal\" target=\"_blank\" rel=\"noopener\">KIIS 1065\u003c/a>, Clarkson asserted\u003cstrong> \u003c/strong>that she had only worked with him because she had been “literally … \u003ca href=\"http://www.latimes.com/entertainment/music/posts/la-et-ms-kelly-clarkson-dr-luke-demeaning-20160307-story.html\" target=\"_blank\" rel=\"noopener\">blackmailed\u003c/a>” by her label, RCA, another subsidiary of SME.\u003c/p>\n\u003cp>In April 2016, all of Kesha’s abuse claims in New York were \u003ca href=\"https://www.npr.org/2016/04/07/473416748/pop-star-kesha-loses-court-battle-against-producer-dr-luke\">dismissed\u003c/a> by Manhattan State Supreme Court Justice Shirley Werner Kornreich, who also ruled in Tuesday’s decision.\u003c/p>\n\u003cp>In August 2016, \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/style/2016/08/kesha-ties-revealed-judge-sony-music\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that Kornreich is married to Ed Kornreich, a lawyer and partner in the firm Proskauer Rose, which has represented SME. (Proskauer Rose was also \u003ca href=\"https://www.wnyc.org/story/investigation-harassment-nypr-finds/\" target=\"_blank\" rel=\"noopener\">brought in\u003c/a> by member station New York Public Radio to conduct an investigation regarding allegations of sexual harassment and inappropriate behavior; the firm \u003ca href=\"https://media.wnyc.org/media/resources/2018/Apr/24/Proskauer_Report_to_the_NYPR_Board_of_Trustees_April_2018.pdf\" target=\"_blank\" rel=\"noopener\">released\u003c/a> its findings last month.) In response, Kornreich said that her husband’s specialty within the large firm is health care and that their relationship is \u003ca href=\"https://pagesix.com/2016/12/08/judge-blasts-keshas-legal-team-for-trying-to-discredit-her/\" target=\"_blank\" rel=\"noopener\">irrelevant\u003c/a> to Kesha’s case.\u003c/p>\n\u003cp>In that 2016 decision, Kornreich \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/04/06/473284900/judge-dismisses-keshas-hate-crime-claims-against-producer-dr-luke\" target=\"_blank\" rel=\"noopener\">threw out\u003c/a> Kesha’s claims of hate crimes and human rights abuses, ruling that Dr. Luke’s alleged abuses occurred “outside New York and beyond the legal time limit,” adding that “every rape is not a gender-motivated hate crime.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In August 2016, Kesha dropped all her charges against the producer in California. In January 2017, she filed a request to amend her New York lawsuit to include claims that Dr. Luke’s companies Prescription and KMI failed to report or pay her royalties, writing: “You can get a divorce from an abusive spouse. You can dissolve a partnership if the relationship becomes irreconcilable. The same opportunity — to be liberated from the physical, emotional, and financial bondage of a destructive relationship — should be available to a recording artist.” Kornreich denied that request in March 2017. \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=Kesha+Loses+Appeal+To+Break+Deals+With+Dr.+Luke&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "An appeals court in New York ruled on Tuesday that the singer, who says that the producer raped her and was abusive, cannot dissolve their business partnership through a countersuit.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer Kesha has lost the latest round in her long-standing and acrimonious legal battle with producer Dr. Luke, which began with a suit filed in California in October 2014 accusing him of drugging and raping her.\u003c/p>\n\u003cp>On Tuesday, the New York State Supreme Court in Manhattan ruled that the singer cannot pursue a countersuit aiming to void her business contracts with Dr. Luke, born Lukasz Gottwald.\u003c/p>\n\u003cp>At every point thus far, Kesha has either lost in court or has dropped her claims. Requests for comment from the attorneys representing Kesha and Dr. Luke were not immediately returned.\u003c/p>\n\u003cp>The appeal Kesha lost this week was in response to a New York suit filed by Dr. Luke in October 2016, accusing her of \u003ca href=\"https://www.nytimes.com/2016/10/22/arts/music/kesha-dr-luke-lawsuit.html\" target=\"_blank\" rel=\"noopener\">defamation\u003c/a> and breach of contract; he asserted that her rape and abuse allegations were rooted in bitter contract renegotiations.\u003c/p>\n\u003cp>In Tuesday’s decision, the court ruled that Kesha’s appeal was “palpably insufficient and devoid of merit” and that her counterclaims were in part “speculative, contradicted by her own allegations that she had continued performing under the agreements.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dr. Luke first signed the singer in 2005, when she was 18 years old.\u003c/p>\n\u003cp>Kesha’s original suit, filed in Los Angeles County Superior Court, accused Dr. Luke of sexual assault and battery, sexual harassment, gender violence, civil harassment, unfair business, and intentional and negligent infliction of emotional distress.\u003c/p>\n\u003cp>Dr. Luke denied Kesha’s allegations and countersued the singer for defamation.\u003c/p>\n\u003cp>In February 2015, the singer (born Kesha Rose Sebert) filed an injunction, asking to be let out of her recording contract with Dr. Luke’s label, Kemosabe, a label imprint owned by Sony Music Entertainment. Four months later, she amended her injunction request, charging that SME was aware of the alleged abuse against her and also knew about other alleged victims of Dr. Luke. She also submitted a motion asking for the New York litigation to be put on pause so that her case in California could continue; Dr. Luke filed an opposing motion, which he was granted.\u003c/p>\n\u003cp>A year later, Kesha’s injunction to to be released from her Sony contract was denied. Afterwards, fans and fellow artists publicly \u003ca href=\"https://www.npr.org/2016/02/23/467819740/-freekesha-puts-a-legal-battle-in-a-public-spotlight\" target=\"_blank\" rel=\"noopener\">rallied\u003c/a> to her side, including Lady Gaga and Kelly Clarkson. Dr. Luke had also worked closely with Clarkson, producing such smashes for her as “Since U Been Gone” and “My Life Would Suck Without You.” In an interview with Australian radio station \u003ca href=\"http://www.kiis1065.com.au/entertainment/entertainment-news/kelly-clarkson-slams-dr-luke-after-kesha-rape-scandal\" target=\"_blank\" rel=\"noopener\">KIIS 1065\u003c/a>, Clarkson asserted\u003cstrong> \u003c/strong>that she had only worked with him because she had been “literally … \u003ca href=\"http://www.latimes.com/entertainment/music/posts/la-et-ms-kelly-clarkson-dr-luke-demeaning-20160307-story.html\" target=\"_blank\" rel=\"noopener\">blackmailed\u003c/a>” by her label, RCA, another subsidiary of SME.\u003c/p>\n\u003cp>In April 2016, all of Kesha’s abuse claims in New York were \u003ca href=\"https://www.npr.org/2016/04/07/473416748/pop-star-kesha-loses-court-battle-against-producer-dr-luke\">dismissed\u003c/a> by Manhattan State Supreme Court Justice Shirley Werner Kornreich, who also ruled in Tuesday’s decision.\u003c/p>\n\u003cp>In August 2016, \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/style/2016/08/kesha-ties-revealed-judge-sony-music\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that Kornreich is married to Ed Kornreich, a lawyer and partner in the firm Proskauer Rose, which has represented SME. (Proskauer Rose was also \u003ca href=\"https://www.wnyc.org/story/investigation-harassment-nypr-finds/\" target=\"_blank\" rel=\"noopener\">brought in\u003c/a> by member station New York Public Radio to conduct an investigation regarding allegations of sexual harassment and inappropriate behavior; the firm \u003ca href=\"https://media.wnyc.org/media/resources/2018/Apr/24/Proskauer_Report_to_the_NYPR_Board_of_Trustees_April_2018.pdf\" target=\"_blank\" rel=\"noopener\">released\u003c/a> its findings last month.) In response, Kornreich said that her husband’s specialty within the large firm is health care and that their relationship is \u003ca href=\"https://pagesix.com/2016/12/08/judge-blasts-keshas-legal-team-for-trying-to-discredit-her/\" target=\"_blank\" rel=\"noopener\">irrelevant\u003c/a> to Kesha’s case.\u003c/p>\n\u003cp>In that 2016 decision, Kornreich \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/04/06/473284900/judge-dismisses-keshas-hate-crime-claims-against-producer-dr-luke\" target=\"_blank\" rel=\"noopener\">threw out\u003c/a> Kesha’s claims of hate crimes and human rights abuses, ruling that Dr. Luke’s alleged abuses occurred “outside New York and beyond the legal time limit,” adding that “every rape is not a gender-motivated hate crime.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In August 2016, Kesha dropped all her charges against the producer in California. In January 2017, she filed a request to amend her New York lawsuit to include claims that Dr. Luke’s companies Prescription and KMI failed to report or pay her royalties, writing: “You can get a divorce from an abusive spouse. You can dissolve a partnership if the relationship becomes irreconcilable. The same opportunity — to be liberated from the physical, emotional, and financial bondage of a destructive relationship — should be available to a recording artist.” Kornreich denied that request in March 2017. \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=Kesha+Loses+Appeal+To+Break+Deals+With+Dr.+Luke&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco officials will unveil a new public art installation Thursday morning that celebrates the city’s sister relationship with Haifa, the third largest city in Israel. \u003c/p>\n\u003cp>The ceremony is scheduled for 11am on Pier 27, where the artwork will be revealed. The work celebrates a sister-city relationship that began in 1973, and expected attendees include San Francisco Mayor Mark Farrell and several officials from Haifa.\u003c/p>\n\u003cp>The work, titled “Point of View,” consists of two lighthouse-like structures, one installed along the waterfront in each city. The statues have periscopes that connect to cameras in the other structures, allowing users to see the other city thousands of miles away. \u003c/p>\n\u003cp>“In addition to the values of compassion and inclusion that we share, San Francisco and Haifa are now connected by this remarkable work of art that allows visitors to travel through space and experience the views for which each city is known,” Farrell said. \u003c/p>\n\u003cfigure id=\"attachment_13833911\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-800x1067.jpg\" alt='One half of \"Point Of View\" being installed in San Francisco.' width=\"800\" height=\"1067\" class=\"size-medium wp-image-13833911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-520x694.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One half of “Point Of View” being installed in San Francisco. \u003ccite>(Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation is dedicated to the memory of San Francisco Mayor Ed Lee, who died unexpectedly late last year. He championed the sister city relationship, believing it “would foster greater knowledge of and understanding between our two communities,” according to Kate Patterson, director of communications for the San Francisco Arts Commission.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The unveiling ceremony comes at a time of renewed conflict between Israelis and Palestinians. An estimated 121 Palestinians have been killed since March 30, according \u003ca href=\"https://www.aljazeera.com/news/2018/05/israeli-army-projectiles-fired-israel-gaza-180529051139606.html\" rel=\"noopener\" target=\"_blank\">to Al Jazeera\u003c/a>. On Wednesday, Hamas and other Palestinian militant groups announced they would agree to a \u003ca href=\"https://www.cnn.com/2018/05/30/middleeast/hamas-ceasefire-gaza-israel-intl/index.html\" rel=\"noopener\" target=\"_blank\">ceasefire with Israel\u003c/a>. \u003c/p>\n\u003cp>City officials say the project is trying to bring communities together. \u003c/p>\n\u003cp>“We hope the public will understand that this is a project between two great cities that share many things in common in terms of shared progressive values, topography and embrace of cultural and racial diversity,” Patterson said. \u003c/p>\n\u003cp>Israeli “experience designer” Saron Paz conceived “Point Of View,” and Bay Area artist Matthew Passmore designed it. Passmore has installed several works in San Francisco, including a gigantic, \u003ca href=\"http://morelab.com/portfolio/gigantry/\" rel=\"noopener\" target=\"_blank\">interactive play structure\u003c/a> in Hunters Point and a \u003ca href=\"http://morelab.com/portfolio/burrows-street-pocket-park/\" rel=\"noopener\" target=\"_blank\">pocket park on Burrows St. \u003c/a>in the Portola Neighborhood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Point Of View” is a temporary structure, with a teardown date of May 31, 2019.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco officials will unveil a new public art installation Thursday morning that celebrates the city’s sister relationship with Haifa, the third largest city in Israel. \u003c/p>\n\u003cp>The ceremony is scheduled for 11am on Pier 27, where the artwork will be revealed. The work celebrates a sister-city relationship that began in 1973, and expected attendees include San Francisco Mayor Mark Farrell and several officials from Haifa.\u003c/p>\n\u003cp>The work, titled “Point of View,” consists of two lighthouse-like structures, one installed along the waterfront in each city. The statues have periscopes that connect to cameras in the other structures, allowing users to see the other city thousands of miles away. \u003c/p>\n\u003cp>“In addition to the values of compassion and inclusion that we share, San Francisco and Haifa are now connected by this remarkable work of art that allows visitors to travel through space and experience the views for which each city is known,” Farrell said. \u003c/p>\n\u003cfigure id=\"attachment_13833911\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-800x1067.jpg\" alt='One half of \"Point Of View\" being installed in San Francisco.' width=\"800\" height=\"1067\" class=\"size-medium wp-image-13833911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/POV-statue-Vert-520x694.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One half of “Point Of View” being installed in San Francisco. \u003ccite>(Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation is dedicated to the memory of San Francisco Mayor Ed Lee, who died unexpectedly late last year. He championed the sister city relationship, believing it “would foster greater knowledge of and understanding between our two communities,” according to Kate Patterson, director of communications for the San Francisco Arts Commission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The unveiling ceremony comes at a time of renewed conflict between Israelis and Palestinians. An estimated 121 Palestinians have been killed since March 30, according \u003ca href=\"https://www.aljazeera.com/news/2018/05/israeli-army-projectiles-fired-israel-gaza-180529051139606.html\" rel=\"noopener\" target=\"_blank\">to Al Jazeera\u003c/a>. On Wednesday, Hamas and other Palestinian militant groups announced they would agree to a \u003ca href=\"https://www.cnn.com/2018/05/30/middleeast/hamas-ceasefire-gaza-israel-intl/index.html\" rel=\"noopener\" target=\"_blank\">ceasefire with Israel\u003c/a>. \u003c/p>\n\u003cp>City officials say the project is trying to bring communities together. \u003c/p>\n\u003cp>“We hope the public will understand that this is a project between two great cities that share many things in common in terms of shared progressive values, topography and embrace of cultural and racial diversity,” Patterson said. \u003c/p>\n\u003cp>Israeli “experience designer” Saron Paz conceived “Point Of View,” and Bay Area artist Matthew Passmore designed it. Passmore has installed several works in San Francisco, including a gigantic, \u003ca href=\"http://morelab.com/portfolio/gigantry/\" rel=\"noopener\" target=\"_blank\">interactive play structure\u003c/a> in Hunters Point and a \u003ca href=\"http://morelab.com/portfolio/burrows-street-pocket-park/\" rel=\"noopener\" target=\"_blank\">pocket park on Burrows St. \u003c/a>in the Portola Neighborhood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Point Of View” is a temporary structure, with a teardown date of May 31, 2019.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Party people, rejoice! On Wednesday, the California State Senate passed Senator Scott Wiener’s Senate Bill 905, also known as the late-night bar bill. If signed into law, it would make serving alcohol until 4am legal in seven California cities: Long Beach, Los Angeles, Oakland, Palm Springs, Sacramento, San Francisco and West Hollywood, as part of a pilot program. (Under the current law, serving alcohol between 2am and 6am is a misdemeanor.)\u003c/p>\n\u003cp>Before anyone gets too excited, SB-905 must make it through the State Assembly before it makes it to the governor’s desk and is signed into law. Opponents of the bill, like the watchdog group Alcohol Justice, criticized a previous version of the bill in 2017, saying that it would run up taxpayers’ tab on police and emergency services. But its proponents argue that it will be a major boon for the restaurant and entertainment industry, which currently brings in $50 billion a year statewide. \u003c/p>\n\u003cp>https://twitter.com/Scott_Wiener/status/1001955421089878016\u003c/p>\n\u003cp>Several states including New York and Hawaii already serve alcohol until 4am, and in Miami’s entertainment district, booze is available 24 hours a day. If Governor Jerry Brown signs SB-905 into law, it will take effect in 2021. It also stipulates that qualifying cities must provide the state legislature with a report on the results of the pilot program by 2025; the legislature will reassess the bill in 2026. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Party people, rejoice! On Wednesday, the California State Senate passed Senator Scott Wiener’s Senate Bill 905, also known as the late-night bar bill. If signed into law, it would make serving alcohol until 4am legal in seven California cities: Long Beach, Los Angeles, Oakland, Palm Springs, Sacramento, San Francisco and West Hollywood, as part of a pilot program. (Under the current law, serving alcohol between 2am and 6am is a misdemeanor.)\u003c/p>\n\u003cp>Before anyone gets too excited, SB-905 must make it through the State Assembly before it makes it to the governor’s desk and is signed into law. Opponents of the bill, like the watchdog group Alcohol Justice, criticized a previous version of the bill in 2017, saying that it would run up taxpayers’ tab on police and emergency services. But its proponents argue that it will be a major boon for the restaurant and entertainment industry, which currently brings in $50 billion a year statewide. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> Stone Brewing, the San Diego brewery that produces NOFX’s “Punk in Drublic” beer and the music festival of the same name, announced Wednesday that it was severing ties with the band. In a statement to \u003ca href=\"https://theblast.com/nofx-stone-sponsor-cuts-ties-las-vegas-shooting/\" rel=\"noopener\" target=\"_blank\">the Blast\u003c/a>, a company representative wrote:\u003c/p>\n\u003cblockquote>\u003cp>We at Stone Brewing are aware of NOFX’s insensitive and indefensible statements this past weekend. As a result, we are severing all our ties with NOFX, including festival sponsorship and the production of our collaboration beer.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>“Fat” Mike Burkett, frontman for San Francisco punk band NOFX and co-founder of Fat Wreck Chords, is at the center of growing internet firestorm after he made a joke about the Las Vegas massacre during a concert Sunday.\u003c/p>\n\u003cp>After finishing a song during NOFX’s headlining set at the Punk Rock Bowling & Music festival in downtown Las Vegas, Burkett bantered about being shot for playing a song about Muslims. That lead into an offensive riff about country bands being shot while playing in Las Vegas — a reference to the shooting at the Route 91 Harvest Music Festival in October of last year that killed 58 people, the deadliest mass shooting in U.S. history.\u003c/p>\n\u003cp>“I mean that sucked, but at least they were country fans and not punk rock fans,” Burkett said. After the audience recoiled, he added, “Did I offend somebody? I can’t f**king believe it.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"//cdnapisec.kaltura.com/p/591531/sp/59153100/embedIframeJs/uiconf_id/6740162/partner_id/591531?iframeembed=true&playerId=kaltura-player-9999999999-20911395868828064&entry_id=0_tffakjt0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A video of the exchange has since been shared by \u003ca href=\"http://www.tmz.com/2018/05/30/nofx-vegas-massacre-country-fans-punk-joke/\" rel=\"noopener\" target=\"_blank\">TMZ\u003c/a> and \u003ca href=\"https://www.spin.com/2018/05/nofx-shooting-country-fans-punk-fans-vegas/\" rel=\"noopener\" target=\"_blank\">other outlets\u003c/a>, as well as by conservative pundits like Laura Loomer.\u003c/p>\n\u003cp>“NOFX thought it would be ‘hilarious’ to joke about the October 1 shootings while on stage in Las Vegas,” representatives from the Dave and Mahoney Morning Show, a Las Vegas radio program, \u003ca href=\"https://www.facebook.com/DaveAndMahoney/videos/1812106465479253/\" rel=\"noopener\" target=\"_blank\">posted on Facebook\u003c/a>. “This is disgusting and callous. We will never support anything involving this band ever again.”\u003c/p>\n\u003cp>Fans of NOFX, meanwhile, have long known that being offensive is part of Burkett’s brand. No issue is off-limits for the band, be it \u003ca href=\"https://www.youtube.com/watch?v=ji_AZqgdMrg\" rel=\"noopener\" target=\"_blank\">racism\u003c/a> or even bestiality (adults can search for the cover of NOFX’s \u003ci>Heavy Petting Zoo\u003c/i> for an example). \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m scared of \u003cem>not\u003c/em> offending anyone, that would be terrible,” Fat Mike said on the \u003ca href=\"https://noisey.vice.com/en_uk/article/rq4de5/this-interview-with-fat-mike-is-ridiculous-even-by-fat-mike-standards\" rel=\"noopener\" target=\"_blank\">\u003ci>Going Off Track\u003c/i> podcast\u003c/a> in 2014. “Punk rock’s supposed to be offensive and make them think about stuff differently.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b> Stone Brewing, the San Diego brewery that produces NOFX’s “Punk in Drublic” beer and the music festival of the same name, announced Wednesday that it was severing ties with the band. In a statement to \u003ca href=\"https://theblast.com/nofx-stone-sponsor-cuts-ties-las-vegas-shooting/\" rel=\"noopener\" target=\"_blank\">the Blast\u003c/a>, a company representative wrote:\u003c/p>\n\u003cblockquote>\u003cp>We at Stone Brewing are aware of NOFX’s insensitive and indefensible statements this past weekend. As a result, we are severing all our ties with NOFX, including festival sponsorship and the production of our collaboration beer.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>“Fat” Mike Burkett, frontman for San Francisco punk band NOFX and co-founder of Fat Wreck Chords, is at the center of growing internet firestorm after he made a joke about the Las Vegas massacre during a concert Sunday.\u003c/p>\n\u003cp>After finishing a song during NOFX’s headlining set at the Punk Rock Bowling & Music festival in downtown Las Vegas, Burkett bantered about being shot for playing a song about Muslims. That lead into an offensive riff about country bands being shot while playing in Las Vegas — a reference to the shooting at the Route 91 Harvest Music Festival in October of last year that killed 58 people, the deadliest mass shooting in U.S. history.\u003c/p>\n\u003cp>“I mean that sucked, but at least they were country fans and not punk rock fans,” Burkett said. After the audience recoiled, he added, “Did I offend somebody? I can’t f**king believe it.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"//cdnapisec.kaltura.com/p/591531/sp/59153100/embedIframeJs/uiconf_id/6740162/partner_id/591531?iframeembed=true&playerId=kaltura-player-9999999999-20911395868828064&entry_id=0_tffakjt0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A video of the exchange has since been shared by \u003ca href=\"http://www.tmz.com/2018/05/30/nofx-vegas-massacre-country-fans-punk-joke/\" rel=\"noopener\" target=\"_blank\">TMZ\u003c/a> and \u003ca href=\"https://www.spin.com/2018/05/nofx-shooting-country-fans-punk-fans-vegas/\" rel=\"noopener\" target=\"_blank\">other outlets\u003c/a>, as well as by conservative pundits like Laura Loomer.\u003c/p>\n\u003cp>“NOFX thought it would be ‘hilarious’ to joke about the October 1 shootings while on stage in Las Vegas,” representatives from the Dave and Mahoney Morning Show, a Las Vegas radio program, \u003ca href=\"https://www.facebook.com/DaveAndMahoney/videos/1812106465479253/\" rel=\"noopener\" target=\"_blank\">posted on Facebook\u003c/a>. “This is disgusting and callous. We will never support anything involving this band ever again.”\u003c/p>\n\u003cp>Fans of NOFX, meanwhile, have long known that being offensive is part of Burkett’s brand. No issue is off-limits for the band, be it \u003ca href=\"https://www.youtube.com/watch?v=ji_AZqgdMrg\" rel=\"noopener\" target=\"_blank\">racism\u003c/a> or even bestiality (adults can search for the cover of NOFX’s \u003ci>Heavy Petting Zoo\u003c/i> for an example). \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m scared of \u003cem>not\u003c/em> offending anyone, that would be terrible,” Fat Mike said on the \u003ca href=\"https://noisey.vice.com/en_uk/article/rq4de5/this-interview-with-fat-mike-is-ridiculous-even-by-fat-mike-standards\" rel=\"noopener\" target=\"_blank\">\u003ci>Going Off Track\u003c/i> podcast\u003c/a> in 2014. “Punk rock’s supposed to be offensive and make them think about stuff differently.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 11:40 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Actress Roseanne Barr says she was “Ambien tweeting” at 2 in the morning when she posted a racist tweet about Valerie Jarrett, a former senior adviser in the Obama White House, that caused ABC to cancel her TV show.\u003c/p>\n\u003cp>The reboot of Barr’s eponymous TV show was canceled Tuesday after one season. ABC Entertainment’s president announced the network was pulling the plug after Barr tweeted that Jarrett, who now serves on several corporate boards and is a senior fellow at the University of Chicago Law School, is the product of the “muslim brotherhood & planet of the apes.”\u003c/p>\n\u003cp>Barr said shortly before 10:30 a.m. Tuesday: “I apologize. I am now leaving Twitter.” She later sent dozens of tweets in which she apologized and offered up a number of reasons for her offensive comment.\u003c/p>\n\u003cp>“It was 2 in the morning and I was ambien tweeting — it was memorial day too — I went 2 far & do not want it defended,” Barr said in a tweet Tuesday night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She also said she believed Jarrett was Saudi or Jewish or Persian, rather than black. But when she invoked the sleep aid, her critics pounced.\u003c/p>\n\u003cp>From \u003ca href=\"https://twitter.com/eclecticbrotha/status/1001714288007045120\">Ragnorak Lobster\u003c/a>, on Twitter:\u003c/p>\n\u003cp>https://twitter.com/eclecticbrotha/status/1001714288007045120\u003c/p>\n\u003cp>“AMBIEN SIDE EFFECTS: Peddling bizarre conspiracy theories, voting for white nationalists, doing photo shoots while dressed as Hitler and tanking your career by calling black women apes. If your racism lasts longer than four hours, please see a doctor.”\u003c/p>\n\u003cp>Ambien’s manufacturer, Sanofi-Aventis, responded to the news on Wednesday, \u003ca href=\"https://twitter.com/SanofiUS/status/1001824999496404992\">saying via Twitter\u003c/a>, “While all pharmaceutical treatments have side effects, racism is not a known side effect of any Sanofi medication.”\u003c/p>\n\u003cp>https://twitter.com/SanofiUS/status/1001824999496404992\u003c/p>\n\u003cp>Listing Ambien’s actual side effects on its website, the company’s \u003ca href=\"http://products.sanofi.us/ambien/ambien.pdf\">warnings and precautions\u003c/a> for Ambien include a section on “Abnormal Thinking and Behavioral Changes” — saying the side effects can include a lack of inhibition.\u003c/p>\n\u003cp>Sanofi-Aventis also tells people to stop taking Ambien if they find themselves performing complex behaviors — like making phone calls or driving a car — without being fully awake.\u003c/p>\n\u003cp>“It can rarely be determined with certainty whether a particular instance of the abnormal behaviors listed above is drug induced, spontaneous in origin, or a result of an underlying psychiatric or physical disorder,” the company says.\u003c/p>\n\u003cp>Later, Barr denied that she was putting the blame on Ambien, saying it was “just an explanation not an excuse.”\u003c/p>\n\u003cp>On Wednesday morning, Barr replied to one critic on Twitter, “Yes, I have had odd ambien experiences on tweeting late at night-like many other ppl do. I BLAME MYSELF OK?”\u003c/p>\n\u003cp>President Trump has since chimed in on Twitter — not exactly defending Barr, but rather complaining about his own treatment. “Bob Iger of ABC called Valerie Jarrett to let her know that “ABC does not tolerate comments like those” made by Roseanne Barr,” he \u003ca href=\"https://twitter.com/realDonaldTrump/status/1001848460881035265\">wrote\u003c/a>. “Gee, he never called President Donald J. Trump to apologize for the HORRIBLE statements made and said about me on ABC. Maybe I just didn’t get the call?”\u003c/p>\n\u003cp>It’s not immediately clear what statements Trump might be referencing.\u003c/p>\n\u003cp>https://twitter.com/realDonaldTrump/status/1001848460881035265\u003c/p>\n\u003cp>With the \u003cem>Roseanne\u003c/em> show canceled, others who were involved with the project weighed in on the star’s comments — including Sara Gilbert, who had been executive producer on the reboot.\u003c/p>\n\u003cp>Gilbert said the remarks are “abhorrent and do not reflect the beliefs of our cast and crew or anyone associated with our show,” adding that she is disappointed in her longtime friend and colleague.\u003c/p>\n\u003cp>In her initial response to that tweet, Barr said, “Wow! unreal.”\u003c/p>\n\u003cp>But on Wednesday, she took a softer stance, coming to Gilbert’s defense after one of her followers sent a critical tweet.\u003c/p>\n\u003cp>“No, I understand her position and why she said what she said,” Barr said. She added that she forgives Gilbert, saying, “It just shocked me a bit, but I indeed [f*****] up.”\u003c/p>\n\u003cp>In addition to her remark about Jarrett, Barr is also being criticized over her recent attacks on both Chelsea Clinton and billionaire George Soros, who is a prominent donor to Democratic campaigns. On Monday, Barr regurgitated a rumor that Clinton had married a nephew of Soros — a rumor that was popularized by \u003ca href=\"https://www.snopes.com/fact-check/chelsea-clinton-george-soros-nephew/\">actor and Trump supporter Scott Baio\u003c/a> shortly before the 2016 presidential election.\u003c/p>\n\u003cp>Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/1001418687822385152\">replied\u003c/a> to Barr early Tuesday, “Good morning Roseanne — my given middle name is Victoria. I imagine George Soros’s nephews are lovely people. I’m just not married to one.”\u003c/p>\n\u003cp>Barr apologized but then followed it up by repeating another conspiracy theory — that Soros and his father worked with Nazis during World War II (a rumor that \u003ca href=\"https://www.snopes.com/fact-check/george-soros-ss-nazi-germany/\">has been debunked\u003c/a> and that Soros \u003ca href=\"http://thehill.com/blogs/blog-briefing-room/news/389753-soros-responds-to-roseanne-her-comments-are-an-insult-to\">denounced again yesterday\u003c/a>).\u003c/p>\n\u003cp>On Wednesday morning, Barr also invoked President Trump. \u003ca href=\"https://twitter.com/therealroseanne/status/1001761455404797953\">Barr said\u003c/a>, “i feel bad for \u003ca href=\"https://twitter.com/POTUS\">@POTUS\u003c/a>-he goes thru this every single day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to the cancellation of her rebooted show, reruns of the original program, which ran for much of the 1990s, were pulled by Viacom.\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=Roseanne+Barr+Says+Ambien+Played+Role+In+Racist+Tweet+That+Spiked+Her+Show%27s+Reboot&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Critics pounced after Barr said she was \"Ambien tweeting\" at 2 in the morning. She also said she believed the target of her tweet, Valerie Jarrett, was Saudi or Jewish or Persian — rather than black.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 11:40 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Actress Roseanne Barr says she was “Ambien tweeting” at 2 in the morning when she posted a racist tweet about Valerie Jarrett, a former senior adviser in the Obama White House, that caused ABC to cancel her TV show.\u003c/p>\n\u003cp>The reboot of Barr’s eponymous TV show was canceled Tuesday after one season. ABC Entertainment’s president announced the network was pulling the plug after Barr tweeted that Jarrett, who now serves on several corporate boards and is a senior fellow at the University of Chicago Law School, is the product of the “muslim brotherhood & planet of the apes.”\u003c/p>\n\u003cp>Barr said shortly before 10:30 a.m. Tuesday: “I apologize. I am now leaving Twitter.” She later sent dozens of tweets in which she apologized and offered up a number of reasons for her offensive comment.\u003c/p>\n\u003cp>“It was 2 in the morning and I was ambien tweeting — it was memorial day too — I went 2 far & do not want it defended,” Barr said in a tweet Tuesday night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She also said she believed Jarrett was Saudi or Jewish or Persian, rather than black. But when she invoked the sleep aid, her critics pounced.\u003c/p>\n\u003cp>From \u003ca href=\"https://twitter.com/eclecticbrotha/status/1001714288007045120\">Ragnorak Lobster\u003c/a>, on Twitter:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“AMBIEN SIDE EFFECTS: Peddling bizarre conspiracy theories, voting for white nationalists, doing photo shoots while dressed as Hitler and tanking your career by calling black women apes. If your racism lasts longer than four hours, please see a doctor.”\u003c/p>\n\u003cp>Ambien’s manufacturer, Sanofi-Aventis, responded to the news on Wednesday, \u003ca href=\"https://twitter.com/SanofiUS/status/1001824999496404992\">saying via Twitter\u003c/a>, “While all pharmaceutical treatments have side effects, racism is not a known side effect of any Sanofi medication.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Listing Ambien’s actual side effects on its website, the company’s \u003ca href=\"http://products.sanofi.us/ambien/ambien.pdf\">warnings and precautions\u003c/a> for Ambien include a section on “Abnormal Thinking and Behavioral Changes” — saying the side effects can include a lack of inhibition.\u003c/p>\n\u003cp>Sanofi-Aventis also tells people to stop taking Ambien if they find themselves performing complex behaviors — like making phone calls or driving a car — without being fully awake.\u003c/p>\n\u003cp>“It can rarely be determined with certainty whether a particular instance of the abnormal behaviors listed above is drug induced, spontaneous in origin, or a result of an underlying psychiatric or physical disorder,” the company says.\u003c/p>\n\u003cp>Later, Barr denied that she was putting the blame on Ambien, saying it was “just an explanation not an excuse.”\u003c/p>\n\u003cp>On Wednesday morning, Barr replied to one critic on Twitter, “Yes, I have had odd ambien experiences on tweeting late at night-like many other ppl do. I BLAME MYSELF OK?”\u003c/p>\n\u003cp>President Trump has since chimed in on Twitter — not exactly defending Barr, but rather complaining about his own treatment. “Bob Iger of ABC called Valerie Jarrett to let her know that “ABC does not tolerate comments like those” made by Roseanne Barr,” he \u003ca href=\"https://twitter.com/realDonaldTrump/status/1001848460881035265\">wrote\u003c/a>. “Gee, he never called President Donald J. Trump to apologize for the HORRIBLE statements made and said about me on ABC. Maybe I just didn’t get the call?”\u003c/p>\n\u003cp>It’s not immediately clear what statements Trump might be referencing.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>With the \u003cem>Roseanne\u003c/em> show canceled, others who were involved with the project weighed in on the star’s comments — including Sara Gilbert, who had been executive producer on the reboot.\u003c/p>\n\u003cp>Gilbert said the remarks are “abhorrent and do not reflect the beliefs of our cast and crew or anyone associated with our show,” adding that she is disappointed in her longtime friend and colleague.\u003c/p>\n\u003cp>In her initial response to that tweet, Barr said, “Wow! unreal.”\u003c/p>\n\u003cp>But on Wednesday, she took a softer stance, coming to Gilbert’s defense after one of her followers sent a critical tweet.\u003c/p>\n\u003cp>“No, I understand her position and why she said what she said,” Barr said. She added that she forgives Gilbert, saying, “It just shocked me a bit, but I indeed [f*****] up.”\u003c/p>\n\u003cp>In addition to her remark about Jarrett, Barr is also being criticized over her recent attacks on both Chelsea Clinton and billionaire George Soros, who is a prominent donor to Democratic campaigns. On Monday, Barr regurgitated a rumor that Clinton had married a nephew of Soros — a rumor that was popularized by \u003ca href=\"https://www.snopes.com/fact-check/chelsea-clinton-george-soros-nephew/\">actor and Trump supporter Scott Baio\u003c/a> shortly before the 2016 presidential election.\u003c/p>\n\u003cp>Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/1001418687822385152\">replied\u003c/a> to Barr early Tuesday, “Good morning Roseanne — my given middle name is Victoria. I imagine George Soros’s nephews are lovely people. I’m just not married to one.”\u003c/p>\n\u003cp>Barr apologized but then followed it up by repeating another conspiracy theory — that Soros and his father worked with Nazis during World War II (a rumor that \u003ca href=\"https://www.snopes.com/fact-check/george-soros-ss-nazi-germany/\">has been debunked\u003c/a> and that Soros \u003ca href=\"http://thehill.com/blogs/blog-briefing-room/news/389753-soros-responds-to-roseanne-her-comments-are-an-insult-to\">denounced again yesterday\u003c/a>).\u003c/p>\n\u003cp>On Wednesday morning, Barr also invoked President Trump. \u003ca href=\"https://twitter.com/therealroseanne/status/1001761455404797953\">Barr said\u003c/a>, “i feel bad for \u003ca href=\"https://twitter.com/POTUS\">@POTUS\u003c/a>-he goes thru this every single day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to the cancellation of her rebooted show, reruns of the original program, which ran for much of the 1990s, were pulled by Viacom.\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=Roseanne+Barr+Says+Ambien+Played+Role+In+Racist+Tweet+That+Spiked+Her+Show%27s+Reboot&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "René Yañez, Revered Chicano Artist and Gallery Founder, Dies",
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"content": "\u003cp>René Yañez, the Chicano artist who helped introduce the United States to Día de Los Muertos and the work of Frida Kahlo, died Tuesday morning from cancer. He was 75.\u003c/p>\n\u003cp>Yañez’s son Rio announced his father’s death on Facebook, saying the influential artist passed “surrounded by people who loved him.” Diagnosed with both prostate and bone cancer seven months before, the revered artist had been hospitalized for the past two weeks.\u003c/p>\n\u003cp>“Throughout the past two weeks my Dad’s spirit has defied every expectation of his mortality to talk, laugh, joke, and sing with us,” \u003ca href=\"https://www.facebook.com/rioyanez/posts/10156920238627573\" rel=\"noopener\" target=\"_blank\">Rio wrote\u003c/a>. “Once my Dad entered the hospital he was never alone, there was always a friend by his side.”\u003c/p>\n\u003cp>Described as “\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">an elder of the Bay Area Chicano arts movement\u003c/a>,” Yañez spent most of his career in San Francisco, tirelessly promoting the work of Latinx artists and Chicano culture. An accomplished artist himself, his greatest work may have been his impact on the community. \u003c/p>\n\u003cp>“He was instrumental in reconnecting [Chicanos] to the traditions we hold dear, and making them more visible in the United States,” Galería de la Raza’s executive director Ani Rivera said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yañez came to the United States from Mexico when he was 12 and moved to San Francisco in the ’60s, after being drafted during the Vietnam War. There, he attended several schools, including California College of the Arts and the San Francisco Art Institute.\u003c/p>\n\u003cp>In 1970, he and several other artists co-founded Galería de la Raza, a cultural institution in San Francisco’s Mission District. As the space’s first artistic director, he established the gallery as a premier venue for Chicano art, but also as a home for burgeoning artists. The gallery became a hub for the community, providing services for the neighborhood like youth programs and public murals, which Yañez helped mount.\u003c/p>\n\u003cp>“There was no separation between René and the gallery,” Rivera said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OGBHORYEF_8\u003c/p>\n\u003cp>Yañez made history in 1972 when he and his colleague Ralph Maradiaga brought the Mexican tradition of Día de Los Muertos, or Day of the Dead, to San Francisco. It began with an altar in front of the Galería de la Raza, later expanding to exhibits at the Yerba Buena Center for the Arts. The exhibitions became an annual event, helping establish the holiday as an important cultural celebration in the Mission District. \u003c/p>\n\u003cp>“I came to realize that everything that happens in this country is hybrid. It’s not totally pure,” Yañez later said \u003ca href=\"https://journals.openedition.org/lisa/2858\" rel=\"noopener\" target=\"_blank\">about his gallery’s impact\u003c/a>. “In fact we are creating the culture here.”\u003c/p>\n\u003cp>Later, after the San Francisco Museum of Modern Art (SFMOMA) reportedly declined his idea for a retrospective of Frida Kahlo’s works, Yañez hosted it at Galería de la Raza instead. It was one of the first comprehensive exhibits of Kahlo’s art in the United States, bringing her out of the shadow of husband Diego Rivera to be recognized as a talented artist in her own right.\u003c/p>\n\u003cp>In 2001, with the help of comedian Cheech Marin and his vast collection of Chicano art, Yañez curated \u003ci>Chicano Visions: American Painters on the Verge.\u003c/i> Described as “perhaps the most \u003ca href=\"http://cheechmarin.com/chicano-visions/\" rel=\"noopener\" target=\"_blank\">complete exhibition of Chicano art\u003c/a>,” the exhibit toured the United States for five years, reaching as far as Florida and Minnesota.\u003c/p>\n\u003cp>All the while Yañez promoted the work of others, he made his own art, both physical and performance-based. He started the Chicano comedy group \u003ca href=\"https://library.csun.edu/SCA/Peek-in-the-Stacks/culture-clash\" rel=\"noopener\" target=\"_blank\">Culture Clash\u003c/a> in 1984 and later, with his son Rio, they formed The Great Tortilla Conspiracy, which combined food-based art with humor. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sWKFbtSTZkw\u003c/p>\n\u003cp>The community gave back to Yañez in the years before his death. In 2013, he and his family \u003ca href=\"https://www.kqed.org/news/135170/in-san-franciscos-mission-district-evicted-artists-hold-garage-sale-to-pay-for-move\" rel=\"noopener\" target=\"_blank\">faced eviction\u003c/a> from the building they had lived in since 1978. But two years later, the San Francisco Community Land Trust and the Mission Economic Development Agency bought the building, thereby allowing Yañez’s family to stay put. \u003c/p>\n\u003cp>This year, after learning he had just months to live, Yañez and friends curated one last show — a retrospective of his work. The exhibit, \u003ci>\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">Into The Fade\u003c/a>\u003c/i> at the Luggage Store Gallery, showcased decades of work, from street art and abstract drawings to tortillas and virtual reality pieces. \u003c/p>\n\u003cp>When asked what he wanted to be remembered for before the opening of his show, the thoughtful, gentle Yañez did not mention his art, or his impact on the art world.\u003c/p>\n\u003cp>“I want to be remembered for how lucky I am to have such good friends,” Yañez told \u003ca href=\"http://eltecolote.org/content/en/features/rene-yanez-reflects-on-five-decades-of-being-an-artist-in-the-mission/\" rel=\"noopener\" target=\"_blank\">\u003cem>El Tecolote\u003c/em>\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>At press time, a public memorial for Yañez has not been announced. We will update this story when we learn new details.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13833788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg\" alt=\"René Yañez in 2017\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">René Yañez in 2017 \u003ccite>(Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>René Yañez, the Chicano artist who helped introduce the United States to Día de Los Muertos and the work of Frida Kahlo, died Tuesday morning from cancer. He was 75.\u003c/p>\n\u003cp>Yañez’s son Rio announced his father’s death on Facebook, saying the influential artist passed “surrounded by people who loved him.” Diagnosed with both prostate and bone cancer seven months before, the revered artist had been hospitalized for the past two weeks.\u003c/p>\n\u003cp>“Throughout the past two weeks my Dad’s spirit has defied every expectation of his mortality to talk, laugh, joke, and sing with us,” \u003ca href=\"https://www.facebook.com/rioyanez/posts/10156920238627573\" rel=\"noopener\" target=\"_blank\">Rio wrote\u003c/a>. “Once my Dad entered the hospital he was never alone, there was always a friend by his side.”\u003c/p>\n\u003cp>Described as “\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">an elder of the Bay Area Chicano arts movement\u003c/a>,” Yañez spent most of his career in San Francisco, tirelessly promoting the work of Latinx artists and Chicano culture. An accomplished artist himself, his greatest work may have been his impact on the community. \u003c/p>\n\u003cp>“He was instrumental in reconnecting [Chicanos] to the traditions we hold dear, and making them more visible in the United States,” Galería de la Raza’s executive director Ani Rivera said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yañez came to the United States from Mexico when he was 12 and moved to San Francisco in the ’60s, after being drafted during the Vietnam War. There, he attended several schools, including California College of the Arts and the San Francisco Art Institute.\u003c/p>\n\u003cp>In 1970, he and several other artists co-founded Galería de la Raza, a cultural institution in San Francisco’s Mission District. As the space’s first artistic director, he established the gallery as a premier venue for Chicano art, but also as a home for burgeoning artists. The gallery became a hub for the community, providing services for the neighborhood like youth programs and public murals, which Yañez helped mount.\u003c/p>\n\u003cp>“There was no separation between René and the gallery,” Rivera said.\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/OGBHORYEF_8'\n title='//www.youtube.com/embed/OGBHORYEF_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yañez made history in 1972 when he and his colleague Ralph Maradiaga brought the Mexican tradition of Día de Los Muertos, or Day of the Dead, to San Francisco. It began with an altar in front of the Galería de la Raza, later expanding to exhibits at the Yerba Buena Center for the Arts. The exhibitions became an annual event, helping establish the holiday as an important cultural celebration in the Mission District. \u003c/p>\n\u003cp>“I came to realize that everything that happens in this country is hybrid. It’s not totally pure,” Yañez later said \u003ca href=\"https://journals.openedition.org/lisa/2858\" rel=\"noopener\" target=\"_blank\">about his gallery’s impact\u003c/a>. “In fact we are creating the culture here.”\u003c/p>\n\u003cp>Later, after the San Francisco Museum of Modern Art (SFMOMA) reportedly declined his idea for a retrospective of Frida Kahlo’s works, Yañez hosted it at Galería de la Raza instead. It was one of the first comprehensive exhibits of Kahlo’s art in the United States, bringing her out of the shadow of husband Diego Rivera to be recognized as a talented artist in her own right.\u003c/p>\n\u003cp>In 2001, with the help of comedian Cheech Marin and his vast collection of Chicano art, Yañez curated \u003ci>Chicano Visions: American Painters on the Verge.\u003c/i> Described as “perhaps the most \u003ca href=\"http://cheechmarin.com/chicano-visions/\" rel=\"noopener\" target=\"_blank\">complete exhibition of Chicano art\u003c/a>,” the exhibit toured the United States for five years, reaching as far as Florida and Minnesota.\u003c/p>\n\u003cp>All the while Yañez promoted the work of others, he made his own art, both physical and performance-based. He started the Chicano comedy group \u003ca href=\"https://library.csun.edu/SCA/Peek-in-the-Stacks/culture-clash\" rel=\"noopener\" target=\"_blank\">Culture Clash\u003c/a> in 1984 and later, with his son Rio, they formed The Great Tortilla Conspiracy, which combined food-based art with humor. \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/sWKFbtSTZkw'\n title='//www.youtube.com/embed/sWKFbtSTZkw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The community gave back to Yañez in the years before his death. In 2013, he and his family \u003ca href=\"https://www.kqed.org/news/135170/in-san-franciscos-mission-district-evicted-artists-hold-garage-sale-to-pay-for-move\" rel=\"noopener\" target=\"_blank\">faced eviction\u003c/a> from the building they had lived in since 1978. But two years later, the San Francisco Community Land Trust and the Mission Economic Development Agency bought the building, thereby allowing Yañez’s family to stay put. \u003c/p>\n\u003cp>This year, after learning he had just months to live, Yañez and friends curated one last show — a retrospective of his work. The exhibit, \u003ci>\u003ca href=\"https://www.sfgate.com/art/article/Rene-Ya-ez-an-elder-of-the-Bay-Area-Chicano-12733588.php\" rel=\"noopener\" target=\"_blank\">Into The Fade\u003c/a>\u003c/i> at the Luggage Store Gallery, showcased decades of work, from street art and abstract drawings to tortillas and virtual reality pieces. \u003c/p>\n\u003cp>When asked what he wanted to be remembered for before the opening of his show, the thoughtful, gentle Yañez did not mention his art, or his impact on the art world.\u003c/p>\n\u003cp>“I want to be remembered for how lucky I am to have such good friends,” Yañez told \u003ca href=\"http://eltecolote.org/content/en/features/rene-yanez-reflects-on-five-decades-of-being-an-artist-in-the-mission/\" rel=\"noopener\" target=\"_blank\">\u003cem>El Tecolote\u003c/em>\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>At press time, a public memorial for Yañez has not been announced. We will update this story when we learn new details.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13833788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg\" alt=\"René Yañez in 2017\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Rene-Yanez-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">René Yañez in 2017 \u003ccite>(Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "south-bay-summer-sights-and-sounds-in-san-jose-and-beyond",
"title": "South Bay Summer: Sights and Sounds in San Jose and Beyond",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13832925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>That amorphous swath of the Bay Area known as Silicon Valley conjures images of Facebook’s headquarters more than it does live music and art, but that’s not to say the South Bay doesn’t have a vibrant cultural landscape of its own.\u003c/p>\n\u003cp>Summer is a time when the valley’s creative spirit shines brightest. Typically dormant streets and parks spring to life, showcasing acts both local and global, and celebrating old and new traditions. With long-standing institutions and under-the-radar events, the South Bay offers a lot to explore. Here are our eight must-do summer activities.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12228688\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12228688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014.jpg\" alt=\"\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-520x345.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cellista art installation & performance at SubZERO Festival 2014. \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>11th Annual SubZERO Festival\u003c/h2>\n\u003cp>\u003cem>June 1-2\u003cbr>\nSoFA District, San Jose.\u003cbr>\n\u003ca href=\"http://www.subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>SubZERO’s tagline is “a DIY, artistically bent, hi/lo-techno mashup where street meets geek,” and the festival has emerged as one of the most authentic platforms for San Jose’s creative community. After more than a decade, its only constant is how eclectic and weird the weekend can be. This June, Human Art Collective is back with body painting; Haptic Synapses craft live analog techno on the street; and the Santa Clara County poet laureate Mighty Mike McGee shares his work between musical acts on the main stage, which features Lumerians and Death Cheetah.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833630\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mumlers, led by vocalist Will Sprott (third from R), reunite on June 16. \u003ccite>(Andrew Paynter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mumlers\u003c/h2>\n\u003cp>\u003cem>June 16\u003cbr>\nThe Ritz, San Jose\u003cbr>\n\u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>San Jose’s rich skateboarding community unites for a good cause next month, culminating in a rare reunion of South Bay indie rock favorites the Mumlers. This will be only their second performance over the past decade. Bandleader Will Sprott says the band has been busy with other projects—Sprott himself has been writing solo material and working with Oakland garage rock revivalists Shannon and the Clams—but he says the Mumlers are “getting back together to help raise cash for a friend.” The performance is a fundraiser in support of beloved local skater \u003ca href=\"https://www.youcaring.com/gerryjuan-1129508\" target=\"_blank\" rel=\"noopener\">Gerry Juan\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11952824\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11952824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-800x467.jpg\" alt=\"\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579.jpg 1017w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony! Toni! Toné!\u003c/figcaption>\u003c/figure>\n\u003ch2>Music in the Park: Tony! Toni! Tone!\u003c/h2>\n\u003cp>\u003cem>June 22.\u003cbr>\nPlaza de Cesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>Music in the Park may no longer be free, but the San Jose Downtown Association still presents live music at modest prices throughout the summer ($15 in advance for general admission; $35 for VIP). Legendary R&B trio Tony! Toni! Toné! from Oakland kicks off this year’s festival series at Plaza de Cesar Chavez on June 22. Don’t sleep on the stacked local undercard, which includes DJs Chale Brown and the CME, followed by neo-soul powerhouse No Water After Midnight—San Jose’s best kept musical secret.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833628\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Crosser” (2000) by Rafael Fajardo. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>NextNewGames\u003c/h2>\n\u003cp>\u003cem>June 22 – Sept. 16\u003cbr>\nSan Jose Institute of Contemporary Art\u003cbr>\n\u003ca href=\"https://www.sjica.org/upcoming-exhibitions/nextnewgames/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>In the next installment of the biannual “NextNew”\u003cem> \u003c/em>series, the San Jose Institute of Contemporary Art presents eight artists who create “a porous relationship between the imaginary land of the game space and that of the real world.” In “Liberty City,” creative duo COLL.EO bring game play in \u003cem>Grand Theft Auto \u003c/em>to a crawl, revealing a surprisingly active side to the extensive landscape by Rockstar Games designers. For a more hands-on experience, check out the work of Rafael Fajardo, whose two games provide contrasting glimpses into the experience of crossing the U.S.-Mexico border.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11872132\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11872132\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-800x500.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band performs at the Obon festival in San Jose’s Japantown on July 9, 2016. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 14-15\u003cbr>\nSan Jose Buddhist Church Betsuin, San Jose\u003cbr>\n\u003ca href=\"http://www.jtown.org/events/2018/7/14/san-jose-obon-festival\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>The San Jose Obon Festival is the biggest weekend of the year for San Jose’s Japantown neighborhood. The fest coincides with the seasonal Buddhist tradition of honoring the spirits of ancestors. Yes, there are food and vendor booths, but the festival’s centerpiece is usually San Jose Taiko, who mix booming percussion with light and fluid choreography. They’ve been sharing the Japanese tradition of \u003cem>kumidaiko\u003c/em>, a drum performance style that’s been around since the ’50s, locally since 1973.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833631\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pete Escovedo performs with his Latin Jazz Orchestra at the E Spot in Studio City, 2015. \u003ccite>(Pete Escovedo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pete Escovedo\u003c/h2>\n\u003cp>\u003cem>Aug. 22\u003cbr>\nTown Plaza, Los Gatos\u003cbr>\n\u003ca href=\"http://jazzontheplazz.com/2018-artists\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Born into a highly musical family, percussionist Pete Escovedo emerged as a Latin jazz heavyweight after his work in the ’70s with Santana and Azteca. He’s remained a South Bay crowd favorite ever since. (Did I mention he once owned a Latin jazz club in SJ’s SoFA District?) He’s been a staple of Music in the Park’s programming over the years, and this year, fans can catch him at the more intimate Los Gatos Town Plaza. Escovedo and his band close out the free Jazz on the Plazz summer series, a Wednesday weekly that kicks off June 13. Bring a blanket or folding chair and make sure you arrive early to see a living legend up close.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13833627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch2>Native Gardens\u003c/h2>\n\u003cp>\u003cem>Opens Aug. 22\u003cbr>\nCenter for Performing Arts, Mountain View\u003cbr>\n\u003ca href=\"https://www.theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>TheatreWorks’ regional premiere, the latest play by Mexican-born, Washington, D.C.-based playwright Karen Zacarías, sees a territorial dispute devolve into a comedic examination of class, race and privilege. An upwardly mobile Latino couple—attorney Pablo and his pregnant wife, doctoral candidate Tania—move next door to established D.C. couple Frank and Virginia, who have cultivated a stellar English garden in their backyard. When their long-standing property line comes into question, civility goes out the window. The play runs through Sept. 16.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833809\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg\" alt=\"Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017. \u003ccite>(Samuel Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Festival\u003c/h2>\n\u003cp>\u003cem>Sept. 2\u003cbr>\nMexican Heritage Plaza, San Jose\u003cbr>\n\u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Best known for their “Selenabration” tribute parties, which paid homage to Selena in San Jose and Oakland this year, the \u003ca href=\"https://www.kqed.org/arts/13806897/forget-despacito-sonido-clash-brings-latin-sounds-youve-never-heard\">Sonido Clash\u003c/a> collective has a reputation for curating Latinx sounds that honor the past while exploring the future of cumbia, Latin alternative and beyond. Presale passes for their third annual Sonido Clash Festival recently went on sale, but they have yet to reveal the acts for this summer’s festivities. Last year featured teenage heartthrob Cuco, “cholo goth” duo Prayers and Ecuadorian-American vocalist Helado Negro. Expect a similarly eclectic curation this September at Mexican Heritage Plaza.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13832925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>That amorphous swath of the Bay Area known as Silicon Valley conjures images of Facebook’s headquarters more than it does live music and art, but that’s not to say the South Bay doesn’t have a vibrant cultural landscape of its own.\u003c/p>\n\u003cp>Summer is a time when the valley’s creative spirit shines brightest. Typically dormant streets and parks spring to life, showcasing acts both local and global, and celebrating old and new traditions. With long-standing institutions and under-the-radar events, the South Bay offers a lot to explore. Here are our eight must-do summer activities.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12228688\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12228688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014.jpg\" alt=\"\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-520x345.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cellista art installation & performance at SubZERO Festival 2014. \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>11th Annual SubZERO Festival\u003c/h2>\n\u003cp>\u003cem>June 1-2\u003cbr>\nSoFA District, San Jose.\u003cbr>\n\u003ca href=\"http://www.subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>SubZERO’s tagline is “a DIY, artistically bent, hi/lo-techno mashup where street meets geek,” and the festival has emerged as one of the most authentic platforms for San Jose’s creative community. After more than a decade, its only constant is how eclectic and weird the weekend can be. This June, Human Art Collective is back with body painting; Haptic Synapses craft live analog techno on the street; and the Santa Clara County poet laureate Mighty Mike McGee shares his work between musical acts on the main stage, which features Lumerians and Death Cheetah.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833630\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mumlers, led by vocalist Will Sprott (third from R), reunite on June 16. \u003ccite>(Andrew Paynter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mumlers\u003c/h2>\n\u003cp>\u003cem>June 16\u003cbr>\nThe Ritz, San Jose\u003cbr>\n\u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>San Jose’s rich skateboarding community unites for a good cause next month, culminating in a rare reunion of South Bay indie rock favorites the Mumlers. This will be only their second performance over the past decade. Bandleader Will Sprott says the band has been busy with other projects—Sprott himself has been writing solo material and working with Oakland garage rock revivalists Shannon and the Clams—but he says the Mumlers are “getting back together to help raise cash for a friend.” The performance is a fundraiser in support of beloved local skater \u003ca href=\"https://www.youcaring.com/gerryjuan-1129508\" target=\"_blank\" rel=\"noopener\">Gerry Juan\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11952824\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11952824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-800x467.jpg\" alt=\"\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579.jpg 1017w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony! Toni! Toné!\u003c/figcaption>\u003c/figure>\n\u003ch2>Music in the Park: Tony! Toni! Tone!\u003c/h2>\n\u003cp>\u003cem>June 22.\u003cbr>\nPlaza de Cesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>Music in the Park may no longer be free, but the San Jose Downtown Association still presents live music at modest prices throughout the summer ($15 in advance for general admission; $35 for VIP). Legendary R&B trio Tony! Toni! Toné! from Oakland kicks off this year’s festival series at Plaza de Cesar Chavez on June 22. Don’t sleep on the stacked local undercard, which includes DJs Chale Brown and the CME, followed by neo-soul powerhouse No Water After Midnight—San Jose’s best kept musical secret.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833628\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Crosser” (2000) by Rafael Fajardo. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>NextNewGames\u003c/h2>\n\u003cp>\u003cem>June 22 – Sept. 16\u003cbr>\nSan Jose Institute of Contemporary Art\u003cbr>\n\u003ca href=\"https://www.sjica.org/upcoming-exhibitions/nextnewgames/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>In the next installment of the biannual “NextNew”\u003cem> \u003c/em>series, the San Jose Institute of Contemporary Art presents eight artists who create “a porous relationship between the imaginary land of the game space and that of the real world.” In “Liberty City,” creative duo COLL.EO bring game play in \u003cem>Grand Theft Auto \u003c/em>to a crawl, revealing a surprisingly active side to the extensive landscape by Rockstar Games designers. For a more hands-on experience, check out the work of Rafael Fajardo, whose two games provide contrasting glimpses into the experience of crossing the U.S.-Mexico border.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11872132\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11872132\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-800x500.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band performs at the Obon festival in San Jose’s Japantown on July 9, 2016. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 14-15\u003cbr>\nSan Jose Buddhist Church Betsuin, San Jose\u003cbr>\n\u003ca href=\"http://www.jtown.org/events/2018/7/14/san-jose-obon-festival\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>The San Jose Obon Festival is the biggest weekend of the year for San Jose’s Japantown neighborhood. The fest coincides with the seasonal Buddhist tradition of honoring the spirits of ancestors. Yes, there are food and vendor booths, but the festival’s centerpiece is usually San Jose Taiko, who mix booming percussion with light and fluid choreography. They’ve been sharing the Japanese tradition of \u003cem>kumidaiko\u003c/em>, a drum performance style that’s been around since the ’50s, locally since 1973.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833631\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pete Escovedo performs with his Latin Jazz Orchestra at the E Spot in Studio City, 2015. \u003ccite>(Pete Escovedo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pete Escovedo\u003c/h2>\n\u003cp>\u003cem>Aug. 22\u003cbr>\nTown Plaza, Los Gatos\u003cbr>\n\u003ca href=\"http://jazzontheplazz.com/2018-artists\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Born into a highly musical family, percussionist Pete Escovedo emerged as a Latin jazz heavyweight after his work in the ’70s with Santana and Azteca. He’s remained a South Bay crowd favorite ever since. (Did I mention he once owned a Latin jazz club in SJ’s SoFA District?) He’s been a staple of Music in the Park’s programming over the years, and this year, fans can catch him at the more intimate Los Gatos Town Plaza. Escovedo and his band close out the free Jazz on the Plazz summer series, a Wednesday weekly that kicks off June 13. Bring a blanket or folding chair and make sure you arrive early to see a living legend up close.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13833627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch2>Native Gardens\u003c/h2>\n\u003cp>\u003cem>Opens Aug. 22\u003cbr>\nCenter for Performing Arts, Mountain View\u003cbr>\n\u003ca href=\"https://www.theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>TheatreWorks’ regional premiere, the latest play by Mexican-born, Washington, D.C.-based playwright Karen Zacarías, sees a territorial dispute devolve into a comedic examination of class, race and privilege. An upwardly mobile Latino couple—attorney Pablo and his pregnant wife, doctoral candidate Tania—move next door to established D.C. couple Frank and Virginia, who have cultivated a stellar English garden in their backyard. When their long-standing property line comes into question, civility goes out the window. The play runs through Sept. 16.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833809\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg\" alt=\"Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017. \u003ccite>(Samuel Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Festival\u003c/h2>\n\u003cp>\u003cem>Sept. 2\u003cbr>\nMexican Heritage Plaza, San Jose\u003cbr>\n\u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Best known for their “Selenabration” tribute parties, which paid homage to Selena in San Jose and Oakland this year, the \u003ca href=\"https://www.kqed.org/arts/13806897/forget-despacito-sonido-clash-brings-latin-sounds-youve-never-heard\">Sonido Clash\u003c/a> collective has a reputation for curating Latinx sounds that honor the past while exploring the future of cumbia, Latin alternative and beyond. Presale passes for their third annual Sonido Clash Festival recently went on sale, but they have yet to reveal the acts for this summer’s festivities. Last year featured teenage heartthrob Cuco, “cholo goth” duo Prayers and Ecuadorian-American vocalist Helado Negro. Expect a similarly eclectic curation this September at Mexican Heritage Plaza.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>ABC canceled its hit reboot of \u003cem>Roseanne\u003c/em> on Tuesday following star Roseanne Barr’s racist tweet that referred to former Obama adviser Valerie Jarrett as a product of the Muslim Brotherhood and the \u003cem>Planet of the Apes\u003c/em>.\u003c/p>\n\u003cp>ABC Entertainment President Channing Dungey said the comment “is abhorrent, repugnant and inconsistent with our values.” Barr had apologized and deleted her Monday-night tweet, calling it a “bad joke,” but the damage had already been done.\u003c/p>\n\u003cp>The revival of the comedy was a surprise smash for ABC, owned by the Walt Disney Co., and was counted on to lead the network’s fortunes next season. Its first new episode in March was seen by more than 25 million people, with delayed viewing counted in, numbers that are increasingly rare in network television.\u003c/p>\n\u003cp>It was particularly popular among many conservative viewers because Barr’s character expressed support for President Donald Trump.\u003c/p>\n\u003cp>The Jarrett comment was one of a series of political tweets made by Barr. She criticized Democratic financier George Soros and tweeted that Chelsea Clinton was “Chelsea Soros Clinton,” implying she was married to a nephew of Soros. Clinton herself corrected Barr online, and Donald Trump Jr. retweeted two of Barr’s statements about Soros, although not the remark about Jarrett.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jarrett, who is black, was brought up in response to Twitter commentary that raised her name in relation to an Obama conspiracy theory. Barr tweeted: “muslim brotherhood & planet of the apes had a baby=vj.”\u003c/p>\n\u003cp>She later apologized “for making a bad joke” and announced she was \u003ca href=\"https://twitter.com/therealroseanne/status/1001470384556752898\" rel=\"noopener\" target=\"_blank\">leaving Twitter.\u003c/a>\u003c/p>\n\u003cp>https://twitter.com/therealroseanne/status/1001471669641216005\u003c/p>\n\u003cp>Dungey’s statement canceling the show came after Wanda Sykes, consulting producer for “Roseanne,” tweeted that she was leaving. Sara Gilbert, a co-star, also tweeted that the remark was abhorrent.\u003c/p>\n\u003cp>https://twitter.com/iamwandasykes/status/1001494592649342979\u003c/p>\n\u003cp>Following the news of the show’s cancellation, Barr’s agents, ICM Partners, announced they had dropped her as a client. In a statement Tuesday, ICM Partners said that Barr’s tweet was “disgraceful,” “unacceptable,” and “antithetical to our core values,” and that its relationship with Barr ended “effective immediately.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Associated Press also contributed to this report.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>ABC canceled its hit reboot of \u003cem>Roseanne\u003c/em> on Tuesday following star Roseanne Barr’s racist tweet that referred to former Obama adviser Valerie Jarrett as a product of the Muslim Brotherhood and the \u003cem>Planet of the Apes\u003c/em>.\u003c/p>\n\u003cp>ABC Entertainment President Channing Dungey said the comment “is abhorrent, repugnant and inconsistent with our values.” Barr had apologized and deleted her Monday-night tweet, calling it a “bad joke,” but the damage had already been done.\u003c/p>\n\u003cp>The revival of the comedy was a surprise smash for ABC, owned by the Walt Disney Co., and was counted on to lead the network’s fortunes next season. Its first new episode in March was seen by more than 25 million people, with delayed viewing counted in, numbers that are increasingly rare in network television.\u003c/p>\n\u003cp>It was particularly popular among many conservative viewers because Barr’s character expressed support for President Donald Trump.\u003c/p>\n\u003cp>The Jarrett comment was one of a series of political tweets made by Barr. She criticized Democratic financier George Soros and tweeted that Chelsea Clinton was “Chelsea Soros Clinton,” implying she was married to a nephew of Soros. Clinton herself corrected Barr online, and Donald Trump Jr. retweeted two of Barr’s statements about Soros, although not the remark about Jarrett.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Following the news of the show’s cancellation, Barr’s agents, ICM Partners, announced they had dropped her as a client. In a statement Tuesday, ICM Partners said that Barr’s tweet was “disgraceful,” “unacceptable,” and “antithetical to our core values,” and that its relationship with Barr ended “effective immediately.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Associated Press also contributed to this report.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Morgan Freeman is being accused of sexually harassing and behaving inappropriately toward a number of women he has worked with, from production assistants on movies in which he has starred to employees of his production company to journalists covering the release of his films.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/614134391/614195945\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Eight people told CNN that they directly experienced harassment or inappropriate behavior by Freeman, and eight others said they had witnessed such conduct by the Oscar-winning actor. NPR has not independently confirmed the allegations.\u003c/p>\n\u003cp>One of those journalists who says Freeman made sexual comments and stared at her intently was CNN entertainment reporter Chloe Melas, one of the authors \u003ca href=\"https://www.cnn.com/2018/05/24/entertainment/morgan-freeman-accusations/index.html\">of the report on Freeman’s conduct\u003c/a> that CNN published Thursday. She said it was her experience with Freeman that drove her to find out whether he had harassed other women.\u003c/p>\n\u003cp>Melas was six months’ pregnant when she met Freeman, 80, to interview him about the release of his movie \u003cem>Going In Style\u003c/em> last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Right when I walked into the room, he began making sexually suggestive comments to me,” she said in an interview with HLN. “As an entertainment reporter for over a decade, it was unlike anything I truly have ever experienced. One of those comments was caught on tape. In this comment that’s on tape, he says to me, ‘Boy, do I wish I was there,’ while looking me up and down.”\u003c/p>\n\u003cp>Melas says Freeman’s co-stars, Alan Arkin and Michael Caine, were seated on either side of Freeman and looked at him when he made the comment. She says he made other comments to her that weren’t on tape, including, “You are ripe.”\u003c/p>\n\u003cp>Many of the complaints about Freeman in the CNN report describe his conduct \u003ca href=\"https://revfilmtv.com/\">at Revelations Entertainment\u003c/a>, the production company he co-founded with producer Lori McCreary. The company has made movies including \u003cem>Invictus\u003c/em> and \u003cem>Along Came A Spider\u003c/em> and the CBS political drama \u003cem>Madam Secretary\u003c/em>.\u003c/p>\n\u003cp>One former male employee at Revelations said that Freeman acted like a “creepy uncle” at the office and that he witnessed the actor massaging the shoulder of a clearly uncomfortable intern. “The intern got visibly red and wiggled out of his grasp, it was awkward,” he said.\u003c/p>\n\u003cp>A former production assistant on \u003cem>Going In Style\u003c/em> told CNN that she experienced unwanted touching and comments about her clothes and body almost every day from Freeman — an experience she says frequently left in her tears and led her to leave the movie business.\u003c/p>\n\u003cp>She said Freeman “kept trying to lift up my skirt and asking if I was wearing underwear.”\u003c/p>\n\u003cp>In a statement to NPR, Freeman apologized to anyone he made uncomfortable.\u003c/p>\n\u003cp>“Anyone who knows me or has worked with me knows I am not someone who would intentionally offend or knowingly make anyone feel uneasy. I apologize to anyone who felt uncomfortable or disrespected — that was never my intent.”\u003c/p>\n\u003cp>Freeman is one of America’s best-known actors, starring in 1989’s \u003cem>Driving Miss Daisy\u003c/em> and 1994’s \u003cem>The Shawshank Redemption\u003c/em>. He is known for his deep voice and often plays characters of gravitas and great moral rectitude. He portrayed Nelson Mandela in \u003cem>Invictus\u003c/em>, the president of the United States in \u003cem>Deep Impact\u003c/em> and God in \u003cem>Bruce Almighty\u003c/em>.\u003c/p>\n\u003cp>The CNN report also includes allegations involving McCreary, Freeman’s business partner — sometimes as victim, sometimes as perpetrator. \u003ca href=\"https://www.hollywoodreporter.com/news/morgan-freeman-respects-his-producing-899710\">Speaking at a conference in 2016\u003c/a>, Freeman said of McCreary, “She wants to be thought of as serious. But you can’t get away from the short dresses.”\u003c/p>\n\u003cp>The moderator asked Freeman whether his comments could be seen as sexist and misogynistic. “Sexist? Yeah,” Freeman replied, “but I’m not misogynistic.”\u003c/p>\n\u003cp>But former employees at Revelations told CNN that McCreary was part of the problem, making comments such as, “she’ll never be able to do a good job, she has a family” and mocking women who left work early for family commitments.\u003c/p>\n\u003cp>Employees reportedly formed a “survivors club” to commiserate about what they experienced at Revelations.\u003c/p>\n\u003cp>The actor’s power and stature allowed him to behave inappropriately out in the open and without consequence, according to an unnamed production assistant who worked with Freeman on \u003cem>The Dark Knight\u003c/em>.\u003c/p>\n\u003cp>“Morgan did things in a way that an older more established person can get away with because they have that power,” the woman told CNN.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They can’t be replaced, but you can be replaced very easily, that’s just kind of the dynamic on set. PAs can be replaced, grips can be replaced, electricians can be replaced, but the actors — once they’re in, they’re in. … [I]f you report somebody like Morgan Freeman that the movie would lose a lot of money by replacing them or getting them in trouble, then you’re the troublemaker and you’ll get fired because you’re just a PA.”\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=Women+Accuse+Morgan+Freeman+Of+Harassment%2C+Inappropriate+Behavior%2C+CNN+Reports&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Right when I walked into the room, he began making sexually suggestive comments to me,” she said in an interview with HLN. “As an entertainment reporter for over a decade, it was unlike anything I truly have ever experienced. One of those comments was caught on tape. In this comment that’s on tape, he says to me, ‘Boy, do I wish I was there,’ while looking me up and down.”\u003c/p>\n\u003cp>Melas says Freeman’s co-stars, Alan Arkin and Michael Caine, were seated on either side of Freeman and looked at him when he made the comment. She says he made other comments to her that weren’t on tape, including, “You are ripe.”\u003c/p>\n\u003cp>Many of the complaints about Freeman in the CNN report describe his conduct \u003ca href=\"https://revfilmtv.com/\">at Revelations Entertainment\u003c/a>, the production company he co-founded with producer Lori McCreary. The company has made movies including \u003cem>Invictus\u003c/em> and \u003cem>Along Came A Spider\u003c/em> and the CBS political drama \u003cem>Madam Secretary\u003c/em>.\u003c/p>\n\u003cp>One former male employee at Revelations said that Freeman acted like a “creepy uncle” at the office and that he witnessed the actor massaging the shoulder of a clearly uncomfortable intern. “The intern got visibly red and wiggled out of his grasp, it was awkward,” he said.\u003c/p>\n\u003cp>A former production assistant on \u003cem>Going In Style\u003c/em> told CNN that she experienced unwanted touching and comments about her clothes and body almost every day from Freeman — an experience she says frequently left in her tears and led her to leave the movie business.\u003c/p>\n\u003cp>She said Freeman “kept trying to lift up my skirt and asking if I was wearing underwear.”\u003c/p>\n\u003cp>In a statement to NPR, Freeman apologized to anyone he made uncomfortable.\u003c/p>\n\u003cp>“Anyone who knows me or has worked with me knows I am not someone who would intentionally offend or knowingly make anyone feel uneasy. I apologize to anyone who felt uncomfortable or disrespected — that was never my intent.”\u003c/p>\n\u003cp>Freeman is one of America’s best-known actors, starring in 1989’s \u003cem>Driving Miss Daisy\u003c/em> and 1994’s \u003cem>The Shawshank Redemption\u003c/em>. He is known for his deep voice and often plays characters of gravitas and great moral rectitude. He portrayed Nelson Mandela in \u003cem>Invictus\u003c/em>, the president of the United States in \u003cem>Deep Impact\u003c/em> and God in \u003cem>Bruce Almighty\u003c/em>.\u003c/p>\n\u003cp>The CNN report also includes allegations involving McCreary, Freeman’s business partner — sometimes as victim, sometimes as perpetrator. \u003ca href=\"https://www.hollywoodreporter.com/news/morgan-freeman-respects-his-producing-899710\">Speaking at a conference in 2016\u003c/a>, Freeman said of McCreary, “She wants to be thought of as serious. But you can’t get away from the short dresses.”\u003c/p>\n\u003cp>The moderator asked Freeman whether his comments could be seen as sexist and misogynistic. “Sexist? Yeah,” Freeman replied, “but I’m not misogynistic.”\u003c/p>\n\u003cp>But former employees at Revelations told CNN that McCreary was part of the problem, making comments such as, “she’ll never be able to do a good job, she has a family” and mocking women who left work early for family commitments.\u003c/p>\n\u003cp>Employees reportedly formed a “survivors club” to commiserate about what they experienced at Revelations.\u003c/p>\n\u003cp>The actor’s power and stature allowed him to behave inappropriately out in the open and without consequence, according to an unnamed production assistant who worked with Freeman on \u003cem>The Dark Knight\u003c/em>.\u003c/p>\n\u003cp>“Morgan did things in a way that an older more established person can get away with because they have that power,” the woman told CNN.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They can’t be replaced, but you can be replaced very easily, that’s just kind of the dynamic on set. PAs can be replaced, grips can be replaced, electricians can be replaced, but the actors — once they’re in, they’re in. … [I]f you report somebody like Morgan Freeman that the movie would lose a lot of money by replacing them or getting them in trouble, then you’re the troublemaker and you’ll get fired because you’re just a PA.”\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=Women+Accuse+Morgan+Freeman+Of+Harassment%2C+Inappropriate+Behavior%2C+CNN+Reports&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
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"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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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": {
"site": "news",
"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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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"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"
}
},
"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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"rss": "https://feeds.npr.org/510308/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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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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}
},
"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": {
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"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"
}
},
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