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"content": "\u003cp>\u003cstrong>Updated at 9:58 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Harvey Weinstein surrendered Friday to authorities at a police station in New York City, where the former Hollywood megaproducer has been charged with rape and sexual misconduct.\u003c/p>\n\u003cp>Weinstein arrived early in the morning at the New York Police Department’s 1st Precinct in Lower Manhattan, ushered into the station by law enforcement officers as members of the media crowded behind metal barriers. He kept his gaze lowered amid a barrage of shouted questions.\u003c/p>\n\u003cp>Once inside, Weinstein was charged with one count each of first- and third-degree rape, as well as first-degree criminal sex act. The felony charges concern “forcible sexual acts against two women in 2013 and 2004, respectively,” the Manhattan District Attorney’s Office announced Friday.\u003c/p>\n\u003cp>“Today’s charges reflect significant progress in this active, ongoing investigation,” District Attorney Cyrus Vance said in a statement. “I thank the brave survivors who have come forward, and my Office’s prosecutors who have worked tirelessly on this investigation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Officers later escorted Weinstein from the police station to a courtroom, where he entered wearing handcuffs for arraignment. There, a judge set bail at $1 million cash or $10 million bond and assigned Weinstein to wear a monitoring device that he must pay for himself.\u003c/p>\n\u003cp>After the arraignment, his lawyer, Benjamin Brafman, announced that Weinstein intends to plead not guilty. Weinstein has denied wrongdoing, asserting that he believes any sexual encounters he engaged in were consensual.\u003c/p>\n\u003cfigure id=\"attachment_13833518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NY – MAY 25: Harvey Weinstein arrives at the New York Police Department’s First Precinct to turn himself in after being served with criminal charges by the Manhattan District Attorney’s office on May 25, 2018 in New York City. (Photo by Spencer Platt/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Once one of the most powerful men in the film industry, Weinstein had long been rumored to have engaged in sexual misconduct — but it was not until reports in \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">The New York Times\u003c/a> and \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\">The New Yorker\u003c/a> surfaced decades’ worth of sexual assault and harassment allegations that the producer experienced his precipitate fall from grace last autumn.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/24/614270727/harvey-weinstein-will-turn-himself-in-on-rape-sexual-assault-charges\">According to\u003c/a> the \u003cem>Times\u003c/em>‘ Ben Mueller, one of the two women cited in the charges is actress Lucia Evans, who told her story to journalist Ronan Farrow in \u003cem>The New Yorker\u003c/em> last year. Evans alleged that in 2004, Weinstein forced her to perform oral sex on him after luring her into an encounter under false pretenses.\u003c/p>\n\u003cp>“I said, over and over, ‘I don’t want to do this, stop, don’t,’ ” she told the publication, adding that in the end, “He’s a big guy. He overpowered me.”\u003c/p>\n\u003cp>Evans’ allegations added to those of dozens of other women, who claimed that Weinstein had engaged in a vast range of sexual misconduct dating back \u003ca href=\"https://www.nytimes.com/2017/10/30/us/harvey-weinstein-sexual-assault-allegations.html\">nearly four decades\u003c/a>, ranging from inappropriate touching to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">incidents \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">of \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/world-us-canada-41626563\">rape\u003c/a>.\u003c/p>\n\u003cp>And when women or journalists threatened to publicize these claims, Weinstein allegedly sought to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41803009\">pay for their silence\u003c/a> or intimidate them with threats and even a reported \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/07/562631069/report-weinstein-hired-agents-to-investigate-and-suppress-accusations-against-hi\">“army of spies”\u003c/a> to press for their silence.\u003c/p>\n\u003cp>The claims against Weinstein helped catalyze a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/04/608411474/amid-sex-abuse-scandal-swedish-academy-wont-award-nobel-in-literature-this-year\">worldwide \u003c/a>movement that came to be known by the social media hashtag \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a>. Since Evans and others came forward, scores of women have shared their own stories of suffering sexual assault and harassment — stories that have implicated powerful men in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/23/559458214/director-james-toback-accused-of-harassment-by-dozens-of-women\">Hollywood\u003c/a> and beyond, from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">media \u003c/a>and \u003ca href=\"https://www.npr.org/2018/05/06/608868149/author-junot-diaz-faces-sexual-misconduct-accusations\">literature \u003c/a>to \u003ca href=\"https://www.npr.org/2017/12/05/567160325/conyers-resigning-amid-sexual-harassment-allegations\">politics \u003c/a>and \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">music\u003c/a>.\u003c/p>\n\u003cp>Weinstein, for his part, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\">was fired\u003c/a> by the board of the film studio he founded with his brother, Bob, not long after the initial reports were published last October. The Weinstein Co. filed for Chapter 11 bankruptcy \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\">in March\u003c/a> and, after a winding path through the courts, received permission \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\">earlier this month\u003c/a> to sell its assets to a private equity firm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since the claims surfaced last fall, Harvey Weinstein has been investigated by police in\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/19/558910752/lapd-investigating-accusation-of-2013-rape-by-harvey-weinstein\"> several cities\u003c/a> in addition to New York, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/01/607309644/ashley-judd-sues-harvey-weinstein-saying-he-tried-to-damage-her-career\">has been sued\u003c/a> for sexual harassment and defamation, and has been \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\">expelled from\u003c/a> the Academy of Motion Pictures Arts and Sciences.\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=Harvey+Weinstein+Charged+With+Rape+After+Surrendering+To+N.Y.+Police&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The disgraced Hollywood megaproducer turned himself in to authorities Friday morning in New York City, where he was charged with rape and sexual misconduct for incidents involving two women.",
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"title": "Harvey Weinstein Charged With Rape After Surrendering to N.Y. Police | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 9:58 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Harvey Weinstein surrendered Friday to authorities at a police station in New York City, where the former Hollywood megaproducer has been charged with rape and sexual misconduct.\u003c/p>\n\u003cp>Weinstein arrived early in the morning at the New York Police Department’s 1st Precinct in Lower Manhattan, ushered into the station by law enforcement officers as members of the media crowded behind metal barriers. He kept his gaze lowered amid a barrage of shouted questions.\u003c/p>\n\u003cp>Once inside, Weinstein was charged with one count each of first- and third-degree rape, as well as first-degree criminal sex act. The felony charges concern “forcible sexual acts against two women in 2013 and 2004, respectively,” the Manhattan District Attorney’s Office announced Friday.\u003c/p>\n\u003cp>“Today’s charges reflect significant progress in this active, ongoing investigation,” District Attorney Cyrus Vance said in a statement. “I thank the brave survivors who have come forward, and my Office’s prosecutors who have worked tirelessly on this investigation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Officers later escorted Weinstein from the police station to a courtroom, where he entered wearing handcuffs for arraignment. There, a judge set bail at $1 million cash or $10 million bond and assigned Weinstein to wear a monitoring device that he must pay for himself.\u003c/p>\n\u003cp>After the arraignment, his lawyer, Benjamin Brafman, announced that Weinstein intends to plead not guilty. Weinstein has denied wrongdoing, asserting that he believes any sexual encounters he engaged in were consensual.\u003c/p>\n\u003cfigure id=\"attachment_13833518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NY – MAY 25: Harvey Weinstein arrives at the New York Police Department’s First Precinct to turn himself in after being served with criminal charges by the Manhattan District Attorney’s office on May 25, 2018 in New York City. (Photo by Spencer Platt/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Once one of the most powerful men in the film industry, Weinstein had long been rumored to have engaged in sexual misconduct — but it was not until reports in \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">The New York Times\u003c/a> and \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\">The New Yorker\u003c/a> surfaced decades’ worth of sexual assault and harassment allegations that the producer experienced his precipitate fall from grace last autumn.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/24/614270727/harvey-weinstein-will-turn-himself-in-on-rape-sexual-assault-charges\">According to\u003c/a> the \u003cem>Times\u003c/em>‘ Ben Mueller, one of the two women cited in the charges is actress Lucia Evans, who told her story to journalist Ronan Farrow in \u003cem>The New Yorker\u003c/em> last year. Evans alleged that in 2004, Weinstein forced her to perform oral sex on him after luring her into an encounter under false pretenses.\u003c/p>\n\u003cp>“I said, over and over, ‘I don’t want to do this, stop, don’t,’ ” she told the publication, adding that in the end, “He’s a big guy. He overpowered me.”\u003c/p>\n\u003cp>Evans’ allegations added to those of dozens of other women, who claimed that Weinstein had engaged in a vast range of sexual misconduct dating back \u003ca href=\"https://www.nytimes.com/2017/10/30/us/harvey-weinstein-sexual-assault-allegations.html\">nearly four decades\u003c/a>, ranging from inappropriate touching to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">incidents \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">of \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/world-us-canada-41626563\">rape\u003c/a>.\u003c/p>\n\u003cp>And when women or journalists threatened to publicize these claims, Weinstein allegedly sought to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41803009\">pay for their silence\u003c/a> or intimidate them with threats and even a reported \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/07/562631069/report-weinstein-hired-agents-to-investigate-and-suppress-accusations-against-hi\">“army of spies”\u003c/a> to press for their silence.\u003c/p>\n\u003cp>The claims against Weinstein helped catalyze a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/04/608411474/amid-sex-abuse-scandal-swedish-academy-wont-award-nobel-in-literature-this-year\">worldwide \u003c/a>movement that came to be known by the social media hashtag \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a>. Since Evans and others came forward, scores of women have shared their own stories of suffering sexual assault and harassment — stories that have implicated powerful men in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/23/559458214/director-james-toback-accused-of-harassment-by-dozens-of-women\">Hollywood\u003c/a> and beyond, from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">media \u003c/a>and \u003ca href=\"https://www.npr.org/2018/05/06/608868149/author-junot-diaz-faces-sexual-misconduct-accusations\">literature \u003c/a>to \u003ca href=\"https://www.npr.org/2017/12/05/567160325/conyers-resigning-amid-sexual-harassment-allegations\">politics \u003c/a>and \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">music\u003c/a>.\u003c/p>\n\u003cp>Weinstein, for his part, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\">was fired\u003c/a> by the board of the film studio he founded with his brother, Bob, not long after the initial reports were published last October. The Weinstein Co. filed for Chapter 11 bankruptcy \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\">in March\u003c/a> and, after a winding path through the courts, received permission \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\">earlier this month\u003c/a> to sell its assets to a private equity firm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since the claims surfaced last fall, Harvey Weinstein has been investigated by police in\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/19/558910752/lapd-investigating-accusation-of-2013-rape-by-harvey-weinstein\"> several cities\u003c/a> in addition to New York, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/01/607309644/ashley-judd-sues-harvey-weinstein-saying-he-tried-to-damage-her-career\">has been sued\u003c/a> for sexual harassment and defamation, and has been \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\">expelled from\u003c/a> the Academy of Motion Pictures Arts and Sciences.\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=Harvey+Weinstein+Charged+With+Rape+After+Surrendering+To+N.Y.+Police&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-mayoral-candidates-weigh-in-on-citys-arts-related-issues",
"title": "San Francisco Mayoral Candidates Weigh in on City's Arts-Related Issues",
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"headTitle": "San Francisco Mayoral Candidates Weigh in on City’s Arts-Related Issues | KQED",
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"content": "\u003cp>The four top-polling candidates in the San Francisco mayoral race provided their thoughts on the arts and arts-related issues in the city they hope to govern in new video interviews released Wednesday.\u003c/p>\n\u003cp>With a June 5 election just two weeks away, the Arts Coalition of San Francisco (ACSF) published video interviews with mayoral candidates Angela Alioto, Supervisor London Breed, Supervisor Jane Kim and former State Senator Mark Leno. All four answered questions from longtime arts critic Steven Winn on pertinent issues such as housing for artists, arts education, and the city’s hotel tax, which provides much of the city’s funding for arts.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.bettersf2018.com/\" rel=\"noopener\" target=\"_blank\">ACSF’s website\u003c/a>, the organization arranged the interviews on behalf of 100 arts organizations in San Francisco. (\u003cem>A list of the organizations backing the ACSF, provided by ACSF representatives to KQED, can be found at the end of this article.\u003c/em>)\u003c/p>\n\u003cp>“We view this as the beginning of an important conversation about the future of the arts in our city. Our city’s most vital assets and unique character lie in our cultural and artistic diversity,” ACSF representative Jonathan Moscone (pictured above) said in a statement. “We need to find a way to ensure that the communities served by artists and organizations thrive for years to come.”\u003c/p>\n\u003cp>\u003ci>Watch the interviews below and read brief summaries of the candidates and their positions:\u003c/i>\u003c/p>\n\u003ch2>Angela Alioto\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=IkSevyyQjb8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Angela Alioto is a former San Francisco supervisor and the daughter of former mayor \u003ca href=\"https://www.sfgate.com/news/article/Joseph-Alioto-Dies-at-81-Flamboyant-zestful-3014066.php\" rel=\"noopener\" target=\"_blank\">Joseph Alioto\u003c/a>. She’s also passionate about art history, mainly Italian art from 1300-1600, which she studied in college. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Angela-Alioto.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Advocates for increasing funds for the arts, whether it be public or private funding.\u003c/li>\n\u003cli>Likes idea of artist housing where rent is based on percentage of income.\u003c/li>\n\u003cli>Feels a mayor could use power to push for increases in arts education funding.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Supervisor London Breed\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=lViMgyR9nss\u003c/p>\n\u003cp>Currently the president of the Board of Supervisors, Supervisor London Breed was born and raised in San Francisco’s Western Addition. One of her first jobs after college was serving as executive director for the \u003ca href=\"http://aaacc.org/\" rel=\"noopener\" target=\"_blank\">African American Art & Culture Complex\u003c/a>, where she raised over $2.5 million to expand the facility and install an art gallery, a theater space and a recording studio. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/London-Breed.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Pushed to increase funding to the arts from the city’s hotel tax.\u003c/li>\n\u003cli>Wants the city’s larger arts institutions to collaborate with smaller organizations. \u003c/li>\n\u003cli>Thinks artist housing should be subsidized by private funding.\u003c/li>\n\u003cli>Feels arts education for youth should come from public schools and nonprofits.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Supervisor Jane Kim\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=glyREy9u-Q0\u003c/p>\n\u003cp>Representing San Francisco’s District 6, Supervisor Jane Kim moved to San Francisco in the late ’90s and has spent most of her professional life in advocacy and grassroots organizing, working with groups such as the Greenlining Institute and the Chinatown Community Development Center (CCDC). Before becoming a supervisor, she was the first Korean American to be elected to San Francisco’s Board of Education. She’s also a civil rights attorney, has a black belt in Tae Kwon Do, and used to play bass guitar. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Jane-Kim.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Supports increased funding to the arts from the city’s hotel tax.\u003c/li>\n\u003cli>Feels arts education isn’t simply an elective and deserves more support.\u003c/li>\n\u003cli>Wants the city’s institutions to become more involved in local arts education, but also feels the city could help fund those collaborations.\u003c/li>\n\u003cli>Thinks the city could also find solutions to issues with artist housing.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Mark Leno\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=0t8coAjKXFw\u003c/p>\n\u003cp>Mark Leno is a veteran of California politics who began his career in 1998, when he was appointed to the SF Board of Supervisors by then-Mayor Willie Brown. After serving as a supervisor and as a member of the California Assembly, Leno became the first openly gay state senator when he was elected to represent the state’s 3rd district in 2008. Before terming out in 2016, Leno authored several bills, including the \u003ca href=\"http://California%20Universal%20Health%20Care%20Act\" rel=\"noopener\" target=\"_blank\">California Universal Health Care Act\u003c/a> and \u003ca href=\"http://www.faireducationact.com/\" rel=\"noopener\" target=\"_blank\">the Fair Education Act\u003c/a>. He’s also a fan of musicals, and \u003ca href=\"https://www.jweekly.com/2018/05/16/mark-leno-mayoral-candidate-rabbinical-school-dropout/\" rel=\"noopener\" target=\"_blank\">recently opened up to \u003cem>J. Weekly\u003c/em>\u003c/a> about his relationship, in the 1970s, with San Francisco Symphony musical director Michael Tilson Thomas. The two remain close friends. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Mark-Leno.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>While a state legislator, worked to replenish funding for the California Arts Council.\u003c/li>\n\u003cli>Feels local arts industry is essential to tourism.\u003c/li>\n\u003cli>Wants to tax landlords who keep buildings empty and thereby contribute to local housing shortage. \u003c/li>\n\u003cli>Supports increase to arts funding from hotel tax.\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Below is a list of Arts Coalition members, provided by the ACSF:\u003c/strong>\u003c/i>\u003cbr>\nABD Productions\u003cbr>\nAfrican-American Art & Culture Complex\u003cbr>\nAfrican-American Shakespeare Company\u003cbr>\nAfroSolo\u003cbr>\nAlonzo King LINES Ballet\u003cbr>\nAmerican Conservatory Theater\u003cbr>\nAPI Council\u003cbr>\nAPI Cultural Center\u003cbr>\nArtSpan\u003cbr>\nAsian Improv Arts\u003cbr>\nBayview Opera House\u003cbr>\nBindlestiff Studio\u003cbr>\nBrava! For Women in the Arts\u003cbr>\nCampo Santo\u003cbr>\nCenter for New Music\u003cbr>\nChinese Culture Center of San Francisco\u003cbr>\nChinese Historical Society of America\u003cbr>\nCirco Zero\u003cbr>\nCircus Center\u003cbr>\nCity Arts & Lectures\u003cbr>\nCompton’s Transgender Cultural District\u003cbr>\nContemporary Jewish Museum\u003cbr>\nCrowded Fire Theater Company\u003cbr>\nCurry Senior Center\u003cbr>\nDance Brigade\u003cbr>\nEXIT Theatre\u003cbr>\nExploratorium\u003cbr>\nFilipino-American Development Foundation\u003cbr>\nGenRyu Arts\u003cbr>\nImprint.City\u003cbr>\nKearny Street Workshop\u003cbr>\nMission Cultural Center for Latino Arts\u003cbr>\nMuseum of Craft & Design\u003cbr>\nMuseum of Performance & Design\u003cbr>\nMuseum of the African Diaspora\u003cbr>\nNew Conservatory Theatre Center\u003cbr>\nODC\u003cbr>\nPhilharmonia Baroque Orchestra & Chorale\u003cbr>\nPost:Ballet\u003cbr>\nPresidio Performing Arts Foundation\u003cbr>\nQueer Cultural Center\u003cbr>\nQuiet Lightning\u003cbr>\nRobert Moses KIN\u003cbr>\nRoot Division\u003cbr>\nSan Francisco Ballet\u003cbr>\nSan Francisco Cinematheque\u003cbr>\nSan Francisco Film Society\u003cbr>\nSan Francisco Friends of Chamber Music\u003cbr>\nSan Francisco Homeless Emergency Service Providers Association (HESPA)\u003cbr>\nSan Francisco Juneteenth\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nSan Francisco Opera\u003cbr>\nSan Francisco Opera Association\u003cbr>\nSan Francisco Performances\u003cbr>\nSan Francisco Symphony\u003cbr>\nSF Juneteenth\u003cbr>\nSFJAZZ\u003cbr>\nShipyard Trust for the Arts\u003cbr>\nSmall Press Traffic\u003cbr>\nSMUIN Ballet\u003cbr>\nSociety for Art Publications of the Americas\u003cbr>\nSoma Pilipinas\u003cbr>\nSoMARTS\u003cbr>\nThe Cutting Ball Theater\u003cbr>\nThe Lab\u003cbr>\nTheatre Bay Area\u003cbr>\nTheatre Communications Group\u003cbr>\nWomen’s Audio Mission\u003cbr>\nYerba Buena Center for the Arts\u003cbr>\nYerba Buena Gardens Festival\u003cbr>\nYouth Speaks\u003cbr>\nZ Space\u003c/p>\n\n",
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"excerpt": "Watch video interviews with Angela Alioto, London Breed, Jane Kim and Mark Leno on arts funding, housing, education and more. ",
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"title": "San Francisco Mayoral Candidates Weigh in on City's Arts-Related Issues | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The four top-polling candidates in the San Francisco mayoral race provided their thoughts on the arts and arts-related issues in the city they hope to govern in new video interviews released Wednesday.\u003c/p>\n\u003cp>With a June 5 election just two weeks away, the Arts Coalition of San Francisco (ACSF) published video interviews with mayoral candidates Angela Alioto, Supervisor London Breed, Supervisor Jane Kim and former State Senator Mark Leno. All four answered questions from longtime arts critic Steven Winn on pertinent issues such as housing for artists, arts education, and the city’s hotel tax, which provides much of the city’s funding for arts.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.bettersf2018.com/\" rel=\"noopener\" target=\"_blank\">ACSF’s website\u003c/a>, the organization arranged the interviews on behalf of 100 arts organizations in San Francisco. (\u003cem>A list of the organizations backing the ACSF, provided by ACSF representatives to KQED, can be found at the end of this article.\u003c/em>)\u003c/p>\n\u003cp>“We view this as the beginning of an important conversation about the future of the arts in our city. Our city’s most vital assets and unique character lie in our cultural and artistic diversity,” ACSF representative Jonathan Moscone (pictured above) said in a statement. “We need to find a way to ensure that the communities served by artists and organizations thrive for years to come.”\u003c/p>\n\u003cp>\u003ci>Watch the interviews below and read brief summaries of the candidates and their positions:\u003c/i>\u003c/p>\n\u003ch2>Angela Alioto\u003c/h2>\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/IkSevyyQjb8'\n title='//www.youtube.com/embed/IkSevyyQjb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Angela Alioto is a former San Francisco supervisor and the daughter of former mayor \u003ca href=\"https://www.sfgate.com/news/article/Joseph-Alioto-Dies-at-81-Flamboyant-zestful-3014066.php\" rel=\"noopener\" target=\"_blank\">Joseph Alioto\u003c/a>. She’s also passionate about art history, mainly Italian art from 1300-1600, which she studied in college. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Angela-Alioto.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Advocates for increasing funds for the arts, whether it be public or private funding.\u003c/li>\n\u003cli>Likes idea of artist housing where rent is based on percentage of income.\u003c/li>\n\u003cli>Feels a mayor could use power to push for increases in arts education funding.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Supervisor London Breed\u003c/h2>\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/lViMgyR9nss'\n title='//www.youtube.com/embed/lViMgyR9nss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Currently the president of the Board of Supervisors, Supervisor London Breed was born and raised in San Francisco’s Western Addition. One of her first jobs after college was serving as executive director for the \u003ca href=\"http://aaacc.org/\" rel=\"noopener\" target=\"_blank\">African American Art & Culture Complex\u003c/a>, where she raised over $2.5 million to expand the facility and install an art gallery, a theater space and a recording studio. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/London-Breed.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Pushed to increase funding to the arts from the city’s hotel tax.\u003c/li>\n\u003cli>Wants the city’s larger arts institutions to collaborate with smaller organizations. \u003c/li>\n\u003cli>Thinks artist housing should be subsidized by private funding.\u003c/li>\n\u003cli>Feels arts education for youth should come from public schools and nonprofits.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Supervisor Jane Kim\u003c/h2>\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/glyREy9u-Q0'\n title='//www.youtube.com/embed/glyREy9u-Q0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Representing San Francisco’s District 6, Supervisor Jane Kim moved to San Francisco in the late ’90s and has spent most of her professional life in advocacy and grassroots organizing, working with groups such as the Greenlining Institute and the Chinatown Community Development Center (CCDC). Before becoming a supervisor, she was the first Korean American to be elected to San Francisco’s Board of Education. She’s also a civil rights attorney, has a black belt in Tae Kwon Do, and used to play bass guitar. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Jane-Kim.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Supports increased funding to the arts from the city’s hotel tax.\u003c/li>\n\u003cli>Feels arts education isn’t simply an elective and deserves more support.\u003c/li>\n\u003cli>Wants the city’s institutions to become more involved in local arts education, but also feels the city could help fund those collaborations.\u003c/li>\n\u003cli>Thinks the city could also find solutions to issues with artist housing.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Mark Leno\u003c/h2>\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/0t8coAjKXFw'\n title='//www.youtube.com/embed/0t8coAjKXFw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mark Leno is a veteran of California politics who began his career in 1998, when he was appointed to the SF Board of Supervisors by then-Mayor Willie Brown. After serving as a supervisor and as a member of the California Assembly, Leno became the first openly gay state senator when he was elected to represent the state’s 3rd district in 2008. Before terming out in 2016, Leno authored several bills, including the \u003ca href=\"http://California%20Universal%20Health%20Care%20Act\" rel=\"noopener\" target=\"_blank\">California Universal Health Care Act\u003c/a> and \u003ca href=\"http://www.faireducationact.com/\" rel=\"noopener\" target=\"_blank\">the Fair Education Act\u003c/a>. He’s also a fan of musicals, and \u003ca href=\"https://www.jweekly.com/2018/05/16/mark-leno-mayoral-candidate-rabbinical-school-dropout/\" rel=\"noopener\" target=\"_blank\">recently opened up to \u003cem>J. Weekly\u003c/em>\u003c/a> about his relationship, in the 1970s, with San Francisco Symphony musical director Michael Tilson Thomas. The two remain close friends. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Mark-Leno.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>While a state legislator, worked to replenish funding for the California Arts Council.\u003c/li>\n\u003cli>Feels local arts industry is essential to tourism.\u003c/li>\n\u003cli>Wants to tax landlords who keep buildings empty and thereby contribute to local housing shortage. \u003c/li>\n\u003cli>Supports increase to arts funding from hotel tax.\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Below is a list of Arts Coalition members, provided by the ACSF:\u003c/strong>\u003c/i>\u003cbr>\nABD Productions\u003cbr>\nAfrican-American Art & Culture Complex\u003cbr>\nAfrican-American Shakespeare Company\u003cbr>\nAfroSolo\u003cbr>\nAlonzo King LINES Ballet\u003cbr>\nAmerican Conservatory Theater\u003cbr>\nAPI Council\u003cbr>\nAPI Cultural Center\u003cbr>\nArtSpan\u003cbr>\nAsian Improv Arts\u003cbr>\nBayview Opera House\u003cbr>\nBindlestiff Studio\u003cbr>\nBrava! For Women in the Arts\u003cbr>\nCampo Santo\u003cbr>\nCenter for New Music\u003cbr>\nChinese Culture Center of San Francisco\u003cbr>\nChinese Historical Society of America\u003cbr>\nCirco Zero\u003cbr>\nCircus Center\u003cbr>\nCity Arts & Lectures\u003cbr>\nCompton’s Transgender Cultural District\u003cbr>\nContemporary Jewish Museum\u003cbr>\nCrowded Fire Theater Company\u003cbr>\nCurry Senior Center\u003cbr>\nDance Brigade\u003cbr>\nEXIT Theatre\u003cbr>\nExploratorium\u003cbr>\nFilipino-American Development Foundation\u003cbr>\nGenRyu Arts\u003cbr>\nImprint.City\u003cbr>\nKearny Street Workshop\u003cbr>\nMission Cultural Center for Latino Arts\u003cbr>\nMuseum of Craft & Design\u003cbr>\nMuseum of Performance & Design\u003cbr>\nMuseum of the African Diaspora\u003cbr>\nNew Conservatory Theatre Center\u003cbr>\nODC\u003cbr>\nPhilharmonia Baroque Orchestra & Chorale\u003cbr>\nPost:Ballet\u003cbr>\nPresidio Performing Arts Foundation\u003cbr>\nQueer Cultural Center\u003cbr>\nQuiet Lightning\u003cbr>\nRobert Moses KIN\u003cbr>\nRoot Division\u003cbr>\nSan Francisco Ballet\u003cbr>\nSan Francisco Cinematheque\u003cbr>\nSan Francisco Film Society\u003cbr>\nSan Francisco Friends of Chamber Music\u003cbr>\nSan Francisco Homeless Emergency Service Providers Association (HESPA)\u003cbr>\nSan Francisco Juneteenth\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nSan Francisco Opera\u003cbr>\nSan Francisco Opera Association\u003cbr>\nSan Francisco Performances\u003cbr>\nSan Francisco Symphony\u003cbr>\nSF Juneteenth\u003cbr>\nSFJAZZ\u003cbr>\nShipyard Trust for the Arts\u003cbr>\nSmall Press Traffic\u003cbr>\nSMUIN Ballet\u003cbr>\nSociety for Art Publications of the Americas\u003cbr>\nSoma Pilipinas\u003cbr>\nSoMARTS\u003cbr>\nThe Cutting Ball Theater\u003cbr>\nThe Lab\u003cbr>\nTheatre Bay Area\u003cbr>\nTheatre Communications Group\u003cbr>\nWomen’s Audio Mission\u003cbr>\nYerba Buena Center for the Arts\u003cbr>\nYerba Buena Gardens Festival\u003cbr>\nYouth Speaks\u003cbr>\nZ Space\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Brandi Chastain's Hall of Fame Plaque Looks Like Basically Anyone But Her",
"headTitle": "Brandi Chastain’s Hall of Fame Plaque Looks Like Basically Anyone But Her | KQED",
"content": "\u003cp>It was supposed to be an honor.\u003c/p>\n\u003cp>In a ceremony Monday night at the Westin St. Francis Hotel in San Francisco, U.S. soccer great Brandi Chastain was inducted into the Bay Area Sports Hall of Fame. She was presented with a bronze plaque of her likeness, \u003ca href=\"http://bashof.org/hall-of-fame/\">to be displayed\u003c/a> at San Francisco International Airport.\u003c/p>\n\u003cp>Well, it was supposed to be of her likeness.\u003c/p>\n\u003cp>This is Chastain in 2017, at the Rose Bowl, where she famously scored the game-winning penalty kick at the 1999 World Cup Final.\u003c/p>\n\u003cfigure id=\"attachment_13833323\" 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/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg\" alt=\"Brandi Chastain at the Rose Bowl in 2017.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Chastain at the Rose Bowl in 2017. \u003ccite>(USA Today Sports/USA Today Sports)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/annkillion/status/998778381570260992\" target=\"_blank\" rel=\"noopener\">This is the plaque\u003c/a> of Chastain, winner of two World Cups and two-time Olympic gold medalist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/annkillion/status/998778381570260992\u003c/p>\n\u003cp>Chastain posed for pictures with the plaque, and almost managed to not visibly cringe. “It’s not the most flattering, but it’s nice,” she said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ubyPFQtpJSo\u003c/p>\n\u003cp>The discrepancy between the athlete and the depiction was brought to national attention by \u003cem>San Francisco Chronicle\u003c/em> sports columnist Ann Killion.\u003c/p>\n\u003cp>“Brandi Chastain is one of the most beautiful athletes I’ve ever covered,” she tweeted. “How this became her plaque is a freaking embarrassment for BASHOF. Makes Cristiano’s look perfect.”\u003c/p>\n\u003cp>(She’s referencing Portuguese footballer Cristiano Ronaldo, whose good looks have also \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/03/29/521940923/cristiano-ronaldos-new-bronze-bust-is-turning-heads\" target=\"_blank\" rel=\"noopener\">proved weirdly difficult\u003c/a> to translate into bronze.)\u003c/p>\n\u003cp>Soccer Twitter leapt into action, diptyching like there was no tomorrow. Didn’t the plaque look most like \u003ca href=\"https://twitter.com/laughpastfive/status/998964513989906432\" target=\"_blank\" rel=\"noopener\">Eleanor Roosevelt\u003c/a>?\u003c/p>\n\u003cp>https://twitter.com/laughpastfive/status/998964513989906432\u003c/p>\n\u003cp>Or perhaps that toothy smile was more reminiscent of former NFL coach \u003ca href=\"https://twitter.com/svertelney/status/998931902773022720\" target=\"_blank\" rel=\"noopener\">Rex Ryan\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/svertelney/status/998931902773022720\u003c/p>\n\u003cp>But something about the cheeks and brow really \u003ca href=\"https://twitter.com/PavlosRozis/status/998788783393853440\" target=\"_blank\" rel=\"noopener\">called\u003c/a> to mind \u003ca href=\"http://backtothefuture.wikia.com/wiki/Biff_Tannen\">Biff\u003c/a>, from \u003cem>Back to the Future\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/PavlosRozis/status/998788783393853440\u003c/p>\n\u003cp>A very strong case \u003ca href=\"https://twitter.com/UCLADodgerFrank/status/998991499189673984\" target=\"_blank\" rel=\"noopener\">was made\u003c/a> for actor Gary Busey.\u003c/p>\n\u003cp>https://twitter.com/UCLADodgerFrank/status/998991499189673984\u003c/p>\n\u003cp>And for peanut farmer and president \u003ca href=\"https://twitter.com/tornadolightnin/status/998975856121909248\" target=\"_blank\" rel=\"noopener\">Jimmy Carter\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/tornadolightnin/status/998975856121909248\u003c/p>\n\u003cp>The outpouring worked its magic.\u003c/p>\n\u003cp>On Tuesday afternoon, Chastain \u003ca href=\"https://www.sfchronicle.com/sports/article/Chastain-s-unflattering-hall-of-fame-plaque-12934627.php\" target=\"_blank\" rel=\"noopener\">told \u003c/a>Killion that the Hall of Fame plans to redo the plaque.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’ve asked “for a photo of my choosing, so I need to find one,” Chastain said. \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=Brandi+Chastain%27s+Hall+Of+Fame+Plaque+Looks+Like+Basically+Anyone+But+Her&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The bronze depiction of the U.S. soccer legend called to mind Jimmy Carter, Eleanor Roosevelt and Gary Busey. Chastain took it in stride: \"It's not the most flattering, but it's nice.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was supposed to be an honor.\u003c/p>\n\u003cp>In a ceremony Monday night at the Westin St. Francis Hotel in San Francisco, U.S. soccer great Brandi Chastain was inducted into the Bay Area Sports Hall of Fame. She was presented with a bronze plaque of her likeness, \u003ca href=\"http://bashof.org/hall-of-fame/\">to be displayed\u003c/a> at San Francisco International Airport.\u003c/p>\n\u003cp>Well, it was supposed to be of her likeness.\u003c/p>\n\u003cp>This is Chastain in 2017, at the Rose Bowl, where she famously scored the game-winning penalty kick at the 1999 World Cup Final.\u003c/p>\n\u003cfigure id=\"attachment_13833323\" 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/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg\" alt=\"Brandi Chastain at the Rose Bowl in 2017.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Chastain at the Rose Bowl in 2017. \u003ccite>(USA Today Sports/USA Today Sports)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/annkillion/status/998778381570260992\" target=\"_blank\" rel=\"noopener\">This is the plaque\u003c/a> of Chastain, winner of two World Cups and two-time Olympic gold medalist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Chastain posed for pictures with the plaque, and almost managed to not visibly cringe. “It’s not the most flattering, but it’s nice,” she 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/ubyPFQtpJSo'\n title='//www.youtube.com/embed/ubyPFQtpJSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The discrepancy between the athlete and the depiction was brought to national attention by \u003cem>San Francisco Chronicle\u003c/em> sports columnist Ann Killion.\u003c/p>\n\u003cp>“Brandi Chastain is one of the most beautiful athletes I’ve ever covered,” she tweeted. “How this became her plaque is a freaking embarrassment for BASHOF. Makes Cristiano’s look perfect.”\u003c/p>\n\u003cp>(She’s referencing Portuguese footballer Cristiano Ronaldo, whose good looks have also \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/03/29/521940923/cristiano-ronaldos-new-bronze-bust-is-turning-heads\" target=\"_blank\" rel=\"noopener\">proved weirdly difficult\u003c/a> to translate into bronze.)\u003c/p>\n\u003cp>Soccer Twitter leapt into action, diptyching like there was no tomorrow. Didn’t the plaque look most like \u003ca href=\"https://twitter.com/laughpastfive/status/998964513989906432\" target=\"_blank\" rel=\"noopener\">Eleanor Roosevelt\u003c/a>?\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The outpouring worked its magic.\u003c/p>\n\u003cp>On Tuesday afternoon, Chastain \u003ca href=\"https://www.sfchronicle.com/sports/article/Chastain-s-unflattering-hall-of-fame-plaque-12934627.php\" target=\"_blank\" rel=\"noopener\">told \u003c/a>Killion that the Hall of Fame plans to redo the plaque.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’ve asked “for a photo of my choosing, so I need to find one,” Chastain said. \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=Brandi+Chastain%27s+Hall+Of+Fame+Plaque+Looks+Like+Basically+Anyone+But+Her&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Philip Roth, the prize-winning novelist and fearless narrator of sex, death, assimilation and fate, from the comic madness of \u003cem>Portnoy’s Complaint\u003c/em> to the elegiac lyricism of \u003cem>American Pastoral\u003c/em>, died Tuesday night at age 85.\u003c/p>\n\u003cp>Roth’s literary agent, Andrew Wylie, said that the author died in a New York City hospital of congestive heart failure.\u003c/p>\n\u003cp>Author of more than 25 books, Roth was a fierce satirist and uncompromising realist, confronting readers in a bold, direct style that scorned false sentiment or hopes for heavenly reward. He was an atheist who swore allegiance to earthly imagination, whether devising pornographic functions for raw liver or indulging romantic fantasies about Anne Frank. In \u003cem>The Plot Against America\u003c/em>, published in 2004, he placed his own family under the anti-Semitic reign of President Charles Lindbergh. In 2010, in \u003cem>Nemesis\u003c/em>, he subjected his native New Jersey to a polio epidemic.\u003c/p>\n\u003cp>He was among the greatest writers never to win the Nobel Prize. But he received virtually every other literary honor, including two National Book Awards, two National Book Critics Circle prizes and, in 1998, the Pulitzer for \u003cem>American Pastoral\u003c/em>. He was in his 20s when he won his first award and awed critics and fellow writers by producing some of his most acclaimed novels in his 60s and 70s, including \u003cem>The Human Stain\u003c/em> and \u003cem>Sabbath’s Theater\u003c/em>, a savage narrative of lust and mortality he considered his finest work.\u003c/p>\n\u003cp>He identified himself as an American writer, not a Jewish one, but for Roth the American experience and the Jewish experience were often the same. While predecessors such as Saul Bellow and Bernard Malamud wrote of the Jews’ painful adjustment from immigrant life, Roth’s characters represented the next generation. Their first language was English, and they spoke without accents. They observed no rituals and belonged to no synagogues. The American dream, or nightmare, was to become “a Jew without Jews, without Judaism, without Zionism, without Jewishness.” The reality, more often, was to be regarded as a Jew among gentiles and a gentile among Jews.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the novel \u003cem>The Ghost Writer\u003c/em> he quoted one of his heroes, Franz Kafka: “We should only read those books that bite and sting us.” For his critics, his books were to be repelled like a swarm of bees.\u003c/p>\n\u003cp>Feminists, Jews and one ex-wife attacked him in print, and sometimes in person. Women in his books were at times little more than objects of desire and rage and The Village Voice once put his picture on its cover, condemning him as a misogynist. A panel moderator berated him for his comic portrayals of Jews, asking Roth if he would have written the same books in Nazi Germany. The Jewish scholar Gershom Scholem called \u003cem>Portnoy’s Complaint\u003c/em> the “book for which all anti-Semites have been praying.” When Roth won the Man Booker International Prize, in 2011, a judge resigned, alleging that the author suffered from terminal solipsism and went “on and on and on about the same subject in almost every single book.” In \u003cem>Sabbath’s Theater\u003c/em>, Roth imagines the inscription for his title character’s headstone: “Sodomist, Abuser of Women, Destroyer of Morals.”\u003c/p>\n\u003cp>Ex-wife Claire Bloom wrote a best-selling memoir, \u003cem>Leaving a Doll’s House\u003c/em>, in which the actress remembered reading the manuscript of his novel \u003cem>Deception\u003c/em>. With horror, she discovered his characters included a boring middle-aged wife named Claire, married to an adulterous writer named Philip. Bloom also described her ex-husband as cold, manipulative and unstable. (Although, alas, she still loved him). The book was published by Virago Press, whose founder, Carmen Callil, was the same judge who quit years later from the Booker committee.\u003c/p>\n\u003cp>Roth’s wars also originated from within. He survived a burst appendix in the late 1960s and near-suicidal depression in 1987. After the disappointing reaction to his 1993 novel, \u003cem>Operation Shylock\u003c/em>, he fell again into severe depression and for years rarely communicated with the media. For all the humor in his work — and, friends would say, in private life — jacket photos usually highlighted the author’s tense, dark-eyed glare. In 2012, he announced that he had stopped writing fiction and would instead dedicate himself to helping biographer Blake Bailey complete his life story, one he openly wished would not come out while he was alive. By 2015, he had retired from public life altogether.\u003c/p>\n\u003cp>He never promised to be his readers’ friend; writing was its own reward, the narration of “life, in all its shameless impurity.” Until his abrupt retirement, Roth was a dedicated, prolific author who often published a book a year and was generous to writers from other countries. For years, he edited the \u003cem>Writers from the Other Europe\u003c/em> series, in which authors from Eastern Europe received exposure to American readers; Milan Kundera was among the beneficiaries. Roth also helped bring a wider readership to the acclaimed Israeli writer Aharon Appelfeld.\u003c/p>\n\u003cp>Roth began his career in rebellion against the conformity of the 1950s and ended it in defense of the security of the 1940s; he was never warmer than when writing about his childhood, or more sorrowful, and enraged, than when narrating the shock of innocence lost.\u003c/p>\n\u003cp>Roth was born in 1933 in Newark, New Jersey, a time and place he remembered lovingly in \u003cem>The Facts\u003c/em>, \u003cem>American Pastoral \u003c/em>and other works. The scolding, cartoonish parents of his novels were pure fiction. He adored his parents, especially his father, an insurance salesman to whom he paid tribute in the memoir \u003cem>Patrimony\u003c/em>. Roth would describe his childhood as “intensely secure and protected,” at least at home. He was outgoing and brilliant and, tall and dark-haired, especially attractive to girls. In his teens he presumed he would become a lawyer, a most respectable profession in his family’s world.\u003c/p>\n\u003cp>But after a year at Newark College of Rutgers University, Roth emulated an early literary hero, James Joyce, and fled his hometown. He transferred to Bucknell College in Pennsylvania and only returned to Newark on paper. By his early 20s, Roth was writing fiction — at first casually, soon with primary passion, with Roth observing he could never really be happy unless working on a novel, inside the “fun house” of his imagination. “The unlived, the surmise, fully drawn in print on paper, is the life whose meaning comes to matter most,” he wrote in the novel \u003cem>Exit Ghost\u003c/em>.\u003c/p>\n\u003cp>After receiving a master’s degree in English from the University of Chicago, he began publishing stories in The Paris Review and elsewhere. Bellow was an early influence, as were Thomas Wolfe, Flaubert, Henry James and Kafka, whose picture Roth hung in his writing room.\u003c/p>\n\u003cp>Acclaim and controversy were inseparable. A short story about Jews in the military, \u003cem>Defender of the Faith\u003c/em>, introduced Roth to accusations of Jewish self-hatred. His debut collection, published in 1959, was \u003cem>Goodbye, Columbus\u003c/em>, featuring a love (and lust) title story about a working class Jew and his wealthier girlfriend. It brought the writer a National Book Award and some extra-literary criticism.\u003c/p>\n\u003cp>The aunt of the main character, Neil Klugman, is a meddling worrywart, and the upper-middle-class relatives of Neil’s girlfriend are satirized as shallow materialists. Roth believed he was simply writing about people he knew, but some Jews saw him as a traitor, subjecting his brethren to ridicule before the gentile world. A rabbi accused him of distorting the lives of Orthodox Jews. At a writers conference in the early 1960s, he was relentlessly accused of creating stories that affirmed the worst Nazi stereotypes.\u003c/p>\n\u003cp>But Roth insisted writing should express, not sanitize. After two relatively tame novels, \u003cem>Letting Go\u003c/em> and \u003cem>When She was Good\u003c/em>, he abandoned his good manners with \u003cem>Portnoy’s Complaint\u003c/em>, his ode to blasphemy against the “unholy trinity of “father, mother and Jewish son.” Published in 1969, a great year for rebellion, it was an event, a birth, a summation, Roth’s triumph over “the awesome graduate school authority of Henry James,” as if history’s lid had blown open and out erupted a generation of Jewish guilt and desire.\u003c/p>\n\u003cp>As narrated by Alexander Portnoy, from a psychiatrist’s couch, Roth’s novel satirized the dull expectations heaped upon “nice Jewish boys” and immortalized the most ribald manifestations of sexual obsession. His manic tour of one man’s onanistic adventures led Jacqueline Susann to comment that “Philip Roth is a good writer, but I wouldn’t want to shake hands with him.” Although \u003cem>Portnoy’s Complaint\u003c/em> was banned in Australia and attacked by Scholem and others, many critics welcomed the novel as a declaration of creative freedom. \u003cem>Portnoy’s Complaint\u003c/em> sold millions, making Roth wealthy, and, more important, famous. The writer, an observer by nature, was now observed. He was an item in gossip columns, a name debated at parties. Strangers called out to him in the streets. Roth would remember hailing a taxi and, seeing that the driver’s last name was Portnoy, commiserating over the book’s notoriety.\u003c/p>\n\u003cp>In an Oval Office recording from November 1971, President Richard Nixon and White House chief of staff H.R. Haldeman discussed the famous author, whom Nixon apparently confused with the pornographer Samuel Roth.\u003c/p>\n\u003cblockquote>\u003cp>Haldeman: I never read “Portnoy’s Complaint,” but I understand it was a well written book but just sickeningly filthy.\u003cbr>\nNixon: Roth is of course a Jew.\u003cbr>\nHaldeman: Oh, yes … He’s brilliant in a sick way.\u003cbr>\nNixon: Oh, I know —\u003cbr>\nHaldeman: Everything he’s written has been sick …\u003c/p>\u003c/blockquote>\n\u003cp>With Roth finding himself asked whether he really was Portnoy, several of his post-Portnoy novels amounted to a dare: Is it fact of fiction? In \u003cem>The Anatomy Lesson\u003c/em>, \u003cem>The Counterlife\u003c/em> and other novels, the featured character is a Jewish writer from New Jersey named Nathan Zuckerman. He is a man of similar age to Roth who just happened to have written a “dirty” best seller, \u003cem>Carnovsky\u003c/em>, and is lectured by friends and family for putting their lives into his books.\u003c/p>\n\u003cp>\u003cem>Operation Skylock\u003c/em> featured a middle-aged writer named Philip Roth, haunted by an impersonator in Israel who has a wild plan to lead the Jews back to Europe. In interviews, Roth claimed (not very convincingly) the story was true, lamenting that only when he wrote fiction did people think he was writing about his life.\u003c/p>\n\u003cp>Even when Roth wrote non-fiction, the game continued. At the end of his autobiography, \u003cem>The Facts\u003c/em>, Roth included a disclaimer by Nathan Zuckerman himself, chastising his creator for a self-serving, inhibited piece of storytelling.\u003c/p>\n\u003cp>“As for characterization, you, Roth, are the least completely rendered of all your protagonists,” Zuckerman tells him.\u003c/p>\n\u003cp>In the 1990s, after splitting with Bloom and again living fulltime in the United States (he had been spending much of his time in England), Roth reconnected with the larger world and culture of his native country. \u003cem>American Pastoral\u003c/em> narrated a decent man’s decline from high school sports star to victim of the ’60s and the “indigenous American berserk.” In \u003cem>The Human Stain\u003c/em>, he raged against the impeachment of President Clinton over his affair with a White House intern. “The fantasy of purity is appalling. It’s insane,” he wrote.\u003c/p>\n\u003cp>In recent years, Roth was increasingly preoccupied with history and its sucker punch, how ordinary people were defeated by events beyond their control, like the Jews in \u003cem>The Plot Against America\u003c/em> or the college student in \u003cem>Indignation\u003c/em> who dies in the Korean War. Mortality, “the inevitable onslaught that is the end of life,” became another subject, in \u003cem>Everyman\u003c/em> and \u003cem>The Humbling\u003c/em>, despairing chronicles as told by a non-believer.\u003c/p>\n\u003cp>Writing proved the author’s most enduring relationship. Roth, who married Bloom in 1990, had one previous wife. In 1959, he was married to the former Margaret Martinson Williams, a time remembered bitterly in \u003cem>The Facts\u003c/em> and in his novel \u003cem>My Life as a Man\u003c/em>. They were legally separated in 1963 and she died in a car crash five years later. There were no children from either marriage.\u003c/p>\n\u003cp>Roth’s non-literary life could be as strange, if not stranger than his fiction. In the mid-’90s, he split up with Bloom, whose acting roles included a part in Woody Allen’s \u003cem>Crimes and Misdemeanors\u003c/em>. Roth then reportedly dated Mia Farrow, the ex-lover of Allen, who in another movie played a writer with the last name Roth.\u003c/p>\n\u003cp>Bloom turned her marriage into a memoir, and Roth turned her memoir into fiction. In the novel \u003cem>I Married a Communist\u003c/em>, one character just happens to have been married to an actress who wrote a book about him after their divorce.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“How could she publish this book and not expect him to do something?” he asks. “Did she imagine this openly aggressive hothead was going to do nothing in response?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Philip Roth, the prize-winning novelist and fearless narrator of sex, death, assimilation and fate, from the comic madness of \u003cem>Portnoy’s Complaint\u003c/em> to the elegiac lyricism of \u003cem>American Pastoral\u003c/em>, died Tuesday night at age 85.\u003c/p>\n\u003cp>Roth’s literary agent, Andrew Wylie, said that the author died in a New York City hospital of congestive heart failure.\u003c/p>\n\u003cp>Author of more than 25 books, Roth was a fierce satirist and uncompromising realist, confronting readers in a bold, direct style that scorned false sentiment or hopes for heavenly reward. He was an atheist who swore allegiance to earthly imagination, whether devising pornographic functions for raw liver or indulging romantic fantasies about Anne Frank. In \u003cem>The Plot Against America\u003c/em>, published in 2004, he placed his own family under the anti-Semitic reign of President Charles Lindbergh. In 2010, in \u003cem>Nemesis\u003c/em>, he subjected his native New Jersey to a polio epidemic.\u003c/p>\n\u003cp>He was among the greatest writers never to win the Nobel Prize. But he received virtually every other literary honor, including two National Book Awards, two National Book Critics Circle prizes and, in 1998, the Pulitzer for \u003cem>American Pastoral\u003c/em>. He was in his 20s when he won his first award and awed critics and fellow writers by producing some of his most acclaimed novels in his 60s and 70s, including \u003cem>The Human Stain\u003c/em> and \u003cem>Sabbath’s Theater\u003c/em>, a savage narrative of lust and mortality he considered his finest work.\u003c/p>\n\u003cp>He identified himself as an American writer, not a Jewish one, but for Roth the American experience and the Jewish experience were often the same. While predecessors such as Saul Bellow and Bernard Malamud wrote of the Jews’ painful adjustment from immigrant life, Roth’s characters represented the next generation. Their first language was English, and they spoke without accents. They observed no rituals and belonged to no synagogues. The American dream, or nightmare, was to become “a Jew without Jews, without Judaism, without Zionism, without Jewishness.” The reality, more often, was to be regarded as a Jew among gentiles and a gentile among Jews.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the novel \u003cem>The Ghost Writer\u003c/em> he quoted one of his heroes, Franz Kafka: “We should only read those books that bite and sting us.” For his critics, his books were to be repelled like a swarm of bees.\u003c/p>\n\u003cp>Feminists, Jews and one ex-wife attacked him in print, and sometimes in person. Women in his books were at times little more than objects of desire and rage and The Village Voice once put his picture on its cover, condemning him as a misogynist. A panel moderator berated him for his comic portrayals of Jews, asking Roth if he would have written the same books in Nazi Germany. The Jewish scholar Gershom Scholem called \u003cem>Portnoy’s Complaint\u003c/em> the “book for which all anti-Semites have been praying.” When Roth won the Man Booker International Prize, in 2011, a judge resigned, alleging that the author suffered from terminal solipsism and went “on and on and on about the same subject in almost every single book.” In \u003cem>Sabbath’s Theater\u003c/em>, Roth imagines the inscription for his title character’s headstone: “Sodomist, Abuser of Women, Destroyer of Morals.”\u003c/p>\n\u003cp>Ex-wife Claire Bloom wrote a best-selling memoir, \u003cem>Leaving a Doll’s House\u003c/em>, in which the actress remembered reading the manuscript of his novel \u003cem>Deception\u003c/em>. With horror, she discovered his characters included a boring middle-aged wife named Claire, married to an adulterous writer named Philip. Bloom also described her ex-husband as cold, manipulative and unstable. (Although, alas, she still loved him). The book was published by Virago Press, whose founder, Carmen Callil, was the same judge who quit years later from the Booker committee.\u003c/p>\n\u003cp>Roth’s wars also originated from within. He survived a burst appendix in the late 1960s and near-suicidal depression in 1987. After the disappointing reaction to his 1993 novel, \u003cem>Operation Shylock\u003c/em>, he fell again into severe depression and for years rarely communicated with the media. For all the humor in his work — and, friends would say, in private life — jacket photos usually highlighted the author’s tense, dark-eyed glare. In 2012, he announced that he had stopped writing fiction and would instead dedicate himself to helping biographer Blake Bailey complete his life story, one he openly wished would not come out while he was alive. By 2015, he had retired from public life altogether.\u003c/p>\n\u003cp>He never promised to be his readers’ friend; writing was its own reward, the narration of “life, in all its shameless impurity.” Until his abrupt retirement, Roth was a dedicated, prolific author who often published a book a year and was generous to writers from other countries. For years, he edited the \u003cem>Writers from the Other Europe\u003c/em> series, in which authors from Eastern Europe received exposure to American readers; Milan Kundera was among the beneficiaries. Roth also helped bring a wider readership to the acclaimed Israeli writer Aharon Appelfeld.\u003c/p>\n\u003cp>Roth began his career in rebellion against the conformity of the 1950s and ended it in defense of the security of the 1940s; he was never warmer than when writing about his childhood, or more sorrowful, and enraged, than when narrating the shock of innocence lost.\u003c/p>\n\u003cp>Roth was born in 1933 in Newark, New Jersey, a time and place he remembered lovingly in \u003cem>The Facts\u003c/em>, \u003cem>American Pastoral \u003c/em>and other works. The scolding, cartoonish parents of his novels were pure fiction. He adored his parents, especially his father, an insurance salesman to whom he paid tribute in the memoir \u003cem>Patrimony\u003c/em>. Roth would describe his childhood as “intensely secure and protected,” at least at home. He was outgoing and brilliant and, tall and dark-haired, especially attractive to girls. In his teens he presumed he would become a lawyer, a most respectable profession in his family’s world.\u003c/p>\n\u003cp>But after a year at Newark College of Rutgers University, Roth emulated an early literary hero, James Joyce, and fled his hometown. He transferred to Bucknell College in Pennsylvania and only returned to Newark on paper. By his early 20s, Roth was writing fiction — at first casually, soon with primary passion, with Roth observing he could never really be happy unless working on a novel, inside the “fun house” of his imagination. “The unlived, the surmise, fully drawn in print on paper, is the life whose meaning comes to matter most,” he wrote in the novel \u003cem>Exit Ghost\u003c/em>.\u003c/p>\n\u003cp>After receiving a master’s degree in English from the University of Chicago, he began publishing stories in The Paris Review and elsewhere. Bellow was an early influence, as were Thomas Wolfe, Flaubert, Henry James and Kafka, whose picture Roth hung in his writing room.\u003c/p>\n\u003cp>Acclaim and controversy were inseparable. A short story about Jews in the military, \u003cem>Defender of the Faith\u003c/em>, introduced Roth to accusations of Jewish self-hatred. His debut collection, published in 1959, was \u003cem>Goodbye, Columbus\u003c/em>, featuring a love (and lust) title story about a working class Jew and his wealthier girlfriend. It brought the writer a National Book Award and some extra-literary criticism.\u003c/p>\n\u003cp>The aunt of the main character, Neil Klugman, is a meddling worrywart, and the upper-middle-class relatives of Neil’s girlfriend are satirized as shallow materialists. Roth believed he was simply writing about people he knew, but some Jews saw him as a traitor, subjecting his brethren to ridicule before the gentile world. A rabbi accused him of distorting the lives of Orthodox Jews. At a writers conference in the early 1960s, he was relentlessly accused of creating stories that affirmed the worst Nazi stereotypes.\u003c/p>\n\u003cp>But Roth insisted writing should express, not sanitize. After two relatively tame novels, \u003cem>Letting Go\u003c/em> and \u003cem>When She was Good\u003c/em>, he abandoned his good manners with \u003cem>Portnoy’s Complaint\u003c/em>, his ode to blasphemy against the “unholy trinity of “father, mother and Jewish son.” Published in 1969, a great year for rebellion, it was an event, a birth, a summation, Roth’s triumph over “the awesome graduate school authority of Henry James,” as if history’s lid had blown open and out erupted a generation of Jewish guilt and desire.\u003c/p>\n\u003cp>As narrated by Alexander Portnoy, from a psychiatrist’s couch, Roth’s novel satirized the dull expectations heaped upon “nice Jewish boys” and immortalized the most ribald manifestations of sexual obsession. His manic tour of one man’s onanistic adventures led Jacqueline Susann to comment that “Philip Roth is a good writer, but I wouldn’t want to shake hands with him.” Although \u003cem>Portnoy’s Complaint\u003c/em> was banned in Australia and attacked by Scholem and others, many critics welcomed the novel as a declaration of creative freedom. \u003cem>Portnoy’s Complaint\u003c/em> sold millions, making Roth wealthy, and, more important, famous. The writer, an observer by nature, was now observed. He was an item in gossip columns, a name debated at parties. Strangers called out to him in the streets. Roth would remember hailing a taxi and, seeing that the driver’s last name was Portnoy, commiserating over the book’s notoriety.\u003c/p>\n\u003cp>In an Oval Office recording from November 1971, President Richard Nixon and White House chief of staff H.R. Haldeman discussed the famous author, whom Nixon apparently confused with the pornographer Samuel Roth.\u003c/p>\n\u003cblockquote>\u003cp>Haldeman: I never read “Portnoy’s Complaint,” but I understand it was a well written book but just sickeningly filthy.\u003cbr>\nNixon: Roth is of course a Jew.\u003cbr>\nHaldeman: Oh, yes … He’s brilliant in a sick way.\u003cbr>\nNixon: Oh, I know —\u003cbr>\nHaldeman: Everything he’s written has been sick …\u003c/p>\u003c/blockquote>\n\u003cp>With Roth finding himself asked whether he really was Portnoy, several of his post-Portnoy novels amounted to a dare: Is it fact of fiction? In \u003cem>The Anatomy Lesson\u003c/em>, \u003cem>The Counterlife\u003c/em> and other novels, the featured character is a Jewish writer from New Jersey named Nathan Zuckerman. He is a man of similar age to Roth who just happened to have written a “dirty” best seller, \u003cem>Carnovsky\u003c/em>, and is lectured by friends and family for putting their lives into his books.\u003c/p>\n\u003cp>\u003cem>Operation Skylock\u003c/em> featured a middle-aged writer named Philip Roth, haunted by an impersonator in Israel who has a wild plan to lead the Jews back to Europe. In interviews, Roth claimed (not very convincingly) the story was true, lamenting that only when he wrote fiction did people think he was writing about his life.\u003c/p>\n\u003cp>Even when Roth wrote non-fiction, the game continued. At the end of his autobiography, \u003cem>The Facts\u003c/em>, Roth included a disclaimer by Nathan Zuckerman himself, chastising his creator for a self-serving, inhibited piece of storytelling.\u003c/p>\n\u003cp>“As for characterization, you, Roth, are the least completely rendered of all your protagonists,” Zuckerman tells him.\u003c/p>\n\u003cp>In the 1990s, after splitting with Bloom and again living fulltime in the United States (he had been spending much of his time in England), Roth reconnected with the larger world and culture of his native country. \u003cem>American Pastoral\u003c/em> narrated a decent man’s decline from high school sports star to victim of the ’60s and the “indigenous American berserk.” In \u003cem>The Human Stain\u003c/em>, he raged against the impeachment of President Clinton over his affair with a White House intern. “The fantasy of purity is appalling. It’s insane,” he wrote.\u003c/p>\n\u003cp>In recent years, Roth was increasingly preoccupied with history and its sucker punch, how ordinary people were defeated by events beyond their control, like the Jews in \u003cem>The Plot Against America\u003c/em> or the college student in \u003cem>Indignation\u003c/em> who dies in the Korean War. Mortality, “the inevitable onslaught that is the end of life,” became another subject, in \u003cem>Everyman\u003c/em> and \u003cem>The Humbling\u003c/em>, despairing chronicles as told by a non-believer.\u003c/p>\n\u003cp>Writing proved the author’s most enduring relationship. Roth, who married Bloom in 1990, had one previous wife. In 1959, he was married to the former Margaret Martinson Williams, a time remembered bitterly in \u003cem>The Facts\u003c/em> and in his novel \u003cem>My Life as a Man\u003c/em>. They were legally separated in 1963 and she died in a car crash five years later. There were no children from either marriage.\u003c/p>\n\u003cp>Roth’s non-literary life could be as strange, if not stranger than his fiction. In the mid-’90s, he split up with Bloom, whose acting roles included a part in Woody Allen’s \u003cem>Crimes and Misdemeanors\u003c/em>. Roth then reportedly dated Mia Farrow, the ex-lover of Allen, who in another movie played a writer with the last name Roth.\u003c/p>\n\u003cp>Bloom turned her marriage into a memoir, and Roth turned her memoir into fiction. In the novel \u003cem>I Married a Communist\u003c/em>, one character just happens to have been married to an actress who wrote a book about him after their divorce.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Today, May 22, is Harvey Milk Day. And the slain gay San Francisco supervisor’s iconic bullhorn is now on view in \u003ca href=\"https://www.si.edu/exhibitions/outbreak-epidemics-connected-world-6197\" target=\"_blank\" rel=\"noopener\">a new exhibition\u003c/a> at the Smithsonian in Washington, D.C.\u003c/p>\n\u003cp>Milk used the now-battered bullhorn at many rallies in the late 1970s. The charismatic supervisor received it as a gift from teamster Allan Baird, and eventually passed it on to activist Cleve Jones. Jones went on to use it to corral support for gay rights and other social justice causes.\u003c/p>\n\u003cp>Jones, the bullhorn’s current owner, eventually donated the artifact to San Francisco’s \u003ca href=\"http://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">GLBT Historical Society\u003c/a>. The organization’s executive director, Terry Beswick, says the artifact has near-religious significance for the gay community.\u003c/p>\n\u003cfigure id=\"attachment_128585\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-128585\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/harveymilk360-300x168.jpg\" alt=\"The Times of Harvey Milk poster\" width=\"300\" height=\"168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/harveymilk360-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/harveymilk360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/harveymilk360.jpg 640w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">The Times of Harvey Milk poster \u003ccite>(Photo: The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bullhorn is one of our icons,” Beswick says. “This represents all the struggles since, all the marches, all the protests that we had to stage just to claim our piece of serenity, to claim our piece of the American dream.”\u003c/p>\n\u003cp>Beswick says the Smithsonian is the first major institution to borrow the bullhorn. It was previously used in the Gus Van Sant movie about Milk’s life, \u003cem>Milk\u003c/em>, as well as the ABC miniseries \u003cem>When We Rise\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bullhorn is on display at the Smithsonian National Museum of Natural History for the next three years as part of the \u003ca href=\"https://www.si.edu/exhibitions/outbreak-epidemics-connected-world-6197\">\u003cem>Outbreak: Epidemics in a Connected World\u003c/em>\u003c/a> exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13833148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833148\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-800x1067.jpg\" alt=\"GLBT museum display case showing spot where Milk's iconic bullhorn usually sits. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-520x694.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan.jpg 1522w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">GLBT museum display case showing the spot where Milk’s iconic bullhorn usually sits. \u003ccite>(Photo: Gerard Koskovich/GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beswick says although Milk died before the AIDS epidemic emerged in 1981, Jones used the bullhorn in many marches and protests related to AIDS, including the rally where he launched the influential \u003ca href=\"http://www.aidsquilt.org/\" target=\"_blank\" rel=\"noopener\">AIDS Memorial Quilt\u003c/a> project.\u003c/p>\n\u003cp>Milk was the first openly gay person elected to office in California when he became a San Francisco supervisor in 1977. He was assassinated, along with then-mayor George Moscone, by ex-supervisor Dan White in November 1978.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beswick says the Smithsonian exhibition runs through 2021, at which point he expects the bullhorn to return to San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, May 22, is Harvey Milk Day. And the slain gay San Francisco supervisor’s iconic bullhorn is now on view in \u003ca href=\"https://www.si.edu/exhibitions/outbreak-epidemics-connected-world-6197\" target=\"_blank\" rel=\"noopener\">a new exhibition\u003c/a> at the Smithsonian in Washington, D.C.\u003c/p>\n\u003cp>Milk used the now-battered bullhorn at many rallies in the late 1970s. The charismatic supervisor received it as a gift from teamster Allan Baird, and eventually passed it on to activist Cleve Jones. Jones went on to use it to corral support for gay rights and other social justice causes.\u003c/p>\n\u003cp>Jones, the bullhorn’s current owner, eventually donated the artifact to San Francisco’s \u003ca href=\"http://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">GLBT Historical Society\u003c/a>. The organization’s executive director, Terry Beswick, says the artifact has near-religious significance for the gay community.\u003c/p>\n\u003cfigure id=\"attachment_128585\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-128585\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/harveymilk360-300x168.jpg\" alt=\"The Times of Harvey Milk poster\" width=\"300\" height=\"168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/harveymilk360-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/harveymilk360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/harveymilk360.jpg 640w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">The Times of Harvey Milk poster \u003ccite>(Photo: The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bullhorn is one of our icons,” Beswick says. “This represents all the struggles since, all the marches, all the protests that we had to stage just to claim our piece of serenity, to claim our piece of the American dream.”\u003c/p>\n\u003cp>Beswick says the Smithsonian is the first major institution to borrow the bullhorn. It was previously used in the Gus Van Sant movie about Milk’s life, \u003cem>Milk\u003c/em>, as well as the ABC miniseries \u003cem>When We Rise\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bullhorn is on display at the Smithsonian National Museum of Natural History for the next three years as part of the \u003ca href=\"https://www.si.edu/exhibitions/outbreak-epidemics-connected-world-6197\">\u003cem>Outbreak: Epidemics in a Connected World\u003c/em>\u003c/a> exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13833148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833148\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-800x1067.jpg\" alt=\"GLBT museum display case showing spot where Milk's iconic bullhorn usually sits. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan-520x694.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Museum_Bullhorn_on_Loan.jpg 1522w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">GLBT museum display case showing the spot where Milk’s iconic bullhorn usually sits. \u003ccite>(Photo: Gerard Koskovich/GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beswick says although Milk died before the AIDS epidemic emerged in 1981, Jones used the bullhorn in many marches and protests related to AIDS, including the rally where he launched the influential \u003ca href=\"http://www.aidsquilt.org/\" target=\"_blank\" rel=\"noopener\">AIDS Memorial Quilt\u003c/a> project.\u003c/p>\n\u003cp>Milk was the first openly gay person elected to office in California when he became a San Francisco supervisor in 1977. He was assassinated, along with then-mayor George Moscone, by ex-supervisor Dan White in November 1978.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beswick says the Smithsonian exhibition runs through 2021, at which point he expects the bullhorn to return to San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Robert Indiana Dies at 89: The Story Behind 'LOVE'",
"headTitle": "Artist Robert Indiana Dies at 89: The Story Behind ‘LOVE’ | KQED",
"content": "\u003cp>Fifty years after his \u003cem>LOVE\u003c/em> painting made Robert Indiana a sensation, the artist has died at the age of 89. \u003c/p>\n\u003cp>Indiana’s two-row rendering of the word, with its tilted “O,” became one of the most recognizable works of modern art in the world. The famous design emerged from deep influences in Indiana’s life, from his early exposure to religion to his father’s career.\u003c/p>\n\u003cp>Indiana died Saturday at his home in Vinalhaven, Maine. His death came a day after a controversy emerged over control of his work, with a federal lawsuit alleging that Indiana had been isolated from his loved ones, and that his art had been exploited for profit. The case involves an art publisher and a caretaker who had been granted power of attorney, as \u003ca href=\"https://www.nytimes.com/2018/05/21/arts/design/robert-indiana-vanished-artist.html\" target=\"_blank\" rel=\"noopener\">The New York Times reports\u003c/a>.\u003c/p>\n\u003cp>Born Robert Clark, the artist changed his name to Indiana as a reference to his home state. In 1946, he had turned down a chance to go to art school in order to enlist in the Air Force. After he left the service, Indiana attended the School of the Art Institute of Chicago under the G.I. Bill.\u003c/p>\n\u003cfigure id=\"attachment_13833136\" 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/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg\" alt=\"Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He's seen here in his studio in Vinalhaven, Me., in 2008.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He’s seen here in his studio in Vinalhaven, Me., in 2008. \u003ccite>(Joel Page/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indiana moved to New York City in the 1950s, meeting artists such as Ellsworth Kelly and Cy Twombly and working a string of jobs as he honed his art. In the 1960s, he began making one-word paintings and met Andy Warhol and other influential artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The work \u003cem>LOVE\u003c/em> began as a Christmas card that was commissioned by The Museum of Modern Art in 1965. At the time, Indiana was nearly 40 years old and had enjoyed success as an artist in New York – but nothing like what was awaiting him.\u003c/p>\n\u003cfigure id=\"attachment_13833137\" 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/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg\" alt=\"In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia's LOVE Park -- officially known as John F. Kennedy Plaza\" width=\"800\" height=\"1068\" class=\"size-medium wp-image-13833137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1020x1362.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-899x1200.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1180x1575.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-960x1282.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-375x501.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-520x694.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1.jpg 1254w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia’s LOVE Park — officially known as John F. Kennedy Plaza \u003ccite>(Mike Mergen/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The painting quickly became a symbol of the flower-powered ’60s; in the years since, it has persisted as both a pop symbol and an elegant reminder of a core human emotion.\u003c/p>\n\u003cp>Indiana created a 6-by-6 feet painting of the work \u003ca href=\"http://robertindiana.com/works/love-5/\" target=\"_blank\" rel=\"noopener\">in 1966\u003c/a>; he would go on to turn it into sculptures; and in the 1970s, \u003cem>LOVE\u003c/em> became a U.S. postage stamp.\u003c/p>\n\u003cp>For Indiana, who once called himself simply an American sign painter, the now-iconic design followed early iterations that highlighted the word “love,” including a 1961 work titled \u003cem>Four Star Love\u003c/em>. He also presented it as a play on the phrase “God is love,” creating a circle in 1964 that framed the message \u003cem>Love Is God\u003c/em>.\u003c/p>\n\u003cp>For Indiana, it was his own translation of a phrase he often heard during his youth, when he was being raised as a Christian Scientist.\u003c/p>\n\u003cp>In different presentations, Indiana also used a range of contrasting colors to highlight \u003cem>LOVE.\u003c/em> But the colors of the first version hint at the deep meaning the work had in the artist’s own life.\u003c/p>\n\u003cp>“The red and the green came from the Philips 66 gas sign,” Indianapolis Museum of Art curator Martin Krause \u003ca href=\"https://www.npr.org/2014/01/05/259408158/robert-indiana-a-career-defined-by-love-no-longer\">told NPR in 2014\u003c/a>. “His father worked for Philips 66, and he remembered that combination; it fixed itself in his mind. And when he began making the \u003cem>LOVE\u003c/em> paintings in 1965, his father died. So the red and green of the [MoMA] \u003cem>LOVE\u003c/em> painting, silhouetted against the blue Indiana sky, is in memoriam of his father.”\u003c/p>\n\u003cp>https://twitter.com/VeroneseCris/status/998879278652682240\u003c/p>\n\u003cp>As Indiana told NPR in the same 2014 report, “Everything is relating to my own life.”\u003c/p>\n\u003cfigure id=\"attachment_13833138\" 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/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg\" alt='A Robert Indiana installation of \"AMOR\" on exhibit in Piazza della Scala in Milan, Italy, in 2008' width=\"800\" height=\"450\" class=\"size-medium wp-image-13833138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Robert Indiana installation of “AMOR” on exhibit in Piazza della Scala in Milan, Italy, in 2008 \u003ccite>(Vittorio Zunino Celotto/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That message now stands in cities around the world, from New York City and Philadelphia — home of the famous LOVE Park — to Tokyo and Singapore. In some cases, \u003cem>LOVE\u003c/em> remains in its original form. It’s also been translated into Spanish, Hebrew and other languages.\u003c/p>\n\u003cp>Other works by Indiana serve as reminders of his mother – particularly the one-word piece \u003cem>HUG\u003c/em>, from the early 1960s. Other paintings juxtapose the words “EAT” and “DIE.”\u003c/p>\n\u003cp>“‘Hug’ is my mother’s word for affection,” Indiana told NPR. “‘Eat’ was the last word that she said before she died.\u003c/p>\n\u003cp>https://twitter.com/Bucks/status/998732503451033600\u003c/p>\n\u003cp>After his breakthrough success, Indiana was commissioned to design a hardwood basketball court for the \u003ca href=\"https://twitter.com/Bucks/status/998732503451033600\" target=\"_blank\" rel=\"noopener\">NBA’s Milwaukee Bucks,\u003c/a> featuring bright yellow paint and the arena’s nickname (the MECCA), along with two gigantic M’s.\u003c/p>\n\u003cp>But decades after creating \u003cem>LOVE\u003c/em> and other popular works, including the similarly designed \u003cem>HOPE\u003c/em>, Indiana complained that the art world had shunned him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“\u003cem>LOVE\u003c/em> bit me,” Indiana said in 2014. “It was a marvelous idea, but it was also a terrible mistake. It became too popular; it became too popular. And there are people who don’t like popularity. It’s much better to be exclusive and remote. That’s why I’m on an island off the coast of Maine, you see.” \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=Artist+Robert+Indiana+Dies+At+89%3A+The+Story+Behind+%27LOVE%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Fifty years ago, his \u003cem>LOVE \u003c/em>painting made Robert Indiana a worldwide sensation. But for the artist, the work also had an intensely personal meaning.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years after his \u003cem>LOVE\u003c/em> painting made Robert Indiana a sensation, the artist has died at the age of 89. \u003c/p>\n\u003cp>Indiana’s two-row rendering of the word, with its tilted “O,” became one of the most recognizable works of modern art in the world. The famous design emerged from deep influences in Indiana’s life, from his early exposure to religion to his father’s career.\u003c/p>\n\u003cp>Indiana died Saturday at his home in Vinalhaven, Maine. His death came a day after a controversy emerged over control of his work, with a federal lawsuit alleging that Indiana had been isolated from his loved ones, and that his art had been exploited for profit. The case involves an art publisher and a caretaker who had been granted power of attorney, as \u003ca href=\"https://www.nytimes.com/2018/05/21/arts/design/robert-indiana-vanished-artist.html\" target=\"_blank\" rel=\"noopener\">The New York Times reports\u003c/a>.\u003c/p>\n\u003cp>Born Robert Clark, the artist changed his name to Indiana as a reference to his home state. In 1946, he had turned down a chance to go to art school in order to enlist in the Air Force. After he left the service, Indiana attended the School of the Art Institute of Chicago under the G.I. Bill.\u003c/p>\n\u003cfigure id=\"attachment_13833136\" 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/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg\" alt=\"Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He's seen here in his studio in Vinalhaven, Me., in 2008.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He’s seen here in his studio in Vinalhaven, Me., in 2008. \u003ccite>(Joel Page/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indiana moved to New York City in the 1950s, meeting artists such as Ellsworth Kelly and Cy Twombly and working a string of jobs as he honed his art. In the 1960s, he began making one-word paintings and met Andy Warhol and other influential artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The work \u003cem>LOVE\u003c/em> began as a Christmas card that was commissioned by The Museum of Modern Art in 1965. At the time, Indiana was nearly 40 years old and had enjoyed success as an artist in New York – but nothing like what was awaiting him.\u003c/p>\n\u003cfigure id=\"attachment_13833137\" 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/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg\" alt=\"In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia's LOVE Park -- officially known as John F. Kennedy Plaza\" width=\"800\" height=\"1068\" class=\"size-medium wp-image-13833137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1020x1362.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-899x1200.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1180x1575.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-960x1282.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-375x501.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-520x694.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1.jpg 1254w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia’s LOVE Park — officially known as John F. Kennedy Plaza \u003ccite>(Mike Mergen/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The painting quickly became a symbol of the flower-powered ’60s; in the years since, it has persisted as both a pop symbol and an elegant reminder of a core human emotion.\u003c/p>\n\u003cp>Indiana created a 6-by-6 feet painting of the work \u003ca href=\"http://robertindiana.com/works/love-5/\" target=\"_blank\" rel=\"noopener\">in 1966\u003c/a>; he would go on to turn it into sculptures; and in the 1970s, \u003cem>LOVE\u003c/em> became a U.S. postage stamp.\u003c/p>\n\u003cp>For Indiana, who once called himself simply an American sign painter, the now-iconic design followed early iterations that highlighted the word “love,” including a 1961 work titled \u003cem>Four Star Love\u003c/em>. He also presented it as a play on the phrase “God is love,” creating a circle in 1964 that framed the message \u003cem>Love Is God\u003c/em>.\u003c/p>\n\u003cp>For Indiana, it was his own translation of a phrase he often heard during his youth, when he was being raised as a Christian Scientist.\u003c/p>\n\u003cp>In different presentations, Indiana also used a range of contrasting colors to highlight \u003cem>LOVE.\u003c/em> But the colors of the first version hint at the deep meaning the work had in the artist’s own life.\u003c/p>\n\u003cp>“The red and the green came from the Philips 66 gas sign,” Indianapolis Museum of Art curator Martin Krause \u003ca href=\"https://www.npr.org/2014/01/05/259408158/robert-indiana-a-career-defined-by-love-no-longer\">told NPR in 2014\u003c/a>. “His father worked for Philips 66, and he remembered that combination; it fixed itself in his mind. And when he began making the \u003cem>LOVE\u003c/em> paintings in 1965, his father died. So the red and green of the [MoMA] \u003cem>LOVE\u003c/em> painting, silhouetted against the blue Indiana sky, is in memoriam of his father.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>As Indiana told NPR in the same 2014 report, “Everything is relating to my own life.”\u003c/p>\n\u003cfigure id=\"attachment_13833138\" 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/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg\" alt='A Robert Indiana installation of \"AMOR\" on exhibit in Piazza della Scala in Milan, Italy, in 2008' width=\"800\" height=\"450\" class=\"size-medium wp-image-13833138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Robert Indiana installation of “AMOR” on exhibit in Piazza della Scala in Milan, Italy, in 2008 \u003ccite>(Vittorio Zunino Celotto/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That message now stands in cities around the world, from New York City and Philadelphia — home of the famous LOVE Park — to Tokyo and Singapore. In some cases, \u003cem>LOVE\u003c/em> remains in its original form. It’s also been translated into Spanish, Hebrew and other languages.\u003c/p>\n\u003cp>Other works by Indiana serve as reminders of his mother – particularly the one-word piece \u003cem>HUG\u003c/em>, from the early 1960s. Other paintings juxtapose the words “EAT” and “DIE.”\u003c/p>\n\u003cp>“‘Hug’ is my mother’s word for affection,” Indiana told NPR. “‘Eat’ was the last word that she said before she died.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After his breakthrough success, Indiana was commissioned to design a hardwood basketball court for the \u003ca href=\"https://twitter.com/Bucks/status/998732503451033600\" target=\"_blank\" rel=\"noopener\">NBA’s Milwaukee Bucks,\u003c/a> featuring bright yellow paint and the arena’s nickname (the MECCA), along with two gigantic M’s.\u003c/p>\n\u003cp>But decades after creating \u003cem>LOVE\u003c/em> and other popular works, including the similarly designed \u003cem>HOPE\u003c/em>, Indiana complained that the art world had shunned him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“\u003cem>LOVE\u003c/em> bit me,” Indiana said in 2014. “It was a marvelous idea, but it was also a terrible mistake. It became too popular; it became too popular. And there are people who don’t like popularity. It’s much better to be exclusive and remote. That’s why I’m on an island off the coast of Maine, you see.” \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=Artist+Robert+Indiana+Dies+At+89%3A+The+Story+Behind+%27LOVE%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The top of the Salesforce Tower has some weird things going on—you might have noticed. Here, I preempt some of the questions you might have about San Francisco-based artist \u003ca href=\"http://www.jimcampbell.tv/\" rel=\"noopener\" target=\"_blank\">Jim Campbell\u003c/a>’s installation atop the building, which begins its illuminated life Tuesday night, May 22.\u003c/p>\n\u003cp>\u003cb>What is going on?\u003c/b>\u003c/p>\n\u003cp>Okay, so there’s this thing called the internet. It facilitates this other thing called cloud computing. And Salesforce is one of the biggest cloud computing companies in the U.S.; the author of a customer relationship management (CRM) product that inspires fervent fandom. If you don’t work in the world of CRM-facilitated customer relationships, you may know them better for their annual impact upon San Francisco’s hotel bookings: Dreamforce, \u003ca href=\"http://www.businessinsider.com/salesforces-dreamboat-for-dreamforce-2015-9\" rel=\"noopener\" target=\"_blank\">the conference that filled a thousand ships\u003c/a>.\u003c/p>\n\u003cp>\u003cb>No, what’s going on with the lights on the tower?\u003c/b>\u003c/p>\n\u003cp>I was getting there. Patience. On April 11, 2014, Salesforce signed a lease for roughly half of the 1.4 million square feet in what was previously known as the Transbay Tower, thereby attaching their name to the tallest building in San Francisco. The structure’s top nine floors are unoccupied by people, but the upper six are covered in art; Jim Campbell’s \u003ci>Day for Night\u003c/i>, made up of over 100 aluminum panels and 11,000 LEDs, is a 100-foot-tall circular screen.\u003c/p>\n\u003cfigure id=\"attachment_13832986\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200.jpg\" alt=\"Rendering of Jim Campbell's 'Day for Night,' 2018; Image by Steelblue.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13832986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jim Campbell’s ‘Day for Night,’ 2018; Image by Steelblue. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Okay, so what will I see?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m so glad you asked. Initial tests and interviews with Campbell point to an ever-changing video diary of life in San Francisco. At night, daily footage culled from video cameras placed throughout the city (at Ocean Beach, Golden Gate Park, Market Street, Embarcadero, maybe even the dump) encircle the tower and project softly into the night. Some educated guesses at the imagery: bodies in motion (swimming, running, dancing), puffy clouds, flapping birds, crashing waves and waving leaves. \u003c/p>\n\u003cp>\u003cb>Is it out of focus?\u003c/b>\u003c/p>\n\u003cp>Yes, but it’s supposed to be. Campbell’s known for reducing images down to their constituent parts: pixels. He has a longtime interest in what can be gleaned from the smallest amount of information possible. \u003c/p>\n\u003cp>“If you take away all of the details of an image, is there anything useful from an experience of looking at something that’s low resolution?” he said in a \u003ca href=\"https://www.kqed.org/arts/11086747/watch-jim-campbells-led-images-swimming-through-space\" rel=\"noopener\" target=\"_blank\">2015 interview with KQED Arts\u003c/a>. “Is there some sort of essence that can be found in taking an image and getting rid of most of the information?” I call it hi-tech lo-res. \u003c/p>\n\u003cp>In \u003ci>Day for Night\u003c/i>, the thousands of LEDs point back towards the building itself, to be reflected out into the city (and visible for up to 20 miles) via the perforated aluminum panels that cover the tower’s crown. Instead of a high resolution bombardment you might find in Hong Kong, Times Square or \u003ci>Blade Runner 2049\u003c/i>, Campbell aims for a subtle and more meditative report on the daily movements of people, wind and waves. \u003c/p>\n\u003cfigure id=\"attachment_13833038\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Tilted-plne.jpg\" alt=\"Jim Campbell, 'Tilted Plane,' 2011. \" width=\"850\" height=\"567\" class=\"size-full wp-image-13833038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-520x347.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Jim Campbell, ‘Tilted Plane,’ 2011. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sounds cool. How can I see more Jim Campbell up close?\u003c/b>\u003c/p>\n\u003cp>By happy coincidence (there’s no such thing as coincidences), the seventh floor of SFMOMA currently boasts the Campbell installation \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/jim-campbell-tilted-plane/\" rel=\"noopener\" target=\"_blank\">Tilted Plane\u003c/a>\u003c/i>, a truly disorienting grid of suspended lightbulbs. As your eyes adjust to the array, you may be able to discern a moving image amid the flickering bulbs—that of birds in flight. May I suggest, for those not squeamish about such things, laying on the carpeted floor to look up at the art.\u003c/p>\n\u003cp>\u003cb>How long will the tower thingy be up?\u003c/b>\u003c/p>\n\u003cp>It’s permanent. So… as long as the Salesforce Tower stands.\u003c/p>\n\u003cp>\u003cb>Who paid for it?\u003c/b>\u003c/p>\n\u003cp>Long story short: the Salesforce Tower developers, companies called Hines and Boston Properties. \u003c/p>\n\u003cp>San Francisco has a “\u003ca href=\"https://www.sfartscommission.org/our-role-impact/programs/public-art\" rel=\"noopener\" target=\"_blank\">1%-for-art program\u003c/a>” which requires large downtown projects to display or commission public art in an amount that equals at least one percent of the total construction cost.\u003c/p>\n\u003cp>Developers can handle the process of buying or commissioning works themselves (like the \u003ca href=\"https://www.kqed.org/arts/10943416/below-market-rate-housing-gets-high-end-sol-lewitt-artwork\" rel=\"noopener\" target=\"_blank\">Sol LeWitt at the corner of 10th and Mission\u003c/a>), or dedicate a portion of their one percent to the city’s Public Art Trust, which directs those funds to projects like temporary public art programming (say, a dance festival) or maintaining the Civic Art Collection. \u003c/p>\n\u003cp>Boston Properties and Hines selected \u003ci>Day for Night\u003c/i> on their own (with help from a curatorial panel), without involving the San Francisco Public Art Commission (SFAC), which means Campbell didn’t go through a public review or any of the many steps involved in making new work for the SFAC. The piece did, however, appear before the San Francisco Planning Commission as courtesy. \u003ca href=\"http://commissions.sfplanning.org/cpcpackets/2012.0257EBX.pdf\" rel=\"noopener\" target=\"_blank\">Documents submitted to the commission\u003c/a> state Boston Properties spent, as of April 2017, approximately $4.5 million on the art installation, with another $1 million expected to complete the project, equaling about 1.66 percent of the total construction cost.\u003c/p>\n\u003cfigure id=\"attachment_13832987\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200.jpg\" alt=\"Rendering of Jim Campbell's 'Day for Night,' 2018; Image by Steelblue.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13832987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jim Campbell’s ‘Day for Night,’ 2018; Image by Steelblue. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How long before someone finds the hidden cameras around the city and ruins this for everyone?\u003c/b>\u003c/p>\n\u003cp>Since Campbell’s studio plans to be involved in collecting and editing the video for the first year of the installation, fine-tuning what works when, chances are they’re not going to let people hijack the imagery. \u003c/p>\n\u003cp>\u003cb>Will I like it?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>How should I know? Art is subjective. But at least you’re not in the dark anymore (with regards to what’s going on up there). \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The top of the Salesforce Tower has some weird things going on—you might have noticed. Here, I preempt some of the questions you might have about San Francisco-based artist \u003ca href=\"http://www.jimcampbell.tv/\" rel=\"noopener\" target=\"_blank\">Jim Campbell\u003c/a>’s installation atop the building, which begins its illuminated life Tuesday night, May 22.\u003c/p>\n\u003cp>\u003cb>What is going on?\u003c/b>\u003c/p>\n\u003cp>Okay, so there’s this thing called the internet. It facilitates this other thing called cloud computing. And Salesforce is one of the biggest cloud computing companies in the U.S.; the author of a customer relationship management (CRM) product that inspires fervent fandom. If you don’t work in the world of CRM-facilitated customer relationships, you may know them better for their annual impact upon San Francisco’s hotel bookings: Dreamforce, \u003ca href=\"http://www.businessinsider.com/salesforces-dreamboat-for-dreamforce-2015-9\" rel=\"noopener\" target=\"_blank\">the conference that filled a thousand ships\u003c/a>.\u003c/p>\n\u003cp>\u003cb>No, what’s going on with the lights on the tower?\u003c/b>\u003c/p>\n\u003cp>I was getting there. Patience. On April 11, 2014, Salesforce signed a lease for roughly half of the 1.4 million square feet in what was previously known as the Transbay Tower, thereby attaching their name to the tallest building in San Francisco. The structure’s top nine floors are unoccupied by people, but the upper six are covered in art; Jim Campbell’s \u003ci>Day for Night\u003c/i>, made up of over 100 aluminum panels and 11,000 LEDs, is a 100-foot-tall circular screen.\u003c/p>\n\u003cfigure id=\"attachment_13832986\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200.jpg\" alt=\"Rendering of Jim Campbell's 'Day for Night,' 2018; Image by Steelblue.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13832986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jim Campbell’s ‘Day for Night,’ 2018; Image by Steelblue. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Okay, so what will I see?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m so glad you asked. Initial tests and interviews with Campbell point to an ever-changing video diary of life in San Francisco. At night, daily footage culled from video cameras placed throughout the city (at Ocean Beach, Golden Gate Park, Market Street, Embarcadero, maybe even the dump) encircle the tower and project softly into the night. Some educated guesses at the imagery: bodies in motion (swimming, running, dancing), puffy clouds, flapping birds, crashing waves and waving leaves. \u003c/p>\n\u003cp>\u003cb>Is it out of focus?\u003c/b>\u003c/p>\n\u003cp>Yes, but it’s supposed to be. Campbell’s known for reducing images down to their constituent parts: pixels. He has a longtime interest in what can be gleaned from the smallest amount of information possible. \u003c/p>\n\u003cp>“If you take away all of the details of an image, is there anything useful from an experience of looking at something that’s low resolution?” he said in a \u003ca href=\"https://www.kqed.org/arts/11086747/watch-jim-campbells-led-images-swimming-through-space\" rel=\"noopener\" target=\"_blank\">2015 interview with KQED Arts\u003c/a>. “Is there some sort of essence that can be found in taking an image and getting rid of most of the information?” I call it hi-tech lo-res. \u003c/p>\n\u003cp>In \u003ci>Day for Night\u003c/i>, the thousands of LEDs point back towards the building itself, to be reflected out into the city (and visible for up to 20 miles) via the perforated aluminum panels that cover the tower’s crown. Instead of a high resolution bombardment you might find in Hong Kong, Times Square or \u003ci>Blade Runner 2049\u003c/i>, Campbell aims for a subtle and more meditative report on the daily movements of people, wind and waves. \u003c/p>\n\u003cfigure id=\"attachment_13833038\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Tilted-plne.jpg\" alt=\"Jim Campbell, 'Tilted Plane,' 2011. \" width=\"850\" height=\"567\" class=\"size-full wp-image-13833038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-520x347.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Jim Campbell, ‘Tilted Plane,’ 2011. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sounds cool. How can I see more Jim Campbell up close?\u003c/b>\u003c/p>\n\u003cp>By happy coincidence (there’s no such thing as coincidences), the seventh floor of SFMOMA currently boasts the Campbell installation \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/jim-campbell-tilted-plane/\" rel=\"noopener\" target=\"_blank\">Tilted Plane\u003c/a>\u003c/i>, a truly disorienting grid of suspended lightbulbs. As your eyes adjust to the array, you may be able to discern a moving image amid the flickering bulbs—that of birds in flight. May I suggest, for those not squeamish about such things, laying on the carpeted floor to look up at the art.\u003c/p>\n\u003cp>\u003cb>How long will the tower thingy be up?\u003c/b>\u003c/p>\n\u003cp>It’s permanent. So… as long as the Salesforce Tower stands.\u003c/p>\n\u003cp>\u003cb>Who paid for it?\u003c/b>\u003c/p>\n\u003cp>Long story short: the Salesforce Tower developers, companies called Hines and Boston Properties. \u003c/p>\n\u003cp>San Francisco has a “\u003ca href=\"https://www.sfartscommission.org/our-role-impact/programs/public-art\" rel=\"noopener\" target=\"_blank\">1%-for-art program\u003c/a>” which requires large downtown projects to display or commission public art in an amount that equals at least one percent of the total construction cost.\u003c/p>\n\u003cp>Developers can handle the process of buying or commissioning works themselves (like the \u003ca href=\"https://www.kqed.org/arts/10943416/below-market-rate-housing-gets-high-end-sol-lewitt-artwork\" rel=\"noopener\" target=\"_blank\">Sol LeWitt at the corner of 10th and Mission\u003c/a>), or dedicate a portion of their one percent to the city’s Public Art Trust, which directs those funds to projects like temporary public art programming (say, a dance festival) or maintaining the Civic Art Collection. \u003c/p>\n\u003cp>Boston Properties and Hines selected \u003ci>Day for Night\u003c/i> on their own (with help from a curatorial panel), without involving the San Francisco Public Art Commission (SFAC), which means Campbell didn’t go through a public review or any of the many steps involved in making new work for the SFAC. The piece did, however, appear before the San Francisco Planning Commission as courtesy. \u003ca href=\"http://commissions.sfplanning.org/cpcpackets/2012.0257EBX.pdf\" rel=\"noopener\" target=\"_blank\">Documents submitted to the commission\u003c/a> state Boston Properties spent, as of April 2017, approximately $4.5 million on the art installation, with another $1 million expected to complete the project, equaling about 1.66 percent of the total construction cost.\u003c/p>\n\u003cfigure id=\"attachment_13832987\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200.jpg\" alt=\"Rendering of Jim Campbell's 'Day for Night,' 2018; Image by Steelblue.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13832987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jim Campbell’s ‘Day for Night,’ 2018; Image by Steelblue. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How long before someone finds the hidden cameras around the city and ruins this for everyone?\u003c/b>\u003c/p>\n\u003cp>Since Campbell’s studio plans to be involved in collecting and editing the video for the first year of the installation, fine-tuning what works when, chances are they’re not going to let people hijack the imagery. \u003c/p>\n\u003cp>\u003cb>Will I like it?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>How should I know? Art is subjective. But at least you’re not in the dark anymore (with regards to what’s going on up there). \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "were-still-here-bbqn-while-black-draws-out-oaklanders-in-force",
"title": "'We're Still Here': 'BBQ'n While Black' Draws Oaklanders Out in Force",
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"headTitle": "‘We’re Still Here’: ‘BBQ’n While Black’ Draws Oaklanders Out in Force | KQED",
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"content": "\u003cp>Earlier this month, when a white woman named Jennifer Schulte \u003ca href=\"https://www.youtube.com/watch?v=Fh9D_PUe7QI\" target=\"_blank\" rel=\"noopener noreferrer\">called the police\u003c/a> to complain about black Oakland resident Kenzie Smith’s barbecue at Lake Merritt, she had no idea she was about to create a firestorm.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In the video Smith’s wife, Michelle Dione, captured of the incident, Schulte stayed on the phone with police for hours, at one point claiming that she felt threatened. In the end, no charges were filed and no citations were issued. Instead, the video of Schulte’s racially charged complaint was blasted all over the internet, featured on \u003ca href=\"https://www.kqed.org/forum/2010101865310/bbqn-while-black-rallies-continue-after-racially-charged-lake-merritt-confrontation\" target=\"_blank\" rel=\"noopener noreferrer\">numerous news outlets\u003c/a>, put in the \u003ca href=\"https://www.inverse.com/article/45011-best-bbq-becky-woman-on-the-phone-memes\" target=\"_blank\" rel=\"noopener noreferrer\">social media meme hall of fame\u003c/a> and even parodied in the closing credits of this past week’s \u003ca href=\"https://www.sfgate.com/bayarea/article/SNL-Oakland-BBQ-Becky-Lake-Merritt-12929479.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Jhamel Robinson, owner of \u003ca href=\"http://www.therealoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Real Oakland\u003c/a> apparel line, saw the incident as an opportunity to reignite the flame of community empowerment that makes Oakland, Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13832889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832889\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/703A5003-800x1200.jpg\" alt=\"After a white woman made a racially charged police complaint about a black family barbecuing, black Oaklanders made their presence known at BBQ'n While Black on May 20.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After a white woman made a racially charged police complaint about a black family barbecuing, black Oaklanders made their presence known at BBQ’n While Black on May 20. \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with Logan Cortez, Robinson organized a protest unlike any other: a barbecue protest. On May 20, Oakland’s African-American residents came out to Lake Merritt in force for “BBQ’n While Black,” making their presence felt while enjoying a hot link or two.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>People showed up to the lake in A’s hats, African head wraps, Warriors jerseys and white T-shirts. Bike clubs, business owners and big names—like Angela Davis and Mistah F.A.B.—came out to support the event. One person was even there with an image of Schulte making the immortal phone call that sparked it all.\u003c/p>\n\u003cp>I pulled up on bike, a wise choice as Lakeshore Avenue and the surrounding streets were gridlocked from the amount of people trying to get to the festivities. I locked up my ride and walked Lake Merritt’s eastern shore, taking it all in: hundreds of people, many of them walking, some sitting at tables and selling jewelry or clothes. A bunch more chilled in tents and on blankets. And there was even a teepee!\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"none\" ids=\"13832890,13832891,13832892,13832894,13832896,13832897\" orderby=\"rand\"]\u003c/p>\n\u003cp>There were too many handshakes, hugs, jokes and barbecue grills to count. It reminded me of the Festival at the Lake from the early ’90s—an event I remember, but was too young to fully enjoy.\u003c/p>\n\u003cp>I wasn’t the only one who was reminded of late-’80s and early-’90s gatherings by the lake, when African Americans made up 44 percent of Oakland’s total population. Now, that figure is closer to 24 percent and steadily decreasing, as a number of African-American residents have been pushed out due to absurdly high rents and foreclosures on properties. And with that change in demographics, the culture has shifted as well. Jennifer Schulte isn’t the only one complaining about African-American people gathered at the lake.\u003c/p>\n\u003cfigure id=\"attachment_13832893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13832893 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/703A5084-800x533.jpg\" alt=\"The author, Pendarvis Harshaw, and his daughter at BBQ'n While Back.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The author, Pendarvis Harshaw, and his daughter at “BBQ’n While Back.” \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past few years, there have been numerous examples of this type of culture clash, including another white woman calling the police on \u003ca href=\"https://www.kqed.org/arts/12032680/noise-complaint-sparks-demonstration-of-street-music-oakland-culture\" target=\"_blank\" rel=\"noopener noreferrer\">Drummer Boy Aaron\u003c/a> and police cracking down on—you guessed it—\u003ca href=\"https://www.sfchronicle.com/opinion/article/Let-Oakland-s-Lake-Merritt-good-times-roll-6364382.php\" target=\"_blank\" rel=\"noopener noreferrer\">barbecues\u003c/a>.\u003c/p>\n\u003cp>But this time, the people weren’t going for it. The organizers, Cortez and Robinson, worked with law enforcement and city officials to ensure they had proper traffic management and permits. “I’m glad the cops were there,” said Robinson. “Not because I felt like something was going to happen, but because we went through so much to get the permits. They helped guide traffic and made sure we were able to do our own thing.”\u003c/p>\n\u003cp>https://twitter.com/ShelleDione/status/998622334717124609\u003c/p>\n\u003cp>During a phone call Monday morning, Robinson expressed how appreciative he was that the community showed up as it did. “People didn’t know I was one of the organizers, but I am grateful they believed in the vision of what we were doing,” he said. “It’s not that we’re taking our city back, but that we aren’t going anywhere. Even though we’ve been gentrified out, we’re still here.”\u003c/p>\n\u003cp>He told me that he talked to people who came from miles away, even as far as L.A. Robinson, an Oakland guy who I’ve known since our teenage years, now lives in Sacramento, and is a prime example of how people who grew up here have been displaced. For him to take it upon himself to play a major part in organizing this event speaks volumes about the feeling people have about the Oakland they once knew.\u003c/p>\n\u003cp>https://twitter.com/balleralert/status/998413350076846085\u003c/p>\n\u003cp>“It restores the pride we have already,” said Robinson. “People are asking when we’re doing the next one, because people want that feeling again.”\u003c/p>\n\u003cp>Robinson said he’s currently planning a back-to-school event for later in the summer, an event that will address a constellation of ongoing social issues—like the lack of low-income housing, the failing OUSD school system and racial health disparities in certain communities of Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I look forward to the next gathering. Until then, I’m going to enjoy the photos, videos and memories of the day that was the biggest, best black barbecue protest I have ever seen.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month, when a white woman named Jennifer Schulte \u003ca href=\"https://www.youtube.com/watch?v=Fh9D_PUe7QI\" target=\"_blank\" rel=\"noopener noreferrer\">called the police\u003c/a> to complain about black Oakland resident Kenzie Smith’s barbecue at Lake Merritt, she had no idea she was about to create a firestorm.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In the video Smith’s wife, Michelle Dione, captured of the incident, Schulte stayed on the phone with police for hours, at one point claiming that she felt threatened. In the end, no charges were filed and no citations were issued. Instead, the video of Schulte’s racially charged complaint was blasted all over the internet, featured on \u003ca href=\"https://www.kqed.org/forum/2010101865310/bbqn-while-black-rallies-continue-after-racially-charged-lake-merritt-confrontation\" target=\"_blank\" rel=\"noopener noreferrer\">numerous news outlets\u003c/a>, put in the \u003ca href=\"https://www.inverse.com/article/45011-best-bbq-becky-woman-on-the-phone-memes\" target=\"_blank\" rel=\"noopener noreferrer\">social media meme hall of fame\u003c/a> and even parodied in the closing credits of this past week’s \u003ca href=\"https://www.sfgate.com/bayarea/article/SNL-Oakland-BBQ-Becky-Lake-Merritt-12929479.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Jhamel Robinson, owner of \u003ca href=\"http://www.therealoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Real Oakland\u003c/a> apparel line, saw the incident as an opportunity to reignite the flame of community empowerment that makes Oakland, Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13832889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832889\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/703A5003-800x1200.jpg\" alt=\"After a white woman made a racially charged police complaint about a black family barbecuing, black Oaklanders made their presence known at BBQ'n While Black on May 20.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5003.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After a white woman made a racially charged police complaint about a black family barbecuing, black Oaklanders made their presence known at BBQ’n While Black on May 20. \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with Logan Cortez, Robinson organized a protest unlike any other: a barbecue protest. On May 20, Oakland’s African-American residents came out to Lake Merritt in force for “BBQ’n While Black,” making their presence felt while enjoying a hot link or two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People showed up to the lake in A’s hats, African head wraps, Warriors jerseys and white T-shirts. Bike clubs, business owners and big names—like Angela Davis and Mistah F.A.B.—came out to support the event. One person was even there with an image of Schulte making the immortal phone call that sparked it all.\u003c/p>\n\u003cp>I pulled up on bike, a wise choice as Lakeshore Avenue and the surrounding streets were gridlocked from the amount of people trying to get to the festivities. I locked up my ride and walked Lake Merritt’s eastern shore, taking it all in: hundreds of people, many of them walking, some sitting at tables and selling jewelry or clothes. A bunch more chilled in tents and on blankets. And there was even a teepee!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There were too many handshakes, hugs, jokes and barbecue grills to count. It reminded me of the Festival at the Lake from the early ’90s—an event I remember, but was too young to fully enjoy.\u003c/p>\n\u003cp>I wasn’t the only one who was reminded of late-’80s and early-’90s gatherings by the lake, when African Americans made up 44 percent of Oakland’s total population. Now, that figure is closer to 24 percent and steadily decreasing, as a number of African-American residents have been pushed out due to absurdly high rents and foreclosures on properties. And with that change in demographics, the culture has shifted as well. Jennifer Schulte isn’t the only one complaining about African-American people gathered at the lake.\u003c/p>\n\u003cfigure id=\"attachment_13832893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13832893 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/703A5084-800x533.jpg\" alt=\"The author, Pendarvis Harshaw, and his daughter at BBQ'n While Back.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5084-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The author, Pendarvis Harshaw, and his daughter at “BBQ’n While Back.” \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past few years, there have been numerous examples of this type of culture clash, including another white woman calling the police on \u003ca href=\"https://www.kqed.org/arts/12032680/noise-complaint-sparks-demonstration-of-street-music-oakland-culture\" target=\"_blank\" rel=\"noopener noreferrer\">Drummer Boy Aaron\u003c/a> and police cracking down on—you guessed it—\u003ca href=\"https://www.sfchronicle.com/opinion/article/Let-Oakland-s-Lake-Merritt-good-times-roll-6364382.php\" target=\"_blank\" rel=\"noopener noreferrer\">barbecues\u003c/a>.\u003c/p>\n\u003cp>But this time, the people weren’t going for it. The organizers, Cortez and Robinson, worked with law enforcement and city officials to ensure they had proper traffic management and permits. “I’m glad the cops were there,” said Robinson. “Not because I felt like something was going to happen, but because we went through so much to get the permits. They helped guide traffic and made sure we were able to do our own thing.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>During a phone call Monday morning, Robinson expressed how appreciative he was that the community showed up as it did. “People didn’t know I was one of the organizers, but I am grateful they believed in the vision of what we were doing,” he said. “It’s not that we’re taking our city back, but that we aren’t going anywhere. Even though we’ve been gentrified out, we’re still here.”\u003c/p>\n\u003cp>He told me that he talked to people who came from miles away, even as far as L.A. Robinson, an Oakland guy who I’ve known since our teenage years, now lives in Sacramento, and is a prime example of how people who grew up here have been displaced. For him to take it upon himself to play a major part in organizing this event speaks volumes about the feeling people have about the Oakland they once knew.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“It restores the pride we have already,” said Robinson. “People are asking when we’re doing the next one, because people want that feeling again.”\u003c/p>\n\u003cp>Robinson said he’s currently planning a back-to-school event for later in the summer, an event that will address a constellation of ongoing social issues—like the lack of low-income housing, the failing OUSD school system and racial health disparities in certain communities of Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I look forward to the next gathering. Until then, I’m going to enjoy the photos, videos and memories of the day that was the biggest, best black barbecue protest I have ever seen.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering a Warriors Superhero, On and Off the Court",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Warriors are everywhere these days: the top of Tribune Tower illuminated in blue and gold, AC Transit buses with “Go Warriors” in the front digital display. Even the man pushing a cart past me last week wore a long Warriors banner tied around his neck and draped down his back, as if it were a cape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I walked past him and entered Halftime Sports Bar, where my best friend Jesus El sat. I knew he wasn’t doing well—the bar was nearly empty, and as I started to ask why he was watching the hockey game on the mounted TV, I realized he was staring blankly through the screen.\u003c/p>\n\u003cp>Jesus was mourning the death of a superhero.\u003c/p>\n\u003cp>Sadiki Fuller, the former Golden State Warriors mascot, had been found dead just a few days prior, leaving behind his mother, two biological sisters, and hundreds of fans who knew him as Thunder, the team’s high-flying mascot in blue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sadiki also left behind a number of younger people he’d mentored. Jesus was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13832829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832829\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-800x600.png\" alt='Sadiki Fuller went from NBA mascot to standup comic without missing a beat. \"He had a gift,\" said former Houston Rockets mascot Jerry Burrell.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-240x180.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-375x281.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-520x390.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite.png 942w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadiki Fuller went from NBA mascot to standup comic without missing a beat. “He had a gift,” said former Houston Rockets mascot Jerry Burrell. \u003ccite>(via sadikifuller.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadiki had come into Jesus’ life with the same prescient timing that brought him into the Warriors’ organization—during a period when his talents, wisdom and uplifting spirit were most needed. During a time when the Warriors definitely were \u003cem>not\u003c/em> everywhere.\u003c/p>\n\u003cp>Jesus and Sadiki’s relationship was the stuff of mythological folklore; a chance meeting leads to a call to action, resulting in life-changing circumstances in which both emerge better for having traveled the journey together. Especially Jesus.\u003c/p>\n\u003cp>Last week when I sat down with Jesus at the bar, he summed it up by saying to me, “No one prepares you for your hero to die.”\u003c/p>\n\u003cfigure id=\"attachment_13832832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832832\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-800x800.jpg\" alt=\"Thunder hitting a dunk for the fans outside the arena, 1990s.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thunder hitting a dunk for the fans outside the arena, 1990s. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>esus—or Zeus, as many people call him—was in elementary school when he first saw Thunder perform, watching in awe as the man in full-body spandex flew off a trampoline, hit flips and dunked basketballs with ease.\u003c/p>\n\u003cp>The next year, Zeus and Sadiki’s paths crossed again. Zeus, one of the millions of kids with an outlandish dream of becoming a superhero, asked the masked man how he could be like him. Sadiki, from behind the mesh face-wear, simply said, “Go to Head Over Heels.”\u003c/p>\n\u003cp>Zeus went home, found Head Over Heels under “Gyms” in the Yellow Pages, and called the number. The organization offered Zeus free gymnastics classes in exchange for working—cleaning everything from dishes to gym mats.\u003c/p>\n\u003cp>Zeus did that for a year, calling Thunder’s office number everyday along the way, just to tell him about his progress. Until one day, Thunder invited Zeus down to the Warriors headquarters.\u003c/p>\n\u003cp>Zeus didn’t know it at the time, but Sadiki Fuller was giving him something more than access to a professional NBA facility. He was passing down the torch of mentorship; unveiling the real path to becoming a superhero.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bi6EBLGnbBL/?taken-by=zeusdadunka\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> couple of days ago, I talked to Sadiki’s mother, Brenda Orr, who told me about his childhood in Houston, Texas. “His first love was gymnastics. He loved to flip, and do acrobatic things,” Orr told me. “He would teach all the kids in the neighborhood. He had his own gymnastics class on my front lawn; we could never grow grass because he was always flipping on it!”\u003c/p>\n\u003cp>On the conference call, including his two sisters, Aiisha and Jari, they told me story after story exemplifying Sadiki’s charisma and leadership.\u003c/p>\n\u003cp>“A couple of years ago, I had my 40th birthday. He showed up, and I was outside socializing,” said Aiisha. “By the time I realized he was there, all my friends were charmed by him. He told everyone he was hugger, and he went around and hugged each and every one of them.”\u003c/p>\n\u003cp>That charisma, charm and urge to uplift others is what made him standout, both socially and professionally. Jerry Burrell, former mascot for the Houston Rockets, says he first met Sadiki in 1994, when he was looking for guys to be a part of a dunk team—not just any dunk team, but a team of superheroes.\u003c/p>\n\u003cp>“He was tall and skinny, and didn’t look like a superhero, so I blew him off,” Burrell told me. “But he kept calling me.”\u003c/p>\n\u003cp>Burrell kept Sadiki as a backup dunker, but Sadiki soon got his time to shine. One day, as the team packed their belongings after a show at a high school, a crowd of people gathered to compliment them on their performance. Next thing Burrell knew, “(Sadiki) was making little kids balloon animals, and at one point he did a flip. He was tying it all together with funny anecdotes and references. He had them eating out of his hand,” said Burrell.\u003c/p>\n\u003cp>“I realized that I had gotten him wrong,” said Burrell, who quickly brought Sadiki onto his High Impact Squad. “It didn’t matter that he didn’t have the ‘superhero look.’ He had a gift.”\u003c/p>\n\u003cfigure id=\"attachment_13832828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-800x572.jpg\" alt=\"Sadiki Fuller, always outgoing, twisting balloons on the court.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1200x858.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadiki Fuller, always outgoing, twisting balloons on the court. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Warriors discovered Sadiki’s gift two years later, after the team abandoned a failed experiment with a mascot by the name of Berserker. A Warriors rep had caught wind of Sadiki’s talents, and brought him on board to play a new, more acrobatic mascot, named Thunder.\u003c/p>\n\u003cp>Sadiki would go on to dunk, flip and fly through the air at Warriors games, in schools and at social events for the next five years—a particularly downtrodden era for Warriors fandom. (As \u003ca href=\"https://www.nytimes.com/2016/03/30/sports/basketball/golden-state-warriors-mascot-thunder-sadiki-fuller.html\" target=\"_blank\" rel=\"noopener noreferrer\">a \u003cem>New York Times\u003c/em> piece on Sadiki\u003c/a> notes, the Warriors went 97-281 during his tenure.) But that didn’t matter to Sadiki. When he performed, he’d go all in. He’d breakdance at center court. He’d hit handstands, and while inverted, he’d kick his legs in rhythm to the music on the stadium’s PA system. Solely by using body language—his face shrouded by a mask—he’d convey excitement.\u003c/p>\n\u003cp>And of course, when it was time, he’d hit a trampoline that was held in place by his young assistant, Zeus, take to the sky like a rocket, and then come down while slamming the ball with the power of Shango—lighting up the Oracle with wild cheers.\u003c/p>\n\u003cp>https://twitter.com/warriors/status/997193788882866178\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n other words, Sadiki kept people smiling during the dark ages. He was the life of the party. And when he wasn’t on the court, hitting flips and uplifting spirits, he was busy forming his own dunk team—Team Thunder.\u003c/p>\n\u003cp>“He always told us his goal wasn’t to make us better dunkers or performers, but to make us better men,” said Eddie Johnson, one of the original members of Team Thunder. Johnson, who Sadiki recruited after seeing his Taekwondo performance at a Warriors game, dunked for years with Team Thunder—which eventually morphed into the Flying Dubs after the Seattle Supersonics rebranded themselves as the Oklahoma City Thunder.\u003c/p>\n\u003cp>In fact, the Supersonics’ name change had further impact: to avoid confusion, the Warriors decided to part ways with their mascot, Thunder. Sadiki took it as a sign to move to Los Angeles and pursue his dream of standup comedy, which he performed for the past 15 years with relative success (including one time he got to imitate Chris Rock—\u003ca href=\"https://www.youtube.com/watch?v=n-glDhAFLJA&feature=youtu.be&t=2m35s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>in front of\u003c/em> Chris Rock\u003c/a>).\u003c/p>\n\u003cp>But during his time flying through the air in Oakland for screaming fans, Sadiki quietly showed a handful of young men a better path in life.\u003c/p>\n\u003cfigure id=\"attachment_13832830\" class=\"wp-caption aligncenter\" style=\"max-width: 743px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832830\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels.jpg\" alt=\"Zeus teaches a new generation at Head Over Heels gym in Emeryville.\" width=\"743\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels.jpg 743w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-150x150.jpg 150w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003cfigcaption class=\"wp-caption-text\">Zeus teaches a new generation at Head Over Heels gym in Emeryville. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although he never became an official NBA mascot himself, Zeus worked as the Oakland A’s mascot, Stomper, for a year. He’s also traveled the world by acro-dunking, performing at many NBA games as well as schools and youth centers. He’s earned a couple of plaques from the Guinness Book of World Records for acrobatic slam-dunking. And he even has a photo with Beyoncé from an NBA All-Star Game in Denver—his second-most major accomplishment, in my eyes.\u003c/p>\n\u003cp>His first, of course, is the long-running mentorship program he and other members of the Flying Dubs continue to run to this day, even after the Warriors discontinued their involvement with the dunk team a few seasons ago.\u003c/p>\n\u003cp>Johnson, now a father of four, focuses much of his time and energy on his family these days. But every once in a while, he makes the journey to Head Over Heels gymnasium in Emeryville, where his former dunk team teammate, Zeus, teaches young people the art of gymnastics, acrobatic slam dunking and life skills, for free. Giving them the same path he got from Sadiki years ago.\u003c/p>\n\u003cp>The path of a superhero.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As Thunder, Sadiki Fuller gave fans hope—and, before his death this month, mentored a new generation of young men.",
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"title": "Remembering a Warriors Superhero, On and Off the Court | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Warriors are everywhere these days: the top of Tribune Tower illuminated in blue and gold, AC Transit buses with “Go Warriors” in the front digital display. Even the man pushing a cart past me last week wore a long Warriors banner tied around his neck and draped down his back, as if it were a cape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I walked past him and entered Halftime Sports Bar, where my best friend Jesus El sat. I knew he wasn’t doing well—the bar was nearly empty, and as I started to ask why he was watching the hockey game on the mounted TV, I realized he was staring blankly through the screen.\u003c/p>\n\u003cp>Jesus was mourning the death of a superhero.\u003c/p>\n\u003cp>Sadiki Fuller, the former Golden State Warriors mascot, had been found dead just a few days prior, leaving behind his mother, two biological sisters, and hundreds of fans who knew him as Thunder, the team’s high-flying mascot in blue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sadiki also left behind a number of younger people he’d mentored. Jesus was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13832829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832829\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-800x600.png\" alt='Sadiki Fuller went from NBA mascot to standup comic without missing a beat. \"He had a gift,\" said former Houston Rockets mascot Jerry Burrell.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-240x180.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-375x281.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-520x390.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite.png 942w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadiki Fuller went from NBA mascot to standup comic without missing a beat. “He had a gift,” said former Houston Rockets mascot Jerry Burrell. \u003ccite>(via sadikifuller.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadiki had come into Jesus’ life with the same prescient timing that brought him into the Warriors’ organization—during a period when his talents, wisdom and uplifting spirit were most needed. During a time when the Warriors definitely were \u003cem>not\u003c/em> everywhere.\u003c/p>\n\u003cp>Jesus and Sadiki’s relationship was the stuff of mythological folklore; a chance meeting leads to a call to action, resulting in life-changing circumstances in which both emerge better for having traveled the journey together. Especially Jesus.\u003c/p>\n\u003cp>Last week when I sat down with Jesus at the bar, he summed it up by saying to me, “No one prepares you for your hero to die.”\u003c/p>\n\u003cfigure id=\"attachment_13832832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832832\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-800x800.jpg\" alt=\"Thunder hitting a dunk for the fans outside the arena, 1990s.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thunder hitting a dunk for the fans outside the arena, 1990s. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>esus—or Zeus, as many people call him—was in elementary school when he first saw Thunder perform, watching in awe as the man in full-body spandex flew off a trampoline, hit flips and dunked basketballs with ease.\u003c/p>\n\u003cp>The next year, Zeus and Sadiki’s paths crossed again. Zeus, one of the millions of kids with an outlandish dream of becoming a superhero, asked the masked man how he could be like him. Sadiki, from behind the mesh face-wear, simply said, “Go to Head Over Heels.”\u003c/p>\n\u003cp>Zeus went home, found Head Over Heels under “Gyms” in the Yellow Pages, and called the number. The organization offered Zeus free gymnastics classes in exchange for working—cleaning everything from dishes to gym mats.\u003c/p>\n\u003cp>Zeus did that for a year, calling Thunder’s office number everyday along the way, just to tell him about his progress. Until one day, Thunder invited Zeus down to the Warriors headquarters.\u003c/p>\n\u003cp>Zeus didn’t know it at the time, but Sadiki Fuller was giving him something more than access to a professional NBA facility. He was passing down the torch of mentorship; unveiling the real path to becoming a superhero.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> couple of days ago, I talked to Sadiki’s mother, Brenda Orr, who told me about his childhood in Houston, Texas. “His first love was gymnastics. He loved to flip, and do acrobatic things,” Orr told me. “He would teach all the kids in the neighborhood. He had his own gymnastics class on my front lawn; we could never grow grass because he was always flipping on it!”\u003c/p>\n\u003cp>On the conference call, including his two sisters, Aiisha and Jari, they told me story after story exemplifying Sadiki’s charisma and leadership.\u003c/p>\n\u003cp>“A couple of years ago, I had my 40th birthday. He showed up, and I was outside socializing,” said Aiisha. “By the time I realized he was there, all my friends were charmed by him. He told everyone he was hugger, and he went around and hugged each and every one of them.”\u003c/p>\n\u003cp>That charisma, charm and urge to uplift others is what made him standout, both socially and professionally. Jerry Burrell, former mascot for the Houston Rockets, says he first met Sadiki in 1994, when he was looking for guys to be a part of a dunk team—not just any dunk team, but a team of superheroes.\u003c/p>\n\u003cp>“He was tall and skinny, and didn’t look like a superhero, so I blew him off,” Burrell told me. “But he kept calling me.”\u003c/p>\n\u003cp>Burrell kept Sadiki as a backup dunker, but Sadiki soon got his time to shine. One day, as the team packed their belongings after a show at a high school, a crowd of people gathered to compliment them on their performance. Next thing Burrell knew, “(Sadiki) was making little kids balloon animals, and at one point he did a flip. He was tying it all together with funny anecdotes and references. He had them eating out of his hand,” said Burrell.\u003c/p>\n\u003cp>“I realized that I had gotten him wrong,” said Burrell, who quickly brought Sadiki onto his High Impact Squad. “It didn’t matter that he didn’t have the ‘superhero look.’ He had a gift.”\u003c/p>\n\u003cfigure id=\"attachment_13832828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-800x572.jpg\" alt=\"Sadiki Fuller, always outgoing, twisting balloons on the court.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1200x858.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadiki Fuller, always outgoing, twisting balloons on the court. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Warriors discovered Sadiki’s gift two years later, after the team abandoned a failed experiment with a mascot by the name of Berserker. A Warriors rep had caught wind of Sadiki’s talents, and brought him on board to play a new, more acrobatic mascot, named Thunder.\u003c/p>\n\u003cp>Sadiki would go on to dunk, flip and fly through the air at Warriors games, in schools and at social events for the next five years—a particularly downtrodden era for Warriors fandom. (As \u003ca href=\"https://www.nytimes.com/2016/03/30/sports/basketball/golden-state-warriors-mascot-thunder-sadiki-fuller.html\" target=\"_blank\" rel=\"noopener noreferrer\">a \u003cem>New York Times\u003c/em> piece on Sadiki\u003c/a> notes, the Warriors went 97-281 during his tenure.) But that didn’t matter to Sadiki. When he performed, he’d go all in. He’d breakdance at center court. He’d hit handstands, and while inverted, he’d kick his legs in rhythm to the music on the stadium’s PA system. Solely by using body language—his face shrouded by a mask—he’d convey excitement.\u003c/p>\n\u003cp>And of course, when it was time, he’d hit a trampoline that was held in place by his young assistant, Zeus, take to the sky like a rocket, and then come down while slamming the ball with the power of Shango—lighting up the Oracle with wild cheers.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n other words, Sadiki kept people smiling during the dark ages. He was the life of the party. And when he wasn’t on the court, hitting flips and uplifting spirits, he was busy forming his own dunk team—Team Thunder.\u003c/p>\n\u003cp>“He always told us his goal wasn’t to make us better dunkers or performers, but to make us better men,” said Eddie Johnson, one of the original members of Team Thunder. Johnson, who Sadiki recruited after seeing his Taekwondo performance at a Warriors game, dunked for years with Team Thunder—which eventually morphed into the Flying Dubs after the Seattle Supersonics rebranded themselves as the Oklahoma City Thunder.\u003c/p>\n\u003cp>In fact, the Supersonics’ name change had further impact: to avoid confusion, the Warriors decided to part ways with their mascot, Thunder. Sadiki took it as a sign to move to Los Angeles and pursue his dream of standup comedy, which he performed for the past 15 years with relative success (including one time he got to imitate Chris Rock—\u003ca href=\"https://www.youtube.com/watch?v=n-glDhAFLJA&feature=youtu.be&t=2m35s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>in front of\u003c/em> Chris Rock\u003c/a>).\u003c/p>\n\u003cp>But during his time flying through the air in Oakland for screaming fans, Sadiki quietly showed a handful of young men a better path in life.\u003c/p>\n\u003cfigure id=\"attachment_13832830\" class=\"wp-caption aligncenter\" style=\"max-width: 743px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832830\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels.jpg\" alt=\"Zeus teaches a new generation at Head Over Heels gym in Emeryville.\" width=\"743\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels.jpg 743w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-150x150.jpg 150w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003cfigcaption class=\"wp-caption-text\">Zeus teaches a new generation at Head Over Heels gym in Emeryville. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although he never became an official NBA mascot himself, Zeus worked as the Oakland A’s mascot, Stomper, for a year. He’s also traveled the world by acro-dunking, performing at many NBA games as well as schools and youth centers. He’s earned a couple of plaques from the Guinness Book of World Records for acrobatic slam-dunking. And he even has a photo with Beyoncé from an NBA All-Star Game in Denver—his second-most major accomplishment, in my eyes.\u003c/p>\n\u003cp>His first, of course, is the long-running mentorship program he and other members of the Flying Dubs continue to run to this day, even after the Warriors discontinued their involvement with the dunk team a few seasons ago.\u003c/p>\n\u003cp>Johnson, now a father of four, focuses much of his time and energy on his family these days. But every once in a while, he makes the journey to Head Over Heels gymnasium in Emeryville, where his former dunk team teammate, Zeus, teaches young people the art of gymnastics, acrobatic slam dunking and life skills, for free. Giving them the same path he got from Sadiki years ago.\u003c/p>\n\u003cp>The path of a superhero.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What do you think of when you think of traditional Chinese ink painting? To start with, ink on paper and silk. Then, century upon century of graceful, languid calligraphy and dreamy landscapes and meditative profiles of nature. It’s an ancient practice that goes back millennia and features a great deal of visual consistency, given the fact many Chinese painters learned their craft by copying earlier masters.\u003c/p>\n\u003cp>That is not this. \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">墨境 \u003cem>Ink Worlds\u003c/em>\u003c/a>, a new exhibition opening at the Cantor Arts Center May 23rd, explores the work of two dozen contemporary artists. While they’re classically trained, modern Chinese ink art, from the 1960s through the present, heads in splashy, dynamic new directions.\u003c/p>\n\u003cp>“I think when people hear ink, they think that they’re going to see the same kind of image over and over. What the show offers is all of this variation using a single medium,” says Susan Dackerman, director of the \u003ca href=\"https://museum.stanford.edu\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a>.\u003c/p>\n\u003cp>No one piece is like the other. Some are lyrical. Others aggressive. A lot of the paintings are abstract. A number do call back to traditional Chinese landscapes and calligraphy but Dackerman promises you won’t mistake them for anything other than modern.\u003c/p>\n\u003cp>What most do have in common is they come from the home collection of Jerry Yang, former CEO of Yahoo, and his wife Akiko Yamazaki.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There is a certain way that you have to put energy into the brush,” Yamazaki says. “That is something that is quite unique about ink paintings — and I hope people can feel that.”\u003c/p>\n\u003cfigure id=\"attachment_13832756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg\" alt=\"Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \" width=\"800\" height=\"1147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1020x1462.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-837x1200.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1920x2752.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1180x1691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-960x1376.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-375x538.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-520x745.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut.jpg 1429w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to say you can feel it. The ink metaphorically explodes off the walls in the gallery, reflecting passion, but also, precision and craft, according to Curatorial Fellow for Asian Art Ellen Huang, who co-curated \u003cem>Ink Worlds\u003c/em>.\u003c/p>\n\u003cp>“It’s painting in the most broad and expanded sense,” she explains. “Ink is beyond just what’s on the paper, but some active agent that seems to burst from the artwork and into people’s perceptions and experiences of life.”\u003c/p>\n\u003cp>This is the first and, so far, only show of Yang and Yamazaki’s ink art collection, but it’s not their first show. Yamazaki chairs the \u003ca href=\"http://www.asianart.org/about/commission\" target=\"_blank\" rel=\"noopener\">Asian Art Commission and Asian Art Foundation\u003c/a> and Yang’s collection of Ming Dynasty calligraphy showed in San Francisco six years ago before traveling to the \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2014/out-of-character\" target=\"_blank\" rel=\"noopener\">Met\u003c/a> in New York.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg\" alt=\"Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \" width=\"800\" height=\"1263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-768x1212.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1020x1610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-760x1200.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1920x3030.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1180x1862.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-960x1515.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-240x379.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-375x592.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-520x821.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut.jpg 1298w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang started collecting art to connect to his Chinese heritage, but he finds the dynamism of living artists exciting. “Part of it is it’s a reflection of what’s happened in Asia, and more particularly, China over the last 30 years. There’s been an explosion of both tradition and innovation in art, and it’s still evolving,” he says.\u003c/p>\n\u003cp>Something else that appealed to the couple, as both are Stanford alumni: Stanford students got to help choose what works to show, under the guidance of Huang and Asian Art Professor \u003ca href=\"https://art.stanford.edu/people/richard-vinograd\" target=\"_blank\" rel=\"noopener\">Richard Vinograd\u003c/a>. “To me, it’s their storytelling that brings this thing alive,” Yang says.\u003c/p>\n\u003cp>“We’re a university museum,” Huang says, noting there’s an existential need to use each exhibition as a hands-on learning opportunity for students. There are also a number of educational events attached to the exhibition, including a performative demonstration by artist \u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-qin-feng\">Qin Feng\u003c/a> and a conversation between artist\u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-li-huayi\"> Li Huayi\u003c/a> and Michael Knight, consulting curator of the Akiko Yamazaki and Jerry Yang Collection.\u003c/p>\n\u003cfigure id=\"attachment_13832766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg\" alt=\"Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang and Yamazaki have established themselves as pillars of the Asian art community in the Bay Area, but Yang says he feels part of a growing trend. He counts a number of art collectors among his friends, even if they may not be shouting about it to the public. “We’re starting to see more and more Silicon Valley entrepreneurs contributing more into the world of art,” Yang says. “It’s definitely on the rise.”\u003c/p>\n\u003cp>I ask the Silicon Valley veteran if he’s worried artificial intelligence will soon make Chinese artists obsolete, but Yang is optimistic about the future of human talent.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>I think these guys’ jobs are safe from AI, for awhile.”\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\"> \u003c/span>For awhile…?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>墨境 Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang runs May 23, 2018 – September 3, 2018 at the Cantor Arts Center on the Stanford campus. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you think of when you think of traditional Chinese ink painting? To start with, ink on paper and silk. Then, century upon century of graceful, languid calligraphy and dreamy landscapes and meditative profiles of nature. It’s an ancient practice that goes back millennia and features a great deal of visual consistency, given the fact many Chinese painters learned their craft by copying earlier masters.\u003c/p>\n\u003cp>That is not this. \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">墨境 \u003cem>Ink Worlds\u003c/em>\u003c/a>, a new exhibition opening at the Cantor Arts Center May 23rd, explores the work of two dozen contemporary artists. While they’re classically trained, modern Chinese ink art, from the 1960s through the present, heads in splashy, dynamic new directions.\u003c/p>\n\u003cp>“I think when people hear ink, they think that they’re going to see the same kind of image over and over. What the show offers is all of this variation using a single medium,” says Susan Dackerman, director of the \u003ca href=\"https://museum.stanford.edu\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a>.\u003c/p>\n\u003cp>No one piece is like the other. Some are lyrical. Others aggressive. A lot of the paintings are abstract. A number do call back to traditional Chinese landscapes and calligraphy but Dackerman promises you won’t mistake them for anything other than modern.\u003c/p>\n\u003cp>What most do have in common is they come from the home collection of Jerry Yang, former CEO of Yahoo, and his wife Akiko Yamazaki.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There is a certain way that you have to put energy into the brush,” Yamazaki says. “That is something that is quite unique about ink paintings — and I hope people can feel that.”\u003c/p>\n\u003cfigure id=\"attachment_13832756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg\" alt=\"Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \" width=\"800\" height=\"1147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1020x1462.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-837x1200.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1920x2752.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-1180x1691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-960x1376.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-375x538.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut-520x745.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31020_Chou_Untitled-qut.jpg 1429w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irene Chou 周綠雲 (China, 1924–2011), Untitled, 1995. Ink and color on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fair to say you can feel it. The ink metaphorically explodes off the walls in the gallery, reflecting passion, but also, precision and craft, according to Curatorial Fellow for Asian Art Ellen Huang, who co-curated \u003cem>Ink Worlds\u003c/em>.\u003c/p>\n\u003cp>“It’s painting in the most broad and expanded sense,” she explains. “Ink is beyond just what’s on the paper, but some active agent that seems to burst from the artwork and into people’s perceptions and experiences of life.”\u003c/p>\n\u003cp>This is the first and, so far, only show of Yang and Yamazaki’s ink art collection, but it’s not their first show. Yamazaki chairs the \u003ca href=\"http://www.asianart.org/about/commission\" target=\"_blank\" rel=\"noopener\">Asian Art Commission and Asian Art Foundation\u003c/a> and Yang’s collection of Ming Dynasty calligraphy showed in San Francisco six years ago before traveling to the \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2014/out-of-character\" target=\"_blank\" rel=\"noopener\">Met\u003c/a> in New York.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg\" alt=\"Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \" width=\"800\" height=\"1263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-800x1263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-160x253.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-768x1212.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1020x1610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-760x1200.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1920x3030.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-1180x1862.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-960x1515.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-240x379.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-375x592.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut-520x821.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31021_Feng_Desire-qut.jpg 1298w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Qin Feng 秦風 (China, b. 1961), Desire Scenery No. 1, 2007. Ink on paper. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang started collecting art to connect to his Chinese heritage, but he finds the dynamism of living artists exciting. “Part of it is it’s a reflection of what’s happened in Asia, and more particularly, China over the last 30 years. There’s been an explosion of both tradition and innovation in art, and it’s still evolving,” he says.\u003c/p>\n\u003cp>Something else that appealed to the couple, as both are Stanford alumni: Stanford students got to help choose what works to show, under the guidance of Huang and Asian Art Professor \u003ca href=\"https://art.stanford.edu/people/richard-vinograd\" target=\"_blank\" rel=\"noopener\">Richard Vinograd\u003c/a>. “To me, it’s their storytelling that brings this thing alive,” Yang says.\u003c/p>\n\u003cp>“We’re a university museum,” Huang says, noting there’s an existential need to use each exhibition as a hands-on learning opportunity for students. There are also a number of educational events attached to the exhibition, including a performative demonstration by artist \u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-qin-feng\">Qin Feng\u003c/a> and a conversation between artist\u003ca href=\"https://museum.stanford.edu/programs/j-sanford-and-vinie-miller-distinguished-lecture-series-artist-li-huayi\"> Li Huayi\u003c/a> and Michael Knight, consulting curator of the Akiko Yamazaki and Jerry Yang Collection.\u003c/p>\n\u003cfigure id=\"attachment_13832766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg\" alt=\"Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS31024_Chongbin_1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zheng Chongbin 鄭重賓 (China, b. 1961), Chimeric Landscape, 2015. Multi-media installation. \u003ccite>(Photo: Courtesy of Akiko Yamazaki and Jerry Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang and Yamazaki have established themselves as pillars of the Asian art community in the Bay Area, but Yang says he feels part of a growing trend. He counts a number of art collectors among his friends, even if they may not be shouting about it to the public. “We’re starting to see more and more Silicon Valley entrepreneurs contributing more into the world of art,” Yang says. “It’s definitely on the rise.”\u003c/p>\n\u003cp>I ask the Silicon Valley veteran if he’s worried artificial intelligence will soon make Chinese artists obsolete, but Yang is optimistic about the future of human talent.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>I think these guys’ jobs are safe from AI, for awhile.”\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\"> \u003c/span>For awhile…?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>墨境 Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang runs May 23, 2018 – September 3, 2018 at the Cantor Arts Center on the Stanford campus. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "XO Fest in Antioch Already Being Called 'The Next Fyre Festival'",
"headTitle": "XO Fest in Antioch Already Being Called ‘The Next Fyre Festival’ | KQED",
"content": "\u003cp>Last year, \u003ca href=\"https://en.wikipedia.org/wiki/Fyre_Festival\" target=\"_blank\" rel=\"noopener\">Fyre Festival\u003c/a> made headlines for failing on its promise of a luxury music festival experience in the Bahamas. Instead of high-end accommodations, jet skis and headlining sets by Blink 182, Tyga and Desiigner, attendees faced \u003ca href=\"https://news.vice.com/en_us/article/j5d944/rich-millennials-paid-thousands-for-ja-rules-fyre-fest-and-are-now-stranded-on-an-island-in-disaster-relief-tents\" target=\"_blank\" rel=\"noopener\">refugee-like conditions\u003c/a>, cancelled performances and food shortages. The organizer \u003ca href=\"https://www.theverge.com/2018/3/6/17088402/fyre-fest-organizer-pleads-guilty-to-two-counts-of-wire-fraud\" target=\"_blank\" rel=\"noopener\">now faces\u003c/a> up to 20 years in prison.\u003c/p>\n\u003cp>\u003cstrong>Update: \u003ca href=\"https://www.kqed.org/arts/13836856/xo-music-festivals-red-flags-pile-up-days-before-event\" target=\"_blank\" rel=\"noopener\">XO Music Festival Canceled After Bizarre Series of Red Flags\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>And now, new reporting about \u003ca href=\"https://xoxomusicfestival.com/\" target=\"_blank\" rel=\"noopener\">XO Fest\u003c/a>—an ambitious first-time festival slated to take place in the East Bay town of Antioch in July—has caused industry insiders to ask whether the festival’s over-the-top promises are also \u003ca href=\"http://ampthemag.com/the-real/is-xoxo-fest-in-northern-california-the-next-fyre-festival/\" target=\"_blank\" rel=\"noopener\">too good to be true\u003c/a>. Dave Brooks, executive editor of the live entertainment industry publication Amplify, looked into the festival in a recent report titled ‘\u003ca href=\"http://ampthemag.com/the-real/is-xoxo-fest-in-northern-california-the-next-fyre-festival/\" target=\"_blank\" rel=\"noopener\">Is XO Fest in Northern California the Next Fyre Festival?\u003c/a>,’ and discovered several inconsistencies and red flags.\u003c/p>\n\u003cfigure id=\"attachment_13832685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/xofest-screenshot-800x450.jpg\" alt=\"The XO Fest website promises over-the-top luxury experiences some say are too good to be true.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot.jpg 1521w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The XO Fest website promises over-the-top luxury experiences some say are too good to be true. \u003ccite>(Screenshot from XOXOMusicFestival.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>XO Fest is scheduled to take place July 13–15 at Contra Costa County Fairgrounds, and promises a lineup of top performers like T.I., Bone Thugs-n-Harmony and Ludacris, with the cast of \u003cem>Jersey Shore\u003c/em> and Carmen Electra as hosts. The festival website boasts seven stages, carnival rides, two silent discos, the world’s biggest bounce house, an indoor skating rink, and a house made out of candy. Also advertised are “celebrity chefs” and a “sky lounge” where VIP guests can watch performances from the air. Festival organizers also claim they can officiate your \u003ca href=\"https://xoxomusicfestival.com/tickets/#rfid\" target=\"_blank\" rel=\"noopener\">wedding\u003c/a> at the event.\u003c/p>\n\u003cp>That’s a lot for a first-year festival, but not implausible for an experienced promoter. The problem is that when Brooks first contacted XO Fest, the person answering his email wouldn’t reveal the organizer’s identity—which Brooks found odd, since promoters are typically eager to talk to the press for their events.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brooks then discovered through public records and sources that the man behind XO Fest is likely \u003ca href=\"http://ampthemag.com/the-real/men-staging-mysterious-xoxo-fest-in-norcal-were-arrested-in-february-for-alleged-real-estate-scam/\" target=\"_blank\" rel=\"noopener\">Sami Habib\u003c/a>, a.k.a. Habibullah Said Qadir, a man recently charged with several felonies in a \u003ca href=\"http://www.ktvu.com/news/brothers-accused-of-rental-scheme-involving-high-end-properties\" target=\"_blank\" rel=\"noopener\">rental scam\u003c/a> where he allegedly fabricated background documents, moved into high-end Fremont properties and failed to pay any rent, fleeing just before authorities could physically remove him.\u003c/p>\n\u003cp>Brooks told KQED Arts that he filed a \u003cspan class=\"s1\">Freedom of Information Act request for the contract between the Fairgrounds and XO Fest. \u003c/span>\u003cspan class=\"s1\">Joe Brengle, \u003c/span>\u003cspan class=\"s1\">CEO of \u003c/span>\u003cspan class=\"s1\">Contra Costa Event Park, sent Brooks a copy of the contract with the XO Fest signatory’s name redacted. Brooks filed a complaint with the state, and acquired an uncensored copy with Sami Habib’s signature. The XO Fest trademark is also registered in Habib’s name, and one industry insider contacted Brooks to confirm that a man who pitched the festival to him was the same Sami Habib from the mugshot in the Fremont fraud case.\u003c/span>\u003c/p>\n\u003cp>“Since then, everything I’ve uncovered further convinces me that they’re using deception and are not going to be able to deliver to fans what they’re promising,” said Brooks.\u003c/p>\n\u003cp>Brooks noticed other inconsistencies: much like the Fyre Fest promo video, the sizzle reel for XO Fest features generic b-roll footage of models, with Twisted Sister as background music despite it being a hip-hop festival. [\u003cstrong>UPDATE May 24, 2018:\u003c/strong> The sizzle reel has since been removed from XO Fest’s website.] A reverse image search revealed that photos from the festival’s website were lifted from other events, including one in Australia. At press time, XO Fest’s Twitter account has only 46 followers. And a spokesperson from BART, which the XO Fest website initially listed as an official sponsor, told Brooks that they had no knowledge of the festival. Their logo has since been removed from XO Fest’s website.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, XO Fest did not return KQED Arts’ request for comment. We also contacted Essential Talent, the talent-buying company which Brooks confirmed is behind booking the headliners. We’ll update this post if we hear back.\u003c/p>\n\n",
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"excerpt": "A luxury hip-hop festival some consider too good to be true is reportedly being promoted by a clandestine figure recently charged with fraud.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, \u003ca href=\"https://en.wikipedia.org/wiki/Fyre_Festival\" target=\"_blank\" rel=\"noopener\">Fyre Festival\u003c/a> made headlines for failing on its promise of a luxury music festival experience in the Bahamas. Instead of high-end accommodations, jet skis and headlining sets by Blink 182, Tyga and Desiigner, attendees faced \u003ca href=\"https://news.vice.com/en_us/article/j5d944/rich-millennials-paid-thousands-for-ja-rules-fyre-fest-and-are-now-stranded-on-an-island-in-disaster-relief-tents\" target=\"_blank\" rel=\"noopener\">refugee-like conditions\u003c/a>, cancelled performances and food shortages. The organizer \u003ca href=\"https://www.theverge.com/2018/3/6/17088402/fyre-fest-organizer-pleads-guilty-to-two-counts-of-wire-fraud\" target=\"_blank\" rel=\"noopener\">now faces\u003c/a> up to 20 years in prison.\u003c/p>\n\u003cp>\u003cstrong>Update: \u003ca href=\"https://www.kqed.org/arts/13836856/xo-music-festivals-red-flags-pile-up-days-before-event\" target=\"_blank\" rel=\"noopener\">XO Music Festival Canceled After Bizarre Series of Red Flags\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>And now, new reporting about \u003ca href=\"https://xoxomusicfestival.com/\" target=\"_blank\" rel=\"noopener\">XO Fest\u003c/a>—an ambitious first-time festival slated to take place in the East Bay town of Antioch in July—has caused industry insiders to ask whether the festival’s over-the-top promises are also \u003ca href=\"http://ampthemag.com/the-real/is-xoxo-fest-in-northern-california-the-next-fyre-festival/\" target=\"_blank\" rel=\"noopener\">too good to be true\u003c/a>. Dave Brooks, executive editor of the live entertainment industry publication Amplify, looked into the festival in a recent report titled ‘\u003ca href=\"http://ampthemag.com/the-real/is-xoxo-fest-in-northern-california-the-next-fyre-festival/\" target=\"_blank\" rel=\"noopener\">Is XO Fest in Northern California the Next Fyre Festival?\u003c/a>,’ and discovered several inconsistencies and red flags.\u003c/p>\n\u003cfigure id=\"attachment_13832685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/xofest-screenshot-800x450.jpg\" alt=\"The XO Fest website promises over-the-top luxury experiences some say are too good to be true.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/xofest-screenshot.jpg 1521w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The XO Fest website promises over-the-top luxury experiences some say are too good to be true. \u003ccite>(Screenshot from XOXOMusicFestival.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>XO Fest is scheduled to take place July 13–15 at Contra Costa County Fairgrounds, and promises a lineup of top performers like T.I., Bone Thugs-n-Harmony and Ludacris, with the cast of \u003cem>Jersey Shore\u003c/em> and Carmen Electra as hosts. The festival website boasts seven stages, carnival rides, two silent discos, the world’s biggest bounce house, an indoor skating rink, and a house made out of candy. Also advertised are “celebrity chefs” and a “sky lounge” where VIP guests can watch performances from the air. Festival organizers also claim they can officiate your \u003ca href=\"https://xoxomusicfestival.com/tickets/#rfid\" target=\"_blank\" rel=\"noopener\">wedding\u003c/a> at the event.\u003c/p>\n\u003cp>That’s a lot for a first-year festival, but not implausible for an experienced promoter. The problem is that when Brooks first contacted XO Fest, the person answering his email wouldn’t reveal the organizer’s identity—which Brooks found odd, since promoters are typically eager to talk to the press for their events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brooks then discovered through public records and sources that the man behind XO Fest is likely \u003ca href=\"http://ampthemag.com/the-real/men-staging-mysterious-xoxo-fest-in-norcal-were-arrested-in-february-for-alleged-real-estate-scam/\" target=\"_blank\" rel=\"noopener\">Sami Habib\u003c/a>, a.k.a. Habibullah Said Qadir, a man recently charged with several felonies in a \u003ca href=\"http://www.ktvu.com/news/brothers-accused-of-rental-scheme-involving-high-end-properties\" target=\"_blank\" rel=\"noopener\">rental scam\u003c/a> where he allegedly fabricated background documents, moved into high-end Fremont properties and failed to pay any rent, fleeing just before authorities could physically remove him.\u003c/p>\n\u003cp>Brooks told KQED Arts that he filed a \u003cspan class=\"s1\">Freedom of Information Act request for the contract between the Fairgrounds and XO Fest. \u003c/span>\u003cspan class=\"s1\">Joe Brengle, \u003c/span>\u003cspan class=\"s1\">CEO of \u003c/span>\u003cspan class=\"s1\">Contra Costa Event Park, sent Brooks a copy of the contract with the XO Fest signatory’s name redacted. Brooks filed a complaint with the state, and acquired an uncensored copy with Sami Habib’s signature. The XO Fest trademark is also registered in Habib’s name, and one industry insider contacted Brooks to confirm that a man who pitched the festival to him was the same Sami Habib from the mugshot in the Fremont fraud case.\u003c/span>\u003c/p>\n\u003cp>“Since then, everything I’ve uncovered further convinces me that they’re using deception and are not going to be able to deliver to fans what they’re promising,” said Brooks.\u003c/p>\n\u003cp>Brooks noticed other inconsistencies: much like the Fyre Fest promo video, the sizzle reel for XO Fest features generic b-roll footage of models, with Twisted Sister as background music despite it being a hip-hop festival. [\u003cstrong>UPDATE May 24, 2018:\u003c/strong> The sizzle reel has since been removed from XO Fest’s website.] A reverse image search revealed that photos from the festival’s website were lifted from other events, including one in Australia. At press time, XO Fest’s Twitter account has only 46 followers. And a spokesperson from BART, which the XO Fest website initially listed as an official sponsor, told Brooks that they had no knowledge of the festival. Their logo has since been removed from XO Fest’s website.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, XO Fest did not return KQED Arts’ request for comment. We also contacted Essential Talent, the talent-buying company which Brooks confirmed is behind booking the headliners. We’ll update this post if we hear back.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Full Treasure Island 2018 Lineup: Tame Impala, A$AP Rocky, Diplo, More",
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"content": "\u003cp>The Treasure Island Musical Festival lineup has arrived.\u003c/p>\n\u003cp>After taking a year off in 2017, the Treasure Island Music Festival this week announced its return on Oct. 13-14, 2018 — this time, not to its namesake location, but at \u003ca href=\"https://www.kqed.org/arts/13832219/treasure-island-music-festival-to-return-relocate-to-oakland-shore-in-2018\" target=\"_blank\" rel=\"noopener\">Middle Harbor Shoreline Park in Oakland\u003c/a>.\u003c/p>\n\u003cp>Now, just a day later, festival promoters Noise Pop and Another Planet Entertainment have announced the complete lineup, featuring psychedelic indie rockers Tame Impala and rapper A$AP Rocky as headliners. Other acts to look forward to include Pusha T; electro-pop singer Santigold; rapidly rising bedroom pop artist Soccer Mommy; and Silk City, a production duo of Diplo and Mark Ronson.\u003c/p>\n\u003cp>Two-day tickets go on sale this Friday, May 18, at noon. \u003ca href=\"https://www.treasureislandfestival.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Full Lineup: \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tame Impala\u003cbr>\nA$AP Rocky\u003cbr>\nSilk City (Diplo & Mark Ronson)\u003cbr>\nLord Huron\u003cbr>\nSantigold\u003cbr>\nCourtney Barnett\u003cbr>\nJungle\u003cbr>\nPusha T\u003cbr>\nSharon Van Etten\u003cbr>\nAminé\u003cbr>\nCigarettes After Sex\u003cbr>\nHiatus Kaiyote\u003cbr>\nLaff Trax (Toro y Moi & Nosaj Thing)\u003cbr>\nU.S. Girls\u003cbr>\nPolo & Pan\u003cbr>\nMoses Sumney\u003cbr>\nAlex Cameron\u003cbr>\nPolo & Pan\u003cbr>\nPond\u003cbr>\nShame\u003cbr>\nGeorge Fitzgerald\u003cbr>\nSoccer Mommy\u003cbr>\nserpentwithfeet\u003cbr>\nJPEGMAFIA\u003cbr>\nGilligan Moss\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Treasure Island Musical Festival lineup has arrived.\u003c/p>\n\u003cp>After taking a year off in 2017, the Treasure Island Music Festival this week announced its return on Oct. 13-14, 2018 — this time, not to its namesake location, but at \u003ca href=\"https://www.kqed.org/arts/13832219/treasure-island-music-festival-to-return-relocate-to-oakland-shore-in-2018\" target=\"_blank\" rel=\"noopener\">Middle Harbor Shoreline Park in Oakland\u003c/a>.\u003c/p>\n\u003cp>Now, just a day later, festival promoters Noise Pop and Another Planet Entertainment have announced the complete lineup, featuring psychedelic indie rockers Tame Impala and rapper A$AP Rocky as headliners. Other acts to look forward to include Pusha T; electro-pop singer Santigold; rapidly rising bedroom pop artist Soccer Mommy; and Silk City, a production duo of Diplo and Mark Ronson.\u003c/p>\n\u003cp>Two-day tickets go on sale this Friday, May 18, at noon. \u003ca href=\"https://www.treasureislandfestival.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Full Lineup: \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
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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.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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"
},
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"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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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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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/",
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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"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
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