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"content": "\u003cp>In an unusual move, California Governor Jerry Brown has proposed boosting the state arts budget by $5 million.\u003c/p>\n\u003cp>The one-time augmentation proposal — delivered last Friday as part of \u003cspan style=\"font-weight: 400\">the \u003c/span>“May revise” (the budget the Governor sends to \u003cspan style=\"font-weight: 400\">the Legislature) — \u003c/span>surprised arts advocates because requests for funding typically originate from the legislature, not the Governor.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">To have Governor Brown \u003c/span>\u003cspan style=\"font-weight: 400\">himself suggesting the increase for this year is a sea change,” says arts advocate and executive director of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> Brad Erickson. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If lawmakers approve Brown’s $5 million boost, state arts funding would increase by 30 percent to around $21 million. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the windfall may end up being even greater: On Tuesday, a senate budget sub-committee decided to revisit the augmentation later this week after a committee member suggested increasing Brown’s proposed sum to the \u003ca href=\"http://www.cac.ca.gov/aboutus/budget.php\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> by as much as $10 million. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether the arts council receives $5 million or more, the money will enable it to increase its grants to artists and nonprofit cultural groups across the state. \u003c/span>\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003cp>\u003cspan style=\"font-weight: 400\">According to a study commissioned by the\u003c/span>\u003ca href=\"https://www.irvine.org/arts/learning/californias-arts-ecology\"> \u003cspan style=\"font-weight: 400\">Irvine Foundation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, California has 11,000 arts and culture nonprofits, placing this state ahead of most nations in the world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The California Arts Council provides grants to around 6 percent — or roughly 700 organizations — of the total field each year, and to between 60 – 70 percent of applicants to its programs.\u003c/span>\u003c/p>\n\u003c/div>\n\u003cp>Yet according to 2018 data from the \u003ca href=\"https://nasaa-arts.org/\" target=\"_blank\" rel=\"noopener\">National Association of State Arts Agencies\u003c/a>, California ranks 38th in the United States for cultural funding, investing 46 cents per person in the arts. The national median is $1.03.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The state assembly will meet next week to vote on the proposal. The final budget decision is expected to come in June. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>UPDATE May 17: The senate budget committee voted to add $5 million to the Governor’s $5 million May Revise budget increase, for a proposed $10 million onetime budget increase to the Arts Council.\u003cbr>\n\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an unusual move, California Governor Jerry Brown has proposed boosting the state arts budget by $5 million.\u003c/p>\n\u003cp>The one-time augmentation proposal — delivered last Friday as part of \u003cspan style=\"font-weight: 400\">the \u003c/span>“May revise” (the budget the Governor sends to \u003cspan style=\"font-weight: 400\">the Legislature) — \u003c/span>surprised arts advocates because requests for funding typically originate from the legislature, not the Governor.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">To have Governor Brown \u003c/span>\u003cspan style=\"font-weight: 400\">himself suggesting the increase for this year is a sea change,” says arts advocate and executive director of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> Brad Erickson. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If lawmakers approve Brown’s $5 million boost, state arts funding would increase by 30 percent to around $21 million. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the windfall may end up being even greater: On Tuesday, a senate budget sub-committee decided to revisit the augmentation later this week after a committee member suggested increasing Brown’s proposed sum to the \u003ca href=\"http://www.cac.ca.gov/aboutus/budget.php\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> by as much as $10 million. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether the arts council receives $5 million or more, the money will enable it to increase its grants to artists and nonprofit cultural groups across the state. \u003c/span>\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003cp>\u003cspan style=\"font-weight: 400\">According to a study commissioned by the\u003c/span>\u003ca href=\"https://www.irvine.org/arts/learning/californias-arts-ecology\"> \u003cspan style=\"font-weight: 400\">Irvine Foundation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, California has 11,000 arts and culture nonprofits, placing this state ahead of most nations in the world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The California Arts Council provides grants to around 6 percent — or roughly 700 organizations — of the total field each year, and to between 60 – 70 percent of applicants to its programs.\u003c/span>\u003c/p>\n\u003c/div>\n\u003cp>Yet according to 2018 data from the \u003ca href=\"https://nasaa-arts.org/\" target=\"_blank\" rel=\"noopener\">National Association of State Arts Agencies\u003c/a>, California ranks 38th in the United States for cultural funding, investing 46 cents per person in the arts. The national median is $1.03.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The state assembly will meet next week to vote on the proposal. The final budget decision is expected to come in June. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>UPDATE May 17: The senate budget committee voted to add $5 million to the Governor’s $5 million May Revise budget increase, for a proposed $10 million onetime budget increase to the Arts Council.\u003cbr>\n\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Inside a secret annex above her father’s office, Anne Frank edited passages from her first diary, the book that captured a teenager’s experience of the Holocaust. What she hid underneath brown gummed paper on two pages was revealed on Tuesday – five crossed-out phrases, four risqué jokes and 33 lines about sex education and prostitution.\u003c/p>\n\u003cp>The two pages, the only pages that the teenager ever covered, were photographed in 2016 during a regular check on the condition of her diaries, \u003ca href=\"http://www.annefrank.org/en/News/News/2018/Hidden-pages-published/\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the Anne Frank House. \u003c/p>\n\u003cp>The pages were backlit by a flash and image-processing software helped researchers to make out the words, \u003ca href=\"https://www.apnews.com/3a2f6fd8bc914f8fa76a17b706298770/Dutch-researchers-uncover-dirty-jokes-in-Anne-Frank's-diary\" target=\"_blank\" rel=\"noopener\">reported the Associated Press\u003c/a>. \u003c/p>\n\u003cp>“I’ll use this spoiled page to write down ‘dirty’ jokes,” Frank had written on September 28, 1942. Then she filled a page with words about how a young woman starts to menstruate around age 14, “a sign that she is ripe to have relations with a man but one doesn’t do that of course before one is married.” \u003c/p>\n\u003cp>She also wrote about prostitution. “All men, if they are normal, go with women, women like that accost them on the street and then they go together. In Paris they have big houses for that. Papa has been there.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the racy remarks, Frank discussed the importance of sex education, pretending that she had to teach someone else which allowed her to show what she knew about sex. She didn’t understand why adults were so secretive about it, said the Anne Frank House.\u003c/p>\n\u003cp>The hidden texts were presented by the Huygens Institute for the History of the Netherlands, the Anne Frank House and the NIOD Institute for War, Holocaust and Genocide Studies.\u003c/p>\n\u003cp>“Anne Frank writes about sexuality in a disarming way. Like every adolescent she is curious about this subject,” said Ronald Leopold, executive director of the Anne Frank House. \u003c/p>\n\u003cp>“Anyone who reads the passages that have now been discovered will be unable to suppress a smile. The ‘dirty’ jokes are classics among growing children,” \u003ca href=\"https://www.niod.nl/en/news/new-texts-diary-anne-frank-revealed\" target=\"_blank\" rel=\"noopener\">said\u003c/a> Frank van Vree, director of NIOD. “They make it clear that Anne, with all her gifts, was above all also an ordinary girl.”\u003c/p>\n\u003cp>The researchers said the newly discovered subject matter is not exceptional — Frank often wrote down suggestive jokes that she heard from her father, Peter van Pels and radio broadcasts. And she wrote openly about her menstruation and conversations with van Pels on sex and sexuality.\u003c/p>\n\u003cp>Instead, the “dirty” humor reveals a way to break the tension in an 800-square-foot space where movement and expression were curtailed for survival, said the Anne Frank House. \u003c/p>\n\u003cp>“That Anne Frank had risqué jokes in her diary speaks to her humanity,” Sara Bloomfield, director of the U.S. Holocaust Memorial Museum, told NPR. “Anne is the Holocaust’s most well-known victim because her diary describes her inner life and her hopes for the future in the midst of the Nazi onslaught.” \u003c/p>\n\u003cp>In the two years that Frank hid from the Nazis, she wrote about hunger and fear of being discovered, but also \u003ca href=\"https://www.npr.org/sections/ed/2017/06/23/534056727/75-years-later-anne-franks-diary-still-has-much-to-teach\" target=\"_blank\" rel=\"noopener\">celebrity gossip, arguments with her mother and her first kiss. \u003c/a>\u003c/p>\n\u003cp>https://twitter.com/NIODamsterdam/status/996406382583742464\u003c/p>\n\u003cp>According to The Anne Frank House, the teenager often reread and edited her diary. She might have hidden these two original pages because she worried that the other seven people in the annex would read her diary. \u003c/p>\n\u003cp>After the group was discovered and deported, and Frank perished in Bergen-Belsen, Otto Frank, her father and the only surviving member of the family, edited and published his daughter’s writing. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Diary of a Young Girl\u003c/em> became one of the world’s most widely read books, available in more than 70 languages. \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=Newly+Uncovered+Pages+From+Anne+Frank%27s+Diary+Reveal+Risqu%C3%A9+Jokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside a secret annex above her father’s office, Anne Frank edited passages from her first diary, the book that captured a teenager’s experience of the Holocaust. What she hid underneath brown gummed paper on two pages was revealed on Tuesday – five crossed-out phrases, four risqué jokes and 33 lines about sex education and prostitution.\u003c/p>\n\u003cp>The two pages, the only pages that the teenager ever covered, were photographed in 2016 during a regular check on the condition of her diaries, \u003ca href=\"http://www.annefrank.org/en/News/News/2018/Hidden-pages-published/\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the Anne Frank House. \u003c/p>\n\u003cp>The pages were backlit by a flash and image-processing software helped researchers to make out the words, \u003ca href=\"https://www.apnews.com/3a2f6fd8bc914f8fa76a17b706298770/Dutch-researchers-uncover-dirty-jokes-in-Anne-Frank's-diary\" target=\"_blank\" rel=\"noopener\">reported the Associated Press\u003c/a>. \u003c/p>\n\u003cp>“I’ll use this spoiled page to write down ‘dirty’ jokes,” Frank had written on September 28, 1942. Then she filled a page with words about how a young woman starts to menstruate around age 14, “a sign that she is ripe to have relations with a man but one doesn’t do that of course before one is married.” \u003c/p>\n\u003cp>She also wrote about prostitution. “All men, if they are normal, go with women, women like that accost them on the street and then they go together. In Paris they have big houses for that. Papa has been there.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the racy remarks, Frank discussed the importance of sex education, pretending that she had to teach someone else which allowed her to show what she knew about sex. She didn’t understand why adults were so secretive about it, said the Anne Frank House.\u003c/p>\n\u003cp>The hidden texts were presented by the Huygens Institute for the History of the Netherlands, the Anne Frank House and the NIOD Institute for War, Holocaust and Genocide Studies.\u003c/p>\n\u003cp>“Anne Frank writes about sexuality in a disarming way. Like every adolescent she is curious about this subject,” said Ronald Leopold, executive director of the Anne Frank House. \u003c/p>\n\u003cp>“Anyone who reads the passages that have now been discovered will be unable to suppress a smile. The ‘dirty’ jokes are classics among growing children,” \u003ca href=\"https://www.niod.nl/en/news/new-texts-diary-anne-frank-revealed\" target=\"_blank\" rel=\"noopener\">said\u003c/a> Frank van Vree, director of NIOD. “They make it clear that Anne, with all her gifts, was above all also an ordinary girl.”\u003c/p>\n\u003cp>The researchers said the newly discovered subject matter is not exceptional — Frank often wrote down suggestive jokes that she heard from her father, Peter van Pels and radio broadcasts. And she wrote openly about her menstruation and conversations with van Pels on sex and sexuality.\u003c/p>\n\u003cp>Instead, the “dirty” humor reveals a way to break the tension in an 800-square-foot space where movement and expression were curtailed for survival, said the Anne Frank House. \u003c/p>\n\u003cp>“That Anne Frank had risqué jokes in her diary speaks to her humanity,” Sara Bloomfield, director of the U.S. Holocaust Memorial Museum, told NPR. “Anne is the Holocaust’s most well-known victim because her diary describes her inner life and her hopes for the future in the midst of the Nazi onslaught.” \u003c/p>\n\u003cp>In the two years that Frank hid from the Nazis, she wrote about hunger and fear of being discovered, but also \u003ca href=\"https://www.npr.org/sections/ed/2017/06/23/534056727/75-years-later-anne-franks-diary-still-has-much-to-teach\" target=\"_blank\" rel=\"noopener\">celebrity gossip, arguments with her mother and her first kiss. \u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2016, Treasure Island Music Festival geared up for what was supposed to be a festive 10th anniversary weekend. \u003ca href=\"https://www.kqed.org/arts/12217367/photos-and-highlights-from-timf-10-a-rain-soaked-final-fest-on-the-island\" target=\"_blank\" rel=\"noopener\">What happened instead\u003c/a> was a torrential rainstorm, which forced highly anticipated acts like Young Thug and James Blake to cancel or significantly delay their sets — an unfortunate way to cap the festival’s decade-long run on its namesake island.\u003c/p>\n\u003cp>With ongoing development at the original festival site on Treasure Island, promoters Noise Pop and Another Planet Entertainment took 2017 off to recalibrate and seek out a new location. Now, they’ve announced that Treasure Island will return this year for its 11th edition, taking place Oct. 13–14 at Middle Harbor Shoreline Park in West Oakland, the site of this month’s \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener\">Blurry Vision festival\u003c/a>. (Though “Treasure Island Music Festival” is now a bit of a misnomer, Middle Harbor Shoreline Park features nearly the same picturesque bayside view of the San Francisco skyline as the original Treasure Island location.)\u003c/p>\n\u003cp>The 2018 Treasure Island lineup has yet to be announced, but past performers have included Outkast, Beck, deadmau5, LCD Soundsystem, Vampire Weekend, Ice Cube, Justice, the National, The xx, Fleet Foxes, Major Lazer and Massive Attack. Stay tuned for updates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2016, Treasure Island Music Festival geared up for what was supposed to be a festive 10th anniversary weekend. \u003ca href=\"https://www.kqed.org/arts/12217367/photos-and-highlights-from-timf-10-a-rain-soaked-final-fest-on-the-island\" target=\"_blank\" rel=\"noopener\">What happened instead\u003c/a> was a torrential rainstorm, which forced highly anticipated acts like Young Thug and James Blake to cancel or significantly delay their sets — an unfortunate way to cap the festival’s decade-long run on its namesake island.\u003c/p>\n\u003cp>With ongoing development at the original festival site on Treasure Island, promoters Noise Pop and Another Planet Entertainment took 2017 off to recalibrate and seek out a new location. Now, they’ve announced that Treasure Island will return this year for its 11th edition, taking place Oct. 13–14 at Middle Harbor Shoreline Park in West Oakland, the site of this month’s \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener\">Blurry Vision festival\u003c/a>. (Though “Treasure Island Music Festival” is now a bit of a misnomer, Middle Harbor Shoreline Park features nearly the same picturesque bayside view of the San Francisco skyline as the original Treasure Island location.)\u003c/p>\n\u003cp>The 2018 Treasure Island lineup has yet to be announced, but past performers have included Outkast, Beck, deadmau5, LCD Soundsystem, Vampire Weekend, Ice Cube, Justice, the National, The xx, Fleet Foxes, Major Lazer and Massive Attack. Stay tuned for updates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Tom Wolfe, Best-Selling Author And Genre-Breaking Journalist, Dies at 87",
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"content": "\u003cp>In a career that spanned more than half a century, Tom Wolfe wrote fiction and non-fiction bestsellers including \u003cem>The Electric Kool-Aid Acid Test\u003c/em> and \u003cem>Bonfire of the Vanities. \u003c/em>Along the way, he created a new type of journalism and coined phrases that became part of the American lexicon. Wolfe died Monday in Manhattan. He was 87.\u003c/p>\n\u003cp>Wolfe didn’t start a novel with a character or a plot, but rather, with an idea. In 1987, wearing his signature white suit, Wolfe told me how he began his first novel, a panoramic story of New York Society:\u003c/p>\n\u003cp>“I looked at the whole city first,” he said. “I wanted to do New York High and Low. I figured Wall Street could stand for the high end, and also some of the life on Park Avenue. And at the low end there would be what you find caught up in the criminal mechanism in the Bronx. Once I zeroed in on these areas, I would then find the characters.”\u003c/p>\n\u003cp>The novel that grew out of Wolfe’s research — \u003cem>The Bonfire of the Vanities\u003c/em> — was the tale of Sherman McCoy, a wealthy bond trader who loses everything after a wrong turn in the South Bronx with his mistress in the passenger seat. It was a huge critical and commercial success. Wolfe had written the novel from the same “You-Are-There,” stream of consciousness, first-person perspective that he pioneered in his non-fiction 20 years earlier.\u003c/p>\n\u003cp>“I’ve always contended on a theoretical level that the techniques … for fiction and non-fiction are interchangeable,” he said. “The things that work in non-fiction would work in fiction, and vice-versa.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wolfe began working as a newspaper reporter, first for the \u003cem>Washington Post,\u003c/em> then the \u003cem>New York Herald Tribune. \u003c/em> He developed a unique style, incorporating literary techniques — interior monologues, amped-up prose and eccentric punctuation. It was called the “New Journalism.”\u003c/p>\n\u003cp>“When Tom Wolfe’s voice broke into the world of non-fiction, it was a time when a lot of writers, and a lot of artists in general, were turning inward,” says Lev Grossman, book critic for \u003cem>TIME\u003c/em> magazine. “Wolfe didn’t do that. Wolfe turned outwards. He was a guy who was interested in other people.”\u003c/p>\n\u003cp>Wolfe was interested in how they thought, and how they did things, and how the things they did affected the world around them.\u003c/p>\n\u003cp>“He showed us how to walk into a cocktail party, a NASA training center — how to walk down the street, and see in front of us this incredible drama of amazing richness, and amazing significance,” Grossman says.\u003c/p>\n\u003cp>In 1979, Wolfe published \u003cem>The Right Stuff,\u003c/em> an account of the military test pilots who became America’s first astronauts. Four years later the book was adapted as a feature film.\u003c/p>\n\u003cp>“\u003cem>The Right Stuff \u003c/em>was the book for me,” says Grossman. “It reminded me, in case I’d forgotten, that the world is an incredible place.”\u003c/p>\n\u003cp>In \u003cem>The Right Stuff,\u003c/em> Wolfe popularized the phrase “pushing the envelope.” The title of Wolfe’s non-fiction book about Leonard Bernstein’s fundraiser for the Black Panthers, \u003cem>Radical Chic,\u003c/em> became a catchphrase for leftist liberals. In a \u003cem>New York Magazine \u003c/em>article, Wolfe dubbed the 1970s, “the Me Decade.” Grossman says these phrases became part of the American idiom because they were dead on.\u003c/p>\n\u003cp>“He was an enormously forceful observer, and he was not afraid of making strong claims about what was happening in reality,” Grossman says. “He did it well, and eloquently. And people heard him. And they repeated what he said because he was right.”\u003c/p>\n\u003cp>To get it right, Wolfe said first he did extensive research, then he made an exhaustive outline — and \u003cem>then \u003c/em>he started “having fun.”\u003c/p>\n\u003cp>“I like to use the technique of what I think of as a controlled trance,” he explained. “I’ll actually sit in front of the typewriter, close my eyes, and then try to imagine myself into the particular scene that I’m going to write about. Once you know what you’re going to say — I give myself a quota each day of 10 triple-spaced pages on the typewriter. And that comes out for me anywhere from 1,600 to 1,800 words. That’s not all that hard to do.”\u003c/p>\n\u003cp>All those words started a revolution in non-fiction that’s still going on, says Grossman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everything that bloggers have done for journalism — and I personally think they’ve done a lot — Wolfe did it first, he did it 30 years earlier, and he did it better,” Grossman says. “And I think we’re still catching up to him.” \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=Tom+Wolfe%2C+Best-Selling+Author+And+Genre-Breaking+Journalist%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a career that spanned more than half a century, Tom Wolfe wrote fiction and non-fiction bestsellers including \u003cem>The Electric Kool-Aid Acid Test\u003c/em> and \u003cem>Bonfire of the Vanities. \u003c/em>Along the way, he created a new type of journalism and coined phrases that became part of the American lexicon. Wolfe died Monday in Manhattan. He was 87.\u003c/p>\n\u003cp>Wolfe didn’t start a novel with a character or a plot, but rather, with an idea. In 1987, wearing his signature white suit, Wolfe told me how he began his first novel, a panoramic story of New York Society:\u003c/p>\n\u003cp>“I looked at the whole city first,” he said. “I wanted to do New York High and Low. I figured Wall Street could stand for the high end, and also some of the life on Park Avenue. And at the low end there would be what you find caught up in the criminal mechanism in the Bronx. Once I zeroed in on these areas, I would then find the characters.”\u003c/p>\n\u003cp>The novel that grew out of Wolfe’s research — \u003cem>The Bonfire of the Vanities\u003c/em> — was the tale of Sherman McCoy, a wealthy bond trader who loses everything after a wrong turn in the South Bronx with his mistress in the passenger seat. It was a huge critical and commercial success. Wolfe had written the novel from the same “You-Are-There,” stream of consciousness, first-person perspective that he pioneered in his non-fiction 20 years earlier.\u003c/p>\n\u003cp>“I’ve always contended on a theoretical level that the techniques … for fiction and non-fiction are interchangeable,” he said. “The things that work in non-fiction would work in fiction, and vice-versa.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wolfe began working as a newspaper reporter, first for the \u003cem>Washington Post,\u003c/em> then the \u003cem>New York Herald Tribune. \u003c/em> He developed a unique style, incorporating literary techniques — interior monologues, amped-up prose and eccentric punctuation. It was called the “New Journalism.”\u003c/p>\n\u003cp>“When Tom Wolfe’s voice broke into the world of non-fiction, it was a time when a lot of writers, and a lot of artists in general, were turning inward,” says Lev Grossman, book critic for \u003cem>TIME\u003c/em> magazine. “Wolfe didn’t do that. Wolfe turned outwards. He was a guy who was interested in other people.”\u003c/p>\n\u003cp>Wolfe was interested in how they thought, and how they did things, and how the things they did affected the world around them.\u003c/p>\n\u003cp>“He showed us how to walk into a cocktail party, a NASA training center — how to walk down the street, and see in front of us this incredible drama of amazing richness, and amazing significance,” Grossman says.\u003c/p>\n\u003cp>In 1979, Wolfe published \u003cem>The Right Stuff,\u003c/em> an account of the military test pilots who became America’s first astronauts. Four years later the book was adapted as a feature film.\u003c/p>\n\u003cp>“\u003cem>The Right Stuff \u003c/em>was the book for me,” says Grossman. “It reminded me, in case I’d forgotten, that the world is an incredible place.”\u003c/p>\n\u003cp>In \u003cem>The Right Stuff,\u003c/em> Wolfe popularized the phrase “pushing the envelope.” The title of Wolfe’s non-fiction book about Leonard Bernstein’s fundraiser for the Black Panthers, \u003cem>Radical Chic,\u003c/em> became a catchphrase for leftist liberals. In a \u003cem>New York Magazine \u003c/em>article, Wolfe dubbed the 1970s, “the Me Decade.” Grossman says these phrases became part of the American idiom because they were dead on.\u003c/p>\n\u003cp>“He was an enormously forceful observer, and he was not afraid of making strong claims about what was happening in reality,” Grossman says. “He did it well, and eloquently. And people heard him. And they repeated what he said because he was right.”\u003c/p>\n\u003cp>To get it right, Wolfe said first he did extensive research, then he made an exhaustive outline — and \u003cem>then \u003c/em>he started “having fun.”\u003c/p>\n\u003cp>“I like to use the technique of what I think of as a controlled trance,” he explained. “I’ll actually sit in front of the typewriter, close my eyes, and then try to imagine myself into the particular scene that I’m going to write about. Once you know what you’re going to say — I give myself a quota each day of 10 triple-spaced pages on the typewriter. And that comes out for me anywhere from 1,600 to 1,800 words. That’s not all that hard to do.”\u003c/p>\n\u003cp>All those words started a revolution in non-fiction that’s still going on, says Grossman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everything that bloggers have done for journalism — and I personally think they’ve done a lot — Wolfe did it first, he did it 30 years earlier, and he did it better,” Grossman says. “And I think we’re still catching up to him.” \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=Tom+Wolfe%2C+Best-Selling+Author+And+Genre-Breaking+Journalist%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "new-sf-cultural-districts-ordinance-aims-to-counteract-gentrification",
"title": "New SF 'Cultural Districts' Ordinance Aims to Counteract Gentrification",
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"content": "\u003cp>If you walk down 24th Street in San Francisco’s Mission District these days, you might notice street signs around the neighborhood that read “Calle 24: Latino Cultural District.”\u003c/p>\n\u003cp>San Francisco has named four other districts like this one, including, most recently, the LGBTQ Leather Cultural District in SOMA. So far the move has mostly been symbolic. But now Supervisor Hillary Ronen wants to change that — before it’s too late.\u003c/p>\n\u003cp>San Francisco’s board of supervisors votes Tuesday on a new piece of legislation, championed by Ronen, that aims to salvage the spirit and identity of a growing number of San Francisco neighborhoods threatened by gentrification and displacement.\u003c/p>\n\u003cfigure id=\"attachment_13832262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ronen-800x600.jpg\" alt=\"Supervisor Hillary Ronen is introducing the legislation that would provide deeper support for cultural districts.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supervisor Hillary Ronen is introducing the legislation that would provide deeper support for cultural districts. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Without intervention, I fear they’re going to be gone,” Ronen says. “And we will be just like any other rich, cookie-cutter city in the world.”\u003c/p>\n\u003cp>Ronen says the cultural districts ordinance is about much more than staking out geographic turf and putting up a bunch of signs and banners. Cultural districts could opt to place tighter restrictions on new businesses. Calle 24 has already done just that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So a Starbucks could not move in,” Ronen says. “It has to be the homegrown, mom ‘n’ pop, small business that goes in.”\u003c/p>\n\u003cp>And for the first time, Ronan says cultural districts may get steady funding — as much as a million dollars annually per district.\u003c/p>\n\u003cp>“We’re looking at different ways of having a regular set aside so that funds go to these cultural districts,” Ronen says, “So that there’s actual money to be able to realize dreams.”\u003c/p>\n\u003cfigure id=\"attachment_13832263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832263\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/april-spears-800x600.jpg\" alt=\"Community leader and restauranteur April Spears shares her views about Bayview’s bid to become a cultural district at Auntie April's Chicken, Waffles & Soul Food in the Bayview.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community leader and restauranteur April Spears shares her views about Bayview’s bid to become a cultural district at Auntie April’s Chicken, Waffles & Soul Food in the Bayview. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a steaming bowl of shrimp and cheesy grits at \u003ca href=\"https://www.kqed.org/checkplease/3802/auntie-aprils-chicken-waffles-soul-food-reviews\" target=\"_blank\" rel=\"noopener\">Auntie April’s Chicken, Waffles & Soul Food\u003c/a> in the Bayview, I chat with restaurant owner and Bayview native April Spears. Spears is leading her neighborhood’s charge to become a cultural district. I ask her what she would do with that million dollars.\u003c/p>\n\u003cp>“I would love to see an African Arts and Culture School in the district,” Spears says. “I would like to see a Museum of African History, and programs where we reach the youth of our community.”\u003c/p>\n\u003cp>But to truly preserve the neighborhood’s proud black culture and provide opportunities for its young people, Spears says, the city must solve the housing crisis. Since 2000, the Bayview’s African American population has fallen by more than 20 percent.\u003c/p>\n\u003cfigure id=\"attachment_13832265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832265\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/IMG_0360-800x600.jpg\" alt=\"Inside Auntie April’s.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lunch crowd at Auntie April’s in the Bayview. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you don’t have anywhere for people to live, what are you preserving?” Sears says.\u003c/p>\n\u003cp>If the cultural districts do get funding, some of it could go towards affordable housing. But where the money comes from remains unclear. One source could be the hotel tax. Supporters are crafting a ballot measure for the fall that would set aside some of that tax for cultural districts.\u003c/p>\n\u003cp>Over the past decade, cultural districts have become a common tool for cities around the country looking to bolster economic activity in neighborhoods that have seen better days.\u003c/p>\n\u003cp>According to Lyz Crane, deputy director of \u003ca href=\"https://www.artplaceamerica.org/\" target=\"_blank\" rel=\"noopener\">Artplace America\u003c/a>, a national organization that works at the intersection of culture and community development, San Francisco isn’t like most other U.S. cities when it comes to implementing creative district programs.\u003c/p>\n\u003cp>“In a place like San Francisco, it’s not a question of economic development; it’s actually in some ways the opposite,” Crane says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You’re trying to create a public tool that can provide some level of control and sort of incentives for things that the market otherwise would just sort of bowl over.”\u003c/p>\n\n",
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"excerpt": "City supervisors vote Tuesday on legislation that aims to salvage the spirit and identity of neighborhoods threatened by gentrification and displacement.",
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"title": "New SF 'Cultural Districts' Ordinance Aims to Counteract Gentrification | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you walk down 24th Street in San Francisco’s Mission District these days, you might notice street signs around the neighborhood that read “Calle 24: Latino Cultural District.”\u003c/p>\n\u003cp>San Francisco has named four other districts like this one, including, most recently, the LGBTQ Leather Cultural District in SOMA. So far the move has mostly been symbolic. But now Supervisor Hillary Ronen wants to change that — before it’s too late.\u003c/p>\n\u003cp>San Francisco’s board of supervisors votes Tuesday on a new piece of legislation, championed by Ronen, that aims to salvage the spirit and identity of a growing number of San Francisco neighborhoods threatened by gentrification and displacement.\u003c/p>\n\u003cfigure id=\"attachment_13832262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ronen-800x600.jpg\" alt=\"Supervisor Hillary Ronen is introducing the legislation that would provide deeper support for cultural districts.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ronen.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supervisor Hillary Ronen is introducing the legislation that would provide deeper support for cultural districts. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Without intervention, I fear they’re going to be gone,” Ronen says. “And we will be just like any other rich, cookie-cutter city in the world.”\u003c/p>\n\u003cp>Ronen says the cultural districts ordinance is about much more than staking out geographic turf and putting up a bunch of signs and banners. Cultural districts could opt to place tighter restrictions on new businesses. Calle 24 has already done just that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So a Starbucks could not move in,” Ronen says. “It has to be the homegrown, mom ‘n’ pop, small business that goes in.”\u003c/p>\n\u003cp>And for the first time, Ronan says cultural districts may get steady funding — as much as a million dollars annually per district.\u003c/p>\n\u003cp>“We’re looking at different ways of having a regular set aside so that funds go to these cultural districts,” Ronen says, “So that there’s actual money to be able to realize dreams.”\u003c/p>\n\u003cfigure id=\"attachment_13832263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832263\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/april-spears-800x600.jpg\" alt=\"Community leader and restauranteur April Spears shares her views about Bayview’s bid to become a cultural district at Auntie April's Chicken, Waffles & Soul Food in the Bayview.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/april-spears.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community leader and restauranteur April Spears shares her views about Bayview’s bid to become a cultural district at Auntie April’s Chicken, Waffles & Soul Food in the Bayview. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a steaming bowl of shrimp and cheesy grits at \u003ca href=\"https://www.kqed.org/checkplease/3802/auntie-aprils-chicken-waffles-soul-food-reviews\" target=\"_blank\" rel=\"noopener\">Auntie April’s Chicken, Waffles & Soul Food\u003c/a> in the Bayview, I chat with restaurant owner and Bayview native April Spears. Spears is leading her neighborhood’s charge to become a cultural district. I ask her what she would do with that million dollars.\u003c/p>\n\u003cp>“I would love to see an African Arts and Culture School in the district,” Spears says. “I would like to see a Museum of African History, and programs where we reach the youth of our community.”\u003c/p>\n\u003cp>But to truly preserve the neighborhood’s proud black culture and provide opportunities for its young people, Spears says, the city must solve the housing crisis. Since 2000, the Bayview’s African American population has fallen by more than 20 percent.\u003c/p>\n\u003cfigure id=\"attachment_13832265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832265\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/IMG_0360-800x600.jpg\" alt=\"Inside Auntie April’s.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/IMG_0360.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lunch crowd at Auntie April’s in the Bayview. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you don’t have anywhere for people to live, what are you preserving?” Sears says.\u003c/p>\n\u003cp>If the cultural districts do get funding, some of it could go towards affordable housing. But where the money comes from remains unclear. One source could be the hotel tax. Supporters are crafting a ballot measure for the fall that would set aside some of that tax for cultural districts.\u003c/p>\n\u003cp>Over the past decade, cultural districts have become a common tool for cities around the country looking to bolster economic activity in neighborhoods that have seen better days.\u003c/p>\n\u003cp>According to Lyz Crane, deputy director of \u003ca href=\"https://www.artplaceamerica.org/\" target=\"_blank\" rel=\"noopener\">Artplace America\u003c/a>, a national organization that works at the intersection of culture and community development, San Francisco isn’t like most other U.S. cities when it comes to implementing creative district programs.\u003c/p>\n\u003cp>“In a place like San Francisco, it’s not a question of economic development; it’s actually in some ways the opposite,” Crane says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You’re trying to create a public tool that can provide some level of control and sort of incentives for things that the market otherwise would just sort of bowl over.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Criminal Complaints and Industry Investigations Target Tidal",
"headTitle": "Criminal Complaints and Industry Investigations Target Tidal | KQED",
"content": "\u003cp>The streaming platform Tidal, whose most public owner and champion is rapper and entrepreneur \u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>, is facing heavy criticism and possible legal action from several Scandinavian artist organizations and other entities after a Norwegian business newspaper alleged last week that the company had \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610193354/tidal-accused-of-faking-hundreds-of-millions-of-plays-for-kanye-west-and-beyonc\" target=\"_blank\" rel=\"noopener\">faked\u003c/a> hundreds of millions of plays on Beyoncé’s \u003cem>Lemonade\u003c/em> and Kanye West’s \u003cem>The Life of Pablo\u003c/em>.\u003c/p>\n\u003cp>That paper, \u003cem>Dagens Naeringsliv\u003c/em> (\u003cem>DN\u003c/em>), published its original findings on May 9. \u003cem>DN\u003c/em> says it was surreptitiously given hard drive that contained internal Tidal play data, and worked with researchers at the Norwegian University of Science and Technology who analyzed the hard drive logs\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>A lawyer for Tidal named Jordan W. Siev told the Norwegian paper that he believes the data was stolen, and that “\u003cem>DN\u003c/em> exhibits complete lack of understanding of the data.” Moreover, Tidal denies that any play data has been manipulated, or that any royalty structures have changed.\u003c/p>\n\u003cp>On Monday, a team of \u003cem>DN\u003c/em> journalists published a trio of follow-up stories. In one of those reports, \u003cem>DN\u003c/em> purports to \u003ca href=\"https://www.dn.no/etterBors/2018/05/13/1828/Musikk/tidal-senket-artistenes-utbetalinger\">show\u003c/a> that in the past year, Tidal has lowered payments to labels\u003cstrong> \u003c/strong>from 62.5 percent to 55 percent, without renegotiating terms. (The company has, since launching, billed itself as the streaming platform that pays the most to creators; \u003cem>DN\u003c/em> says that a 55 percent payout puts Tidal on equal footing with Spotify and Apple Music’s terms.) Daniel Nordgård, the chair of GramArt, the Norwegian musicians’ association, called the situation “a complete breach of trust.”\u003c/p>\n\u003cp>Tidal is co-owned by a consortium of high-powered recording artists, including the two artists whose streaming plays were allegedly manipulated — Jay-Z’s wife, Beyoncé, and Kanye West — as well as Rihanna, Nicki Minaj, Daft Punk, Jack White, Arcade Fire and others; in early 2017, Sprint bought a 33 percent stake in the company for $200 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement last week, Tidal attempted to discredit the Norwegian media outlet, saying: “This is a smear campaign from a publication that once referred to our employee as an ‘Israeli intelligence officer’ and our owner as a ‘crack dealer.’ We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.”\u003c/p>\n\u003cp>Nevertheless, several Scandinavian organizations have decided to take action based on \u003cem>DN\u003c/em>‘s reporting. TONO, the Norwegian collection society for composers, lyricists and music publishers, has filed a report with Okokrim, Norway’s prosecuting and police authority that is charged with fighting economic and environmental crime. Koda, Tono’s sister organization in Denmark, announced on Monday that it is demanding an independent audit of Tidal’s numbers. GramArt, the professional musicians’ association in Norway, also demanded an audit of Tidal’s data and says that if payouts have been withheld, it will be seeking money from Tidal on behalf of its members.\u003c/p>\n\u003cp>In addition, the Norwegian arm of the International Federation of the Phonographic Industry (IFPI) has announced that it will be reviewing the Norwegian albums and singles charts, which rely on Nielsen SoundScan data and are published weekly in the newspaper \u003cem>VG\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tidal did not respond immediately to NPR’s requests for comment on Monday. Both Sony and Universal, which released or distributed the Beyoncé and Kanye West albums, declined to comment to NPR last week about the original \u003cem>DN\u003c/em> report. \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=Criminal+Complaints+And+Industry+Investigations+Target+Tidal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The streaming platform Tidal, whose most public owner and champion is rapper and entrepreneur \u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>, is facing heavy criticism and possible legal action from several Scandinavian artist organizations and other entities after a Norwegian business newspaper alleged last week that the company had \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610193354/tidal-accused-of-faking-hundreds-of-millions-of-plays-for-kanye-west-and-beyonc\" target=\"_blank\" rel=\"noopener\">faked\u003c/a> hundreds of millions of plays on Beyoncé’s \u003cem>Lemonade\u003c/em> and Kanye West’s \u003cem>The Life of Pablo\u003c/em>.\u003c/p>\n\u003cp>That paper, \u003cem>Dagens Naeringsliv\u003c/em> (\u003cem>DN\u003c/em>), published its original findings on May 9. \u003cem>DN\u003c/em> says it was surreptitiously given hard drive that contained internal Tidal play data, and worked with researchers at the Norwegian University of Science and Technology who analyzed the hard drive logs\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>A lawyer for Tidal named Jordan W. Siev told the Norwegian paper that he believes the data was stolen, and that “\u003cem>DN\u003c/em> exhibits complete lack of understanding of the data.” Moreover, Tidal denies that any play data has been manipulated, or that any royalty structures have changed.\u003c/p>\n\u003cp>On Monday, a team of \u003cem>DN\u003c/em> journalists published a trio of follow-up stories. In one of those reports, \u003cem>DN\u003c/em> purports to \u003ca href=\"https://www.dn.no/etterBors/2018/05/13/1828/Musikk/tidal-senket-artistenes-utbetalinger\">show\u003c/a> that in the past year, Tidal has lowered payments to labels\u003cstrong> \u003c/strong>from 62.5 percent to 55 percent, without renegotiating terms. (The company has, since launching, billed itself as the streaming platform that pays the most to creators; \u003cem>DN\u003c/em> says that a 55 percent payout puts Tidal on equal footing with Spotify and Apple Music’s terms.) Daniel Nordgård, the chair of GramArt, the Norwegian musicians’ association, called the situation “a complete breach of trust.”\u003c/p>\n\u003cp>Tidal is co-owned by a consortium of high-powered recording artists, including the two artists whose streaming plays were allegedly manipulated — Jay-Z’s wife, Beyoncé, and Kanye West — as well as Rihanna, Nicki Minaj, Daft Punk, Jack White, Arcade Fire and others; in early 2017, Sprint bought a 33 percent stake in the company for $200 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement last week, Tidal attempted to discredit the Norwegian media outlet, saying: “This is a smear campaign from a publication that once referred to our employee as an ‘Israeli intelligence officer’ and our owner as a ‘crack dealer.’ We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.”\u003c/p>\n\u003cp>Nevertheless, several Scandinavian organizations have decided to take action based on \u003cem>DN\u003c/em>‘s reporting. TONO, the Norwegian collection society for composers, lyricists and music publishers, has filed a report with Okokrim, Norway’s prosecuting and police authority that is charged with fighting economic and environmental crime. Koda, Tono’s sister organization in Denmark, announced on Monday that it is demanding an independent audit of Tidal’s numbers. GramArt, the professional musicians’ association in Norway, also demanded an audit of Tidal’s data and says that if payouts have been withheld, it will be seeking money from Tidal on behalf of its members.\u003c/p>\n\u003cp>In addition, the Norwegian arm of the International Federation of the Phonographic Industry (IFPI) has announced that it will be reviewing the Norwegian albums and singles charts, which rely on Nielsen SoundScan data and are published weekly in the newspaper \u003cem>VG\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tidal did not respond immediately to NPR’s requests for comment on Monday. Both Sony and Universal, which released or distributed the Beyoncé and Kanye West albums, declined to comment to NPR last week about the original \u003cem>DN\u003c/em> report. \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=Criminal+Complaints+And+Industry+Investigations+Target+Tidal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Actress Margot Kidder, Who Played Lois Lane, Dies at 69",
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"content": "\u003cp>Margot Kidder, who became famous for playing Lois Lane opposite Christopher Reeve in \u003cem>Superman\u003c/em>, has died at her home in Montana. Kidder was 69; her acting career spanned decades, from TV series in the late 1960s to seven films in the past five years.\u003c/p>\n\u003cp>A cause of death has not yet been publicly released for Kidder. Her death was announced by the Franzen-Davis Funeral Home in Livingston, Mont., where she resided. \u003c/p>\n\u003cp>“The actress and activist passed away on Sunday, May 13th, 2018 at her home,” the funeral home said.\u003c/p>\n\u003cp>Margaret Ruth Kidder was born in Canada and honed her acting skills on TV shows such as \u003cem>McQueen\u003c/em>, \u003cem>Nichols\u003c/em>, \u003cem>Banacek \u003c/em>and \u003cem>Mod Squad\u003c/em> before becoming a movie star.\u003c/p>\n\u003cp>After landing a lead role in Brian de Palma’s \u003cem>Sisters \u003c/em>in 1972, Kidder’s film career took off. It hit the stratosphere six years later, when Kidder appeared as Lois Lane in the launching of the \u003cem>Superman \u003c/em>film franchise. She went on to appear in three sequels over the next nine years.\u003c/p>\n\u003cfigure id=\"attachment_13832191\" 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/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg\" alt=\"Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13832191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016. \u003ccite>(Ron Galella/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Famous for her smoky voice and for portraying smart, indomitable characters, Kidder also struggled with addiction and bipolar disorder for much of her life. She suffered from a famous breakdown in 1996, when she went missing for several days. When police found her in Glendale, Calif., she was hiding in the bushes behind a house.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Kidder recovered from that incident, she became an advocate for mental health awareness. \u003c/p>\n\u003cp>“I’m not saying it’s all over,” Kidder \u003ca href=\"http://people.com/archive/cover-story-starting-over-vol-46-no-13/\" target=\"_blank\" rel=\"noopener\">told People magazine\u003c/a> after her life derailed in 1996. “I’m saying this is the pattern of my life. In three years I might be having another wig-out. I have no idea. I just have to accept the fact that this is me, or I ain’t gonna make it.”\u003c/p>\n\u003cp>Kidder went to act in dozens of other acting jobs, from recurring roles on TV’s \u003cem>Boston Common \u003c/em>in 1997\u003cem> \u003c/em>to 2009’s \u003cem>Halloween II\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For decades, Kidder had lived in a log cabin near Livingston. In addition to promoting mental health issues, she spoke publicly as an anti-war and environmental activist. \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=Actress+Margot+Kidder%2C+Who+Played+Lois+Lane%2C+Dies+At+69&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Margot Kidder, who became famous for playing Lois Lane opposite Christopher Reeve in \u003cem>Superman\u003c/em>, has died at her home in Montana. Kidder was 69; her acting career spanned decades, from TV series in the late 1960s to seven films in the past five years.\u003c/p>\n\u003cp>A cause of death has not yet been publicly released for Kidder. Her death was announced by the Franzen-Davis Funeral Home in Livingston, Mont., where she resided. \u003c/p>\n\u003cp>“The actress and activist passed away on Sunday, May 13th, 2018 at her home,” the funeral home said.\u003c/p>\n\u003cp>Margaret Ruth Kidder was born in Canada and honed her acting skills on TV shows such as \u003cem>McQueen\u003c/em>, \u003cem>Nichols\u003c/em>, \u003cem>Banacek \u003c/em>and \u003cem>Mod Squad\u003c/em> before becoming a movie star.\u003c/p>\n\u003cp>After landing a lead role in Brian de Palma’s \u003cem>Sisters \u003c/em>in 1972, Kidder’s film career took off. It hit the stratosphere six years later, when Kidder appeared as Lois Lane in the launching of the \u003cem>Superman \u003c/em>film franchise. She went on to appear in three sequels over the next nine years.\u003c/p>\n\u003cfigure id=\"attachment_13832191\" 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/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg\" alt=\"Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13832191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-156108622_vert-76eddbb7a3bd0d0af05a4ce0d82d8b0a666c97de.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margot Kidder is seen here with Carrie Fisher, as the two attended a fundraiser in 1980, at the Empire State Building in New York City. Fisher died in December of 2016. \u003ccite>(Ron Galella/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Famous for her smoky voice and for portraying smart, indomitable characters, Kidder also struggled with addiction and bipolar disorder for much of her life. She suffered from a famous breakdown in 1996, when she went missing for several days. When police found her in Glendale, Calif., she was hiding in the bushes behind a house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Kidder recovered from that incident, she became an advocate for mental health awareness. \u003c/p>\n\u003cp>“I’m not saying it’s all over,” Kidder \u003ca href=\"http://people.com/archive/cover-story-starting-over-vol-46-no-13/\" target=\"_blank\" rel=\"noopener\">told People magazine\u003c/a> after her life derailed in 1996. “I’m saying this is the pattern of my life. In three years I might be having another wig-out. I have no idea. I just have to accept the fact that this is me, or I ain’t gonna make it.”\u003c/p>\n\u003cp>Kidder went to act in dozens of other acting jobs, from recurring roles on TV’s \u003cem>Boston Common \u003c/em>in 1997\u003cem> \u003c/em>to 2009’s \u003cem>Halloween II\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For decades, Kidder had lived in a log cabin near Livingston. In addition to promoting mental health issues, she spoke publicly as an anti-war and environmental activist. \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=Actress+Margot+Kidder%2C+Who+Played+Lois+Lane%2C+Dies+At+69&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last Monday, the day Kelly Johnson planned to end his life, he started the day with a trip to Peet’s. He marked the occasion on Facebook.\u003c/p>\n\u003cp>“Today is my last day on earth as I know it!” \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=193492511373444&id=100021380898770\" rel=\"noopener\" target=\"_blank\">Johnson wrote.\u003c/a> “I slept very well and am getting ready for a community celebration at Peet’s Coffee; our little piece of San Francisco where we’ve established a phenomenal history of greeting each other every morning for many years. One last time today!”\u003c/p>\n\u003cp>An audience was waiting for him at the Fillmore District coffee shop, where the 75-year-old could be found any day of the week holding court from his wheelchair. There, the shop revealed a new plaque dedicated to Johnson, near where he always sat.\u003c/p>\n\u003cfigure id=\"attachment_13831979\" 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/Kelly-Johnson-plaque-800x600.jpg\" alt=\"The plaque dedicated to Kelly Johnson at the Peet's Coffee in the Fillmore District\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13831979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque.jpg 849w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaque dedicated to Kelly Johnson at the Peet’s Coffee in the Fillmore District \u003ccite>(Kim Nalley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because Johnson had dedicated nearly his entire life to the arts, friends and family made the event an artistic affair. The sidewalk leading to the shop was decorated with feathers, and New Orleans jazz was on the radio, while a stream of folks said their goodbyes. When the sadness became palatable, jazz singer Kim Nalley broke into the song, “When You’re Smiling.”\u003c/p>\n\u003cp>“Because he always had the most beautiful smile, no matter what’s going on,” Nalley said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he felt ready, Johnson went home to his apartment. There, he listened Chopin before taking the legally prescribed drugs to end his life, which he chased with some tequila. He then fell asleep. Not long after, he passed on.\u003c/p>\n\u003cp>“It was a peaceful and impeccable death, every detail exactly as he had wished and been describing in the weeks beforehand,” Johnson’s daughter Leda Meredith wrote \u003ca href=\"https://www.facebook.com/photo.php?fbid=193722624683766&set=a.107071100015586.1073741828.100021380898770&type=3&theater\" rel=\"noopener\" target=\"_blank\">on Facebook\u003c/a>.\u003c/p>\n\u003ch2>A Life in the Arts\u003c/h2>\n\u003cfigure id=\"attachment_13831999\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat.jpg\" alt=\"Kelly Johnson and his sister in a promotional photo for their vaudeville act\" width=\"500\" height=\"629\" class=\"size-full wp-image-13831999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-375x472.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Johnson and his sister in a promotional photo for their vaudeville act \u003ccite>(Courtesy of Kelly Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson choreographed his death like a performance. It was a fitting end for a man who spent the majority of his life on or around stages, either performing or working behind the scenes. \u003c/p>\n\u003cp>His artistic life began at the age of six, when his mother enlisted him and his sister to perform acrobatic routines in the Chicago vaudeville circuit. The duo worked well into Johnson’s teens, but it meant he spent his childhood working constantly and unable to make friends. When he became an adult, he had no plans to continue performing.\u003c/p>\n\u003cp>Then he moved to San Francisco in the ’60s. He met his soon-to-be wife, ballet dancer Penelope Lagios, and before long he was back on stage again, dancing with the San Francisco Dance Theater. He and Lagios ran both a dance company and a school that served as many as \u003ca href=\"https://www.kellyjohnson.com/history/\" rel=\"noopener\" target=\"_blank\">1,400 students\u003c/a> during the “dance craze” of the ’70s. \u003c/p>\n\u003cp>In the ’80s, Johnson became the executive director of the Berkeley Symphony Orchestra. Brought into “resuscitate” the organization, one of the first works Johnson helped stage was the \u003ci>Zappa Affair,\u003c/i> a showcase of music by Frank Zappa. Critics praised the \u003ci>Zappa Affair\u003c/i> and it brought the symphony global recognition, but Johnson did not look back at the production fondly. He’d refer to it later as “\u003ca href=\"http://www.afka.net/Articles/1987-03_Option_2.htm\" rel=\"noopener\" target=\"_blank\">the nightmare of 1984\u003c/a>.”\u003c/p>\n\u003cp>“When I started we were six weeks out from a major project with Frank Zappa and were in way over our heads,” Johnson wrote.\u003c/p>\n\u003cp>The symphony initially conceived the show as a night of Frank Zappa music with a budget of $20,000. But the budget ballooned to over $130,000 after Zappa, music director \u003ca href=\"http://kentnagano.com/\" rel=\"noopener\" target=\"_blank\">Kent Nagano\u003c/a>, and others came up with costly additions like life-sized puppets and moving stage sets. The production threatened to sink the orchestra, but Johnson kept it going.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MX4n9jdkCF8\u003c/p>\n\u003ch2>Choosing to End\u003c/h2>\n\u003cp>Johnson worked at the orchestra until 1997, when he left to follow his dream of playing piano for a living. For years following his so-called “retirement,” he performed at retirement homes around the Bay Area.\u003c/p>\n\u003cp>But his acrobatic childhood caught up with him. By the time he was in his 70s, Johnson was in a lot of pain. Arthritis wracked his body, forcing him to depend on a walker and later a wheelchair for movement. In his last days he needed to use oxygen tanks to supplement his breathing. \u003c/p>\n\u003cfigure id=\"attachment_13831995\" class=\"wp-caption alignright\" style=\"max-width: 441px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim.jpg\" alt=\"On Johnson's last day, L-R: Johnson's daughter Leda Meredith, Johnson, and Kim Nalley.\" width=\"441\" height=\"588\" class=\"size-full wp-image-13831995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim.jpg 441w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-375x500.jpg 375w\" sizes=\"(max-width: 441px) 100vw, 441px\">\u003cfigcaption class=\"wp-caption-text\">On Johnson’s last day, L-R: Johnson’s daughter Leda Meredith, Johnson, and Kim Nalley. \u003ccite>(Courtesy of Kim Nalley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After requesting end-of-life drugs last year, his request was approved in April. He announced his decision at a party at his apartment, where friends like Nalley danced, sang and played music. He held a similar party two nights before he ended his life. \u003ca href=\"https://www.youtube.com/user/99esto\" rel=\"noopener\" target=\"_blank\">Videos of the event\u003c/a> (see above) show Johnson sitting on a couch, surrounded by friends, while Nalley and her accompanist Tammy Hall played “stream-of-conscious style” for the small crowd.\u003c/p>\n\u003cp>It was at one of those parties that Nalley said she had her most memorable conversation with Johnson. After having his application approved by the state, Nalley says Johnson’s condition improved, both mentally and physically — thanks to new pain medication. Talking with Nalley, he was appreciative of being able to control how he died and not be a burden to his family, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He felt blessed that he could go surrounded by the people he loved,” Nalley said, “and surrounded by music and art, especially.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Monday, the day Kelly Johnson planned to end his life, he started the day with a trip to Peet’s. He marked the occasion on Facebook.\u003c/p>\n\u003cp>“Today is my last day on earth as I know it!” \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=193492511373444&id=100021380898770\" rel=\"noopener\" target=\"_blank\">Johnson wrote.\u003c/a> “I slept very well and am getting ready for a community celebration at Peet’s Coffee; our little piece of San Francisco where we’ve established a phenomenal history of greeting each other every morning for many years. One last time today!”\u003c/p>\n\u003cp>An audience was waiting for him at the Fillmore District coffee shop, where the 75-year-old could be found any day of the week holding court from his wheelchair. There, the shop revealed a new plaque dedicated to Johnson, near where he always sat.\u003c/p>\n\u003cfigure id=\"attachment_13831979\" 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/Kelly-Johnson-plaque-800x600.jpg\" alt=\"The plaque dedicated to Kelly Johnson at the Peet's Coffee in the Fillmore District\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13831979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque.jpg 849w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaque dedicated to Kelly Johnson at the Peet’s Coffee in the Fillmore District \u003ccite>(Kim Nalley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because Johnson had dedicated nearly his entire life to the arts, friends and family made the event an artistic affair. The sidewalk leading to the shop was decorated with feathers, and New Orleans jazz was on the radio, while a stream of folks said their goodbyes. When the sadness became palatable, jazz singer Kim Nalley broke into the song, “When You’re Smiling.”\u003c/p>\n\u003cp>“Because he always had the most beautiful smile, no matter what’s going on,” Nalley said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he felt ready, Johnson went home to his apartment. There, he listened Chopin before taking the legally prescribed drugs to end his life, which he chased with some tequila. He then fell asleep. Not long after, he passed on.\u003c/p>\n\u003cp>“It was a peaceful and impeccable death, every detail exactly as he had wished and been describing in the weeks beforehand,” Johnson’s daughter Leda Meredith wrote \u003ca href=\"https://www.facebook.com/photo.php?fbid=193722624683766&set=a.107071100015586.1073741828.100021380898770&type=3&theater\" rel=\"noopener\" target=\"_blank\">on Facebook\u003c/a>.\u003c/p>\n\u003ch2>A Life in the Arts\u003c/h2>\n\u003cfigure id=\"attachment_13831999\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat.jpg\" alt=\"Kelly Johnson and his sister in a promotional photo for their vaudeville act\" width=\"500\" height=\"629\" class=\"size-full wp-image-13831999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-375x472.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Johnson and his sister in a promotional photo for their vaudeville act \u003ccite>(Courtesy of Kelly Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson choreographed his death like a performance. It was a fitting end for a man who spent the majority of his life on or around stages, either performing or working behind the scenes. \u003c/p>\n\u003cp>His artistic life began at the age of six, when his mother enlisted him and his sister to perform acrobatic routines in the Chicago vaudeville circuit. The duo worked well into Johnson’s teens, but it meant he spent his childhood working constantly and unable to make friends. When he became an adult, he had no plans to continue performing.\u003c/p>\n\u003cp>Then he moved to San Francisco in the ’60s. He met his soon-to-be wife, ballet dancer Penelope Lagios, and before long he was back on stage again, dancing with the San Francisco Dance Theater. He and Lagios ran both a dance company and a school that served as many as \u003ca href=\"https://www.kellyjohnson.com/history/\" rel=\"noopener\" target=\"_blank\">1,400 students\u003c/a> during the “dance craze” of the ’70s. \u003c/p>\n\u003cp>In the ’80s, Johnson became the executive director of the Berkeley Symphony Orchestra. Brought into “resuscitate” the organization, one of the first works Johnson helped stage was the \u003ci>Zappa Affair,\u003c/i> a showcase of music by Frank Zappa. Critics praised the \u003ci>Zappa Affair\u003c/i> and it brought the symphony global recognition, but Johnson did not look back at the production fondly. He’d refer to it later as “\u003ca href=\"http://www.afka.net/Articles/1987-03_Option_2.htm\" rel=\"noopener\" target=\"_blank\">the nightmare of 1984\u003c/a>.”\u003c/p>\n\u003cp>“When I started we were six weeks out from a major project with Frank Zappa and were in way over our heads,” Johnson wrote.\u003c/p>\n\u003cp>The symphony initially conceived the show as a night of Frank Zappa music with a budget of $20,000. But the budget ballooned to over $130,000 after Zappa, music director \u003ca href=\"http://kentnagano.com/\" rel=\"noopener\" target=\"_blank\">Kent Nagano\u003c/a>, and others came up with costly additions like life-sized puppets and moving stage sets. The production threatened to sink the orchestra, but Johnson kept it going.\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/MX4n9jdkCF8'\n title='//www.youtube.com/embed/MX4n9jdkCF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Choosing to End\u003c/h2>\n\u003cp>Johnson worked at the orchestra until 1997, when he left to follow his dream of playing piano for a living. For years following his so-called “retirement,” he performed at retirement homes around the Bay Area.\u003c/p>\n\u003cp>But his acrobatic childhood caught up with him. By the time he was in his 70s, Johnson was in a lot of pain. Arthritis wracked his body, forcing him to depend on a walker and later a wheelchair for movement. In his last days he needed to use oxygen tanks to supplement his breathing. \u003c/p>\n\u003cfigure id=\"attachment_13831995\" class=\"wp-caption alignright\" style=\"max-width: 441px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim.jpg\" alt=\"On Johnson's last day, L-R: Johnson's daughter Leda Meredith, Johnson, and Kim Nalley.\" width=\"441\" height=\"588\" class=\"size-full wp-image-13831995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim.jpg 441w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-375x500.jpg 375w\" sizes=\"(max-width: 441px) 100vw, 441px\">\u003cfigcaption class=\"wp-caption-text\">On Johnson’s last day, L-R: Johnson’s daughter Leda Meredith, Johnson, and Kim Nalley. \u003ccite>(Courtesy of Kim Nalley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After requesting end-of-life drugs last year, his request was approved in April. He announced his decision at a party at his apartment, where friends like Nalley danced, sang and played music. He held a similar party two nights before he ended his life. \u003ca href=\"https://www.youtube.com/user/99esto\" rel=\"noopener\" target=\"_blank\">Videos of the event\u003c/a> (see above) show Johnson sitting on a couch, surrounded by friends, while Nalley and her accompanist Tammy Hall played “stream-of-conscious style” for the small crowd.\u003c/p>\n\u003cp>It was at one of those parties that Nalley said she had her most memorable conversation with Johnson. After having his application approved by the state, Nalley says Johnson’s condition improved, both mentally and physically — thanks to new pain medication. Talking with Nalley, he was appreciative of being able to control how he died and not be a burden to his family, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He felt blessed that he could go surrounded by the people he loved,” Nalley said, “and surrounded by music and art, especially.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "streets-of-san-jose-spring-to-life-with-a-vietnamese-fashion-statement",
"title": "Streets of San Jose Spring to Life With a Vietnamese Fashion Statement",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\"> More than one thousand people are expected to show up in downtown San Jose Saturday to celebrate the fifth \u003ca href=\"http://aodaifestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ao Dai Festival\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"http://aodaifestival.com/history/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ao dai\u003c/em> \u003c/a>(say “ow-zai”) is a traditional Vietnamese outfit — a long tunic worn over pants, worn by women and men. Starting in the 18th century in the south of Vietnam, the \u003cem>ao dai\u003c/em> has grown from a regional nod to tradition to something much bigger: a national symbol of Vietnamese beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In recent years in San Jose, the \u003cem>ao dai\u003c/em> has become something else yet again: a cultural point of pride most Vietnamese-Americans can get behind. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It is neutral. It is something that everyone agrees is beautiful,” says \u003c/span>\u003cspan style=\"font-weight: 400\">Trami Nguyen Cron, on the Ao Dai Festival’s steering committee. The author and founder of \u003ca href=\"http://www.chopsticksalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chopsticks Alley\u003c/a>, a nonprofit featuring Southeast Asian Artists in the Bay Area, adds, “Let’s come together to celebrate being one, being Vietnamese!”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg\" alt=\"Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For so many who fled Vietnam as adults, modern art and music from the home country is an unpleasant reminder of the Communist regime. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Younger generations may quietly enjoy the cultural dynamism coming from Vietnam today. Publicly? Not so much. \u003c/span>\u003cspan style=\"font-weight: 400\">But as the years pass, young Vietnamese-Americans are eager to take the reins and lead local cultural celebrations. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or launch them. The San Jose festival was developed by a local attorney, Jenny Do, a refugee who came to the US in 1975. Cron explains, “They want to be connected to their culture, and this is an easy way for them to do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year’s theme in San Jose is a “Confluence of Rivers,” and festival will fill a whole day with fashion, music and dance\u003c/span>, starting with a weaving project at 11 a.m. in the Circle of Palms outside the San Jose Museum of Art. At 4 p.m., there’s a fashion walk – slash – march from City Hall to the Circle of Palms. At 5 p.m., there’s traditional music and dance, and finally at 5:30 p.m., a cocktail reception and dinner inside the Fairmont Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13832022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832022\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg\" alt=\"The Ao Dai Festival also features modern renditions of traditional music.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Ao Dai Festival also features modern renditions of traditional music. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>From demure to sexy\u003c/strong>\u003c/p>\n\u003cp>Fashion designers have been playing with the \u003cem>ao dai\u003c/em> since the 1930s, when French-trained artists started taking the costume in a more provocative direction. What was loose became more tight-fitting. Slits up the side sometimes go high enough to show a little skin.\u003c/p>\n\u003cp>A new generation of fashion designers in the Bay Area and beyond continues to play with the classic form. Cron says, “We have local designers from San Jose, from San Francisco, and also famous designers from Vietnam.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the organizers hoped, every generation wants in on the celebration, wants to strut their stuff and celebrate. Pride, fashion, gorgeousness: what’s not to like?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\"> More than one thousand people are expected to show up in downtown San Jose Saturday to celebrate the fifth \u003ca href=\"http://aodaifestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ao Dai Festival\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"http://aodaifestival.com/history/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ao dai\u003c/em> \u003c/a>(say “ow-zai”) is a traditional Vietnamese outfit — a long tunic worn over pants, worn by women and men. Starting in the 18th century in the south of Vietnam, the \u003cem>ao dai\u003c/em> has grown from a regional nod to tradition to something much bigger: a national symbol of Vietnamese beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In recent years in San Jose, the \u003cem>ao dai\u003c/em> has become something else yet again: a cultural point of pride most Vietnamese-Americans can get behind. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It is neutral. It is something that everyone agrees is beautiful,” says \u003c/span>\u003cspan style=\"font-weight: 400\">Trami Nguyen Cron, on the Ao Dai Festival’s steering committee. The author and founder of \u003ca href=\"http://www.chopsticksalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chopsticks Alley\u003c/a>, a nonprofit featuring Southeast Asian Artists in the Bay Area, adds, “Let’s come together to celebrate being one, being Vietnamese!”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg\" alt=\"Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For so many who fled Vietnam as adults, modern art and music from the home country is an unpleasant reminder of the Communist regime. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Younger generations may quietly enjoy the cultural dynamism coming from Vietnam today. Publicly? Not so much. \u003c/span>\u003cspan style=\"font-weight: 400\">But as the years pass, young Vietnamese-Americans are eager to take the reins and lead local cultural celebrations. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or launch them. The San Jose festival was developed by a local attorney, Jenny Do, a refugee who came to the US in 1975. Cron explains, “They want to be connected to their culture, and this is an easy way for them to do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year’s theme in San Jose is a “Confluence of Rivers,” and festival will fill a whole day with fashion, music and dance\u003c/span>, starting with a weaving project at 11 a.m. in the Circle of Palms outside the San Jose Museum of Art. At 4 p.m., there’s a fashion walk – slash – march from City Hall to the Circle of Palms. At 5 p.m., there’s traditional music and dance, and finally at 5:30 p.m., a cocktail reception and dinner inside the Fairmont Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13832022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832022\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg\" alt=\"The Ao Dai Festival also features modern renditions of traditional music.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Ao Dai Festival also features modern renditions of traditional music. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>From demure to sexy\u003c/strong>\u003c/p>\n\u003cp>Fashion designers have been playing with the \u003cem>ao dai\u003c/em> since the 1930s, when French-trained artists started taking the costume in a more provocative direction. What was loose became more tight-fitting. Slits up the side sometimes go high enough to show a little skin.\u003c/p>\n\u003cp>A new generation of fashion designers in the Bay Area and beyond continues to play with the classic form. Cron says, “We have local designers from San Jose, from San Francisco, and also famous designers from Vietnam.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the organizers hoped, every generation wants in on the celebration, wants to strut their stuff and celebrate. Pride, fashion, gorgeousness: what’s not to like?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "kamaiyah-arrested-at-airport-over-refusal-to-remove-head-cover",
"title": "Kamaiyah Arrested at Airport Over Refusal to Remove Head Cover",
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"content": "\u003cp>State troopers arrested Oakland rapper Kamaiyah at a Connecticut airport Friday morning after she refused to remove her head cover, \u003ca href=\"https://www.cnn.com/2018/05/11/entertainment/kamaiyah-arrested-airport/index.html\" target=\"_blank\" rel=\"noopener\">according to reports\u003c/a>.\u003c/p>\n\u003cp>Authorities charged the 26-year-old performer with interfering with police and second-degree breach of peace after she reportedly became “aggressive” when she refused a TSA agent’s request to remove her head cover. The cover had set off an alarm at Bradley International Airport’s security checkpoint, but Kamaiyah did not allow the cover to be inspected.\u003c/p>\n\u003cp>“She was advised unless she did as she was told by TSA, she would not be allowed to proceed through security and not allowed to fly,” a police report on the incident said.\u003c/p>\n\u003cp>The rapper, whose legal name is Kamaiyah Johnson, also ignored authorities’ request to leave the airport and directed “vulgar language” at the TSA agent and trooper on the scene. Law enforcement then took her into custody, and she was released after she posted bond.\u003c/p>\n\u003cp>Johnson tweeted about the incident, but deleted the tweets not long after, according to reports.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Jessie bailed me out I’m not about to let them ruin my day we’re driving to NYC to fly out of there,” \u003ca href=\"https://twitter.com/kamaiyah/status/994949733440421888\" target=\"_blank\" rel=\"noopener\">she tweeted\u003c/a>.\u003c/p>\n\u003cp>The incident comes just weeks after \u003cem>Cosmopolitan\u003c/em> magazine ran a feature on how TSA agents continue to search the \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a18666534/tsa-black-women-hair-searches/\" target=\"_blank\" rel=\"noopener\">hair of African-American women\u003c/a>, despite the agency’s promises to stop the practice in 2015. The agreement came about after the American Civil Liberties Union (ACLU) of Northern California filed a report showing that the TSA unfairly targeted African-American women for pat-downs because of their hairstyles.\u003c/p>\n\u003cp>Wraps and covers are often used by black women to preserve their hairstyles, which can be \u003ca href=\"https://thoughtcatalog.com/kovie-biakolo/2014/09/8-awkward-questions-youve-always-wanted-to-ask-about-black-womens-hair-with-answers/\" target=\"_blank\" rel=\"noopener\">expensive and time-consuming to maintain\u003c/a>.\u003c/p>\n\u003cp>Johnson came into fame in 2015 thanks to her hit single, “How Does It Feel,” which was ranked as one of the year’s best songs by \u003ci>Pitchfork\u003c/i> and NPR. She performs this Sunday at the \u003ca href=\"https://blurryvisionfest.com/\" target=\"_blank\" rel=\"noopener\">Blurry Vision Festival\u003c/a> in Oakland.\u003c/p>\n\u003cp>She’s also required to appear in court on June 6.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dzY6doznXQM\u003c/p>\n\n",
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"excerpt": "The 26-year-old rapper was taken into custody after reportedly using \"vulgar language\" with authorities who ordered her to remove her hair wrap.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>State troopers arrested Oakland rapper Kamaiyah at a Connecticut airport Friday morning after she refused to remove her head cover, \u003ca href=\"https://www.cnn.com/2018/05/11/entertainment/kamaiyah-arrested-airport/index.html\" target=\"_blank\" rel=\"noopener\">according to reports\u003c/a>.\u003c/p>\n\u003cp>Authorities charged the 26-year-old performer with interfering with police and second-degree breach of peace after she reportedly became “aggressive” when she refused a TSA agent’s request to remove her head cover. The cover had set off an alarm at Bradley International Airport’s security checkpoint, but Kamaiyah did not allow the cover to be inspected.\u003c/p>\n\u003cp>“She was advised unless she did as she was told by TSA, she would not be allowed to proceed through security and not allowed to fly,” a police report on the incident said.\u003c/p>\n\u003cp>The rapper, whose legal name is Kamaiyah Johnson, also ignored authorities’ request to leave the airport and directed “vulgar language” at the TSA agent and trooper on the scene. Law enforcement then took her into custody, and she was released after she posted bond.\u003c/p>\n\u003cp>Johnson tweeted about the incident, but deleted the tweets not long after, according to reports.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Jessie bailed me out I’m not about to let them ruin my day we’re driving to NYC to fly out of there,” \u003ca href=\"https://twitter.com/kamaiyah/status/994949733440421888\" target=\"_blank\" rel=\"noopener\">she tweeted\u003c/a>.\u003c/p>\n\u003cp>The incident comes just weeks after \u003cem>Cosmopolitan\u003c/em> magazine ran a feature on how TSA agents continue to search the \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a18666534/tsa-black-women-hair-searches/\" target=\"_blank\" rel=\"noopener\">hair of African-American women\u003c/a>, despite the agency’s promises to stop the practice in 2015. The agreement came about after the American Civil Liberties Union (ACLU) of Northern California filed a report showing that the TSA unfairly targeted African-American women for pat-downs because of their hairstyles.\u003c/p>\n\u003cp>Wraps and covers are often used by black women to preserve their hairstyles, which can be \u003ca href=\"https://thoughtcatalog.com/kovie-biakolo/2014/09/8-awkward-questions-youve-always-wanted-to-ask-about-black-womens-hair-with-answers/\" target=\"_blank\" rel=\"noopener\">expensive and time-consuming to maintain\u003c/a>.\u003c/p>\n\u003cp>Johnson came into fame in 2015 thanks to her hit single, “How Does It Feel,” which was ranked as one of the year’s best songs by \u003ci>Pitchfork\u003c/i> and NPR. She performs this Sunday at the \u003ca href=\"https://blurryvisionfest.com/\" target=\"_blank\" rel=\"noopener\">Blurry Vision Festival\u003c/a> in Oakland.\u003c/p>\n\u003cp>She’s also required to appear in court on June 6.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dzY6doznXQM'\n title='//www.youtube.com/embed/dzY6doznXQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Tidal Accused of Faking Hundreds of Millions of Plays for Kanye West and Beyoncé",
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"content": "\u003cp>Beyoncé’s \u003cem>Lemonade \u003c/em>and Kanye West’s \u003cem>The Life of Pablo\u003c/em> were always bound to be overwhelmingly successful albums — returns after relatively long absences from two of the world’s most well-known artists. But Tidal, the streaming service \u003ca href=\"https://www.hollywoodreporter.com/news/jay-z-gets-streaming-56-768546\">purchased by Jay-Z\u003c/a> in January 2015 and introduced to the public just two months later in \u003ca href=\"https://www.billboard.com/articles/news/6509498/jay-z-tidal-launch-artist-stakeholders\" target=\"_blank\" rel=\"noopener\">a celebrity-stacked event\u003c/a>, has been accused of artificially inflating the play counts of both, according to a lengthy investigation by the Norwegian newspaper \u003cem>Dagens Nærengsliv\u003c/em>. Both artists \u003ca href=\"http://tidal.com/soc\" target=\"_blank\" rel=\"noopener\">are “artist-owners”\u003c/a> of the company.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.dn.no/staticprojects/special/2018/05/09/0600/dokumentar/strommekuppet/?_\" target=\"_blank\" rel=\"noopener\">its piece\u003c/a>, \u003cem>Dagens Nærengsliv\u003c/em> says it was surreptitiously given a hard drive containing internal company play data, billions of lines of it, spread across dozens of files, ostensibly covering 65 days of streaming on the platform. The data is said to have covered streams between two periods: Jan. 21 through Mar. 3, 2016, and Apr. 18 through May 9, 2018.\u003c/p>\n\u003cp>The paper found evidence of certain users having streamed the two albums a surprising amount — 15 plays of \u003cem>Lemonade\u003c/em>, in full, in one one day, by one person. The paper interviewed that person, a 34-year-old Washington, D.C., law student, to ask if she could verify that the plays were hers. “I love Beyoncé — but 11 hours? No,” she told \u003cem>Dagens Nærengsliv\u003c/em>.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/7317826/tidal-three-million-global-subscribers-kanye-west-pablo-streams\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> by Tidal last year claimed \u003cem>The Life of Pablo\u003c/em> was streamed 250 million times in the first 10 days it was available. It also claimed last year to have 3 million subscribers, meaning each user played the record 83 times. Before those numbers were released, West was said to have requested his streaming numbers from the platform be withheld. A different \u003ca href=\"https://www.dn.no/staticprojects/special/2017/01/20/1100/musikk/project-panther/\" target=\"_blank\" rel=\"noopener\">investigative piece\u003c/a> published by the paper last year also accused Tidal of inflating its subscriber numbers in public statements.\u003c/p>\n\u003cp>In total, it accuses Tidal of fabricating 320 million “false” streams. Because of the way streaming revenues are distributed, the effect of drastically inflating two albums’ listen counts is to apportion more revenue toward those albums and away from others, in what’s called a “pro rata” (in proportion) distribution system. This means smaller artists are, in a way, pitted against the most successful artists in the world for pieces of a finite pie — and the large artists, for the most part, receive a disproportionate cut of the revenue. (For a more detailed explanation, several Finnish music organizations conducted \u003ca href=\"https://www.fim-musicians.org/wp-content/uploads/prorata-vs-user-centric-models-study-2018.pdf\" target=\"_blank\" rel=\"noopener\">a study\u003c/a> of the model used.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of this means that if the data were manipulated — whether Tidal itself or the intermediary who gave it to them — wanted Beyoncé and Kanye to actually receive, or appear to receive, an outsized portion of the service’s revenues. Despite that, Tidal \u003ca href=\"http://tidal.com/soc/\">says\u003c/a> it provides “the highest compensation to artists and are consistent in our approach regardless of whether an artist is on a major label or independent.”\u003c/p>\n\u003cp>The stakes are higher than ever, now that streaming is the dominant source of revenue for the recording industry.\u003c/p>\n\u003cp>Sony Music and Universal Music Group, which either released or distributed the albums, declined requests for comment on the report. Tidal issued a strongly worded statement on the situation:\u003c/p>\n\u003cblockquote>\n\u003cp>This is a smear campaign from a publication that once referred to our employee as an “Israeli Intelligence officer” and our owner as a “crack dealer.”\u003c/p>\n\u003c/blockquote>\n\u003cblockquote>\n\u003cp>We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.\u003c/p>\n\u003c/blockquote>\n\u003cp>A request for \u003cem>Dagens Nærengsliv\u003c/em>‘s response to Tidal’s accusations was not returned.\u003c/p>\n\u003cp>The paper also gave the data, after anonymizing it, to the Norwegian University of Science and Technology to look for anomalous behavior by Tidal’s users. Its \u003ca href=\"https://cdn.mbw.44bytes.net/files/2018/05/NTNU_DigitalForensicsReport_DN_Final_Version.pdf\" target=\"_blank\" rel=\"noopener\">report\u003c/a> says that, after analyzing the data in nine separate ways for strange, non-human listening patterns, “there has in fact been a manipulation of the data at particular times. The manipulation appears targeted towards a very specific set of track IDs, related to two distinct albums.” The school’s investigators found that the data was manipulated in a way that is “hard to detect.” It found that over 90 percent of the platform’s users were affected by the manipulation.\u003c/p>\n\u003cp>In an email to NPR, NTNU maintained the data had been manipulated, but “cannot, based on the data provided to us, determine the source of the manipulation.”\u003c/p>\n\u003cp>“It speaks to the broader industry-wide issue with streaming — when it’s dependent on data, its vulnerable to fraud or accusations of fraud,” Kevin Erickson, a director of artist advocacy group the Future of Music Coalition, tells NPR. “When we’re shifting towards an economy where the allocation of revenue is dependent on the quality of the data, this incredible volume of data, at the same time that individualized data is a commodity — listener data for advertising, for example — it incentivizes bad behavior.”\u003c/p>\n\u003cp>Examples of people manipulating the opaque, and often misunderstood economy of music streaming aren’t hard to find. This year, a group of clever Bulgarians \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">reportedly\u003c/a> made hundreds of thousands of dollars through a byzantine, and technically legal, manipulation of Spotify’s payout system. (That scam reignited a \u003ca href=\"http://musically.com/2018/02/22/mmf-calls-new-user-centric-licensing-debate-spotify-bulgarian-scam/\" target=\"_blank\" rel=\"noopener\">debate\u003c/a> around the structure of these systems.) It’s been common knowledge \u003ca href=\"https://www.billboard.com/articles/business/6670475/playola-promotion-streaming-services\" target=\"_blank\" rel=\"noopener\">for years\u003c/a> that artists or labels can purchase slots on playlists — another technically legal practice — in what’s referred to as “playola,” a reference to the practice of music promoters paying radio DJs to spin singles (which \u003cem>is\u003c/em> illegal).\u003c/p>\n\u003cp>“We support full transparency to better educate consumers and stakeholders, and encourage all music industry stakeholders to embrace open communication about the cost of their services,” Tidal’s mission statement \u003ca href=\"http://tidal.com/soc/\" target=\"_blank\" rel=\"noopener\">reads\u003c/a>, in part.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Transparency can help with all of this,” Kevin Erickson says. “We need a baseline transparency to understand what’s going on, but what we really need is regulatory oversight.” \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=Tidal+Accused+Of+Faking+Hundreds+Of+Millions+Of+Plays+For+Kanye+West+And+Beyonc%C3%A9&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s \u003cem>Lemonade \u003c/em>and Kanye West’s \u003cem>The Life of Pablo\u003c/em> were always bound to be overwhelmingly successful albums — returns after relatively long absences from two of the world’s most well-known artists. But Tidal, the streaming service \u003ca href=\"https://www.hollywoodreporter.com/news/jay-z-gets-streaming-56-768546\">purchased by Jay-Z\u003c/a> in January 2015 and introduced to the public just two months later in \u003ca href=\"https://www.billboard.com/articles/news/6509498/jay-z-tidal-launch-artist-stakeholders\" target=\"_blank\" rel=\"noopener\">a celebrity-stacked event\u003c/a>, has been accused of artificially inflating the play counts of both, according to a lengthy investigation by the Norwegian newspaper \u003cem>Dagens Nærengsliv\u003c/em>. Both artists \u003ca href=\"http://tidal.com/soc\" target=\"_blank\" rel=\"noopener\">are “artist-owners”\u003c/a> of the company.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.dn.no/staticprojects/special/2018/05/09/0600/dokumentar/strommekuppet/?_\" target=\"_blank\" rel=\"noopener\">its piece\u003c/a>, \u003cem>Dagens Nærengsliv\u003c/em> says it was surreptitiously given a hard drive containing internal company play data, billions of lines of it, spread across dozens of files, ostensibly covering 65 days of streaming on the platform. The data is said to have covered streams between two periods: Jan. 21 through Mar. 3, 2016, and Apr. 18 through May 9, 2018.\u003c/p>\n\u003cp>The paper found evidence of certain users having streamed the two albums a surprising amount — 15 plays of \u003cem>Lemonade\u003c/em>, in full, in one one day, by one person. The paper interviewed that person, a 34-year-old Washington, D.C., law student, to ask if she could verify that the plays were hers. “I love Beyoncé — but 11 hours? No,” she told \u003cem>Dagens Nærengsliv\u003c/em>.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/7317826/tidal-three-million-global-subscribers-kanye-west-pablo-streams\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> by Tidal last year claimed \u003cem>The Life of Pablo\u003c/em> was streamed 250 million times in the first 10 days it was available. It also claimed last year to have 3 million subscribers, meaning each user played the record 83 times. Before those numbers were released, West was said to have requested his streaming numbers from the platform be withheld. A different \u003ca href=\"https://www.dn.no/staticprojects/special/2017/01/20/1100/musikk/project-panther/\" target=\"_blank\" rel=\"noopener\">investigative piece\u003c/a> published by the paper last year also accused Tidal of inflating its subscriber numbers in public statements.\u003c/p>\n\u003cp>In total, it accuses Tidal of fabricating 320 million “false” streams. Because of the way streaming revenues are distributed, the effect of drastically inflating two albums’ listen counts is to apportion more revenue toward those albums and away from others, in what’s called a “pro rata” (in proportion) distribution system. This means smaller artists are, in a way, pitted against the most successful artists in the world for pieces of a finite pie — and the large artists, for the most part, receive a disproportionate cut of the revenue. (For a more detailed explanation, several Finnish music organizations conducted \u003ca href=\"https://www.fim-musicians.org/wp-content/uploads/prorata-vs-user-centric-models-study-2018.pdf\" target=\"_blank\" rel=\"noopener\">a study\u003c/a> of the model used.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of this means that if the data were manipulated — whether Tidal itself or the intermediary who gave it to them — wanted Beyoncé and Kanye to actually receive, or appear to receive, an outsized portion of the service’s revenues. Despite that, Tidal \u003ca href=\"http://tidal.com/soc/\">says\u003c/a> it provides “the highest compensation to artists and are consistent in our approach regardless of whether an artist is on a major label or independent.”\u003c/p>\n\u003cp>The stakes are higher than ever, now that streaming is the dominant source of revenue for the recording industry.\u003c/p>\n\u003cp>Sony Music and Universal Music Group, which either released or distributed the albums, declined requests for comment on the report. Tidal issued a strongly worded statement on the situation:\u003c/p>\n\u003cblockquote>\n\u003cp>This is a smear campaign from a publication that once referred to our employee as an “Israeli Intelligence officer” and our owner as a “crack dealer.”\u003c/p>\n\u003c/blockquote>\n\u003cblockquote>\n\u003cp>We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.\u003c/p>\n\u003c/blockquote>\n\u003cp>A request for \u003cem>Dagens Nærengsliv\u003c/em>‘s response to Tidal’s accusations was not returned.\u003c/p>\n\u003cp>The paper also gave the data, after anonymizing it, to the Norwegian University of Science and Technology to look for anomalous behavior by Tidal’s users. Its \u003ca href=\"https://cdn.mbw.44bytes.net/files/2018/05/NTNU_DigitalForensicsReport_DN_Final_Version.pdf\" target=\"_blank\" rel=\"noopener\">report\u003c/a> says that, after analyzing the data in nine separate ways for strange, non-human listening patterns, “there has in fact been a manipulation of the data at particular times. The manipulation appears targeted towards a very specific set of track IDs, related to two distinct albums.” The school’s investigators found that the data was manipulated in a way that is “hard to detect.” It found that over 90 percent of the platform’s users were affected by the manipulation.\u003c/p>\n\u003cp>In an email to NPR, NTNU maintained the data had been manipulated, but “cannot, based on the data provided to us, determine the source of the manipulation.”\u003c/p>\n\u003cp>“It speaks to the broader industry-wide issue with streaming — when it’s dependent on data, its vulnerable to fraud or accusations of fraud,” Kevin Erickson, a director of artist advocacy group the Future of Music Coalition, tells NPR. “When we’re shifting towards an economy where the allocation of revenue is dependent on the quality of the data, this incredible volume of data, at the same time that individualized data is a commodity — listener data for advertising, for example — it incentivizes bad behavior.”\u003c/p>\n\u003cp>Examples of people manipulating the opaque, and often misunderstood economy of music streaming aren’t hard to find. This year, a group of clever Bulgarians \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">reportedly\u003c/a> made hundreds of thousands of dollars through a byzantine, and technically legal, manipulation of Spotify’s payout system. (That scam reignited a \u003ca href=\"http://musically.com/2018/02/22/mmf-calls-new-user-centric-licensing-debate-spotify-bulgarian-scam/\" target=\"_blank\" rel=\"noopener\">debate\u003c/a> around the structure of these systems.) It’s been common knowledge \u003ca href=\"https://www.billboard.com/articles/business/6670475/playola-promotion-streaming-services\" target=\"_blank\" rel=\"noopener\">for years\u003c/a> that artists or labels can purchase slots on playlists — another technically legal practice — in what’s referred to as “playola,” a reference to the practice of music promoters paying radio DJs to spin singles (which \u003cem>is\u003c/em> illegal).\u003c/p>\n\u003cp>“We support full transparency to better educate consumers and stakeholders, and encourage all music industry stakeholders to embrace open communication about the cost of their services,” Tidal’s mission statement \u003ca href=\"http://tidal.com/soc/\" target=\"_blank\" rel=\"noopener\">reads\u003c/a>, in part.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Transparency can help with all of this,” Kevin Erickson says. “We need a baseline transparency to understand what’s going on, but what we really need is regulatory oversight.” \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=Tidal+Accused+Of+Faking+Hundreds+Of+Millions+Of+Plays+For+Kanye+West+And+Beyonc%C3%A9&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The National Endowment for the Arts (NEA) announced Wednesday the awarding of \u003ca href=\"http://arts.ca.gov/news/prdetail.php?id=262\" rel=\"noopener\" target=\"_blank\">$5.2 million in grants\u003c/a> to arts organizations in California, with $1,668,500 of that funding specifically earmarked for Bay Area groups.\u003c/p>\n\u003cp>Less than two months after Congress passed a $1.3 trillion spending bill that — in defiance of the \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">Trump administration’s wishes\u003c/a> — increased the NEA’s budget to $153 million, the organization publicized its \u003ca href=\"https://www.arts.gov/news/2018/national-endowment-arts-announces-grants-support-arts-and-innovation-across-country\" rel=\"noopener\" target=\"_blank\">grant recipients for fiscal year 2018\u003c/a>.\u003c/p>\n\u003cp>In total, the NEA is awarding $81.76 million in grants to 1,071 recipients across the nation. This year, 144 of those winners are in California, and about 60 are in the Bay Area. Among the notable local awardees are the Filipino-American Development Foundation (FADF), which will receive $100,000 for developing a Pilipinas Cultural District in San Francisco’s SOMA neighborhood; and Youth Speaks, Inc., which will receive $100,000 for a spoken-word performance called \u003cem>The Bigger Picture\u003c/em>.\u003c/p>\n\u003cp>Noticeably absent from the list of recipients is the \u003ca href=\"http://www.sfmt.org/donate/appeal.php\" rel=\"noopener\" target=\"_blank\">SF Mime Troupe\u003c/a>. The Tony Award-winning political theater group learned in November of last year that it lost its federal funding following negative coverage from the Alt-Right news site, \u003ca href=\"https://www.kqed.org/arts/13595888/breitbart-mime-troupe-freakout-tests-nea-funding-assumptions\" rel=\"noopener\" target=\"_blank\">Breitbart\u003c/a>. Before then, the troupe had received NEA grants ranging from $15,000-$50,000 almost every year since 1998, which it used for its summer programs. \u003c/p>\n\u003cp>The California Arts Council, the state agency supporting the arts, will receive $1,155,300 for its work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since Congress established the independent federal agency in 1965, the NEA has awarded more than $5 billion in grants for various arts-related projects. \u003c/p>\n\u003cp>Below is a list of this year’s grant recipients in the Bay Area. It should be noted that some of these grant amounts could change.\u003c/p>\n\u003cp>\u003cstrong>826 National\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support 826 Digital, an online platform for educators.\u003c/p>\n\u003cp>\u003cstrong>Abada-Capoeira San Francisco\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support a capoeira residency and performance program for students in San Francisco-area schools.\u003c/p>\n\u003cp>\u003cstrong>Alonzo King LINES Ballet\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and world premiere of a ballet by Alonzo King, in collaboration with the Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Asian American Women Artists Association (aka AAWAA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support the Asian American Women Arts Resource Initiative.\u003c/p>\n\u003cp>\u003cstrong>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/strong>\u003cbr>\n$90,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the program staff, travel, lodging and honoraria expenses associated with the National MediaMaker Fellows Program, dedicated to fostering the careers of nonfiction media artists.\u003c/p>\n\u003cp>\u003cstrong>Center for Asian American Media (aka CAAM)\u003c/strong>\u003cbr>\n$26,500 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the strengthening and development of a peer network and strategic infrastructure for Asian American documentary filmmakers working in the American South.\u003c/p>\n\u003cp>\u003cstrong>City and County of San Francisco, California (on behalf of WritersCorps)\u003c/strong>\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support San Francisco WritersCorps, a creative writing program focused on youth from underserved communities.\u003c/p>\n\u003cp>\u003cstrong>Crowded Fire Theater Company (aka Crowded Fire)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a collaboration with the hip-hop orchestra Ensemble Mik NaWooj (EMN), to create a cross- disciplinary, participatory workshop performance.\u003c/p>\n\u003cp>\u003cstrong>Dancers’ Group\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support \u003cem>In Dance\u003c/em>, a free print and online monthly publication that promotes dance artists and activities in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Epiphany Productions Sonic Dance Theater (aka Epiphany Dance Theater)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support San Francisco Trolley Dances in its 15th anniversary year.\u003c/p>\n\u003cp>\u003cstrong>Filipino-American Development Foundation\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support public art planning and initial project development for the SOMA Pilipinas Cultural District.\u003c/p>\n\u003cp>\u003cstrong>Fresh Meat Productions\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support engagement activities during a national tour of “Boys in Trouble,” by choreographer Sean Dorsey.\u003c/p>\n\u003cp>\u003cstrong>Global Fund For Women Inc.\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support production, post-production, and outreach for a short documentary film series directed by Sharmeen Obaid-Chinoy.\u003c/p>\n\u003cp>\u003cstrong>Independent Television Service, Inc. (aka ITVS)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the selection, acquisition, packaging, and promotion of films for the public television series “Independent Lens.”\u003c/p>\n\u003cp>\u003cstrong>Jess Curtis/Gravity, Inc.\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support artist fees for the creation and presentation of a new dance work by choreographer Jess Curtis about sight and perception.\u003c/p>\n\u003cp>\u003cstrong>Joe Goode Performance Group\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of a new dance work about safe havens, by choreographer Joe Goode.\u003c/p>\n\u003cp>\u003cstrong>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the production of “The Keepers,” a podcast and multimedia series.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support Kronos Quartet’s development and implementation of free online resources for music education.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Fifty for the Future, a commissioning and education project by Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation of Forty-Five Years, a new work by Margaret Jenkins.\u003c/p>\n\u003cp>\u003cstrong>MEDIATE Art Group (aka Soundwave)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works To support the Soundwave Biennial.\u003c/p>\n\u003cp>\u003cstrong>Merola Opera Program\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support a professional training program for singers, apprentice coaches, and an apprentice stage director.\u003c/p>\n\u003cp>\u003cstrong>Museum of Performance & Design (aka Museum of Performance + Design)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the digitization of videotapes of live theater performances documenting theater in the San Francisco Bay Area from 1976 to 2001.\u003c/p>\n\u003cp>\u003cstrong>Queer Women of Color Media Arts Project (aka QWOCMAP)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the workshop instruction, travel costs and workshop expenses associated to the Filmmaker Training Program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Arts Education Project (aka SFArtsED)\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support an exhibition “The Living Legacy of Ruth Asawa (1926-2013): Artist, Educator, Activist.”\u003c/p>\n\u003cp>\u003cstrong>San Francisco Ballet Association (aka San Francisco Ballet)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of new ballets and a company premiere.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Chanticleer, Inc. (aka Chanticleer)\u003c/strong>\u003cbr>\n$55,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Chanticleer’s national concert tour and residency program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Contemporary Music Players (aka SFCMP)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support “Stranger in a Strange Land,” a weekend of music events showcasing the performance of a new work by composer Michael Gordon inspired by Angel Island in the San Francisco Bay.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Dance Film Festival Inc (aka SFDFF)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the San Francisco Dance Film Festival.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Friends of Chamber Music\u003c/strong>\u003cbr>\n$12,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the annual SFMusic Day of chamber music performances.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Performances, Inc.\u003c/strong>\u003cbr>\n$21,500 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support a music performance presenting project.\u003c/p>\n\u003cp>\u003cstrong>San Francisco State University (aka SFSU)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support The Poetry Center’s reading series.\u003c/p>\n\u003cp>\u003cstrong>SEW Productions, Inc. (aka Lorraine Hansberry Theatre)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the Lorraine Hansberry Theatre’s production of “Unintended Consequences: The Final Days of Negro- Ville,” by Keith Josef Adkins.\u003c/p>\n\u003cp>\u003cstrong>Shakespeare – San Francisco (aka San Francisco Shakespeare Festival)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the San Francisco Shakespeare Festival’s Free Shakespeare in the Park production of “As You Like It.”\u003c/p>\n\u003cp>\u003cstrong>Smuin Ballets-SF (aka Smuin Ballet)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the presentation of dance works as part of the company’s 25th anniversary season.\u003c/p>\n\u003cp>\u003cstrong>Theatre Bay Area (aka TBA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a new Equity, Diversity, and Inclusion (EDI) training program for a cohort of Bay Area theaters.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nResearch: Art Works — Research\u003cbr>\nTo support a national study that examines how parks are integrating the arts as strategies to strengthen communities.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support the development of a creative placemaking toolkit for city and county health agencies, a Knowledge Building project.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support performing arts workshops and a community design process for improving parks and open spaces in Camden, New Jersey.\u003c/p>\n\u003cp>\u003cstrong>Yerba Buena Center for the Arts (aka YBCA)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of exhibitions, performances, and films.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support \u003cem>The Bigger Picture\u003c/em>, a spoken word performance program presented in partnership with the University of California San Francisco Center for Vulnerable Populations.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support the Brave New Voices Festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Society for the Preservation of Traditional Music, Inc. (aka Freight & Salvage)\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support The Freight & Salvage: Playing with Tradition music festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Symphony Orchestra (aka Berkeley Symphony)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the Music in the Schools initiative.\u003c/p>\n\u003cp>\u003cstrong>California Shakespeare Theater (aka Cal Shakes)\u003c/strong>\u003cbr>\n$30,000 Berkeley, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the regional premiere of “Everybody,” written by Branden Jacobs-Jenkins.\u003c/p>\n\u003cp>\u003cstrong>David Brower Center\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support an arts education program connecting high school students with Bay Area artists.\u003c/p>\n\u003cp>\u003cstrong>Gamelan Sekar Jaya\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Folk & Traditional Arts\u003cbr>\nTo support artist residencies with master artists from Bali, Indonesia.\u003c/p>\n\u003cp>\u003cstrong>Kala Institute\u003c/strong>\u003cbr>\n$22,500 Berkeley, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support an artist-in-residence program for media artists.\u003c/p>\n\u003cp>\u003cstrong>La Pena Cultural Center, Inc.\u003c/strong>\u003cbr>\n$25,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a multidisciplinary performing arts series.\u003c/p>\n\u003cp>\u003cstrong>Luna Kids Dance (aka Luna Dance Institute)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA Art Works — Arts Education\u003cbr>\nTo support professional development activities.\u003c/p>\n\u003cp>\u003cstrong>National Novel Writing Month (aka NaNoWriMo)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support a redesign of the National Novel Writing Month website.\u003c/p>\n\u003cp>\u003cstrong>Regents of the University of California at Berkeley (on behalf of Cal Performances)\u003c/strong>\u003cbr>\n$35,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support an artist-in-residence project by the London-based Philharmonia Orchestra at Cal Performances.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>\u003cbr>\n$10,000 Berkeley, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support performances of “Mata Hari” by composer Matt Marks and librettist Paul Peers.\u003c/p>\n\u003cp>\u003cstrong>Cantare Con Vivo\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support the Children’s Choirs of Oakland program.\u003c/p>\n\u003cp>\u003cstrong>Crosspulse\u003c/strong>\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the development, creation, and production of a multigenerational, collaborative Body Music performance and interactive production, PASS IT DOWN.\u003c/p>\n\u003cp>\u003cstrong>Dimensions Dance Theater, Inc.\u003c/strong>\u003cbr>\n$25,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the Rites of Passage dance education program for youth.\u003c/p>\n\u003cp>\u003cstrong>Friends of Peralta Hacienda Historical Park (aka Peralta Hacienda)\u003c/strong>\u003cbr>\n$56,000 Oakland, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support the design, creation, and dissemination of art works that will reflect the stories of day laborers, a partnership with Street Level Health Project.\u003c/p>\n\u003cp>\u003cstrong>International Society for the Arts, Sciences and Technology (aka Leonardo/ISAST)\u003c/strong>\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support residencies for artists and scientists.\u003c/p>\n\u003cp>\u003cstrong>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Evening Star, a project based on Eastern European folk and spiritual traditions.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Purple Silk Music Education Foundation, Inc. (aka Purple Silk Music Education Foundation)\u003c/strong>\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support a year-long intensive music instruction program for youth.\u003c/p>\n\n",
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"excerpt": "Among the recipients are Youth Speaks and Filipino-American Development Foundation. Not on the list? The SF Mime Troupe.",
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"title": "NEA Awards $1.7 Million in Grants to Bay Area Organizations | KQED",
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"headline": "NEA Awards $1.7 Million in Grants to Bay Area Organizations",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Endowment for the Arts (NEA) announced Wednesday the awarding of \u003ca href=\"http://arts.ca.gov/news/prdetail.php?id=262\" rel=\"noopener\" target=\"_blank\">$5.2 million in grants\u003c/a> to arts organizations in California, with $1,668,500 of that funding specifically earmarked for Bay Area groups.\u003c/p>\n\u003cp>Less than two months after Congress passed a $1.3 trillion spending bill that — in defiance of the \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">Trump administration’s wishes\u003c/a> — increased the NEA’s budget to $153 million, the organization publicized its \u003ca href=\"https://www.arts.gov/news/2018/national-endowment-arts-announces-grants-support-arts-and-innovation-across-country\" rel=\"noopener\" target=\"_blank\">grant recipients for fiscal year 2018\u003c/a>.\u003c/p>\n\u003cp>In total, the NEA is awarding $81.76 million in grants to 1,071 recipients across the nation. This year, 144 of those winners are in California, and about 60 are in the Bay Area. Among the notable local awardees are the Filipino-American Development Foundation (FADF), which will receive $100,000 for developing a Pilipinas Cultural District in San Francisco’s SOMA neighborhood; and Youth Speaks, Inc., which will receive $100,000 for a spoken-word performance called \u003cem>The Bigger Picture\u003c/em>.\u003c/p>\n\u003cp>Noticeably absent from the list of recipients is the \u003ca href=\"http://www.sfmt.org/donate/appeal.php\" rel=\"noopener\" target=\"_blank\">SF Mime Troupe\u003c/a>. The Tony Award-winning political theater group learned in November of last year that it lost its federal funding following negative coverage from the Alt-Right news site, \u003ca href=\"https://www.kqed.org/arts/13595888/breitbart-mime-troupe-freakout-tests-nea-funding-assumptions\" rel=\"noopener\" target=\"_blank\">Breitbart\u003c/a>. Before then, the troupe had received NEA grants ranging from $15,000-$50,000 almost every year since 1998, which it used for its summer programs. \u003c/p>\n\u003cp>The California Arts Council, the state agency supporting the arts, will receive $1,155,300 for its work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since Congress established the independent federal agency in 1965, the NEA has awarded more than $5 billion in grants for various arts-related projects. \u003c/p>\n\u003cp>Below is a list of this year’s grant recipients in the Bay Area. It should be noted that some of these grant amounts could change.\u003c/p>\n\u003cp>\u003cstrong>826 National\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support 826 Digital, an online platform for educators.\u003c/p>\n\u003cp>\u003cstrong>Abada-Capoeira San Francisco\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support a capoeira residency and performance program for students in San Francisco-area schools.\u003c/p>\n\u003cp>\u003cstrong>Alonzo King LINES Ballet\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and world premiere of a ballet by Alonzo King, in collaboration with the Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Asian American Women Artists Association (aka AAWAA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support the Asian American Women Arts Resource Initiative.\u003c/p>\n\u003cp>\u003cstrong>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/strong>\u003cbr>\n$90,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the program staff, travel, lodging and honoraria expenses associated with the National MediaMaker Fellows Program, dedicated to fostering the careers of nonfiction media artists.\u003c/p>\n\u003cp>\u003cstrong>Center for Asian American Media (aka CAAM)\u003c/strong>\u003cbr>\n$26,500 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the strengthening and development of a peer network and strategic infrastructure for Asian American documentary filmmakers working in the American South.\u003c/p>\n\u003cp>\u003cstrong>City and County of San Francisco, California (on behalf of WritersCorps)\u003c/strong>\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support San Francisco WritersCorps, a creative writing program focused on youth from underserved communities.\u003c/p>\n\u003cp>\u003cstrong>Crowded Fire Theater Company (aka Crowded Fire)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a collaboration with the hip-hop orchestra Ensemble Mik NaWooj (EMN), to create a cross- disciplinary, participatory workshop performance.\u003c/p>\n\u003cp>\u003cstrong>Dancers’ Group\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support \u003cem>In Dance\u003c/em>, a free print and online monthly publication that promotes dance artists and activities in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Epiphany Productions Sonic Dance Theater (aka Epiphany Dance Theater)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support San Francisco Trolley Dances in its 15th anniversary year.\u003c/p>\n\u003cp>\u003cstrong>Filipino-American Development Foundation\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support public art planning and initial project development for the SOMA Pilipinas Cultural District.\u003c/p>\n\u003cp>\u003cstrong>Fresh Meat Productions\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support engagement activities during a national tour of “Boys in Trouble,” by choreographer Sean Dorsey.\u003c/p>\n\u003cp>\u003cstrong>Global Fund For Women Inc.\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support production, post-production, and outreach for a short documentary film series directed by Sharmeen Obaid-Chinoy.\u003c/p>\n\u003cp>\u003cstrong>Independent Television Service, Inc. (aka ITVS)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the selection, acquisition, packaging, and promotion of films for the public television series “Independent Lens.”\u003c/p>\n\u003cp>\u003cstrong>Jess Curtis/Gravity, Inc.\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support artist fees for the creation and presentation of a new dance work by choreographer Jess Curtis about sight and perception.\u003c/p>\n\u003cp>\u003cstrong>Joe Goode Performance Group\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of a new dance work about safe havens, by choreographer Joe Goode.\u003c/p>\n\u003cp>\u003cstrong>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the production of “The Keepers,” a podcast and multimedia series.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support Kronos Quartet’s development and implementation of free online resources for music education.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Fifty for the Future, a commissioning and education project by Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation of Forty-Five Years, a new work by Margaret Jenkins.\u003c/p>\n\u003cp>\u003cstrong>MEDIATE Art Group (aka Soundwave)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works To support the Soundwave Biennial.\u003c/p>\n\u003cp>\u003cstrong>Merola Opera Program\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support a professional training program for singers, apprentice coaches, and an apprentice stage director.\u003c/p>\n\u003cp>\u003cstrong>Museum of Performance & Design (aka Museum of Performance + Design)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the digitization of videotapes of live theater performances documenting theater in the San Francisco Bay Area from 1976 to 2001.\u003c/p>\n\u003cp>\u003cstrong>Queer Women of Color Media Arts Project (aka QWOCMAP)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the workshop instruction, travel costs and workshop expenses associated to the Filmmaker Training Program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Arts Education Project (aka SFArtsED)\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support an exhibition “The Living Legacy of Ruth Asawa (1926-2013): Artist, Educator, Activist.”\u003c/p>\n\u003cp>\u003cstrong>San Francisco Ballet Association (aka San Francisco Ballet)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of new ballets and a company premiere.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Chanticleer, Inc. (aka Chanticleer)\u003c/strong>\u003cbr>\n$55,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Chanticleer’s national concert tour and residency program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Contemporary Music Players (aka SFCMP)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support “Stranger in a Strange Land,” a weekend of music events showcasing the performance of a new work by composer Michael Gordon inspired by Angel Island in the San Francisco Bay.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Dance Film Festival Inc (aka SFDFF)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the San Francisco Dance Film Festival.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Friends of Chamber Music\u003c/strong>\u003cbr>\n$12,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the annual SFMusic Day of chamber music performances.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Performances, Inc.\u003c/strong>\u003cbr>\n$21,500 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support a music performance presenting project.\u003c/p>\n\u003cp>\u003cstrong>San Francisco State University (aka SFSU)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support The Poetry Center’s reading series.\u003c/p>\n\u003cp>\u003cstrong>SEW Productions, Inc. (aka Lorraine Hansberry Theatre)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the Lorraine Hansberry Theatre’s production of “Unintended Consequences: The Final Days of Negro- Ville,” by Keith Josef Adkins.\u003c/p>\n\u003cp>\u003cstrong>Shakespeare – San Francisco (aka San Francisco Shakespeare Festival)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the San Francisco Shakespeare Festival’s Free Shakespeare in the Park production of “As You Like It.”\u003c/p>\n\u003cp>\u003cstrong>Smuin Ballets-SF (aka Smuin Ballet)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the presentation of dance works as part of the company’s 25th anniversary season.\u003c/p>\n\u003cp>\u003cstrong>Theatre Bay Area (aka TBA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a new Equity, Diversity, and Inclusion (EDI) training program for a cohort of Bay Area theaters.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nResearch: Art Works — Research\u003cbr>\nTo support a national study that examines how parks are integrating the arts as strategies to strengthen communities.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support the development of a creative placemaking toolkit for city and county health agencies, a Knowledge Building project.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support performing arts workshops and a community design process for improving parks and open spaces in Camden, New Jersey.\u003c/p>\n\u003cp>\u003cstrong>Yerba Buena Center for the Arts (aka YBCA)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of exhibitions, performances, and films.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support \u003cem>The Bigger Picture\u003c/em>, a spoken word performance program presented in partnership with the University of California San Francisco Center for Vulnerable Populations.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support the Brave New Voices Festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Society for the Preservation of Traditional Music, Inc. (aka Freight & Salvage)\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support The Freight & Salvage: Playing with Tradition music festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Symphony Orchestra (aka Berkeley Symphony)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the Music in the Schools initiative.\u003c/p>\n\u003cp>\u003cstrong>California Shakespeare Theater (aka Cal Shakes)\u003c/strong>\u003cbr>\n$30,000 Berkeley, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the regional premiere of “Everybody,” written by Branden Jacobs-Jenkins.\u003c/p>\n\u003cp>\u003cstrong>David Brower Center\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support an arts education program connecting high school students with Bay Area artists.\u003c/p>\n\u003cp>\u003cstrong>Gamelan Sekar Jaya\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Folk & Traditional Arts\u003cbr>\nTo support artist residencies with master artists from Bali, Indonesia.\u003c/p>\n\u003cp>\u003cstrong>Kala Institute\u003c/strong>\u003cbr>\n$22,500 Berkeley, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support an artist-in-residence program for media artists.\u003c/p>\n\u003cp>\u003cstrong>La Pena Cultural Center, Inc.\u003c/strong>\u003cbr>\n$25,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a multidisciplinary performing arts series.\u003c/p>\n\u003cp>\u003cstrong>Luna Kids Dance (aka Luna Dance Institute)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA Art Works — Arts Education\u003cbr>\nTo support professional development activities.\u003c/p>\n\u003cp>\u003cstrong>National Novel Writing Month (aka NaNoWriMo)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support a redesign of the National Novel Writing Month website.\u003c/p>\n\u003cp>\u003cstrong>Regents of the University of California at Berkeley (on behalf of Cal Performances)\u003c/strong>\u003cbr>\n$35,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support an artist-in-residence project by the London-based Philharmonia Orchestra at Cal Performances.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>\u003cbr>\n$10,000 Berkeley, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support performances of “Mata Hari” by composer Matt Marks and librettist Paul Peers.\u003c/p>\n\u003cp>\u003cstrong>Cantare Con Vivo\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support the Children’s Choirs of Oakland program.\u003c/p>\n\u003cp>\u003cstrong>Crosspulse\u003c/strong>\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the development, creation, and production of a multigenerational, collaborative Body Music performance and interactive production, PASS IT DOWN.\u003c/p>\n\u003cp>\u003cstrong>Dimensions Dance Theater, Inc.\u003c/strong>\u003cbr>\n$25,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the Rites of Passage dance education program for youth.\u003c/p>\n\u003cp>\u003cstrong>Friends of Peralta Hacienda Historical Park (aka Peralta Hacienda)\u003c/strong>\u003cbr>\n$56,000 Oakland, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support the design, creation, and dissemination of art works that will reflect the stories of day laborers, a partnership with Street Level Health Project.\u003c/p>\n\u003cp>\u003cstrong>International Society for the Arts, Sciences and Technology (aka Leonardo/ISAST)\u003c/strong>\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support residencies for artists and scientists.\u003c/p>\n\u003cp>\u003cstrong>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Evening Star, a project based on Eastern European folk and spiritual traditions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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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"meta": {
"site": "radio",
"source": "WNYC"
},
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"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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},
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"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",
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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",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"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",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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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.",
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