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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nine Inch Nails has announced a U.S. tour, with tickets available Saturday, May 19 — and buyers can only buy tickets \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">in person, at the box office\u003c/a>. \u003c/p>\n\u003cp>I repeat: In person. At the box office. In 2018.\u003c/p>\n\u003cp>This is a beautiful thing.\u003c/p>\n\u003cp>Everyone knows that buying tickets for shows these days is a demonizing experience. You stare at your laptop’s clock that says “9:59 AM,” you hit refresh on your browser right at 10am, you scramble to fill out a byzantine obstacle course of captchas and pull-down menus and verifiers, and then, you get booted off the server, or your tickets — with a 40% markup of “convenience” fees and “facility” fees — become suddenly “no longer available,” or, since 750,000 scalpers and bots are trying to buy tickets the same time as you, they never even come up as available in the first place. \u003c/p>\n\u003cp>You go to Stubhub, where there’s 300 tickets for the show that just went on sale three minutes ago, and they’re all priced four or five times higher than face value. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is unquestionably a broken system, and no one seems to be willing to do anything about it. Enter Trent Reznor, who clearly looked at a simpler, more equitable, more social way of selling tickets from the \u003cem>Pretty Hate Machine\u003c/em> era of the early 1990s, and said, “Huh. That was better. Let’s try it.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nine Inch Nails play the Bill Graham Civic Center in San Francisco on Dec. 3\u003c/a>. That’s also where, on May 19, you’ll find a line of people wrapped around the block, talking with each other and enjoying the morning and not paying through the nose to a giant corporate-mergered behemoth.\u003c/p>\n\u003cp>Read Nine Inch Nails’ statement about their \u003ca href=\"http://www.nin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">ticket policy\u003c/a> below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg\" alt=\"\" width=\"750\" height=\"1129\" class=\"aligncenter size-full wp-image-13831860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-520x783.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Boots Riley to Receive Sundance Vanguard Award",
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"content": "\u003cp>The \u003ca href=\"http://www.sundance.org/social-events/benefit-events/la-summer-benefit-2018#/\" target=\"_blank\" rel=\"noopener\">Sundance Institute\u003c/a> announced Tuesday that it’s honoring Boots Riley, the Oakland rapper-turned-director behind the sci-fi film \u003ci>Sorry To Bother You,\u003c/i> with the Vanguard Award for emerging artists.\u003c/p>\n\u003cp>[contextly_sidebar id=”H0nLoeciqkYYSe0cCnOXI1GmkwyRSrCd”]\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> is Riley’s directorial debut, and the award puts him in company with previous winners Dee Rees, director of \u003ci>Mudbound;\u003c/i> and \u003ci>Birth Of A Nation\u003c/i> director Nate Parker.\u003c/p>\n\u003cp>Riley’s film gets its nationwide release on July 6 and critics are already describing it as “\u003ca href=\"https://io9.gizmodo.com/sorry-to-bother-you-is-the-most-surreal-important-scif-1823802147\" target=\"_blank\" rel=\"noopener\">the most surreal, important sci-fi movie in years\u003c/a>.” Starring Lakeith Stanfield (\u003ci>Get Out\u003c/i>) and Tessa Thompson (\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), the film follows an African-American telemarketer in Oakland who becomes successful after developing a white accent.\u003c/p>\n\u003cp>Before making \u003ci>Sorry To Bother You,\u003c/i> 47-year-old Riley was best known as a rapper with the Coup and the Street Sweeper Social Club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sundance will honor Riley and screen his new film on July 14 at the Ace Hotel in Los Angeles. Tickets for the event range from $40 to $500, and proceeds go to grants and other programs at the Sundance Institute. Films such as \u003ci>Fruitvale Station\u003c/i>, \u003ci>The Diary Of A Teenage Girl\u003c/i>, and Riley’s own movie all received assistance from the institute’s screenwriter’s and director’s labs.\u003c/p>\n\u003cp>Watch the trailer for \u003cem>Sorry To Bother You\u003c/em> below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=enH3xA4mYcY\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.sundance.org/social-events/benefit-events/la-summer-benefit-2018#/\" target=\"_blank\" rel=\"noopener\">Sundance Institute\u003c/a> announced Tuesday that it’s honoring Boots Riley, the Oakland rapper-turned-director behind the sci-fi film \u003ci>Sorry To Bother You,\u003c/i> with the Vanguard Award for emerging artists.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> is Riley’s directorial debut, and the award puts him in company with previous winners Dee Rees, director of \u003ci>Mudbound;\u003c/i> and \u003ci>Birth Of A Nation\u003c/i> director Nate Parker.\u003c/p>\n\u003cp>Riley’s film gets its nationwide release on July 6 and critics are already describing it as “\u003ca href=\"https://io9.gizmodo.com/sorry-to-bother-you-is-the-most-surreal-important-scif-1823802147\" target=\"_blank\" rel=\"noopener\">the most surreal, important sci-fi movie in years\u003c/a>.” Starring Lakeith Stanfield (\u003ci>Get Out\u003c/i>) and Tessa Thompson (\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), the film follows an African-American telemarketer in Oakland who becomes successful after developing a white accent.\u003c/p>\n\u003cp>Before making \u003ci>Sorry To Bother You,\u003c/i> 47-year-old Riley was best known as a rapper with the Coup and the Street Sweeper Social Club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sundance will honor Riley and screen his new film on July 14 at the Ace Hotel in Los Angeles. Tickets for the event range from $40 to $500, and proceeds go to grants and other programs at the Sundance Institute. Films such as \u003ci>Fruitvale Station\u003c/i>, \u003ci>The Diary Of A Teenage Girl\u003c/i>, and Riley’s own movie all received assistance from the institute’s screenwriter’s and director’s labs.\u003c/p>\n\u003cp>Watch the trailer for \u003cem>Sorry To Bother You\u003c/em> below:\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/enH3xA4mYcY'\n title='//www.youtube.com/embed/enH3xA4mYcY'\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": "How Music Nonprofits Bridge the Budget Gap in Oakland Schools",
"headTitle": "How Music Nonprofits Bridge the Budget Gap in Oakland Schools | KQED",
"content": "\u003cp>On a recent morning at Westlake Middle School in Oakland, longtime band teacher Randy Porter keeps a friendly demeanor while wrangling his students’ attention. “Turn to page 17,” he says, projecting over a cacophony of sixth graders messing with their flutes, clarinets, trumpets and saxophones. “Here’s the thing: with a little bit of focus, you could get \u003cem>every\u003c/em> line sounding that good. I know you could. Or actually, even better!”\u003c/p>\n\u003cp>Porter’s encouragement gets a boost in his next class, for seventh and eighth grade advanced band students, when local trumpet player Christopher Clarke joins him. Clarke is a teaching artist who’s here thanks to San Francisco nonprofit \u003ca href=\"https://www.sfjazz.org/education/schools-and-partnerships/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>‘s program Jazz in Session, which brings professional musicians into classrooms to work one-on-one with students. As Porter leads the class through a 12-bar blues composition, Clarke brings three trumpet players into a glass-paneled practice room for a special session.\u003c/p>\n\u003cfigure id=\"attachment_13831113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg\" alt=\"Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ' Jazz in Session initiative. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ’s Jazz in Session initiative. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Clarke here, the atmosphere changes; the students seem more engaged, and Porter seems relieved. “I feel like the biggest part of my job is psychologist. I gotta teach music, but there’s a lot more,” Porter says when he gets a moment to break away from his class. “More than half of our students come from a traumatic home life.”\u003c/p>\n\u003cp>SFJAZZ has had a presence in San Francisco public schools since 1984, but this year marks its major expansion into Oakland, with the goal of reaching all of the city’s middle schools. Along with fellow San Francisco nonprofit Women’s Audio Mission — which opened an Oakland location for its middle school after-school program this school year — SFJAZZ joins several Oakland music nonprofits, including Oaktown Jazz and Oakland Public Conservatory, in bolstering underfunded music programs in the Oakland Unified School District.\u003c/p>\n\u003ch3>Tackling Music Education from Multiple Fronts\u003c/h3>\n\u003cp>Last fall, SFJAZZ introduced Jazz in Session — where teaching artists like Clarke visit music classrooms — to three Oakland middle Schools: Westlake, Montera and Edna Brewer. In the coming 2018-19 school year, SFJAZZ plans to implement two more education programs in Oakland: one of them, School Day Concerts, will bring musicians like bassist Marcus Shelby and Latin jazz ensemble La Mixta Criolla to perform for assemblies at 15 different schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At two to three more middle schools, SFJAZZ is planning another program, Jazz in the Middle, which integrates a jazz curriculum into existing language arts and social studies classes at schools that don’t have band periods. (SFJAZZ has yet to announce the names of the beneficiary schools of both programs.)\u003c/p>\n\u003cfigure id=\"attachment_13831114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg\" alt=\"Beginning band class at Westlake Middle School.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning band class at Westlake Middle School. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ Director of Education Rebecca Mauleón says she hopes SFJAZZ’s efforts will bolster the arts in the low-income school district, which has about \u003ca href=\"http://www.ofcy.org/assets/Strategic-Plan/Strategic-Plan-2016-2019-Appendix-A-Oakland-Youth-Demographic-Profile.pdf\" target=\"_blank\" rel=\"noopener\">a third of students\u003c/a> living below the poverty line. The primary aim is to contribute to students’ over all academic success, not necessarily to put them on a direct path to professional musicianship.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The arts are necessary skill-building tools that are part of critical thinking, collaborative learning and, in many cases, the types of job opportunities they’ll have in the future that haven’t been invented yet,” Mauleón says.\u003c/span>\u003c/p>\n\u003cp>SFJAZZ’ goal is to bring consistency to OUSD’s music programs at a time when the district faces a major \u003ca href=\"https://www.eastbaytimes.com/2017/12/14/oakland-unified-school-board-approves-9-million-in-mid-year-cuts/\" target=\"_blank\" rel=\"noopener\">budget crisis\u003c/a>. According to the\u003ca href=\"http://www.randstatestats.org/ca/stats/per-pupil-spending-(ca-only).html\" target=\"_blank\" rel=\"noopener\"> latest available data\u003c/a> from the Rand Corporation, Oakland Unified School District (OUSD) spent $13,813 per student during the 2016-17 school year. (In comparison, across the Bay in affluent Palo Alto, the school district spent $17,941 — over $4,000 more — per student.) Moreover, in December 2017, OUSD approved $9 million in mid-year budget cuts, nixing dozens of non-teaching staff positions and reducing budgets for supplies, teacher benefits and other areas.\u003c/p>\n\u003cp>Fillmore Rydeen, the manager of visual and performing arts at OUSD, says OUSD hasn’t laid off any music teachers in years, but admitted that there have been operational cuts to music:\u003cspan style=\"font-weight: 400\"> “Money we’d use to purchase instruments, supplies and things like that; repair equipment,” he says.\u003c/span>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.kqed.org/news/10897918/parents-and-administrators-in-oakland-battle-over-middle-schools-future\" target=\"_blank\" rel=\"noopener\">several other teachers at Westlake\u003c/a>, Porter maintains that traditional public schools have \u003ca href=\"https://www.eastbaytimes.com/2017/12/08/what-led-to-oakland-unifieds-budget-crisis/\" target=\"_blank\" rel=\"noopener\">taken a major hit\u003c/a> over the past decade as a result of the charter school movement. Charter schools attract high-achieving students from well-off families out of public schools like Westlake, he says, leaving students from low-income families behind.\u003c/p>\n\u003cp>In 2013, Westlake had 747 students. Porter says that number is now closer to 360. Because schools get funding based on average daily attendance, they’ve lost many resources. The principal cancelled Porter’s before-school jazz band period because of low enrollment, for instance, which cut the time he gets with his advanced students in half.\u003c/p>\n\u003cp>“We have this new era of segregation in Oakland schools,” he says.\u003c/p>\n\u003cp>At Westlake, teachers are stretched thin, Porter explains, which is why non-profit programs that send in teaching artists like Clarke can be a huge boon: “There are so many kids that have so many needs in a community like this that to be really successful is not a one-person job.”\u003c/p>\n\u003ch3>Focusing on Under-Resourced Schools\u003c/h3>\n\u003cp>Like SFJAZZ, the San Francisco-based Women’s Audio Mission (WAM) is also seeking to deepen its relationship with Oakland schools. The nonprofit has offered after-school programs on site at Oakland schools for nearly seven years, and it opened its first Oakland facility in the Fruitvale district at the start of the 2017-2018 school year.\u003c/p>\n\u003cp>“We’ve had next-to-no capacity to offer audio engineering course work for our middle school students, so having someone like Women’s Audio Mission is something that’s really critical and fills a variety of different roles in music education,” says Rydeen.\u003c/p>\n\u003cfigure id=\"attachment_13831116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg\" alt=\"Women's Audio Mission interns assist in a podcasting class for middle schoolers at the non-profit's Oakland facility.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission interns assist in a podcasting class for middle school students at the non-profit’s Oakland facility. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As of 2017, the Oakland Unified School District has a\u003ca href=\"https://edsource.org/2017/graduation-and-dropout-rates-look-up-california-districts-and-high-schools/580171\" target=\"_blank\" rel=\"noopener\"> 35 percent dropout rate\u003c/a>, and Terri Winston, founder of Women’s Audio Mission, says that phenomenon is particularly prevalent in East Oakland. She set her sights on Fruitvale in order to reach those under-resourced students.\u003c/p>\n\u003cp>“This location in particular, there’s like eight middle schools that can walk to us,” says Winston. “It was important to us to have a location that the girls could own, that felt like, ‘This is a part of my neighborhood.'”\u003c/p>\n\u003cp>When I sit in on a class called Girls on the Mic on a recent afternoon, over a dozen sixth-grade girls from Urban Promise Academy work on podcasts in GarageBand. Most of them are bilingual English and Spanish speakers, so there’s a lot of Spanglish in the mix. One group of three giggles as they practice the introduction to their gossip podcast, which they’re calling \u003cem>Middle School Chisme. \u003c/em>Another group passionately huddles around their microphones for a podcast on LGBTQ issues. “I don’t know what I am yet,” one student confesses into the mic, “but I think everyone should be themselves!”\u003c/p>\n\u003cp>At Girls on the Mic, kids learn a wide range of skills, including recording, mixing, music production, sound for film, podcasting and live sound. “They kind of get to pick and choose and get exposed to all of these careers,” says Victoria Fajardo, a Girls on the Mic instructor.\u003c/p>\n\u003cp>Fajardo says that as a woman of color, her passion to inspire young girls in Fruitvale is deeply personal: she’s first generation Mexican American and grew up in a similarly working class, predominantly Latino neighborhood in Concord. “It’s really important for me to tell them, ‘If I can do it, you can do it,'” she says.\u003c/p>\n\u003cp>As class wraps up, the girls look invigorated; they’re still giggling from having fun being themselves on the mic. Winston says that experiences like this can help close the achievement gap by motivating students to get excited about learning. Her goal is to reach 3,000 Oakland students a year by 2020.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“They can see how this ties into their current studies,” she says. “And then: ‘Oh, maybe my current studies aren’t that bad if I can use them to make this badass art.'”\u003c/p>\n\n",
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"excerpt": "A visit to classrooms in Oakland, where SFJAZZ and Women's Audio Mission are expanding music education programs during a budget crisis.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent morning at Westlake Middle School in Oakland, longtime band teacher Randy Porter keeps a friendly demeanor while wrangling his students’ attention. “Turn to page 17,” he says, projecting over a cacophony of sixth graders messing with their flutes, clarinets, trumpets and saxophones. “Here’s the thing: with a little bit of focus, you could get \u003cem>every\u003c/em> line sounding that good. I know you could. Or actually, even better!”\u003c/p>\n\u003cp>Porter’s encouragement gets a boost in his next class, for seventh and eighth grade advanced band students, when local trumpet player Christopher Clarke joins him. Clarke is a teaching artist who’s here thanks to San Francisco nonprofit \u003ca href=\"https://www.sfjazz.org/education/schools-and-partnerships/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>‘s program Jazz in Session, which brings professional musicians into classrooms to work one-on-one with students. As Porter leads the class through a 12-bar blues composition, Clarke brings three trumpet players into a glass-paneled practice room for a special session.\u003c/p>\n\u003cfigure id=\"attachment_13831113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg\" alt=\"Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ' Jazz in Session initiative. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ’s Jazz in Session initiative. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Clarke here, the atmosphere changes; the students seem more engaged, and Porter seems relieved. “I feel like the biggest part of my job is psychologist. I gotta teach music, but there’s a lot more,” Porter says when he gets a moment to break away from his class. “More than half of our students come from a traumatic home life.”\u003c/p>\n\u003cp>SFJAZZ has had a presence in San Francisco public schools since 1984, but this year marks its major expansion into Oakland, with the goal of reaching all of the city’s middle schools. Along with fellow San Francisco nonprofit Women’s Audio Mission — which opened an Oakland location for its middle school after-school program this school year — SFJAZZ joins several Oakland music nonprofits, including Oaktown Jazz and Oakland Public Conservatory, in bolstering underfunded music programs in the Oakland Unified School District.\u003c/p>\n\u003ch3>Tackling Music Education from Multiple Fronts\u003c/h3>\n\u003cp>Last fall, SFJAZZ introduced Jazz in Session — where teaching artists like Clarke visit music classrooms — to three Oakland middle Schools: Westlake, Montera and Edna Brewer. In the coming 2018-19 school year, SFJAZZ plans to implement two more education programs in Oakland: one of them, School Day Concerts, will bring musicians like bassist Marcus Shelby and Latin jazz ensemble La Mixta Criolla to perform for assemblies at 15 different schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At two to three more middle schools, SFJAZZ is planning another program, Jazz in the Middle, which integrates a jazz curriculum into existing language arts and social studies classes at schools that don’t have band periods. (SFJAZZ has yet to announce the names of the beneficiary schools of both programs.)\u003c/p>\n\u003cfigure id=\"attachment_13831114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg\" alt=\"Beginning band class at Westlake Middle School.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning band class at Westlake Middle School. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ Director of Education Rebecca Mauleón says she hopes SFJAZZ’s efforts will bolster the arts in the low-income school district, which has about \u003ca href=\"http://www.ofcy.org/assets/Strategic-Plan/Strategic-Plan-2016-2019-Appendix-A-Oakland-Youth-Demographic-Profile.pdf\" target=\"_blank\" rel=\"noopener\">a third of students\u003c/a> living below the poverty line. The primary aim is to contribute to students’ over all academic success, not necessarily to put them on a direct path to professional musicianship.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The arts are necessary skill-building tools that are part of critical thinking, collaborative learning and, in many cases, the types of job opportunities they’ll have in the future that haven’t been invented yet,” Mauleón says.\u003c/span>\u003c/p>\n\u003cp>SFJAZZ’ goal is to bring consistency to OUSD’s music programs at a time when the district faces a major \u003ca href=\"https://www.eastbaytimes.com/2017/12/14/oakland-unified-school-board-approves-9-million-in-mid-year-cuts/\" target=\"_blank\" rel=\"noopener\">budget crisis\u003c/a>. According to the\u003ca href=\"http://www.randstatestats.org/ca/stats/per-pupil-spending-(ca-only).html\" target=\"_blank\" rel=\"noopener\"> latest available data\u003c/a> from the Rand Corporation, Oakland Unified School District (OUSD) spent $13,813 per student during the 2016-17 school year. (In comparison, across the Bay in affluent Palo Alto, the school district spent $17,941 — over $4,000 more — per student.) Moreover, in December 2017, OUSD approved $9 million in mid-year budget cuts, nixing dozens of non-teaching staff positions and reducing budgets for supplies, teacher benefits and other areas.\u003c/p>\n\u003cp>Fillmore Rydeen, the manager of visual and performing arts at OUSD, says OUSD hasn’t laid off any music teachers in years, but admitted that there have been operational cuts to music:\u003cspan style=\"font-weight: 400\"> “Money we’d use to purchase instruments, supplies and things like that; repair equipment,” he says.\u003c/span>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.kqed.org/news/10897918/parents-and-administrators-in-oakland-battle-over-middle-schools-future\" target=\"_blank\" rel=\"noopener\">several other teachers at Westlake\u003c/a>, Porter maintains that traditional public schools have \u003ca href=\"https://www.eastbaytimes.com/2017/12/08/what-led-to-oakland-unifieds-budget-crisis/\" target=\"_blank\" rel=\"noopener\">taken a major hit\u003c/a> over the past decade as a result of the charter school movement. Charter schools attract high-achieving students from well-off families out of public schools like Westlake, he says, leaving students from low-income families behind.\u003c/p>\n\u003cp>In 2013, Westlake had 747 students. Porter says that number is now closer to 360. Because schools get funding based on average daily attendance, they’ve lost many resources. The principal cancelled Porter’s before-school jazz band period because of low enrollment, for instance, which cut the time he gets with his advanced students in half.\u003c/p>\n\u003cp>“We have this new era of segregation in Oakland schools,” he says.\u003c/p>\n\u003cp>At Westlake, teachers are stretched thin, Porter explains, which is why non-profit programs that send in teaching artists like Clarke can be a huge boon: “There are so many kids that have so many needs in a community like this that to be really successful is not a one-person job.”\u003c/p>\n\u003ch3>Focusing on Under-Resourced Schools\u003c/h3>\n\u003cp>Like SFJAZZ, the San Francisco-based Women’s Audio Mission (WAM) is also seeking to deepen its relationship with Oakland schools. The nonprofit has offered after-school programs on site at Oakland schools for nearly seven years, and it opened its first Oakland facility in the Fruitvale district at the start of the 2017-2018 school year.\u003c/p>\n\u003cp>“We’ve had next-to-no capacity to offer audio engineering course work for our middle school students, so having someone like Women’s Audio Mission is something that’s really critical and fills a variety of different roles in music education,” says Rydeen.\u003c/p>\n\u003cfigure id=\"attachment_13831116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg\" alt=\"Women's Audio Mission interns assist in a podcasting class for middle schoolers at the non-profit's Oakland facility.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission interns assist in a podcasting class for middle school students at the non-profit’s Oakland facility. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As of 2017, the Oakland Unified School District has a\u003ca href=\"https://edsource.org/2017/graduation-and-dropout-rates-look-up-california-districts-and-high-schools/580171\" target=\"_blank\" rel=\"noopener\"> 35 percent dropout rate\u003c/a>, and Terri Winston, founder of Women’s Audio Mission, says that phenomenon is particularly prevalent in East Oakland. She set her sights on Fruitvale in order to reach those under-resourced students.\u003c/p>\n\u003cp>“This location in particular, there’s like eight middle schools that can walk to us,” says Winston. “It was important to us to have a location that the girls could own, that felt like, ‘This is a part of my neighborhood.'”\u003c/p>\n\u003cp>When I sit in on a class called Girls on the Mic on a recent afternoon, over a dozen sixth-grade girls from Urban Promise Academy work on podcasts in GarageBand. Most of them are bilingual English and Spanish speakers, so there’s a lot of Spanglish in the mix. One group of three giggles as they practice the introduction to their gossip podcast, which they’re calling \u003cem>Middle School Chisme. \u003c/em>Another group passionately huddles around their microphones for a podcast on LGBTQ issues. “I don’t know what I am yet,” one student confesses into the mic, “but I think everyone should be themselves!”\u003c/p>\n\u003cp>At Girls on the Mic, kids learn a wide range of skills, including recording, mixing, music production, sound for film, podcasting and live sound. “They kind of get to pick and choose and get exposed to all of these careers,” says Victoria Fajardo, a Girls on the Mic instructor.\u003c/p>\n\u003cp>Fajardo says that as a woman of color, her passion to inspire young girls in Fruitvale is deeply personal: she’s first generation Mexican American and grew up in a similarly working class, predominantly Latino neighborhood in Concord. “It’s really important for me to tell them, ‘If I can do it, you can do it,'” she says.\u003c/p>\n\u003cp>As class wraps up, the girls look invigorated; they’re still giggling from having fun being themselves on the mic. Winston says that experiences like this can help close the achievement gap by motivating students to get excited about learning. Her goal is to reach 3,000 Oakland students a year by 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>PBS announced Tuesday that CNN correspondent and host Christiane Amanpour will host a new late night public affairs program on the channel, permanently replacing disgraced host Charlie Rose’s long-running interview show.\u003c/p>\n\u003cp>The new hour-long show, \u003cem>Amanpour & Company\u003c/em>, will feature interviews with global leaders and reports from correspondents like Michel Martin, the weekend host of NPR’s \u003cem>All Things Considered\u003c/em>; and Hari Sreenivasan, anchor for PBS’s \u003cem>NewsHour Weekend\u003c/em> and host of \u003cem>SciTech Now\u003c/em>. The show is scheduled to begin airing in July.\u003c/p>\n\u003cp>“I am very pleased to be taking this role at PBS, which is a long proven bastion of quality journalism and quality programming,” Amanpour told \u003ca href=\"https://www.hollywoodreporter.com/news/christiane-amanpour-will-lead-new-pbs-late-night-program-1109701\" rel=\"noopener\" target=\"_blank\">the Hollywood Reporter\u003c/a>. “And I am delighted for the opportunity it gives me to speak to Americans about what’s happening in the rest of the world and about how the world views America.”\u003c/p>\n\u003cp>A simulcast of Amanpour’s half-hour global affairs show on CNN, \u003ci>Amanpour\u003c/i>, served as a temporary fill-in for Rose’s PBS show \u003cem>Charlie Rose\u003c/em> after its cancellation in November.\u003c/p>\n\u003cp>First broadcast on PBS in 1991, Rose’s one-on-one interview show ended after eight women and former co-workers of his \u003ca href=\"https://www.washingtonpost.com/investigations/eight-women-say-charlie-rose-sexually-harassed-them--with-nudity-groping-and-lewd-calls/2017/11/20/9b168de8-caec-11e7-8321-481fd63f174d_story.html\" rel=\"noopener\" target=\"_blank\">publicly accused him of sexual harassment\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PBS president and CEO Paula Kerger released a statement Tuesday citing an “enthusiastic response” to Amanpour’s show since the start of the simulcast, and that her new show will “give viewers a better understanding of our world.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>PBS announced Tuesday that CNN correspondent and host Christiane Amanpour will host a new late night public affairs program on the channel, permanently replacing disgraced host Charlie Rose’s long-running interview show.\u003c/p>\n\u003cp>The new hour-long show, \u003cem>Amanpour & Company\u003c/em>, will feature interviews with global leaders and reports from correspondents like Michel Martin, the weekend host of NPR’s \u003cem>All Things Considered\u003c/em>; and Hari Sreenivasan, anchor for PBS’s \u003cem>NewsHour Weekend\u003c/em> and host of \u003cem>SciTech Now\u003c/em>. The show is scheduled to begin airing in July.\u003c/p>\n\u003cp>“I am very pleased to be taking this role at PBS, which is a long proven bastion of quality journalism and quality programming,” Amanpour told \u003ca href=\"https://www.hollywoodreporter.com/news/christiane-amanpour-will-lead-new-pbs-late-night-program-1109701\" rel=\"noopener\" target=\"_blank\">the Hollywood Reporter\u003c/a>. “And I am delighted for the opportunity it gives me to speak to Americans about what’s happening in the rest of the world and about how the world views America.”\u003c/p>\n\u003cp>A simulcast of Amanpour’s half-hour global affairs show on CNN, \u003ci>Amanpour\u003c/i>, served as a temporary fill-in for Rose’s PBS show \u003cem>Charlie Rose\u003c/em> after its cancellation in November.\u003c/p>\n\u003cp>First broadcast on PBS in 1991, Rose’s one-on-one interview show ended after eight women and former co-workers of his \u003ca href=\"https://www.washingtonpost.com/investigations/eight-women-say-charlie-rose-sexually-harassed-them--with-nudity-groping-and-lewd-calls/2017/11/20/9b168de8-caec-11e7-8321-481fd63f174d_story.html\" rel=\"noopener\" target=\"_blank\">publicly accused him of sexual harassment\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PBS president and CEO Paula Kerger released a statement Tuesday citing an “enthusiastic response” to Amanpour’s show since the start of the simulcast, and that her new show will “give viewers a better understanding of our world.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every once in a while a piece of art comes along that not only captures a moment in time, but also manages to speak to the future. In 1991, Tony Kushner’s play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America\" target=\"_blank\" rel=\"noopener\">\u003cem>Angels in America\u003c/em>\u003c/a> about the AIDS crisis did just that.\u003c/p>\n\u003cp>The Pulitzer Prize-winning drama was birthed in San Francisco and KQED’s Brian Watt and Chloe Veltman went along to opening night of a new production of the work at \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. A few days later, they headed to \u003ca href=\"http://flore415.com/\" target=\"_blank\" rel=\"noopener\">Flore\u003c/a> in the Castro, where Kushner penned much of his epic drama, to talk about the experience. (The cafe was known as “Cafe Flore” back when Kushner frequented it.)\u003c/p>\n\u003cp>Their conversation, recorded and edited for KQED Radio, includes thoughts about how the play’s depiction of environmental woes and political braggadocio feel even more relevant today than they did in the early 1990s, and how it’s possible for eight hours of theater to fly by so fast.\u003c/p>\n\u003cp>Click the play button above to hear the discussion, produced by Erika Kelly.\u003c/p>\n\u003cfigure id=\"attachment_13831594\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13831594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg\" alt=\"Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches.\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-520x346.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches. \u003ccite>(Photo: Courtesy of Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Angels in America plays at Berkeley Repertory Theatre through July 22. To find out more about the production, click \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every once in a while a piece of art comes along that not only captures a moment in time, but also manages to speak to the future. In 1991, Tony Kushner’s play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America\" target=\"_blank\" rel=\"noopener\">\u003cem>Angels in America\u003c/em>\u003c/a> about the AIDS crisis did just that.\u003c/p>\n\u003cp>The Pulitzer Prize-winning drama was birthed in San Francisco and KQED’s Brian Watt and Chloe Veltman went along to opening night of a new production of the work at \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. A few days later, they headed to \u003ca href=\"http://flore415.com/\" target=\"_blank\" rel=\"noopener\">Flore\u003c/a> in the Castro, where Kushner penned much of his epic drama, to talk about the experience. (The cafe was known as “Cafe Flore” back when Kushner frequented it.)\u003c/p>\n\u003cp>Their conversation, recorded and edited for KQED Radio, includes thoughts about how the play’s depiction of environmental woes and political braggadocio feel even more relevant today than they did in the early 1990s, and how it’s possible for eight hours of theater to fly by so fast.\u003c/p>\n\u003cp>Click the play button above to hear the discussion, produced by Erika Kelly.\u003c/p>\n\u003cfigure id=\"attachment_13831594\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13831594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg\" alt=\"Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches.\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-520x346.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches. \u003ccite>(Photo: Courtesy of Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Angels in America plays at Berkeley Repertory Theatre through July 22. To find out more about the production, click \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As Bill Cosby \u003ca href=\"https://www.kqed.org/arts/13830564/bill-cosby-found-guilty-of-all-charges-in-sexual-assault-retrial\" target=\"_blank\" rel=\"noopener\">awaits sentencing\u003c/a> on his conviction for aggravated indecent assault, prestigious institutions continue to strip the comedian of the accolades bestowed on him throughout his 50-year career. \u003c/p>\n\u003cp>The latest is the John F. Kennedy Center for the Performing Arts, whose board voted Monday to rescind the Honors award and the Mark Twain Prize for American Humor that Cosby received in 1998 and 2009, respectively. \u003c/p>\n\u003cp>“The Honors and Mark Twain Prize are given to artists who, through their lifetime of work, have left an indelible impact on American culture,” the Kennedy Center said in a statement. “As a result of Mr. Cosby’s recent criminal conviction, the Board concluded that his actions have overshadowed the very career accomplishments these distinctions from the Kennedy Center intend to recognize.”\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences noted the verdict against Cosby last week, and voted to expel him and Oscar-winning director Roman Polanski. The Academy said both men had violated the organization’s \u003ca href=\"http://www.oscars.org/about/standards-conduct-and-process-submitting-claims-misconduct\">standards of conduct\u003c/a>. They have both been convicted of crimes involving sexual misconduct. \u003c/p>\n\u003cp>On Wednesday, Yale University finally capitulated to a student-led effort to revoke Cosby’s 2003 honorary degree which started as early as 2014. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement, the university said, “The decision is based on a court record providing clear and convincing evidence of conduct that violates fundamental standards of decency shared by all members of the Yale community, conduct that was unknown to the board at the time the degree was awarded. The board took this decision following Mr. Cosby’s criminal conviction after he was afforded due process.”\u003c/p>\n\u003cp>The move was a first in the university’s 300-year history, according to \u003ca href=\"https://www.theatlantic.com/education/archive/2018/05/yale-bill-cosby-honorary-degree/559490/?yptr=yahoo\">The Atlantic\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cosby, who is 80, was found guilty last month in a retrial on charges stemming from a 2004 sexual assault, in which the actor drugged and assaulted a woman in his Pennsylvania home. He could face up to 30 years in prison. \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=Kennedy+Center+Joins+Institutions+Stripping+Bill+Cosby+Of+Awards+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Bill Cosby \u003ca href=\"https://www.kqed.org/arts/13830564/bill-cosby-found-guilty-of-all-charges-in-sexual-assault-retrial\" target=\"_blank\" rel=\"noopener\">awaits sentencing\u003c/a> on his conviction for aggravated indecent assault, prestigious institutions continue to strip the comedian of the accolades bestowed on him throughout his 50-year career. \u003c/p>\n\u003cp>The latest is the John F. Kennedy Center for the Performing Arts, whose board voted Monday to rescind the Honors award and the Mark Twain Prize for American Humor that Cosby received in 1998 and 2009, respectively. \u003c/p>\n\u003cp>“The Honors and Mark Twain Prize are given to artists who, through their lifetime of work, have left an indelible impact on American culture,” the Kennedy Center said in a statement. “As a result of Mr. Cosby’s recent criminal conviction, the Board concluded that his actions have overshadowed the very career accomplishments these distinctions from the Kennedy Center intend to recognize.”\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences noted the verdict against Cosby last week, and voted to expel him and Oscar-winning director Roman Polanski. The Academy said both men had violated the organization’s \u003ca href=\"http://www.oscars.org/about/standards-conduct-and-process-submitting-claims-misconduct\">standards of conduct\u003c/a>. They have both been convicted of crimes involving sexual misconduct. \u003c/p>\n\u003cp>On Wednesday, Yale University finally capitulated to a student-led effort to revoke Cosby’s 2003 honorary degree which started as early as 2014. \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, the university said, “The decision is based on a court record providing clear and convincing evidence of conduct that violates fundamental standards of decency shared by all members of the Yale community, conduct that was unknown to the board at the time the degree was awarded. The board took this decision following Mr. Cosby’s criminal conviction after he was afforded due process.”\u003c/p>\n\u003cp>The move was a first in the university’s 300-year history, according to \u003ca href=\"https://www.theatlantic.com/education/archive/2018/05/yale-bill-cosby-honorary-degree/559490/?yptr=yahoo\">The Atlantic\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cosby, who is 80, was found guilty last month in a retrial on charges stemming from a 2004 sexual assault, in which the actor drugged and assaulted a woman in his Pennsylvania home. He could face up to 30 years in prison. \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=Kennedy+Center+Joins+Institutions+Stripping+Bill+Cosby+Of+Awards+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The annual \u003ca href=\"http://www.steinbeck.org/event/steinbeck-festival/\" target=\"_blank\" rel=\"noopener\">Steinbeck Festival\u003c/a> this weekend focuses on “The Women Of Steinbeck’s World.”\u003c/p>\n\u003cp>This focus goes well beyond the characters in John Steinbeck’s books — like Ma Joad in \u003ci>The Grapes of Wrath\u003c/i> or Juana in \u003ci>The Pearl — \u003c/i>to include real life women who influenced him, like First Lady Eleanor Roosevelt, photographer Dorothea Lange and the environmentalist \u003ca href=\"https://video.kqed.org/video/american-experience-rachel-carson/\" target=\"_blank\" rel=\"noopener\">Rachel Carson\u003c/a>. Why Carson?\u003c/p>\n\u003cp>“Because Steinbeck said the book that he most wished that he’d written was \u003ci>Silent Spring\u003c/i>,” says Susan Shillinglaw, who directs the National Steinbeck Center in Salinas when she’s not teaching English at San Jose State.\u003c/p>\n\u003cp>Shillinglaw says she wouldn’t call Steinbeck a feminist, but, “He so admired strong, resolute women. He married three of them. He was very close to his sisters and his family. And fished with women, had women as companions, et cetera,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10494579\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10494579\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--400x501.jpg\" alt=\"John Steinbeck c. 1930\" width=\"160\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--400x501.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--479x600.jpg 479w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--320x401.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n-.jpg 640w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">John Steinbeck c. 1930 \u003ccite>(Photo: Courtesy of Sonya Noskowiak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There will be lectures throughout the weekend, ranging from Shillinglaw’s own on Steinbeck’s sisters, to UC Berkeley visiting scholar Ignacio Ornelas Rodriguez talking about female fieldworkers and strike organizers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are also local tours of Steinbeck landmarks, a home brew fest (he was said to love a good party) and a taco lunch.\u003c/p>\n\u003cp>But the highlight of the weekend happens Saturday night, with the West Coast premiere of an off-Broadway musical based on Steinbeck’s classic \u003ci>Of Mice and Men\u003c/i>.\u003c/p>\n\u003cp>New York arts journalist Ira Bilowit had Steinbeck’s blessing and suggestions, even though Bilowit’s musical diverges fairly dramatically from the book by giving Curly’s wife — she never had a name in the book — more time on stage and a more sympathetic treatment.\u003c/p>\n\u003cp>\u003ci>Of Mice and Men\u003c/i> debuted off-Broadway in 1958, but it closed after just six weeks. An unfortunately timed newspaper strike drastically reduced the amount of press the work might have received otherwise, and it died a quiet death. The musical wouldn’t be performed again until 2007, when it got a reading at York Theatre Company.\u003c/p>\n\u003cfigure id=\"attachment_13831251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-800x650.jpg\" alt='The cast of the original 1958 off-Broadway production of \"Of Mice and Men\" included Art Lund, Jo Sullivan, and Leo Penn (father of actor Sean Penn). The few reviews it did receive were very good, but it wasn’t enough to build up an audience when a newspaper strike hit New York City soon after the musical opened. The show closed after just six weeks.' width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1020x829.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1200x976.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1920x1561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1180x959.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-960x780.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-240x195.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-375x305.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-520x423.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of the original 1958 off-Broadway production of “Of Mice and Men” included Art Lund, Jo Sullivan, and Leo Penn (father of actor Sean Penn). The few reviews it did receive were very good, but it wasn’t enough to build up an audience when a newspaper strike hit New York City soon after the musical opened. The show closed after just six weeks. \u003ccite>(Photo: Courtesy of Western Stage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bilowit died in 2016, his notes, drawings and photos of the production went to the National Steinbeck Center, and \u003ca href=\"https://westernstage.com\" target=\"_blank\" rel=\"noopener\">Western Stage\u003c/a> got permission from the Steinbeck estate to do the staged reading of the work.\u003c/p>\n\u003cp>His stepdaughter and heir Waverly Scott Kaffaga is expected to attend, and if she likes it, the Stage just might get permission to stage a full production — the first in 60 years — four blocks from the house Steinbeck grew up in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2018 Steinbeck Festival runs from May 4-6. For more information, click \u003ca href=\"http://www.steinbeck.org/event/steinbeck-festival/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual \u003ca href=\"http://www.steinbeck.org/event/steinbeck-festival/\" target=\"_blank\" rel=\"noopener\">Steinbeck Festival\u003c/a> this weekend focuses on “The Women Of Steinbeck’s World.”\u003c/p>\n\u003cp>This focus goes well beyond the characters in John Steinbeck’s books — like Ma Joad in \u003ci>The Grapes of Wrath\u003c/i> or Juana in \u003ci>The Pearl — \u003c/i>to include real life women who influenced him, like First Lady Eleanor Roosevelt, photographer Dorothea Lange and the environmentalist \u003ca href=\"https://video.kqed.org/video/american-experience-rachel-carson/\" target=\"_blank\" rel=\"noopener\">Rachel Carson\u003c/a>. Why Carson?\u003c/p>\n\u003cp>“Because Steinbeck said the book that he most wished that he’d written was \u003ci>Silent Spring\u003c/i>,” says Susan Shillinglaw, who directs the National Steinbeck Center in Salinas when she’s not teaching English at San Jose State.\u003c/p>\n\u003cp>Shillinglaw says she wouldn’t call Steinbeck a feminist, but, “He so admired strong, resolute women. He married three of them. He was very close to his sisters and his family. And fished with women, had women as companions, et cetera,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10494579\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10494579\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--400x501.jpg\" alt=\"John Steinbeck c. 1930\" width=\"160\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--400x501.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--479x600.jpg 479w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n--320x401.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/steinbeck-2-s-n-.jpg 640w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">John Steinbeck c. 1930 \u003ccite>(Photo: Courtesy of Sonya Noskowiak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There will be lectures throughout the weekend, ranging from Shillinglaw’s own on Steinbeck’s sisters, to UC Berkeley visiting scholar Ignacio Ornelas Rodriguez talking about female fieldworkers and strike organizers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are also local tours of Steinbeck landmarks, a home brew fest (he was said to love a good party) and a taco lunch.\u003c/p>\n\u003cp>But the highlight of the weekend happens Saturday night, with the West Coast premiere of an off-Broadway musical based on Steinbeck’s classic \u003ci>Of Mice and Men\u003c/i>.\u003c/p>\n\u003cp>New York arts journalist Ira Bilowit had Steinbeck’s blessing and suggestions, even though Bilowit’s musical diverges fairly dramatically from the book by giving Curly’s wife — she never had a name in the book — more time on stage and a more sympathetic treatment.\u003c/p>\n\u003cp>\u003ci>Of Mice and Men\u003c/i> debuted off-Broadway in 1958, but it closed after just six weeks. An unfortunately timed newspaper strike drastically reduced the amount of press the work might have received otherwise, and it died a quiet death. The musical wouldn’t be performed again until 2007, when it got a reading at York Theatre Company.\u003c/p>\n\u003cfigure id=\"attachment_13831251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-800x650.jpg\" alt='The cast of the original 1958 off-Broadway production of \"Of Mice and Men\" included Art Lund, Jo Sullivan, and Leo Penn (father of actor Sean Penn). The few reviews it did receive were very good, but it wasn’t enough to build up an audience when a newspaper strike hit New York City soon after the musical opened. The show closed after just six weeks.' width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1020x829.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1200x976.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1920x1561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-1180x959.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-960x780.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-240x195.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-375x305.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147-520x423.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Musical-Still-I-e1525486312147.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of the original 1958 off-Broadway production of “Of Mice and Men” included Art Lund, Jo Sullivan, and Leo Penn (father of actor Sean Penn). The few reviews it did receive were very good, but it wasn’t enough to build up an audience when a newspaper strike hit New York City soon after the musical opened. The show closed after just six weeks. \u003ccite>(Photo: Courtesy of Western Stage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bilowit died in 2016, his notes, drawings and photos of the production went to the National Steinbeck Center, and \u003ca href=\"https://westernstage.com\" target=\"_blank\" rel=\"noopener\">Western Stage\u003c/a> got permission from the Steinbeck estate to do the staged reading of the work.\u003c/p>\n\u003cp>His stepdaughter and heir Waverly Scott Kaffaga is expected to attend, and if she likes it, the Stage just might get permission to stage a full production — the first in 60 years — four blocks from the house Steinbeck grew up in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2018 Steinbeck Festival runs from May 4-6. For more information, click \u003ca href=\"http://www.steinbeck.org/event/steinbeck-festival/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Author Junot Diaz Faces Sexual Misconduct Allegations",
"headTitle": "Author Junot Diaz Faces Sexual Misconduct Allegations | KQED",
"content": "\u003cp>Weeks after publishing his own story of sexual abuse in the \u003cem>New Yorker\u003c/em>, Pulitzer Prize-winning author Junot Diaz is facing an onslaught of accusations of sexual misconduct and misogyny directed at fellow writers.\u003c/p>\n\u003cp>Zinzi Clemmons, who penned coming-of-age novel \u003cem>What We Lose\u003c/em>, tweeted early Friday morning that when she was a 26-year-old graduate student, Diaz cornered her and forcibly kissed her after she invited him to speak at a workshop several years ago. She said she believes she is far from the only woman he has “exploited” and told The Associated Press that she cannot bear to think of the others.\u003c/p>\n\u003cp>“Junot Diaz has made his behavior the burden of young women — particularly women of color — for far too long, enabled by his team and the institutions that employ him,” Clemmons wrote in a statement to the AP. “It is time for the burden of his bad behavior to be laid squarely at his feet, and for him to deal with the consequences of his actions.”\u003c/p>\n\u003cp>Through his literary agent, Diaz told the \u003cem>New York Times\u003c/em> that he takes responsibility for his past.\u003cbr>\n“That is the reason I made the decision to tell the truth of my (childhood) rape and its damaging aftermath,” he said. “This conversation is important and must continue.”\u003c/p>\n\u003cp>Since Clemmons’ tweets, other women have come forward with stories of alleged verbal abuse and misogyny by Diaz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rebecca Fortes was in the University of Michigan’s master’s of fine arts program when she volunteered to moderate a Q&A with Diaz in early-2017.\u003c/p>\n\u003cp>When Diaz entered the room, he refused to sit or take off his jacket. He told Fortes her introduction was too long and would not let her read it.\u003c/p>\n\u003cp>She asked him about world building — which he teaches at the Massachusetts Institute of Technology, where he is a professor — and pegged her question to Republican President Donald Trump’s election.\u003c/p>\n\u003cp>“He literally laughed,” Fortes said. “He was just very dismissive, and I remember being really embarrassed and really hurt.”\u003c/p>\n\u003cp>A few months before, Diaz had published an essay in the New Yorker expressing the “rejection” and “fear” that came from a Trump victory. A few months later, his essay appeared in an anthology reacting to Trump’s presidency. But when Fortes asked about the subject, she said she was made to feel small.\u003c/p>\n\u003cp>Soon after, Diaz refused to answer the rest of Fortes’ and her co-moderator’s questions, instead calling on audience members.\u003c/p>\n\u003cp>She was clear that she was not a victim of sexual violence, but she did feel that she had been a recipient of his “misogynistic behavior.”\u003c/p>\n\u003cp>On Facebook, author Monica Byrne detailed her encounter with Diaz at a dinner in 2014. She made a comment that Diaz responded was akin to saying “I haven’t been raped, so rape must not exist.”\u003c/p>\n\u003cp>“His voice had risen to a shout. He literally shouted the word ‘rape’ in my face,” Byrne wrote. “I was speechless and felt sick.”\u003c/p>\n\u003cp>Author Carmen Maria Machado, who is currently at the Sydney Writers’ Festival with Diaz, shared over Twitter how she was treated when she attended a Q&A with the famed Dominican-American writer.\u003c/p>\n\u003cp>“When I made the mistake of asking him a question about his protagonist’s unhealthy, pathological relationship with women, he went off for me for 20 minutes,” Machado tweeted. “In the intervening years, I’ve heard easily a dozen stories about (expletive) sexual misconduct on his part.”\u003c/p>\n\u003cp>In April, Diaz published an essay in the New Yorker about his own experience with rape when he was eight years old and how the trauma manifested later in his personal life.\u003c/p>\n\u003cp>“I think about the hurt I caused,” he wrote. “I think of all the years and all the life I lost to the hiding and to the fear and to the pain. The mask got more of me than I ever did.”\u003c/p>\n\u003cp>Diaz won the Pulitzer for \u003cem>The Brief Wondrous Life of Oscar Wao\u003c/em> in 2008. He is also known for his books, \u003cem>Drown\u003c/em> and \u003cem>This Is How You Lose Her\u003c/em>. In his fiction, Diaz often represents unhealthy romantic relationships tinged with abuse and infidelity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Neither Diaz nor MIT have responded to the AP’s requests for comment.\u003cbr>\n___\u003cbr>\nAssociated Press reporter Philip Marcelo contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Weeks after publishing his own story of sexual abuse in the \u003cem>New Yorker\u003c/em>, Pulitzer Prize-winning author Junot Diaz is facing an onslaught of accusations of sexual misconduct and misogyny directed at fellow writers.\u003c/p>\n\u003cp>Zinzi Clemmons, who penned coming-of-age novel \u003cem>What We Lose\u003c/em>, tweeted early Friday morning that when she was a 26-year-old graduate student, Diaz cornered her and forcibly kissed her after she invited him to speak at a workshop several years ago. She said she believes she is far from the only woman he has “exploited” and told The Associated Press that she cannot bear to think of the others.\u003c/p>\n\u003cp>“Junot Diaz has made his behavior the burden of young women — particularly women of color — for far too long, enabled by his team and the institutions that employ him,” Clemmons wrote in a statement to the AP. “It is time for the burden of his bad behavior to be laid squarely at his feet, and for him to deal with the consequences of his actions.”\u003c/p>\n\u003cp>Through his literary agent, Diaz told the \u003cem>New York Times\u003c/em> that he takes responsibility for his past.\u003cbr>\n“That is the reason I made the decision to tell the truth of my (childhood) rape and its damaging aftermath,” he said. “This conversation is important and must continue.”\u003c/p>\n\u003cp>Since Clemmons’ tweets, other women have come forward with stories of alleged verbal abuse and misogyny by Diaz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rebecca Fortes was in the University of Michigan’s master’s of fine arts program when she volunteered to moderate a Q&A with Diaz in early-2017.\u003c/p>\n\u003cp>When Diaz entered the room, he refused to sit or take off his jacket. He told Fortes her introduction was too long and would not let her read it.\u003c/p>\n\u003cp>She asked him about world building — which he teaches at the Massachusetts Institute of Technology, where he is a professor — and pegged her question to Republican President Donald Trump’s election.\u003c/p>\n\u003cp>“He literally laughed,” Fortes said. “He was just very dismissive, and I remember being really embarrassed and really hurt.”\u003c/p>\n\u003cp>A few months before, Diaz had published an essay in the New Yorker expressing the “rejection” and “fear” that came from a Trump victory. A few months later, his essay appeared in an anthology reacting to Trump’s presidency. But when Fortes asked about the subject, she said she was made to feel small.\u003c/p>\n\u003cp>Soon after, Diaz refused to answer the rest of Fortes’ and her co-moderator’s questions, instead calling on audience members.\u003c/p>\n\u003cp>She was clear that she was not a victim of sexual violence, but she did feel that she had been a recipient of his “misogynistic behavior.”\u003c/p>\n\u003cp>On Facebook, author Monica Byrne detailed her encounter with Diaz at a dinner in 2014. She made a comment that Diaz responded was akin to saying “I haven’t been raped, so rape must not exist.”\u003c/p>\n\u003cp>“His voice had risen to a shout. He literally shouted the word ‘rape’ in my face,” Byrne wrote. “I was speechless and felt sick.”\u003c/p>\n\u003cp>Author Carmen Maria Machado, who is currently at the Sydney Writers’ Festival with Diaz, shared over Twitter how she was treated when she attended a Q&A with the famed Dominican-American writer.\u003c/p>\n\u003cp>“When I made the mistake of asking him a question about his protagonist’s unhealthy, pathological relationship with women, he went off for me for 20 minutes,” Machado tweeted. “In the intervening years, I’ve heard easily a dozen stories about (expletive) sexual misconduct on his part.”\u003c/p>\n\u003cp>In April, Diaz published an essay in the New Yorker about his own experience with rape when he was eight years old and how the trauma manifested later in his personal life.\u003c/p>\n\u003cp>“I think about the hurt I caused,” he wrote. “I think of all the years and all the life I lost to the hiding and to the fear and to the pain. The mask got more of me than I ever did.”\u003c/p>\n\u003cp>Diaz won the Pulitzer for \u003cem>The Brief Wondrous Life of Oscar Wao\u003c/em> in 2008. He is also known for his books, \u003cem>Drown\u003c/em> and \u003cem>This Is How You Lose Her\u003c/em>. In his fiction, Diaz often represents unhealthy romantic relationships tinged with abuse and infidelity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Neither Diaz nor MIT have responded to the AP’s requests for comment.\u003cbr>\n___\u003cbr>\nAssociated Press reporter Philip Marcelo contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated May 4 at 6:35 PM ET.\u003c/strong>\u003c/p>\n\u003cp>In a week of renewed attention to two decades’ worth of allegations of abuse and sexual misconduct against R&B singer R. Kelly, a pair of new reports from \u003cem>BuzzFeed News\u003c/em> and the \u003cem>Washington Post \u003c/em>published on Friday, bringing forward allegations from three more women who say they were abused by Kelly.\u003c/p>\n\u003cp>These new accusations come after the women of color group within the Time’s Up movement \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">added\u003c/a> their voices to an existing online campaign called #MuteRKelly, which asks for the music industry to cut ties to the singer, and a controversial response from Kelly’s management team which calls the campaign an “attempted public lynching.”\u003c/p>\n\u003cp>On Friday morning, \u003cem>BuzzFeed News\u003c/em> \u003ca href=\"https://www.buzzfeed.com/jimderogatis/r-kelly-sexual-abuse-allegations-lizzette-martinez-times-up\">published\u003c/a> allegations from two women about the singer’s alleged sexual abuse, written by reporters Jim DeRogatis, who has been reporting on accusations against Kelly since the year 2000, and Marisa Carroll.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.vox.com/conversations/2017/7/24/16019646/r-kelly-sex-cult-jim-derogatis\">interview\u003c/a> with Vox published last July, the Chicago-based DeRogatis (who is a co-host of the program \u003cem>Sound Opinions\u003c/em> on Member Station WBEZ) said: “The thing that makes me sick to my stomach is it’s impossible, in Chicago, to walk three or four blocks in the music communities of the South and West Side and not find ten people who have stories about R. Kelly, or their cousin has a story about him, or their sister.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the women who spoke to \u003cem>BuzzFeed\u003c/em> is Lizzette Martinez, who says that she began to have a relationship with Kelly when she was a 17-year-old high school senior in Florida and the singer was 28. Martinez says that Kelly hit her on five occasions, and that he pressured her against her will into performing sexual acts. She also told \u003cem>BuzzFeed\u003c/em> that Kelly dictated her behavior: “What I wore, how I spoke, who my friends were, who I could bring around … He’s just so controlling, so abusive.”\u003c/p>\n\u003cp>The other woman who spoke to \u003cem>Buzzfeed\u003c/em> is a Chicago mother going by only her first name of “Michelle”; her daughter, “N,” also began a relationship with Kelly when she was 17. Michelle says that her daughter, who is now 27 years old, has been “brainwashed” by Kelly and is part of the alleged R. Kelly “cult,” and that the few phone calls she has received from N. in the past few years are “like prison calls.”\u003c/p>\n\u003cp>Kelly and his management continue to deny all allegations of abuse. In response to NPR’s request for comment, management said: “Mr. Kelly does not deny that during his youth and early success, he slept with many women, some of whom sought his company because of his success, and some of whom in later years now view their interaction with him negatively. He hopes and believes he treated his women friends well, and if any of them now feel differently about how they were treated, he respects their feelings and has no interest in attacking them or seeking to invalidate their feelings.”\u003c/p>\n\u003cp>On Friday afternoon, the \u003cem>Washington Post\u003c/em> published a lengthy investigation by reporter Geoff Edgars in which six women spoke to the paper about Kelly’s alleged abusive relationships; two of the women, Tracy Sampson and Patrice Jones (who both say that they have received settlements from Kelly) have never spoken publicly about him before.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also interviewed two senior music executives who were instrumental in building Kelly’s career, who spoke on the record about their attitudes towards the allegations.\u003c/p>\n\u003cp>Sampson met Kelly as a 16-year-old intern working for Epic Records. She told the \u003cem>Post \u003c/em>that she hid the relationship from her parents and that she was pressured into sexual acts. Jones says that she was 17 years old when she became pregnant by Kelly, who was then married, and that he pressured her into getting an abortion.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also replicated several text messages that purport to demonstrate how his live-in girlfriends have to seek permission for even bodily functions such as using the bathroom.\u003c/p>\n\u003cp>Kelly’s former tour manager, Demetrius Smith, told the \u003cem>Post \u003c/em>that he warned Clive Calder — the billionaire founder of Kelly’s first label, Jive Records — about Kelly’s behavior. According to the Washington paper, Calder said that he regretted not intervening somehow. “But I’m not a psychiatrist,” Calder told the \u003cem>Post\u003c/em>, adding “and this guy is a troubled guy. Clearly, we missed something.”\u003c/p>\n\u003cp>Calder also said that Kelly’s former attorney, the late Gerald Margolis, had told him that reporter Jim DeRogatis had “an ax to grind” against Kelly.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Larry Khan, the current head of urban radio promotions at Interscope Records and former Jive senior vice president for marketing. Khan told the paper that he had seen a portion of the tape that triggered the 21-count indictment on child pornography charges, but questioned, rhetorically, whether it was a record company’s place to address a performer’s behavior, citing the offstage lives of Jerry Lee Lewis and Chuck Berry as well as Bill Cosby and his relationship to NBC.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Sampson’s former supervisor at Epic, Cathy Carroll, who said, “Rob is really a good person … he’s got a very good heart … A lot of these women who claim stuff, they put themselves out there like that, and then they want to turn around and sue people and sue men.”\u003c/p>\n\u003cp>In 2008, a jury in Chicago acquitted Kelly of all child pornography charges; the jury foreman in the trial, Jamon Mytty, told the \u003cem>Post\u003c/em> that the verdict was reached because both the female minor allegedly seen in the video and her parents declined to testify, and therefore the jury had reasonable doubt that she was the person in the video. (DeRogatis says in the Vox interview that neither the young woman nor her parents cooperated with police at all, though three dozen witnesses did.)\u003c/p>\n\u003cp>According to the \u003cem>Post, \u003c/em>RCA Records recently paid for six weeks of studio time in Los Angeles, ostensibly for an upcoming recording project. One worker at the studio spoke to the \u003cem>Post\u003c/em> anonymously, and said that the the studio floor had been badly damaged with urine stains, and that a cup of urine was left on a piano, for which the studio billed RCA. A former member of Kelly’s team sent the \u003cem>Post\u003c/em> pictures of the damage. RCA did not reply to the \u003cem>Post \u003c/em>with comment.\u003c/p>\n\u003cp>RCA has not responded to multiple requests from NPR for comment since Time’s Up published its open letter on Monday.\u003c/p>\n\u003cp>Kelly is \u003ca href=\"https://apnews.com/d5bd676d5d3645128fe2dcef30d8e4c3\">quoted\u003c/a> by the Associated Press on Friday as saying that he was “heartbroken” by the accusations. Referring to himself as a “God-fearing man, a son, a brother and most importantly a father,” he said that allegations “perpetuated by the media” are “an attempt to distort my character and to destroy my legacy that I have worked so hard to build.”\u003c/p>\n\u003cp>However, his management team told NPR on Friday afternoon that the statement attributed to Kelly by the AP was “an erroneous, unauthorized statement that never was said by R. Kelly himself, nor was it written or distributed by the R. Kelly management team. Mr. Kelly rejects the points the statement tries to make, and we deny all association with it… we are looking into what went wrong here.”\u003c/p>\n\u003cp>Kelly’s management team also said in its statement: “R. Kelly has close friendships with a number of women who are strong, independent, happy, well cared for and free to come and go as they please. We deny the many dark descriptions put forth by instigators and liars who have their own agenda for seeking profit and fame.” It adds that parents of Kelly’s girlfriends are choosing not to return their daughters’ phone calls, “because they are angling for a financial windfall.”\u003c/p>\n\u003cp>NPR also sought a response from Kelly’s management about a woman in Dallas who, last month in Texas, anonymously presented evidence to the Dallas County district attorney’s office, claiming that the singer knowingly gave her a sexually transmitted disease. Management responded, “We have been made aware of financial motivations — and a desire to renew a relationship — coming from the claims in Texas. We hope to be able to elaborate at some point.”\u003c/p>\n\u003cp>In addition, Kelly’s management team redistributed to NPR its controversial statement from earlier this week equating the Time’s Up open letter to a lynching.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Andrew Flanagan contributed reporting.\u003c/em> \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=Three+More+Women+Come+Forward+To+Accuse+R.+Kelly+Of+Abuse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated May 4 at 6:35 PM ET.\u003c/strong>\u003c/p>\n\u003cp>In a week of renewed attention to two decades’ worth of allegations of abuse and sexual misconduct against R&B singer R. Kelly, a pair of new reports from \u003cem>BuzzFeed News\u003c/em> and the \u003cem>Washington Post \u003c/em>published on Friday, bringing forward allegations from three more women who say they were abused by Kelly.\u003c/p>\n\u003cp>These new accusations come after the women of color group within the Time’s Up movement \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">added\u003c/a> their voices to an existing online campaign called #MuteRKelly, which asks for the music industry to cut ties to the singer, and a controversial response from Kelly’s management team which calls the campaign an “attempted public lynching.”\u003c/p>\n\u003cp>On Friday morning, \u003cem>BuzzFeed News\u003c/em> \u003ca href=\"https://www.buzzfeed.com/jimderogatis/r-kelly-sexual-abuse-allegations-lizzette-martinez-times-up\">published\u003c/a> allegations from two women about the singer’s alleged sexual abuse, written by reporters Jim DeRogatis, who has been reporting on accusations against Kelly since the year 2000, and Marisa Carroll.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.vox.com/conversations/2017/7/24/16019646/r-kelly-sex-cult-jim-derogatis\">interview\u003c/a> with Vox published last July, the Chicago-based DeRogatis (who is a co-host of the program \u003cem>Sound Opinions\u003c/em> on Member Station WBEZ) said: “The thing that makes me sick to my stomach is it’s impossible, in Chicago, to walk three or four blocks in the music communities of the South and West Side and not find ten people who have stories about R. Kelly, or their cousin has a story about him, or their sister.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the women who spoke to \u003cem>BuzzFeed\u003c/em> is Lizzette Martinez, who says that she began to have a relationship with Kelly when she was a 17-year-old high school senior in Florida and the singer was 28. Martinez says that Kelly hit her on five occasions, and that he pressured her against her will into performing sexual acts. She also told \u003cem>BuzzFeed\u003c/em> that Kelly dictated her behavior: “What I wore, how I spoke, who my friends were, who I could bring around … He’s just so controlling, so abusive.”\u003c/p>\n\u003cp>The other woman who spoke to \u003cem>Buzzfeed\u003c/em> is a Chicago mother going by only her first name of “Michelle”; her daughter, “N,” also began a relationship with Kelly when she was 17. Michelle says that her daughter, who is now 27 years old, has been “brainwashed” by Kelly and is part of the alleged R. Kelly “cult,” and that the few phone calls she has received from N. in the past few years are “like prison calls.”\u003c/p>\n\u003cp>Kelly and his management continue to deny all allegations of abuse. In response to NPR’s request for comment, management said: “Mr. Kelly does not deny that during his youth and early success, he slept with many women, some of whom sought his company because of his success, and some of whom in later years now view their interaction with him negatively. He hopes and believes he treated his women friends well, and if any of them now feel differently about how they were treated, he respects their feelings and has no interest in attacking them or seeking to invalidate their feelings.”\u003c/p>\n\u003cp>On Friday afternoon, the \u003cem>Washington Post\u003c/em> published a lengthy investigation by reporter Geoff Edgars in which six women spoke to the paper about Kelly’s alleged abusive relationships; two of the women, Tracy Sampson and Patrice Jones (who both say that they have received settlements from Kelly) have never spoken publicly about him before.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also interviewed two senior music executives who were instrumental in building Kelly’s career, who spoke on the record about their attitudes towards the allegations.\u003c/p>\n\u003cp>Sampson met Kelly as a 16-year-old intern working for Epic Records. She told the \u003cem>Post \u003c/em>that she hid the relationship from her parents and that she was pressured into sexual acts. Jones says that she was 17 years old when she became pregnant by Kelly, who was then married, and that he pressured her into getting an abortion.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also replicated several text messages that purport to demonstrate how his live-in girlfriends have to seek permission for even bodily functions such as using the bathroom.\u003c/p>\n\u003cp>Kelly’s former tour manager, Demetrius Smith, told the \u003cem>Post \u003c/em>that he warned Clive Calder — the billionaire founder of Kelly’s first label, Jive Records — about Kelly’s behavior. According to the Washington paper, Calder said that he regretted not intervening somehow. “But I’m not a psychiatrist,” Calder told the \u003cem>Post\u003c/em>, adding “and this guy is a troubled guy. Clearly, we missed something.”\u003c/p>\n\u003cp>Calder also said that Kelly’s former attorney, the late Gerald Margolis, had told him that reporter Jim DeRogatis had “an ax to grind” against Kelly.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Larry Khan, the current head of urban radio promotions at Interscope Records and former Jive senior vice president for marketing. Khan told the paper that he had seen a portion of the tape that triggered the 21-count indictment on child pornography charges, but questioned, rhetorically, whether it was a record company’s place to address a performer’s behavior, citing the offstage lives of Jerry Lee Lewis and Chuck Berry as well as Bill Cosby and his relationship to NBC.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Sampson’s former supervisor at Epic, Cathy Carroll, who said, “Rob is really a good person … he’s got a very good heart … A lot of these women who claim stuff, they put themselves out there like that, and then they want to turn around and sue people and sue men.”\u003c/p>\n\u003cp>In 2008, a jury in Chicago acquitted Kelly of all child pornography charges; the jury foreman in the trial, Jamon Mytty, told the \u003cem>Post\u003c/em> that the verdict was reached because both the female minor allegedly seen in the video and her parents declined to testify, and therefore the jury had reasonable doubt that she was the person in the video. (DeRogatis says in the Vox interview that neither the young woman nor her parents cooperated with police at all, though three dozen witnesses did.)\u003c/p>\n\u003cp>According to the \u003cem>Post, \u003c/em>RCA Records recently paid for six weeks of studio time in Los Angeles, ostensibly for an upcoming recording project. One worker at the studio spoke to the \u003cem>Post\u003c/em> anonymously, and said that the the studio floor had been badly damaged with urine stains, and that a cup of urine was left on a piano, for which the studio billed RCA. A former member of Kelly’s team sent the \u003cem>Post\u003c/em> pictures of the damage. RCA did not reply to the \u003cem>Post \u003c/em>with comment.\u003c/p>\n\u003cp>RCA has not responded to multiple requests from NPR for comment since Time’s Up published its open letter on Monday.\u003c/p>\n\u003cp>Kelly is \u003ca href=\"https://apnews.com/d5bd676d5d3645128fe2dcef30d8e4c3\">quoted\u003c/a> by the Associated Press on Friday as saying that he was “heartbroken” by the accusations. Referring to himself as a “God-fearing man, a son, a brother and most importantly a father,” he said that allegations “perpetuated by the media” are “an attempt to distort my character and to destroy my legacy that I have worked so hard to build.”\u003c/p>\n\u003cp>However, his management team told NPR on Friday afternoon that the statement attributed to Kelly by the AP was “an erroneous, unauthorized statement that never was said by R. Kelly himself, nor was it written or distributed by the R. Kelly management team. Mr. Kelly rejects the points the statement tries to make, and we deny all association with it… we are looking into what went wrong here.”\u003c/p>\n\u003cp>Kelly’s management team also said in its statement: “R. Kelly has close friendships with a number of women who are strong, independent, happy, well cared for and free to come and go as they please. We deny the many dark descriptions put forth by instigators and liars who have their own agenda for seeking profit and fame.” It adds that parents of Kelly’s girlfriends are choosing not to return their daughters’ phone calls, “because they are angling for a financial windfall.”\u003c/p>\n\u003cp>NPR also sought a response from Kelly’s management about a woman in Dallas who, last month in Texas, anonymously presented evidence to the Dallas County district attorney’s office, claiming that the singer knowingly gave her a sexually transmitted disease. Management responded, “We have been made aware of financial motivations — and a desire to renew a relationship — coming from the claims in Texas. We hope to be able to elaborate at some point.”\u003c/p>\n\u003cp>In addition, Kelly’s management team redistributed to NPR its controversial statement from earlier this week equating the Time’s Up open letter to a lynching.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Goodnight Projects, the unassuming apartment gallery in San Francisco’s Noe Valley, is moving out. To celebrate its 9 years of hosting casual events and wonderful art, it holds one last party on Saturday, May 5, which also marks the end of its final exhibition, Spencer Hicks’ \u003ci>The Last Hurrah\u003c/i>.\u003c/p>\n\u003cp>Goodnight Projects’ owner Charlie Villyard says that a development group recently bought the apartment building that housed him and his gallery. It’s an end of an era for the building, which was the home of the True Silver Union artist collective in the 1970s, according to Villyard. When he opened a gallery in the building in 2009, he initially called it True Silver as a tribute to its previous residents.\u003c/p>\n\u003cp>Villyard and his partner Jennifer O’Keeffe say they envisioned Goodnight Projects as an “alternative to the commercial gallery model.”\u003c/p>\n\u003cp>“We like giving artists the opportunity to do something that would be difficult to pull off in a more traditional setting — floor to ceiling installations, performances and screenings, events that involve explosions,” Villyard and O’Keeffe wrote in an email. “We also like to give opportunities to under-the-radar artists — people better known for their job at the museum or the print shop who have this secret practice no one knows about. We often give people their first exhibitions.” \u003c/p>\n\u003cfigure id=\"attachment_13831058\" 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/Goodnight-Projects-Google-800x451.jpg\" alt=\"Goodnight Projects in Oct. 2017\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13831058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goodnight Projects in Oct. 2017. \u003ccite>(via Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a vibe that can only be described as “laid back,” the events at Goodnight were remarkable both for their informal nature and variety of attendees, who ranged from notable art scenesters to Villyard’s neighbors. That unpredictable nature of the shows stuck with the gallery to the end, with the opening of \u003ci>The Last Hurrah\u003c/i> featuring a “somewhat questionable stand up performance.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Goodnight Projects is everything you want out of an apartment gallery: comfortable, welcoming, down for anything,” KQED Arts Visual Arts editor Sarah Hotchkiss wrote. “And making work that can withstand two very curious cats is a healthy creative challenge.”\u003c/p>\n\u003cp>Villyard vows to carry on hosting exhibits and other art events at their new home in Point Reyes.\u003c/p>\n\u003cp>“There’s a closet space in our new house that’s sort of enticing,” Villyard wrote.\u003c/p>\n\u003cp>But he and O’Keeffe clearly enjoyed running Goodnight Projects and hosting an estimated 50 events there.\u003c/p>\n\u003cp>“It’s been a wonderful run,” Villyard wrote on \u003ca href=\"https://www.thankyouand.com/\" rel=\"noopener\" target=\"_blank\">his website\u003c/a>. “This space has always been an incredible excuse to have a good time, to show art that isn’t being shown, and in general to spend time with people we admire and appreciate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Goodnight Projects’ farewell event is on Saturday, May 5, 6-10pm. \u003ca href=\"https://www.thankyouand.com/\" rel=\"noopener\" target=\"_blank\">More details here.\u003c/a>\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goodnight Projects, the unassuming apartment gallery in San Francisco’s Noe Valley, is moving out. To celebrate its 9 years of hosting casual events and wonderful art, it holds one last party on Saturday, May 5, which also marks the end of its final exhibition, Spencer Hicks’ \u003ci>The Last Hurrah\u003c/i>.\u003c/p>\n\u003cp>Goodnight Projects’ owner Charlie Villyard says that a development group recently bought the apartment building that housed him and his gallery. It’s an end of an era for the building, which was the home of the True Silver Union artist collective in the 1970s, according to Villyard. When he opened a gallery in the building in 2009, he initially called it True Silver as a tribute to its previous residents.\u003c/p>\n\u003cp>Villyard and his partner Jennifer O’Keeffe say they envisioned Goodnight Projects as an “alternative to the commercial gallery model.”\u003c/p>\n\u003cp>“We like giving artists the opportunity to do something that would be difficult to pull off in a more traditional setting — floor to ceiling installations, performances and screenings, events that involve explosions,” Villyard and O’Keeffe wrote in an email. “We also like to give opportunities to under-the-radar artists — people better known for their job at the museum or the print shop who have this secret practice no one knows about. We often give people their first exhibitions.” \u003c/p>\n\u003cfigure id=\"attachment_13831058\" 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/Goodnight-Projects-Google-800x451.jpg\" alt=\"Goodnight Projects in Oct. 2017\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13831058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Goodnight-Projects-Google-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goodnight Projects in Oct. 2017. \u003ccite>(via Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a vibe that can only be described as “laid back,” the events at Goodnight were remarkable both for their informal nature and variety of attendees, who ranged from notable art scenesters to Villyard’s neighbors. That unpredictable nature of the shows stuck with the gallery to the end, with the opening of \u003ci>The Last Hurrah\u003c/i> featuring a “somewhat questionable stand up performance.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Goodnight Projects is everything you want out of an apartment gallery: comfortable, welcoming, down for anything,” KQED Arts Visual Arts editor Sarah Hotchkiss wrote. “And making work that can withstand two very curious cats is a healthy creative challenge.”\u003c/p>\n\u003cp>Villyard vows to carry on hosting exhibits and other art events at their new home in Point Reyes.\u003c/p>\n\u003cp>“There’s a closet space in our new house that’s sort of enticing,” Villyard wrote.\u003c/p>\n\u003cp>But he and O’Keeffe clearly enjoyed running Goodnight Projects and hosting an estimated 50 events there.\u003c/p>\n\u003cp>“It’s been a wonderful run,” Villyard wrote on \u003ca href=\"https://www.thankyouand.com/\" rel=\"noopener\" target=\"_blank\">his website\u003c/a>. “This space has always been an incredible excuse to have a good time, to show art that isn’t being shown, and in general to spend time with people we admire and appreciate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Goodnight Projects’ farewell event is on Saturday, May 5, 6-10pm. \u003ca href=\"https://www.thankyouand.com/\" rel=\"noopener\" target=\"_blank\">More details here.\u003c/a>\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "G-Eazy Arrested in Sweden After Altercation at Nightclub [UPDATE]",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> \u003ca href=\"https://www.vibe.com/2018/05/g-eazy-pleads-guilty-arrest/\" rel=\"noopener\" target=\"_blank\">Vibe Magazine\u003c/a> reports that G-Eazy plead guilty to assault and drug possession for his attacks on security guards early Thursday morning. By pleading guilty, the rapper avoids jail time and will be allowed to leave Sweden. He’s required to pay $9,000 in fines and restitution to his victim.\u003c/p>\n\u003cp>\u003cb>Original Post:\u003c/b>\u003c/p>\n\u003cp>Oakland rapper G-Eazy was arrested in Stockholm early Thursday morning after an altercation with an employee of a nightclub, according to reports.\u003c/p>\n\u003cp>In video obtained \u003ca href=\"http://www.tmz.com/2018/05/03/g-eazy-arrested-assault-cocaine-possession-stockholm-sweden/\" rel=\"noopener\" target=\"_blank\">by TMZ.com\u003c/a>, the 28-year-old rapper known for hit songs like “Him & I” and “Me, Myself & I” can be seen being escorted by law enforcement out of a nightclub into a police vehicle. Local law enforcement confirmed to \u003ca href=\"https://theblast.com/g-eazy-arrested-sweden-assault/\" rel=\"noopener\" target=\"_blank\">The Blast\u003c/a> that an American citizen was arrested around 3am on an assault charge, and that it involved an employee of the club.\u003c/p>\n\u003cp>TMZ also reported that cocaine was found in G-Eazy’s possession. Police later confirmed that 1.5 ounces of cocaine was found on G-Eazy’s when he was arrested.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>G-Eazy, whose real name is Gerald Earl Gillum, has been a rising star in the music world since the release of his major label debut, \u003cem>These Things Happen\u003c/em>, in 2014. The album reached number 3 on the Billboard 200, and Gillum went on to collaborate with high profile artists like Cardi B, fellow Oakland artist Kehlani, and pop singer Halsey, who he is also dating. The couple recently performed on \u003ca href=\"https://revolt.tv/stories/2018/01/14/geazy-performs-alongside-hasley-saturday-night-live-08000ff31a\" rel=\"noopener\" target=\"_blank\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> together.\u003c/p>\n\u003cp>The incident occurred at an afterparty following G-Eazy concert in Stockholm Wednesday evening. Before being arrested, G-Eazy and Halsey were seen distributing shots of alcohol to partygoers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details emerge.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b> \u003ca href=\"https://www.vibe.com/2018/05/g-eazy-pleads-guilty-arrest/\" rel=\"noopener\" target=\"_blank\">Vibe Magazine\u003c/a> reports that G-Eazy plead guilty to assault and drug possession for his attacks on security guards early Thursday morning. By pleading guilty, the rapper avoids jail time and will be allowed to leave Sweden. He’s required to pay $9,000 in fines and restitution to his victim.\u003c/p>\n\u003cp>\u003cb>Original Post:\u003c/b>\u003c/p>\n\u003cp>Oakland rapper G-Eazy was arrested in Stockholm early Thursday morning after an altercation with an employee of a nightclub, according to reports.\u003c/p>\n\u003cp>In video obtained \u003ca href=\"http://www.tmz.com/2018/05/03/g-eazy-arrested-assault-cocaine-possession-stockholm-sweden/\" rel=\"noopener\" target=\"_blank\">by TMZ.com\u003c/a>, the 28-year-old rapper known for hit songs like “Him & I” and “Me, Myself & I” can be seen being escorted by law enforcement out of a nightclub into a police vehicle. Local law enforcement confirmed to \u003ca href=\"https://theblast.com/g-eazy-arrested-sweden-assault/\" rel=\"noopener\" target=\"_blank\">The Blast\u003c/a> that an American citizen was arrested around 3am on an assault charge, and that it involved an employee of the club.\u003c/p>\n\u003cp>TMZ also reported that cocaine was found in G-Eazy’s possession. Police later confirmed that 1.5 ounces of cocaine was found on G-Eazy’s when he was arrested.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>G-Eazy, whose real name is Gerald Earl Gillum, has been a rising star in the music world since the release of his major label debut, \u003cem>These Things Happen\u003c/em>, in 2014. The album reached number 3 on the Billboard 200, and Gillum went on to collaborate with high profile artists like Cardi B, fellow Oakland artist Kehlani, and pop singer Halsey, who he is also dating. The couple recently performed on \u003ca href=\"https://revolt.tv/stories/2018/01/14/geazy-performs-alongside-hasley-saturday-night-live-08000ff31a\" rel=\"noopener\" target=\"_blank\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> together.\u003c/p>\n\u003cp>The incident occurred at an afterparty following G-Eazy concert in Stockholm Wednesday evening. Before being arrested, G-Eazy and Halsey were seen distributing shots of alcohol to partygoers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details emerge.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "third-executive-leaves-silicon-valley-community-foundation-in-as-many-weeks",
"title": "Third Executive Leaves Silicon Valley Community Foundation in As Many Weeks",
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"content": "\u003cp>Another top executive at the Silicon Valley Community Foundation has left the building, the third such departure in three weeks.\u003c/p>\n\u003cp>Daiva Natochy was the VP in charge of recruitment and culture. Her departure follows that of CEO Emmett Carson, put on \u003ca href=\"https://www.kqed.org/arts/13830595/ceo-at-silicon-valley-community-foundation-put-on-administrative-leave\" target=\"_blank\" rel=\"noopener\">paid administrative leave\u003c/a> last week, and of the chief fundraiser, who \u003ca href=\"https://www.kqed.org/arts/13829974/top-fundraiser-at-silicon-valley-community-foundation-resigns\" target=\"_blank\" rel=\"noopener\">resigned\u003c/a> over claims she bullied employees the week before that.\u003c/p>\n\u003cp>\u003ca href=\"http://law.scu.edu/faculty/profile/diamond-stephen/\" target=\"_blank\" rel=\"noopener\">Stephen Diamond\u003c/a>, Associate Professor of Law at Santa Clara University, specializes in corporate governance and labor issues.\u003cspan class=\"Apple-converted-space\"> Even though the Foundation’s \u003c/span> board hired two outside law firms to investigate, Diamond says that’s no guarantee a major overhaul is coming next.\u003c/p>\n\u003cp>“These are signs of trouble, not signs of a solution. The fact that they had to hire two law firms, not one, signals that the initial decision to hire the first law firm, which appears to have been made by the now somewhat ousted CEO Emmett Carson, wasn’t good enough. They’ve also brought in a law firm that is known for being very tenacious in defending organizations that it’s hired to defend. That suggests to me that they actually fear more serious problems,” Diamond says.\u003c/p>\n\u003cp>Diamond goes so far as to suggest the office of California Attorney General Xavier Becerra step in to investigate. (Reached by KQED, Becerra’s office said that “to protect its integrity, we can’t comment on, even to confirm or deny, a potential or ongoing investigation.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At a minimum, I think the board has to resign,” Diamond says.\u003c/p>\n\u003cp>But \u003ca href=\"https://www.scu.edu/ethics/about-the-center/people/staff/joan-harrington/\" target=\"_blank\" rel=\"noopener\">Joan Harrington\u003c/a> at Santa Clara University’s Markkula Center for Applied Ethics counters “There was been no apparent misuse of donor funds or other financial malfeasance — which is the kind of situation that would interest the Attorney General.”\u003c/p>\n\u003cp>That echoes a statement interim CEO Greg Avis posted on the Foundation’s \u003ca href=\"https://www.siliconvalleycf.org/blog/announcements/intro-update-Greg-Avis\" target=\"_blank\" rel=\"noopener\">blog\u003c/a> earlier this week:\u003c/p>\n\u003cblockquote>\u003cp>There are no allegations of financial impropriety at SVCF. All allegations made by former employees and concerns expressed by current employees focus on workplace culture issues. These allegations are being taken very seriously, and the Board has hired outside counsel to investigate. While those issues are absolutely critical to address, and we are fully engaged in doing so, there is no concern about our financial integrity.\u003c/p>\u003c/blockquote>\n\u003cp>In the meantime, it’s not clear what the local impact will be as some donors pull their money out of the $13.5 billion foundation.\u003c/p>\n\u003cp>The foundation’s assets and annual giving make it one of the largest grantmakers in America (and, full disclosure, is a financial supporter of KQED), but \u003ca href=\"https://www.insidephilanthropy.com/home/2018/4/12/why-is-this-giant-community-foundationand-its-leader-so-controversial\" target=\"_blank\" rel=\"noopener\">critics\u003c/a> note much of the money that comes out of the donor-advised funds it hosts heads out of the Silicon Valley to meet needs elsewhere. That is not typical of most community foundations.\u003c/p>\n\u003cp>“Of course, there are needs all over the world, and it’s perfectly appropriate for donors who are looking to impact those problems to want to see their money go in that direction, but not at the expense of dealing with problems in Silicon Valley,” Diamond says.\u003c/p>\n\u003cp>He adds the Foundation under Carson’s leadership was phenomenally successful wooing\u003ca href=\"https://www.forbes.com/sites/kerryadolan/2018/05/02/here-are-16-billionaires-whove-donated-to-the-silicon-valley-community-foundation/#732248e01bfb\" target=\"_blank\" rel=\"noopener\"> tech titans\u003c/a>, in large part because of the tax breaks that come with parking large caches of appreciating stock with the non-profit. “Company owners want a tax break, and if that becomes the primary focus of the organization, then you get off track. You have to get a commitment out of the largest donors that they actually want to impact the problems of Silicon Valley, and then you have to put the leadership in place that will execute on that model. And I don’t think that’s what’s happened here.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Somebody forgot about the employees as stakeholders,” says Harrington. “It looks like they’ve lost their moral compass. This to me is an internal organizational failure, but it can be rectified.\u003cspan class=\"Apple-converted-space\"> \u003c/span>It depends on the board, which is ultimately responsible.”\u003c/p>\n\n",
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"title": "Third Executive Leaves Silicon Valley Community Foundation in As Many Weeks | KQED",
"description": "As more heads roll at the Silicon Valley Community Foundation, questions loom about the organization's future.",
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"headline": "Third Executive Leaves Silicon Valley Community Foundation in As Many Weeks",
"datePublished": "2018-05-02T18:02:11-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another top executive at the Silicon Valley Community Foundation has left the building, the third such departure in three weeks.\u003c/p>\n\u003cp>Daiva Natochy was the VP in charge of recruitment and culture. Her departure follows that of CEO Emmett Carson, put on \u003ca href=\"https://www.kqed.org/arts/13830595/ceo-at-silicon-valley-community-foundation-put-on-administrative-leave\" target=\"_blank\" rel=\"noopener\">paid administrative leave\u003c/a> last week, and of the chief fundraiser, who \u003ca href=\"https://www.kqed.org/arts/13829974/top-fundraiser-at-silicon-valley-community-foundation-resigns\" target=\"_blank\" rel=\"noopener\">resigned\u003c/a> over claims she bullied employees the week before that.\u003c/p>\n\u003cp>\u003ca href=\"http://law.scu.edu/faculty/profile/diamond-stephen/\" target=\"_blank\" rel=\"noopener\">Stephen Diamond\u003c/a>, Associate Professor of Law at Santa Clara University, specializes in corporate governance and labor issues.\u003cspan class=\"Apple-converted-space\"> Even though the Foundation’s \u003c/span> board hired two outside law firms to investigate, Diamond says that’s no guarantee a major overhaul is coming next.\u003c/p>\n\u003cp>“These are signs of trouble, not signs of a solution. The fact that they had to hire two law firms, not one, signals that the initial decision to hire the first law firm, which appears to have been made by the now somewhat ousted CEO Emmett Carson, wasn’t good enough. They’ve also brought in a law firm that is known for being very tenacious in defending organizations that it’s hired to defend. That suggests to me that they actually fear more serious problems,” Diamond says.\u003c/p>\n\u003cp>Diamond goes so far as to suggest the office of California Attorney General Xavier Becerra step in to investigate. (Reached by KQED, Becerra’s office said that “to protect its integrity, we can’t comment on, even to confirm or deny, a potential or ongoing investigation.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At a minimum, I think the board has to resign,” Diamond says.\u003c/p>\n\u003cp>But \u003ca href=\"https://www.scu.edu/ethics/about-the-center/people/staff/joan-harrington/\" target=\"_blank\" rel=\"noopener\">Joan Harrington\u003c/a> at Santa Clara University’s Markkula Center for Applied Ethics counters “There was been no apparent misuse of donor funds or other financial malfeasance — which is the kind of situation that would interest the Attorney General.”\u003c/p>\n\u003cp>That echoes a statement interim CEO Greg Avis posted on the Foundation’s \u003ca href=\"https://www.siliconvalleycf.org/blog/announcements/intro-update-Greg-Avis\" target=\"_blank\" rel=\"noopener\">blog\u003c/a> earlier this week:\u003c/p>\n\u003cblockquote>\u003cp>There are no allegations of financial impropriety at SVCF. All allegations made by former employees and concerns expressed by current employees focus on workplace culture issues. These allegations are being taken very seriously, and the Board has hired outside counsel to investigate. While those issues are absolutely critical to address, and we are fully engaged in doing so, there is no concern about our financial integrity.\u003c/p>\u003c/blockquote>\n\u003cp>In the meantime, it’s not clear what the local impact will be as some donors pull their money out of the $13.5 billion foundation.\u003c/p>\n\u003cp>The foundation’s assets and annual giving make it one of the largest grantmakers in America (and, full disclosure, is a financial supporter of KQED), but \u003ca href=\"https://www.insidephilanthropy.com/home/2018/4/12/why-is-this-giant-community-foundationand-its-leader-so-controversial\" target=\"_blank\" rel=\"noopener\">critics\u003c/a> note much of the money that comes out of the donor-advised funds it hosts heads out of the Silicon Valley to meet needs elsewhere. That is not typical of most community foundations.\u003c/p>\n\u003cp>“Of course, there are needs all over the world, and it’s perfectly appropriate for donors who are looking to impact those problems to want to see their money go in that direction, but not at the expense of dealing with problems in Silicon Valley,” Diamond says.\u003c/p>\n\u003cp>He adds the Foundation under Carson’s leadership was phenomenally successful wooing\u003ca href=\"https://www.forbes.com/sites/kerryadolan/2018/05/02/here-are-16-billionaires-whove-donated-to-the-silicon-valley-community-foundation/#732248e01bfb\" target=\"_blank\" rel=\"noopener\"> tech titans\u003c/a>, in large part because of the tax breaks that come with parking large caches of appreciating stock with the non-profit. “Company owners want a tax break, and if that becomes the primary focus of the organization, then you get off track. You have to get a commitment out of the largest donors that they actually want to impact the problems of Silicon Valley, and then you have to put the leadership in place that will execute on that model. And I don’t think that’s what’s happened here.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Somebody forgot about the employees as stakeholders,” says Harrington. “It looks like they’ve lost their moral compass. This to me is an internal organizational failure, but it can be rectified.\u003cspan class=\"Apple-converted-space\"> \u003c/span>It depends on the board, which is ultimately responsible.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"marketplace": {
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"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.",
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"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>",
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"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?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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