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Stubblefield \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/18/515997890/clyde-stubblefield-james-browns-funky-drummer-dies-at-73\" target=\"_blank\" rel=\"noopener\">died in February 2017\u003c/a>. The pair played together for decades, most recently as Funkmasters.\u003c/p>\n\u003cp>Starks was raised in Mobile, where he taught himself the drums. “I used to go to the ‘holiness’ church when I was up in the country with my grandmother,” Starks observed in the James Brown biography \u003cem>The\u003c/em> \u003cem>One\u003c/em>\u003cstrong>,\u003c/strong>\u003cem> \u003c/em>by RJ Smith. “I went almost every Sunday because I loved to hear the rhythms they were using. That’s basically where a lot of it comes from for me. That sanctified rhythm influenced my playing.”\u003c/p>\n\u003cp>Starks was mentored on the kit by Cornelius “Tenoo” Coleman, who had played with Fats Domino, including drumming on Domino’s indelible hit “Ain’t That a Shame.” After that mentorship, Starks played in Alabama with some of biggest names in blues history, including Howlin’ Wolf\u003cstrong>, \u003c/strong>Big Mama Thornton and John Lee Hooker. In the late ’50s, he began backing the R&B/soul singer Bobbie “Blue” Bland. Starks later pointed out how large the shadow of James Brown loomed over artists, which was clear while he was touring with Bland. “If James Brown was in front of you, you could give it up,” he \u003ca href=\"http://openvault.wgbh.org/catalog/V_45B02C84BFAB43E4A3985596D1EB09E8\" target=\"_blank\" rel=\"noopener\">said\u003c/a> in a 1995 interview with WGBH. “You weren’t going to draw anybody. If he was coming behind you, you still didn’t draw anybody.”\u003c/p>\n\u003cp>Upon joining Brown’s band, Starks found a mentor again. This time it was Clayton Fillyau, a former drummer for Brown who was driving the tour bus at the time Starks joined. At bar sessions, Fillyau would show newcomers the ropes by tapping on the bar or their arms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reason for the vast number of drummers in the band at the time Starks and Stubblefield joined was leverage, the two \u003ca href=\"https://www.npr.org/2015/01/05/374818384/the-original-funky-drummers-on-life-with-james-brown\" target=\"_blank\" rel=\"noopener\">told NPR’s \u003cem>Morning Edition\u003c/em>\u003c/a> in 2015. “The saying was, when Clayton Fillyau was the drummer with James, he had just one drummer, one guitar player, one bass player,” Starks said. “They was about to not play; they were rebelling against James for something … so he had to agree with them. And they said he made a statement after then: ‘I’ll never be caught without two of everything.\u003cstrong>‘”\u003c/strong>\u003c/p>\n\u003cp>After Stubblefield and Starks began playing with Brown, however, the drumming ranks began to dwindle, until there were two.\u003c/p>\n\u003cp>“We don’t get in each other’s way, we just groove with it,” Starks is quoted as saying in \u003cem>The One\u003c/em>. Starks “handled the blues, the standards, the set tunes,” Smith wrote, while Stubblefield would root the set’s longer jams. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jab’o Starks, the drummer who provided the steady beat for James Brown’s iconic mid-’60s band and who stayed with the King of Soul through the early ’70s, died at the age of 79 Tuesday morning at his home in Mobile, Ala. According to his manager, Kathie Williams, Starks was diagnosed with myelodysplastic syndromes, a bone marrow disorder, in January 2017, which developed into acute leukemia one week ago, after which he entered hospice care.\u003c/p>\n\u003cp>Starks, whose given name was John and whose nickname is sometimes spelled “Jabo,” joined James Brown’s band in 1965. He became the group’s fifth drummer just months before Clyde Stubblefield became its sixth. in August of that year. Starks and Stubblefield’s rhythmic partnership became the foundation of a lifelong friendship — “brothers,” as Starks \u003ca href=\"https://www.youtube.com/watch?v=5acs-zU0TVI\" target=\"_blank\" rel=\"noopener\">told\u003c/a> an interviewer in 2013. Stubblefield \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/18/515997890/clyde-stubblefield-james-browns-funky-drummer-dies-at-73\" target=\"_blank\" rel=\"noopener\">died in February 2017\u003c/a>. The pair played together for decades, most recently as Funkmasters.\u003c/p>\n\u003cp>Starks was raised in Mobile, where he taught himself the drums. “I used to go to the ‘holiness’ church when I was up in the country with my grandmother,” Starks observed in the James Brown biography \u003cem>The\u003c/em> \u003cem>One\u003c/em>\u003cstrong>,\u003c/strong>\u003cem> \u003c/em>by RJ Smith. “I went almost every Sunday because I loved to hear the rhythms they were using. That’s basically where a lot of it comes from for me. That sanctified rhythm influenced my playing.”\u003c/p>\n\u003cp>Starks was mentored on the kit by Cornelius “Tenoo” Coleman, who had played with Fats Domino, including drumming on Domino’s indelible hit “Ain’t That a Shame.” After that mentorship, Starks played in Alabama with some of biggest names in blues history, including Howlin’ Wolf\u003cstrong>, \u003c/strong>Big Mama Thornton and John Lee Hooker. In the late ’50s, he began backing the R&B/soul singer Bobbie “Blue” Bland. Starks later pointed out how large the shadow of James Brown loomed over artists, which was clear while he was touring with Bland. “If James Brown was in front of you, you could give it up,” he \u003ca href=\"http://openvault.wgbh.org/catalog/V_45B02C84BFAB43E4A3985596D1EB09E8\" target=\"_blank\" rel=\"noopener\">said\u003c/a> in a 1995 interview with WGBH. “You weren’t going to draw anybody. If he was coming behind you, you still didn’t draw anybody.”\u003c/p>\n\u003cp>Upon joining Brown’s band, Starks found a mentor again. This time it was Clayton Fillyau, a former drummer for Brown who was driving the tour bus at the time Starks joined. At bar sessions, Fillyau would show newcomers the ropes by tapping on the bar or their arms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reason for the vast number of drummers in the band at the time Starks and Stubblefield joined was leverage, the two \u003ca href=\"https://www.npr.org/2015/01/05/374818384/the-original-funky-drummers-on-life-with-james-brown\" target=\"_blank\" rel=\"noopener\">told NPR’s \u003cem>Morning Edition\u003c/em>\u003c/a> in 2015. “The saying was, when Clayton Fillyau was the drummer with James, he had just one drummer, one guitar player, one bass player,” Starks said. “They was about to not play; they were rebelling against James for something … so he had to agree with them. And they said he made a statement after then: ‘I’ll never be caught without two of everything.\u003cstrong>‘”\u003c/strong>\u003c/p>\n\u003cp>After Stubblefield and Starks began playing with Brown, however, the drumming ranks began to dwindle, until there were two.\u003c/p>\n\u003cp>“We don’t get in each other’s way, we just groove with it,” Starks is quoted as saying in \u003cem>The One\u003c/em>. Starks “handled the blues, the standards, the set tunes,” Smith wrote, while Stubblefield would root the set’s longer jams. Despite that assertion, Stubblefield said of his counterpart: “Jabo is a \u003cem>groover\u003c/em>.”\u003c/p>\n\u003cp>That clockwork-steady groove is clear on songs that Starks was central to, like “Get on the Good Foot” and “The Payback,” which both became No. 1 hits for Brown in 1972 and 1974, respectively.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked whether Starks performed after his MDS diagnosis forced him to cancel shows early last year, manager Kathie Williams says\u003cem>,\u003c/em> “Of \u003cem>course\u003c/em> he did.” His final performance was in March at the Red Bar in Grayton Beach, Fla. \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=John+%27Jab%27o%27+Starks%2C+Classic+James+Brown+Drummer%2C+Dead+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "David Wiegand, Longtime Co-Host of KQED's The Do List, Dies at 70",
"headTitle": "David Wiegand, Longtime Co-Host of KQED’s The Do List, Dies at 70 | KQED",
"content": "\u003cp>David Wiegand, Assistant Managing Editor at the \u003cem>San Francisco Chronicle\u003c/em> and my co-host on \u003cem>The Do List\u003c/em> on KQED from 2008 to 2017, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/David-Wiegand-Chronicle-arts-editor-and-TV-12879905.php\" rel=\"noopener\" target=\"_blank\">died unexpectedly\u003c/a> at his home Monday. He was a colleague, friend, dog lover, and someone who seemed to know everyone and everything about music, theater and the arts here in the Bay Area.\u003c/p>\n\u003cp>By all accounts, David was a workaholic, helping plan the \u003cem>Chronicle\u003c/em>’s coverage for big events; writing TV reviews; editing copy, sometimes late into the night, from the paper’s critics; and filling in for them when needed. Yet somehow he always found time for \u003cem>The Do List\u003c/em>, which he often remarked was his favorite part of the week. (While out in public, he got a kick out of the fact that people recognized his voice from the show and told him how much they enjoyed it.) \u003c/p>\n\u003cfigure id=\"attachment_13830917\" 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/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"David Wiegand and KQED's Cy Musiker at The Do List Live event at The Chapel in 2015.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-13830917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Wiegand and KQED’s Cy Musiker at The Do List Live event at The Chapel in 2015. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When David, radio producer Suzie Racho, Vice President Jo Anne Wallace and I created \u003cem>The Do List\u003c/em> in October of 2008, Wiegand brought the show credibility and depth. Usually when talking about an upcoming event, he had previously interviewed the artist, or heard them perform a year ago, or 20 years ago, and kept a vivid memory of why they were so good at their art.\u003c/p>\n\u003cp>David loved classical music, rock ‘n’ roll, rap, cabaret and jazz, theater and the occasional opera — though he had little use for Wagner. He got a huge kick out of standup comics, and the way they skewered the pompous and the stupid. And David got just as excited about discovering young talent, a new singer or lyricist, or painter, or a great new theater group. In other words, there was nothing stale about his taste, and he was proud to have a role in publicizing something great that no one had heard of before.\u003c/p>\n\u003cp>David and Suzie Racho and I were an odd trio, sometimes. He could be cranky when he felt like it; he also had a razor-sharp wit. We often disagreed on whether a performer was great or crap. But that was David — passionately caring about art, about \u003cem>The Do List\u003c/em>, and the trust our listeners gave us to help them find a great show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>David never missed a show or a deadline. And he believed deeply that the arts mattered in society, that they could both bring us joy and new insights about the world.\u003c/p>\n\u003cp>We’re going to miss his insights, his voice and his wisdom.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfchronicle.com/entertainment/article/David-Wiegand-Chronicle-arts-editor-and-TV-12879905.php\" rel=\"noopener\" target=\"_blank\">Read the \u003c/a>\u003c/em>Chronicle\u003cem>’s obituary of David Wiegand here.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Wiegand, Assistant Managing Editor at the \u003cem>San Francisco Chronicle\u003c/em> and my co-host on \u003cem>The Do List\u003c/em> on KQED from 2008 to 2017, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/David-Wiegand-Chronicle-arts-editor-and-TV-12879905.php\" rel=\"noopener\" target=\"_blank\">died unexpectedly\u003c/a> at his home Monday. He was a colleague, friend, dog lover, and someone who seemed to know everyone and everything about music, theater and the arts here in the Bay Area.\u003c/p>\n\u003cp>By all accounts, David was a workaholic, helping plan the \u003cem>Chronicle\u003c/em>’s coverage for big events; writing TV reviews; editing copy, sometimes late into the night, from the paper’s critics; and filling in for them when needed. Yet somehow he always found time for \u003cem>The Do List\u003c/em>, which he often remarked was his favorite part of the week. (While out in public, he got a kick out of the fact that people recognized his voice from the show and told him how much they enjoyed it.) \u003c/p>\n\u003cfigure id=\"attachment_13830917\" 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/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"David Wiegand and KQED's Cy Musiker at The Do List Live event at The Chapel in 2015.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-13830917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Wiegand and KQED’s Cy Musiker at The Do List Live event at The Chapel in 2015. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When David, radio producer Suzie Racho, Vice President Jo Anne Wallace and I created \u003cem>The Do List\u003c/em> in October of 2008, Wiegand brought the show credibility and depth. Usually when talking about an upcoming event, he had previously interviewed the artist, or heard them perform a year ago, or 20 years ago, and kept a vivid memory of why they were so good at their art.\u003c/p>\n\u003cp>David loved classical music, rock ‘n’ roll, rap, cabaret and jazz, theater and the occasional opera — though he had little use for Wagner. He got a huge kick out of standup comics, and the way they skewered the pompous and the stupid. And David got just as excited about discovering young talent, a new singer or lyricist, or painter, or a great new theater group. In other words, there was nothing stale about his taste, and he was proud to have a role in publicizing something great that no one had heard of before.\u003c/p>\n\u003cp>David and Suzie Racho and I were an odd trio, sometimes. He could be cranky when he felt like it; he also had a razor-sharp wit. We often disagreed on whether a performer was great or crap. But that was David — passionately caring about art, about \u003cem>The Do List\u003c/em>, and the trust our listeners gave us to help them find a great show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>David never missed a show or a deadline. And he believed deeply that the arts mattered in society, that they could both bring us joy and new insights about the world.\u003c/p>\n\u003cp>We’re going to miss his insights, his voice and his wisdom.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfchronicle.com/entertainment/article/David-Wiegand-Chronicle-arts-editor-and-TV-12879905.php\" rel=\"noopener\" target=\"_blank\">Read the \u003c/a>\u003c/em>Chronicle\u003cem>’s obituary of David Wiegand here.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ashley Judd Sues Harvey Weinstein, Saying He Tried to Damage Her Career",
"headTitle": "Ashley Judd Sues Harvey Weinstein, Saying He Tried to Damage Her Career | KQED",
"content": "\u003cp>Film star Ashley Judd has become the latest to file a lawsuit against Harvey Weinstein, accusing the embattled former Hollywood producer of damaging her career after she rebuffed his sexual advances.\u003c/p>\n\u003cp>In a lawsuit filed in Los Angeles, Judd alleges sexual harassment and defamation, saying Weinstein “badmouthed her to filmmaker Peter Jackson and cost her a role in the \u003cem>Lord of the Rings\u003c/em> trilogy,” according to \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/ashley-judd-sues-harvey-weinstein-sexual-harassment-defamation-1107165\">Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>Judd, now 50, says in 1998 she was in contention for one of two major roles in the adaptation of the J.R.R. Tolkien books when Weinstein told Jackson that she was “a ‘nightmare’ to work with and should be avoided ‘at all costs.’ ”\u003c/p>\n\u003cp>“Mr. Weinstein’s abusive conduct toward others has caused no end of damage to aspiring actors and others in the film and entertainment industry,” Judd said in a statement, \u003ca href=\"http://variety.com/2018/film/news/ashley-judd-harvey-weinstein-retaliation-1202792862/\">according to Variety.\u003c/a> “As my experience and the experience of others shows, even a few false statements from Mr. Weinstein could destroy potentially career-changing professional opportunities. It’s time that Mr. Weinstein be held accountable for that conduct and for the ways in which he’s damaged careers.”\u003c/p>\n\u003cp>Weinstein, whose production company, Miramax, then held the rights to \u003cem>Lord of the Rings\u003c/em>, has denied trying to hurt Judd’s career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weinstein has been accused by dozens of women of harassment and sexual abuse dating back decades – allegations that surfaced last year, sparking the emergence of the #meToo movement. Judd was among the first women to come forward against the producer.\u003c/p>\n\u003cp>Judd says that in 1997 at the Peninsula Hotel in Beverly Hills, Weinstein — in what was supposed to be a breakfast meeting — “appeared in a bathrobe [and] asked Judd to watch him shower and to let him massage her,” The Associated Press says of the lawsuit.\u003c/p>\n\u003cp>“Cornered, and desperate to escape without angering a man who had the ability to end her budding career, Ms. Judd engaged in a mock bargain with Weinstein, suggesting that she would consider letting him touch her only if she won an Academy Award in one of his films,” the lawsuit says.\u003c/p>\n\u003cp>“Weinstein responded: ‘When you get nominated.’ Ms. Judd held firm, saying, ‘No, when I win.’ And then she fled the scene.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the AP:\u003c/p>\n\u003cblockquote>\n\u003cp>“The lawsuit seeks injunctions against Weinstein engaging in unfair competition and any further retaliation against Judd. It asks for damages to be determined at trial, but a statement from her attorneys said any money she is awarded will be donated to a charity that combats sexual harassment and discrimination.\u003c/p>\n\u003cp>The suit is among many pending against Weinstein, 66, who is also under criminal investigation in Los Angeles and New York.”\u003c/p>\n\u003c/blockquote>\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=Ashley+Judd+Sues+Harvey+Weinstein%2C+Saying+He+Tried+To+Damage+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film star Ashley Judd has become the latest to file a lawsuit against Harvey Weinstein, accusing the embattled former Hollywood producer of damaging her career after she rebuffed his sexual advances.\u003c/p>\n\u003cp>In a lawsuit filed in Los Angeles, Judd alleges sexual harassment and defamation, saying Weinstein “badmouthed her to filmmaker Peter Jackson and cost her a role in the \u003cem>Lord of the Rings\u003c/em> trilogy,” according to \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/ashley-judd-sues-harvey-weinstein-sexual-harassment-defamation-1107165\">Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>Judd, now 50, says in 1998 she was in contention for one of two major roles in the adaptation of the J.R.R. Tolkien books when Weinstein told Jackson that she was “a ‘nightmare’ to work with and should be avoided ‘at all costs.’ ”\u003c/p>\n\u003cp>“Mr. Weinstein’s abusive conduct toward others has caused no end of damage to aspiring actors and others in the film and entertainment industry,” Judd said in a statement, \u003ca href=\"http://variety.com/2018/film/news/ashley-judd-harvey-weinstein-retaliation-1202792862/\">according to Variety.\u003c/a> “As my experience and the experience of others shows, even a few false statements from Mr. Weinstein could destroy potentially career-changing professional opportunities. It’s time that Mr. Weinstein be held accountable for that conduct and for the ways in which he’s damaged careers.”\u003c/p>\n\u003cp>Weinstein, whose production company, Miramax, then held the rights to \u003cem>Lord of the Rings\u003c/em>, has denied trying to hurt Judd’s career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weinstein has been accused by dozens of women of harassment and sexual abuse dating back decades – allegations that surfaced last year, sparking the emergence of the #meToo movement. Judd was among the first women to come forward against the producer.\u003c/p>\n\u003cp>Judd says that in 1997 at the Peninsula Hotel in Beverly Hills, Weinstein — in what was supposed to be a breakfast meeting — “appeared in a bathrobe [and] asked Judd to watch him shower and to let him massage her,” The Associated Press says of the lawsuit.\u003c/p>\n\u003cp>“Cornered, and desperate to escape without angering a man who had the ability to end her budding career, Ms. Judd engaged in a mock bargain with Weinstein, suggesting that she would consider letting him touch her only if she won an Academy Award in one of his films,” the lawsuit says.\u003c/p>\n\u003cp>“Weinstein responded: ‘When you get nominated.’ Ms. Judd held firm, saying, ‘No, when I win.’ And then she fled the scene.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the AP:\u003c/p>\n\u003cblockquote>\n\u003cp>“The lawsuit seeks injunctions against Weinstein engaging in unfair competition and any further retaliation against Judd. It asks for damages to be determined at trial, but a statement from her attorneys said any money she is awarded will be donated to a charity that combats sexual harassment and discrimination.\u003c/p>\n\u003cp>The suit is among many pending against Weinstein, 66, who is also under criminal investigation in Los Angeles and New York.”\u003c/p>\n\u003c/blockquote>\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=Ashley+Judd+Sues+Harvey+Weinstein%2C+Saying+He+Tried+To+Damage+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Gibson Guitars Files for Bankruptcy Protection",
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"content": "\u003cp>The company behind the iconic Gibson guitars — whose instruments have been played by Les Paul, B.B. King and Jimmy Page, among many others — filed for Chapter 11 bankruptcy protection in Delaware. The Nashville, Tenn.-based corporation’s current properties also include Baldwin Piano, Gibson Pro Audio and Wurlitzer, a company once famous for its organs but whose brand name Gibson now uses only for manufacturing jukeboxes.\u003c/p>\n\u003cp>As NPR has \u003ca href=\"https://www.npr.org/2015/09/10/439085886/the-pains-and-salvation-of-chapter-11-bankruptcy\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> in the past, filing for Chapter 11 protection does not mean that a company is doomed to fail; instead, “it’s a way for companies that can’t pay their bills to not die.”\u003c/p>\n\u003cp>The petition, filed on Tuesday, notes that the company currently has up to $500 million in debt and will focus its operations on its musical instruments business, “unburdened by the challenges experienced by [the company’s] separate, primarily non-U.S., consumer electronics business.” That business includes the brands KRK, Cerwin Vega and Stanton, whose lines include studio monitors, headphones and turntables. Gibson also currently holds a majority equity interest in TEAC, a Japanese home audio electronics company.\u003c/p>\n\u003cp>Gibson’s turnaround plans include giving some of the company’s lenders equity ownership, while its lenders have agreed to an operating loan of up to $135 million to keep the company afloat.\u003c/p>\n\u003cp>The company sells over 170,000 guitars annually in more than 80 countries and says that it sells over 40 percent of all electric guitars costing more than $2,000. It operates guitar-making factories in Nashville and Memphis, Tenn., and Bozeman, Mont. \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=Gibson+Guitars+Files+For+Bankruptcy+Protection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The company behind the iconic Gibson guitars — whose instruments have been played by Les Paul, B.B. King and Jimmy Page, among many others — filed for Chapter 11 bankruptcy protection in Delaware. The Nashville, Tenn.-based corporation’s current properties also include Baldwin Piano, Gibson Pro Audio and Wurlitzer, a company once famous for its organs but whose brand name Gibson now uses only for manufacturing jukeboxes.\u003c/p>\n\u003cp>As NPR has \u003ca href=\"https://www.npr.org/2015/09/10/439085886/the-pains-and-salvation-of-chapter-11-bankruptcy\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> in the past, filing for Chapter 11 protection does not mean that a company is doomed to fail; instead, “it’s a way for companies that can’t pay their bills to not die.”\u003c/p>\n\u003cp>The petition, filed on Tuesday, notes that the company currently has up to $500 million in debt and will focus its operations on its musical instruments business, “unburdened by the challenges experienced by [the company’s] separate, primarily non-U.S., consumer electronics business.” That business includes the brands KRK, Cerwin Vega and Stanton, whose lines include studio monitors, headphones and turntables. Gibson also currently holds a majority equity interest in TEAC, a Japanese home audio electronics company.\u003c/p>\n\u003cp>Gibson’s turnaround plans include giving some of the company’s lenders equity ownership, while its lenders have agreed to an operating loan of up to $135 million to keep the company afloat.\u003c/p>\n\u003cp>The company sells over 170,000 guitars annually in more than 80 countries and says that it sells over 40 percent of all electric guitars costing more than $2,000. It operates guitar-making factories in Nashville and Memphis, Tenn., and Bozeman, Mont. \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=Gibson+Guitars+Files+For+Bankruptcy+Protection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "kpix-anchor-turned-sculptor-contributes-piece-to-lynching-memorial",
"title": "KPIX Anchor-Turned-Sculptor Contributes Piece to Lynching Memorial",
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"headTitle": "KPIX Anchor-Turned-Sculptor Contributes Piece to Lynching Memorial | KQED",
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"content": "\u003cp>Dana King says she’s visited the new National Memorial for Peace and Justice in Montgomery, Ala. five times in three days, and each time she’s seen it, she’s cried.\u003c/p>\n\u003cp>“It’s awe-inspiring, it’s humbling, it’s inspirational on a level I can’t even verbalize,” King said on the phone Friday.\u003c/p>\n\u003cfigure id=\"attachment_13830704\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-800x771.jpg\" alt=\"King's sculptures at the Memorial for Peace and Justice\" width=\"800\" height=\"771\" class=\"size-medium wp-image-13830704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-800x771.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-768x740.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1020x982.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1200x1156.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1180x1137.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-960x925.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-240x231.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-375x361.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-520x501.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King’s sculptures at the Memorial for Peace and Justice \u003ccite>(Clay Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But King didn’t go to Montgomery as a mere visitor of the new memorial. At the behest of the Equal Justice Initiative, the organization behind the memorial, King built and contributed one of the sculptures on the memorial’s campus — a collection of three bronze statues dedicated to the women who participated in the Montgomery Bus Boycott of 1956. \u003c/p>\n\u003cp>“They’re the ones whose work days increased to 12-16 hours because they chose not to use public transit,” King said.\u003c/p>\n\u003cp>Having her work included in such an important monument is quite an achievement for an artist who started making art at the age of 50. Now a 58-year-old grandmother, King says sculpting is her third career and her true calling, which came after 25 years as a broadcast journalist. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s when a whole new world opened up to me,” King said. “I did not see myself in this space, but I’m here and I’m grateful.”\u003c/p>\n\u003ch3>A New Form of Storytelling\u003c/h3>\n\u003cfigure id=\"attachment_13830665\" class=\"wp-caption alignright\" style=\"max-width: 633px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King.jpg\" alt=\"Dana King and her sculpture of William Byron Rumford\" width=\"633\" height=\"640\" class=\"size-full wp-image-13830665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King.jpg 633w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-520x526.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-128x128.jpg 128w\" sizes=\"(max-width: 633px) 100vw, 633px\">\u003cfigcaption class=\"wp-caption-text\">Dana King and her sculpture of William Byron Rumford \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King started her art career while working as an \u003ca href=\"http://sanfrancisco.cbslocal.com/2012/12/05/dana-king-announces-departure-from-cbs-5/\" rel=\"noopener\" target=\"_blank\">anchor at KPIX (CBS 5).\u003c/a> She says she always knew she’d retire from broadcast journalism after she turned 50, because she didn’t want to have to “cut and paste” herself to keep up with “society’s standards for beauty.” When that time neared, she had an Emmy and two \u003ca href=\"https://www.mercurynews.com/2012/12/05/kpix-anchor-dana-king-will-leave-her-post-to-pursue-art-career/\" rel=\"noopener\" target=\"_blank\">Edward R. Murrow awards\u003c/a> under her belt. \u003c/p>\n\u003cp>A lover of art, King began pursuing an MFA from San Francisco’s Academy of Art University, where she discovered her love of sculpture. The medium worked well for her, she says; she found it to be another way to tell stories and inform the public. \u003c/p>\n\u003cp>“I’m still a journalist, but now my medium is clay,” King said.\u003c/p>\n\u003cp>A few years after dedicating herself to art, she met with Bryan Stevenson, the founder of the \u003ca href=\"https://eji.org/\" rel=\"noopener\" target=\"_blank\">Equal Justice Initiative\u003c/a>. By then, much of her work had a political bent to it, such as her \u003cem>20 Years To Life\u003c/em>, a comment on the \u003ca href=\"https://danakingart.com/#/schwane/\" rel=\"noopener\" target=\"_blank\">school-to-prison pipeline\u003c/a>. Some time later, he asked King to contribute a piece to the massive memorial he was putting together.\u003c/p>\n\u003cfigure id=\"attachment_13830654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-800x450.jpg\" alt=\"Ed Sykes (center), 77, visits the National Memorial For Peace And Justice on April 26, 2018 in Montgomery, Alabama. Sykes, who has family in Mississippi, was distraught when he discovered his last name in the memorial, three months after finding it on separate memorial in Clay County, Mississippi. "This is the second time I've seen the name Sykes as a hanging victim. What can I say?" Sykes, who now lives in San Francisco, plans to investigate the lynching of a possible relative at the Equal Justice Initiative headquarters in Montgomery before returning to California. The memorial is dedicated to the legacy of enslaved black people and those terrorized by lynching and Jim Crow segregation in America. Conceived by the Equal Justice Initiative, the physical environment is intended to foster reflection on America's history of racial inequality.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13830654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sykes (center), 77, visits the National Memorial For Peace And Justice on April 26, 2018 in Montgomery, Alabama. Sykes, who has family in Mississippi, was distraught when he discovered his last name in the memorial, three months after finding it on separate memorial in Clay County, Mississippi. “This is the second time I’ve seen the name Sykes as a hanging victim. What can I say?” Sykes, who now lives in San Francisco, plans to investigate the lynching of a possible relative at the Equal Justice Initiative headquarters in Montgomery before returning to California. The memorial is dedicated to the legacy of enslaved black people and those terrorized by lynching and Jim Crow segregation in America. Conceived by the Equal Justice Initiative, the physical environment is intended to foster reflection on America’s history of racial inequality. \u003ccite>(Bob Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Montgomery Bus Boycott\u003c/h3>\n\u003cp>Stevenson requested a sculpture honoring the women of the Montgomery Bus Boycott, and King came up with the idea of three women — a teacher, a grandma and a pregnant woman — standing in a triangle, forming a strong, stable structure. King says it represents how women, through birthing, nurturing and teaching children, are, in a way, “quiet activists.” \u003c/p>\n\u003cp>Using her reporting experience, she made sure that they looked like women did in 1950s Alabama. But she also tapped into her own story for the work by modeling the grandmother after her own great-grandmother, and the teacher after her aunt, who was also a teacher in the south during the Civil Rights Movement.\u003c/p>\n\u003cp>The experience has demonstrated to King that art can not only be a powerful form of activism, but of storytelling as well. She says that when she reported for broadcast, if viewers didn’t see a story, they might’ve missed it compeltely. But when she tells a story through sculpture, it “lasts as long as the material lasts.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The arc of justice is long. My dreams and aspirations for justice might not happen in my lifetime,” King said. “And I’m good with that.”\u003c/p>\n\n",
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"title": "KPIX Anchor-Turned-Sculptor Contributes Piece to Lynching Memorial | KQED",
"description": "Former KPIX anchor Dana King discusses her contribution to the new National Memorial for Peace and Justice in Alabama.",
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"headline": "KPIX Anchor-Turned-Sculptor Contributes Piece to Lynching Memorial",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dana King says she’s visited the new National Memorial for Peace and Justice in Montgomery, Ala. five times in three days, and each time she’s seen it, she’s cried.\u003c/p>\n\u003cp>“It’s awe-inspiring, it’s humbling, it’s inspirational on a level I can’t even verbalize,” King said on the phone Friday.\u003c/p>\n\u003cfigure id=\"attachment_13830704\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-800x771.jpg\" alt=\"King's sculptures at the Memorial for Peace and Justice\" width=\"800\" height=\"771\" class=\"size-medium wp-image-13830704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-800x771.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-768x740.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1020x982.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1200x1156.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-1180x1137.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-960x925.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-240x231.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-375x361.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-520x501.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/King_Sculpture_2.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King’s sculptures at the Memorial for Peace and Justice \u003ccite>(Clay Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But King didn’t go to Montgomery as a mere visitor of the new memorial. At the behest of the Equal Justice Initiative, the organization behind the memorial, King built and contributed one of the sculptures on the memorial’s campus — a collection of three bronze statues dedicated to the women who participated in the Montgomery Bus Boycott of 1956. \u003c/p>\n\u003cp>“They’re the ones whose work days increased to 12-16 hours because they chose not to use public transit,” King said.\u003c/p>\n\u003cp>Having her work included in such an important monument is quite an achievement for an artist who started making art at the age of 50. Now a 58-year-old grandmother, King says sculpting is her third career and her true calling, which came after 25 years as a broadcast journalist. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s when a whole new world opened up to me,” King said. “I did not see myself in this space, but I’m here and I’m grateful.”\u003c/p>\n\u003ch3>A New Form of Storytelling\u003c/h3>\n\u003cfigure id=\"attachment_13830665\" class=\"wp-caption alignright\" style=\"max-width: 633px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King.jpg\" alt=\"Dana King and her sculpture of William Byron Rumford\" width=\"633\" height=\"640\" class=\"size-full wp-image-13830665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King.jpg 633w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-520x526.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/William-Byron-Rumford-King-128x128.jpg 128w\" sizes=\"(max-width: 633px) 100vw, 633px\">\u003cfigcaption class=\"wp-caption-text\">Dana King and her sculpture of William Byron Rumford \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King started her art career while working as an \u003ca href=\"http://sanfrancisco.cbslocal.com/2012/12/05/dana-king-announces-departure-from-cbs-5/\" rel=\"noopener\" target=\"_blank\">anchor at KPIX (CBS 5).\u003c/a> She says she always knew she’d retire from broadcast journalism after she turned 50, because she didn’t want to have to “cut and paste” herself to keep up with “society’s standards for beauty.” When that time neared, she had an Emmy and two \u003ca href=\"https://www.mercurynews.com/2012/12/05/kpix-anchor-dana-king-will-leave-her-post-to-pursue-art-career/\" rel=\"noopener\" target=\"_blank\">Edward R. Murrow awards\u003c/a> under her belt. \u003c/p>\n\u003cp>A lover of art, King began pursuing an MFA from San Francisco’s Academy of Art University, where she discovered her love of sculpture. The medium worked well for her, she says; she found it to be another way to tell stories and inform the public. \u003c/p>\n\u003cp>“I’m still a journalist, but now my medium is clay,” King said.\u003c/p>\n\u003cp>A few years after dedicating herself to art, she met with Bryan Stevenson, the founder of the \u003ca href=\"https://eji.org/\" rel=\"noopener\" target=\"_blank\">Equal Justice Initiative\u003c/a>. By then, much of her work had a political bent to it, such as her \u003cem>20 Years To Life\u003c/em>, a comment on the \u003ca href=\"https://danakingart.com/#/schwane/\" rel=\"noopener\" target=\"_blank\">school-to-prison pipeline\u003c/a>. Some time later, he asked King to contribute a piece to the massive memorial he was putting together.\u003c/p>\n\u003cfigure id=\"attachment_13830654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-800x450.jpg\" alt=\"Ed Sykes (center), 77, visits the National Memorial For Peace And Justice on April 26, 2018 in Montgomery, Alabama. Sykes, who has family in Mississippi, was distraught when he discovered his last name in the memorial, three months after finding it on separate memorial in Clay County, Mississippi. "This is the second time I've seen the name Sykes as a hanging victim. What can I say?" Sykes, who now lives in San Francisco, plans to investigate the lynching of a possible relative at the Equal Justice Initiative headquarters in Montgomery before returning to California. The memorial is dedicated to the legacy of enslaved black people and those terrorized by lynching and Jim Crow segregation in America. Conceived by the Equal Justice Initiative, the physical environment is intended to foster reflection on America's history of racial inequality.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13830654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lynching-Memorial2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sykes (center), 77, visits the National Memorial For Peace And Justice on April 26, 2018 in Montgomery, Alabama. Sykes, who has family in Mississippi, was distraught when he discovered his last name in the memorial, three months after finding it on separate memorial in Clay County, Mississippi. “This is the second time I’ve seen the name Sykes as a hanging victim. What can I say?” Sykes, who now lives in San Francisco, plans to investigate the lynching of a possible relative at the Equal Justice Initiative headquarters in Montgomery before returning to California. The memorial is dedicated to the legacy of enslaved black people and those terrorized by lynching and Jim Crow segregation in America. Conceived by the Equal Justice Initiative, the physical environment is intended to foster reflection on America’s history of racial inequality. \u003ccite>(Bob Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Montgomery Bus Boycott\u003c/h3>\n\u003cp>Stevenson requested a sculpture honoring the women of the Montgomery Bus Boycott, and King came up with the idea of three women — a teacher, a grandma and a pregnant woman — standing in a triangle, forming a strong, stable structure. King says it represents how women, through birthing, nurturing and teaching children, are, in a way, “quiet activists.” \u003c/p>\n\u003cp>Using her reporting experience, she made sure that they looked like women did in 1950s Alabama. But she also tapped into her own story for the work by modeling the grandmother after her own great-grandmother, and the teacher after her aunt, who was also a teacher in the south during the Civil Rights Movement.\u003c/p>\n\u003cp>The experience has demonstrated to King that art can not only be a powerful form of activism, but of storytelling as well. She says that when she reported for broadcast, if viewers didn’t see a story, they might’ve missed it compeltely. But when she tells a story through sculpture, it “lasts as long as the material lasts.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The arc of justice is long. My dreams and aspirations for justice might not happen in my lifetime,” King said. “And I’m good with that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mama Penny Bear's Back Story is as Delightful as You'd Expect",
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"headTitle": "Mama Penny Bear’s Back Story is as Delightful as You’d Expect | KQED",
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"content": "\u003cp>The sculpture is 12 feet tall — 12 feet six inches if you count the ears. A 5,700 pound grizzly bear with two cubs nestled into her side. She has a fancy Latin name, Ursa Mater, but really, everyone just calls her Mama Penny Bear — including the artists, \u003ca href=\"https://www.mr-and-mrs-ferguson.com\" target=\"_blank\" rel=\"noopener\">Robert and Lisa Ferguson\u003c/a>.\u003cb> \u003c/b>\u003c/p>\n\u003cp>Do I need to tell you they met and married three years later\u003cspan class=\"Apple-converted-space\"> \u003c/span>at Burning Man?\u003c/p>\n\u003cp>And every year, a few weeks after they return from the burn, Lisa will come up with a flash of inspiration for their next project.\u003cspan class=\"Apple-converted-space\"> Robert says, “\u003c/span>She’ll be sitting on the couch and go “Sooooo, hear me out. I have this idea.” She comes up with these concepts, then I’m the one that has to figure out how to execute ‘em.”\u003c/p>\n\u003cp>Robert has a welding company in Hayward. Lisa’s a cinematographer, and for a number of years now, she’s been obsessed with pennies.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>Cause they’re being taken \u003ca href=\"http://www.mint.ca/store/mint/about-the-mint/phasing-out-the-penny-6900002#.Wtqboy-ZOMJ\" target=\"_blank\" rel=\"noopener\">out of circulation\u003c/a> in Canada,” Lisa says. Also, \u003cspan class=\"Apple-converted-space\">“\u003c/span>People have this thing with pennies, Cause they’re whimsical. It’s a fun coin.”\u003c/p>\n\u003cp>Lisa was the one who suggested tens of thousands of pennies turned on their sides would look like fur, and Robert figured he could get them to stay up and in using adhesive stucco called Loctite over a bear built of steel and foam. “You push the pennies in and two hours later, they weren’t coming out,” he says.\u003cb> \u003c/b>\u003ci>\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13830089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830089\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" on the Playa at Burning Man. "It's battle tested," says Robert Ferguson. "You're out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that's going to be able to be in the public eye."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” on the Playa at Burning Man. “It’s battle tested,” says Robert Ferguson. “You’re out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that’s going to be able to be in the public eye.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A growing number of art works from Burning Man are moving on to the nation’s museums and city plazas. But only San Jose has a three year partnership with the \u003ca href=\"https://burningman.org/culture/burning-man-arts/\" target=\"_blank\" rel=\"noopener\">Burning Man Foundation\u003c/a> to bring a rotating cast of Burning Man sculptures to the city’s streets. It’s called the “Playa to the Paseo” project.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It all started when the Director of Cultural Affairs for the City of San Jose, Kerry Adams Hapner went to Burning Man for the first time in 2016. “I was blown away,” she says. ” The quality and scale of the artwork was unsurpassed. I know some select projects do receive grants from Burning Man, but the artists do it in large part on their own dime. And these artists are not necessarily the ones applying for our public art commissions.”\u003c/p>\n\u003cp>She was also excited by the outsider aesthetic of the art on display on the Burning Man playa. “So dynamic, engaging, interactive. I realized there is a huge opportunity here to assist the artists and deliver a reciprocal benefit to the community of San Jose,” steeped as it is, she says, in “authentic maker culture.”\u003c/p>\n\u003cp>The Burning Man Project gives out $1.3 million in grants each year and resources like fuel, heavy equipment, labor, et cetera. San Jose and Burning Man co-curate what gets selected, based largely on quality and what works in an urban environment. Cost and availability dictate how long the works stay up in San Jose.\u003c/p>\n\u003cp>Mama Penny Bear is the second of three Burning Man pieces installed in San Jose so far.\u003cspan class=\"Apple-converted-space\"> \u003c/span>The first was the Sonic Runway, at San Jose City Hall, from November to March of this year. The newest is“Tara Mechani” is a 15-foot-high metal figurative sculpture by Bay Area artist Dana Albany, now in the Plaza de Cesar Chavez though June 9, 2018.\u003c/p>\n\u003cfigure id=\"attachment_13830090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830090\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. "The eagle's staring right at you. The talons are at your chest level. So you'll feel like a squirrel or a gopher, about to be taken off the ground." \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. “The eagle’s staring right at you. The talons are at your chest level. So you’ll feel like a squirrel or a gopher, about to be taken off the ground.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mama Penny Bear is up in the Paseo de San Antonio near the Fairmont Hotel\u003cspan class=\"Apple-converted-space\"> \u003c/span>through the month of May. After that, it’s off to Lake Tahoe for a year. Ursa Major, the first bear the Fergusons made, is on view at Smithsonian’s \u003ca href=\"https://americanart.si.edu/exhibitions/burning-man\" target=\"_blank\" rel=\"noopener\">Renwick Gallery\u003c/a> in Washington DC. To see a great video of how both bears were made, click \u003ca href=\"https://www.mr-and-mrs-ferguson.com/ursa-major/\">here\u003c/a>.\u003c/p>\n\u003cp>Lisa and Robert say the first question everybody asks is how many pennies did it take to make Mama Penny Bear? “Also, why would anybody do this?” Lisa says, chuckling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you don’t intuit the answer to the second question, there may be no answer that works for you. But the answer to the first question? 205,000 pennies.\u003c/p>\n\n",
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"excerpt": "Each year in Nevada’s Black Rock Desert, enormous art installations go up. Many are burned. But not all. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sculpture is 12 feet tall — 12 feet six inches if you count the ears. A 5,700 pound grizzly bear with two cubs nestled into her side. She has a fancy Latin name, Ursa Mater, but really, everyone just calls her Mama Penny Bear — including the artists, \u003ca href=\"https://www.mr-and-mrs-ferguson.com\" target=\"_blank\" rel=\"noopener\">Robert and Lisa Ferguson\u003c/a>.\u003cb> \u003c/b>\u003c/p>\n\u003cp>Do I need to tell you they met and married three years later\u003cspan class=\"Apple-converted-space\"> \u003c/span>at Burning Man?\u003c/p>\n\u003cp>And every year, a few weeks after they return from the burn, Lisa will come up with a flash of inspiration for their next project.\u003cspan class=\"Apple-converted-space\"> Robert says, “\u003c/span>She’ll be sitting on the couch and go “Sooooo, hear me out. I have this idea.” She comes up with these concepts, then I’m the one that has to figure out how to execute ‘em.”\u003c/p>\n\u003cp>Robert has a welding company in Hayward. Lisa’s a cinematographer, and for a number of years now, she’s been obsessed with pennies.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>Cause they’re being taken \u003ca href=\"http://www.mint.ca/store/mint/about-the-mint/phasing-out-the-penny-6900002#.Wtqboy-ZOMJ\" target=\"_blank\" rel=\"noopener\">out of circulation\u003c/a> in Canada,” Lisa says. Also, \u003cspan class=\"Apple-converted-space\">“\u003c/span>People have this thing with pennies, Cause they’re whimsical. It’s a fun coin.”\u003c/p>\n\u003cp>Lisa was the one who suggested tens of thousands of pennies turned on their sides would look like fur, and Robert figured he could get them to stay up and in using adhesive stucco called Loctite over a bear built of steel and foam. “You push the pennies in and two hours later, they weren’t coming out,” he says.\u003cb> \u003c/b>\u003ci>\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13830089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830089\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" on the Playa at Burning Man. "It's battle tested," says Robert Ferguson. "You're out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that's going to be able to be in the public eye."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” on the Playa at Burning Man. “It’s battle tested,” says Robert Ferguson. “You’re out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that’s going to be able to be in the public eye.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A growing number of art works from Burning Man are moving on to the nation’s museums and city plazas. But only San Jose has a three year partnership with the \u003ca href=\"https://burningman.org/culture/burning-man-arts/\" target=\"_blank\" rel=\"noopener\">Burning Man Foundation\u003c/a> to bring a rotating cast of Burning Man sculptures to the city’s streets. It’s called the “Playa to the Paseo” project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It all started when the Director of Cultural Affairs for the City of San Jose, Kerry Adams Hapner went to Burning Man for the first time in 2016. “I was blown away,” she says. ” The quality and scale of the artwork was unsurpassed. I know some select projects do receive grants from Burning Man, but the artists do it in large part on their own dime. And these artists are not necessarily the ones applying for our public art commissions.”\u003c/p>\n\u003cp>She was also excited by the outsider aesthetic of the art on display on the Burning Man playa. “So dynamic, engaging, interactive. I realized there is a huge opportunity here to assist the artists and deliver a reciprocal benefit to the community of San Jose,” steeped as it is, she says, in “authentic maker culture.”\u003c/p>\n\u003cp>The Burning Man Project gives out $1.3 million in grants each year and resources like fuel, heavy equipment, labor, et cetera. San Jose and Burning Man co-curate what gets selected, based largely on quality and what works in an urban environment. Cost and availability dictate how long the works stay up in San Jose.\u003c/p>\n\u003cp>Mama Penny Bear is the second of three Burning Man pieces installed in San Jose so far.\u003cspan class=\"Apple-converted-space\"> \u003c/span>The first was the Sonic Runway, at San Jose City Hall, from November to March of this year. The newest is“Tara Mechani” is a 15-foot-high metal figurative sculpture by Bay Area artist Dana Albany, now in the Plaza de Cesar Chavez though June 9, 2018.\u003c/p>\n\u003cfigure id=\"attachment_13830090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830090\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. "The eagle's staring right at you. The talons are at your chest level. So you'll feel like a squirrel or a gopher, about to be taken off the ground." \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. “The eagle’s staring right at you. The talons are at your chest level. So you’ll feel like a squirrel or a gopher, about to be taken off the ground.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mama Penny Bear is up in the Paseo de San Antonio near the Fairmont Hotel\u003cspan class=\"Apple-converted-space\"> \u003c/span>through the month of May. After that, it’s off to Lake Tahoe for a year. Ursa Major, the first bear the Fergusons made, is on view at Smithsonian’s \u003ca href=\"https://americanart.si.edu/exhibitions/burning-man\" target=\"_blank\" rel=\"noopener\">Renwick Gallery\u003c/a> in Washington DC. To see a great video of how both bears were made, click \u003ca href=\"https://www.mr-and-mrs-ferguson.com/ursa-major/\">here\u003c/a>.\u003c/p>\n\u003cp>Lisa and Robert say the first question everybody asks is how many pennies did it take to make Mama Penny Bear? “Also, why would anybody do this?” Lisa says, chuckling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you don’t intuit the answer to the second question, there may be no answer that works for you. But the answer to the first question? 205,000 pennies.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://empi.re/\" rel=\"noopener\" target=\"_blank\">EMPIRE\u003c/a>, the San Francisco-based independent record distributor that’s worked with artists like Kendrick Lamar and Schoolboy Q, has signed a deal with major label Universal Music Group (UMG), according to an announcement made Wednesday.\u003c/p>\n\u003cp>The multi-year deal has EMPIRE providing “strategic distribution services to UMG’s labels and artists,” according to the \u003ca href=\"https://www.universalmusic.com/universal-music-group-empire-form-strategic-distribution-agreement/\" rel=\"noopener\" target=\"_blank\">UMG press release\u003c/a>. The two companies plan to work together provide select UMG artists with EMPIRE’s distinct brand of promotion and delivery.\u003c/p>\n\u003cp>“The unique blend of size and strength (Universal Music Group) combined with speed and ingenuity (EMPIRE) will be a force in the industry,” EMPIRE CEO Ghazi Shami told \u003ca href=\"https://hiphopdx.com/news/id.46618/title.universal-music-group-empire-enter-new-distribution-deal#\">HipHopDX\u003c/a>. \u003c/p>\n\u003cp>A San Francisco University graduate, Shami founded EMPIRE in 2010 after working at INgrooves Music Group for four years and learning the business side of the music industry. Within two years, EMPIRE released recordings from Lamar, Snoop Dogg and Trinidad James, all of which charted on the Billboard US 200.\u003c/p>\n\u003cp>Locally, EMPIRE has supported the careers of artists like Philthy Rich, Berner, Rayana Jay, ALLBLACK and Rexx Life Raj, and Bay Area labels like Text Me Records. Last year, the company \u003ca href=\"https://www.kqed.org/arts/13808533\" rel=\"noopener\" target=\"_blank\">came under fire\u003c/a> for working with XXXtentacion, a rapper charged with aggravated battery of a pregnant woman and domestic battery by strangulation, whose album \u003cem>17\u003c/em> nonetheless charted at No. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a 2016 profile \u003ca href=\"https://hiphopdx.com/editorials/id.3180/title.empire-the-music-industrys-quiet-giant\" rel=\"noopener\" target=\"_blank\">on HipHopDX\u003c/a>, Shami credits EMPIRE’s success to its digital distribution and royalty system, as well as their use of non-exclusive deals.\u003c/p>\n\u003cp>“Ghazi always said ‘If you take someone into your home and tie them to the couch and say you have to sit here, he’s gonna wanna get up. But if you welcome him and say have a seat, stay as long as you want and do right by him, chances are he’s not going to want to leave,'” Nima Etminan, EMPIRE’s vice president of operations, told HipHopDX.\u003c/p>\n\u003cp>Earlier this month, EMPIRE announced it had expanded its staff. Among the recent hires was EMPIRE’s new vice president of A&R, Tina Davis, who spent a decade Def Jam records and is Chris Brown’s former manager. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2018/biz/news/empire-strikes-global-distribution-services-deal-with-universal-music-group-1202786604/\" rel=\"noopener\" target=\"_blank\">Variety also reports\u003c/a> that EMPIRE signed a deal with Hitco Entertainment, the new record label founded by ex-Epic Records head L.A. Reid. The first release EMPIRE will help Hitco distribute is the new album from Big Boi of Outkast. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://empi.re/\" rel=\"noopener\" target=\"_blank\">EMPIRE\u003c/a>, the San Francisco-based independent record distributor that’s worked with artists like Kendrick Lamar and Schoolboy Q, has signed a deal with major label Universal Music Group (UMG), according to an announcement made Wednesday.\u003c/p>\n\u003cp>The multi-year deal has EMPIRE providing “strategic distribution services to UMG’s labels and artists,” according to the \u003ca href=\"https://www.universalmusic.com/universal-music-group-empire-form-strategic-distribution-agreement/\" rel=\"noopener\" target=\"_blank\">UMG press release\u003c/a>. The two companies plan to work together provide select UMG artists with EMPIRE’s distinct brand of promotion and delivery.\u003c/p>\n\u003cp>“The unique blend of size and strength (Universal Music Group) combined with speed and ingenuity (EMPIRE) will be a force in the industry,” EMPIRE CEO Ghazi Shami told \u003ca href=\"https://hiphopdx.com/news/id.46618/title.universal-music-group-empire-enter-new-distribution-deal#\">HipHopDX\u003c/a>. \u003c/p>\n\u003cp>A San Francisco University graduate, Shami founded EMPIRE in 2010 after working at INgrooves Music Group for four years and learning the business side of the music industry. Within two years, EMPIRE released recordings from Lamar, Snoop Dogg and Trinidad James, all of which charted on the Billboard US 200.\u003c/p>\n\u003cp>Locally, EMPIRE has supported the careers of artists like Philthy Rich, Berner, Rayana Jay, ALLBLACK and Rexx Life Raj, and Bay Area labels like Text Me Records. Last year, the company \u003ca href=\"https://www.kqed.org/arts/13808533\" rel=\"noopener\" target=\"_blank\">came under fire\u003c/a> for working with XXXtentacion, a rapper charged with aggravated battery of a pregnant woman and domestic battery by strangulation, whose album \u003cem>17\u003c/em> nonetheless charted at No. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a 2016 profile \u003ca href=\"https://hiphopdx.com/editorials/id.3180/title.empire-the-music-industrys-quiet-giant\" rel=\"noopener\" target=\"_blank\">on HipHopDX\u003c/a>, Shami credits EMPIRE’s success to its digital distribution and royalty system, as well as their use of non-exclusive deals.\u003c/p>\n\u003cp>“Ghazi always said ‘If you take someone into your home and tie them to the couch and say you have to sit here, he’s gonna wanna get up. But if you welcome him and say have a seat, stay as long as you want and do right by him, chances are he’s not going to want to leave,'” Nima Etminan, EMPIRE’s vice president of operations, told HipHopDX.\u003c/p>\n\u003cp>Earlier this month, EMPIRE announced it had expanded its staff. Among the recent hires was EMPIRE’s new vice president of A&R, Tina Davis, who spent a decade Def Jam records and is Chris Brown’s former manager. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2018/biz/news/empire-strikes-global-distribution-services-deal-with-universal-music-group-1202786604/\" rel=\"noopener\" target=\"_blank\">Variety also reports\u003c/a> that EMPIRE signed a deal with Hitco Entertainment, the new record label founded by ex-Epic Records head L.A. Reid. The first release EMPIRE will help Hitco distribute is the new album from Big Boi of Outkast. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The head of the \u003ca href=\"https://www.siliconvalleycf.org/blog/announcements/leadership-update-svcf-board-directors\" target=\"_blank\" rel=\"noopener\">Silicon Valley Community Foundation\u003c/a> was placed on administrative leave Thursday, as the $13 billion dollar non-profit copes with allegations about the toxicity of its workplace culture.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>The organization’s Board of Directors voted to place President and CEO Emmett Carson on leave while two outside law firms follow up on an exposé published last week in the \u003ca href=\"https://www.philanthropy.com/article/A-Star-Performer-Created-a/243159\" target=\"_blank\" rel=\"noopener\">\u003ci>Chronicle of Philanthropy\u003c/i>\u003c/a>. Carson will continue to receive his annual salary of $892,689. (With annual compensation of $865,715 in 2015, Carson is the highest-paid community foundation CEO in the country, according to a \u003cem>Chronicle\u003c/em> \u003ca href=\"https://www.philanthropy.com/article/Top-Earners-Among/242554\" target=\"_blank\" rel=\"noopener\">report\u003c/a>.) Founding Board member and prior Chair Greg Avis was appointed interim CEO in the meantime.\u003c/p>\n\u003cp>While the \u003cem>Chronicle\u003c/em> article focused on Carson’s second-in-command, Mari Ellen Loijens, dozens of current and former employees stepped forward to claim Carson condoned and even encouraged her bullying behavior because she was a talented fundraiser. She has since resigned.\u003c/p>\n\u003cp>Loijens helped to raise billions of dollars from the likes of Mark Zuckerberg, Priscilla Chan, Dustin Moskovitz and Cari Tuna. But many former employees who \u003ca href=\"https://www.kqed.org/arts/13829974/top-fundraiser-at-silicon-valley-community-foundation-resigns\" target=\"_blank\" rel=\"noopener\">talked to KQED after Loijens resigned\u003c/a> said she was verbally and emotionally abusive with many people over many years.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.siliconvalleycf.org/blog/announcements/leadership-update-svcf-board-directors\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> posted on the Foundation’s website, board officials wrote they are committed to taking “all necessary actions” once the investigations have concluded.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the expose’s publication last week, Carson took to Twitter to say he was “deeply troubled” and “responsible for workplace culture,” but current and former employees also took to Twitter to question him and the Foundation.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">\u003ca href=\"https://twitter.com/emmettcarson?ref_src=twsrc%5Etfw\">@emmettcarson\u003c/a> Please stop acting like you did not know! I reported both you & Mari Ellen to HR July 2017. At the end of the day, I was the one who had to leave the foundation bc it was a toxic work environment. \u003ca href=\"https://twitter.com/hashtag/sorrynotsorry?src=hash&ref_src=twsrc%5Etfw\">#sorrynotsorry\u003c/a> \u003ca href=\"https://t.co/1NwCNe3YMD\">https://t.co/1NwCNe3YMD\u003c/a>\u003c/p>\n\u003cp>— Maria A. Moreno (@maria_amoreno) \u003ca href=\"https://twitter.com/maria_amoreno/status/986994636819333120?ref_src=twsrc%5Etfw\">April 19, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Former VP for Development Rebecca Dupras is now an estate, tax and charitable planner in Rhode Island. Dupras said Carson was well aware of the problems detailed in the \u003cem>Chronicle\u003c/em>. “It’s been going on for a decade. Either he is clueless and ineffective, which I don’t believe is true. Or he’s been ignoring it,” Dupras said.\u003c/p>\n\u003cp>“While [the] investigation was first launched following allegations of sexual harassment by one individual, it has since become clear that we may have a larger culture issue that needs to be addressed,” board chair Samuel Johnson Jr. wrote in a statement earlier this week. “This includes evaluating how teams are managed, what type of working environment is being fostered and confirming that we are the type of organization where reports of misconduct are met with swift and just action.”\u003c/p>\n\u003cp>It remains to be seen whether the Foundation’s donors maintain enough faith in the organization to stick with it through this crisis — and/or choose to give it more money as the investigations continue.\u003c/p>\n\u003cp>Donor Steve Kirsch made his concerns public in a letter to the editor in the \u003cem>San Jose Mercury News:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>I am dismayed at the recent revelations of a toxic work environment and I find it hard to believe the CEO wasn’t aware of what was taking place. You simply cannot have this kind of extreme behavior happening for 11 years and claim you did not know. The board needs to move quickly to remedy this failure of leadership. If the board doesn’t act, I will look elsewhere to do my charitable investing and I suspect other major donors will do the same.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor’s Note: The Silicon Valley Community Foundation is among a number of organizations that give to KQED.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The head of the \u003ca href=\"https://www.siliconvalleycf.org/blog/announcements/leadership-update-svcf-board-directors\" target=\"_blank\" rel=\"noopener\">Silicon Valley Community Foundation\u003c/a> was placed on administrative leave Thursday, as the $13 billion dollar non-profit copes with allegations about the toxicity of its workplace culture.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>The organization’s Board of Directors voted to place President and CEO Emmett Carson on leave while two outside law firms follow up on an exposé published last week in the \u003ca href=\"https://www.philanthropy.com/article/A-Star-Performer-Created-a/243159\" target=\"_blank\" rel=\"noopener\">\u003ci>Chronicle of Philanthropy\u003c/i>\u003c/a>. Carson will continue to receive his annual salary of $892,689. (With annual compensation of $865,715 in 2015, Carson is the highest-paid community foundation CEO in the country, according to a \u003cem>Chronicle\u003c/em> \u003ca href=\"https://www.philanthropy.com/article/Top-Earners-Among/242554\" target=\"_blank\" rel=\"noopener\">report\u003c/a>.) Founding Board member and prior Chair Greg Avis was appointed interim CEO in the meantime.\u003c/p>\n\u003cp>While the \u003cem>Chronicle\u003c/em> article focused on Carson’s second-in-command, Mari Ellen Loijens, dozens of current and former employees stepped forward to claim Carson condoned and even encouraged her bullying behavior because she was a talented fundraiser. She has since resigned.\u003c/p>\n\u003cp>Loijens helped to raise billions of dollars from the likes of Mark Zuckerberg, Priscilla Chan, Dustin Moskovitz and Cari Tuna. But many former employees who \u003ca href=\"https://www.kqed.org/arts/13829974/top-fundraiser-at-silicon-valley-community-foundation-resigns\" target=\"_blank\" rel=\"noopener\">talked to KQED after Loijens resigned\u003c/a> said she was verbally and emotionally abusive with many people over many years.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.siliconvalleycf.org/blog/announcements/leadership-update-svcf-board-directors\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> posted on the Foundation’s website, board officials wrote they are committed to taking “all necessary actions” once the investigations have concluded.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the expose’s publication last week, Carson took to Twitter to say he was “deeply troubled” and “responsible for workplace culture,” but current and former employees also took to Twitter to question him and the Foundation.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">\u003ca href=\"https://twitter.com/emmettcarson?ref_src=twsrc%5Etfw\">@emmettcarson\u003c/a> Please stop acting like you did not know! I reported both you & Mari Ellen to HR July 2017. At the end of the day, I was the one who had to leave the foundation bc it was a toxic work environment. \u003ca href=\"https://twitter.com/hashtag/sorrynotsorry?src=hash&ref_src=twsrc%5Etfw\">#sorrynotsorry\u003c/a> \u003ca href=\"https://t.co/1NwCNe3YMD\">https://t.co/1NwCNe3YMD\u003c/a>\u003c/p>\n\u003cp>— Maria A. Moreno (@maria_amoreno) \u003ca href=\"https://twitter.com/maria_amoreno/status/986994636819333120?ref_src=twsrc%5Etfw\">April 19, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Former VP for Development Rebecca Dupras is now an estate, tax and charitable planner in Rhode Island. Dupras said Carson was well aware of the problems detailed in the \u003cem>Chronicle\u003c/em>. “It’s been going on for a decade. Either he is clueless and ineffective, which I don’t believe is true. Or he’s been ignoring it,” Dupras said.\u003c/p>\n\u003cp>“While [the] investigation was first launched following allegations of sexual harassment by one individual, it has since become clear that we may have a larger culture issue that needs to be addressed,” board chair Samuel Johnson Jr. wrote in a statement earlier this week. “This includes evaluating how teams are managed, what type of working environment is being fostered and confirming that we are the type of organization where reports of misconduct are met with swift and just action.”\u003c/p>\n\u003cp>It remains to be seen whether the Foundation’s donors maintain enough faith in the organization to stick with it through this crisis — and/or choose to give it more money as the investigations continue.\u003c/p>\n\u003cp>Donor Steve Kirsch made his concerns public in a letter to the editor in the \u003cem>San Jose Mercury News:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>I am dismayed at the recent revelations of a toxic work environment and I find it hard to believe the CEO wasn’t aware of what was taking place. You simply cannot have this kind of extreme behavior happening for 11 years and claim you did not know. The board needs to move quickly to remedy this failure of leadership. If the board doesn’t act, I will look elsewhere to do my charitable investing and I suspect other major donors will do the same.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor’s Note: The Silicon Valley Community Foundation is among a number of organizations that give to KQED.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The William and Flora Hewlett Foundation announced plans Thursday to distribute $1.2 million in grants to eight arts organizations in the North Bay that were affected by \u003ca href=\"https://www.kqed.org/arts/series/up-from-the-ashes\" rel=\"noopener\" target=\"_blank\">last year’s wildfires\u003c/a>.\u003c/p>\n\u003cp>The one-time fire recovery grants range from $100,000 to $205,000. As unrestricted grants, they may be used according to each nonprofit organization’s needs. In some cases the funds will repair damaged facilities, while in others it will replenish revenues lost due to canceled shows.\u003c/p>\n\u003cp>“Recovering from a disaster isn’t accomplished in a week or a month, and these unrestricted grants will support the ongoing recovery needs of these arts organizations and their communities,” said Emiko Ono, director of the Hewlett Foundation’s Performing Arts Program. \u003c/p>\n\u003cp>The organizations receiving grants are:\u003c/p>\n\u003cul>\n\u003cli>\n\u003ca href=\"https://www.artscouncilnapavalley.org/\" rel=\"noopener\" target=\"_blank\">Arts Council Napa Valley\u003c/a> — Napa County’s arts agency.\u003c/li>\n\u003cli>\u003ca href=\"http://www.cazadero.org/\" rel=\"noopener\" target=\"_blank\">Cazadero Music Camp\u003c/a> — A 50-year-old music program for kids 10-18.\u003c/li>\n\u003cli>\u003ca href=\"http://www.cinnabartheater.org/\" rel=\"noopener\" target=\"_blank\">Cinnabar Theater\u003c/a> — A Petaluma-based performing arts theater started in 1970. \u003c/li>\n\u003cli>\u003ca href=\"http://theimaginists.org/\" rel=\"noopener\" target=\"_blank\">Knights of Indulgence/ The Imaginists\u003c/a> — An experimental theater company based in Santa Rosa.\u003c/li>\n\u003cli>\u003ca href=\"https://lutherburbankcenter.org/\" rel=\"noopener\" target=\"_blank\">Luther Burbank Center for the Arts\u003c/a> — A large performance space and education program in Santa Rosa.\u003c/li>\n\u003cli>\u003ca href=\"https://www.srsymphony.org/\" rel=\"noopener\" target=\"_blank\">Santa Rosa Symphony\u003c/a> — A regional symphony with an international reputation.\u003c/li>\n\u003cli>\u003ca href=\"http://sonomaedb.org/Current-Projects/Creative-Sonoma/\" rel=\"noopener\" target=\"_blank\">Sonoma County Economic Development Board/ Creative Sonoma\u003c/a> — A consulting and advocacy group focused on helping arts organizations in Sonoma.\u003c/li>\n\u003cli>\u003ca href=\"http://greenmusiccenter.sonoma.edu/\" rel=\"noopener\" target=\"_blank\">Sonoma State University/ Green Music Center\u003c/a> — A performance venue on SSU’s campus in Rohnert Park.\u003c/li>\n\u003c/ul>\n\u003cp>The several large wildfires in the North Bay that ignited in October of last year burned approximately 245,000 acres in total, and resulted in the deaths of 44 people and an estimated $9.4 billion in property damage. The large artist community in the area suffered significantly, as \u003ca href=\"https://www.kqed.org/arts/13813818/jeremy-ehling-stable-santa-rosa\" rel=\"noopener\" target=\"_blank\">many artworks\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13813914/allen-sudduth-santa-rosa\" rel=\"noopener\" target=\"_blank\">instruments\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13811269/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires\" rel=\"noopener\" target=\"_blank\">collections of memorabilia\u003c/a> were destroyed. Over six months later, the \u003ca href=\"https://www.kqed.org/arts/13828118/up-from-the-ashes-six-months-after-the-north-bay-fires\" rel=\"noopener\" target=\"_blank\">area is still recovering\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hewlett.org/\" rel=\"noopener\" target=\"_blank\">The Hewlett Foundation\u003c/a> was founded more than 50 years ago to support institutions and advance ideas that “promote a better world.” With assets estimated around $9 billion, it is considered one of the wealthiest grant makers in the nation. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The William and Flora Hewlett Foundation announced plans Thursday to distribute $1.2 million in grants to eight arts organizations in the North Bay that were affected by \u003ca href=\"https://www.kqed.org/arts/series/up-from-the-ashes\" rel=\"noopener\" target=\"_blank\">last year’s wildfires\u003c/a>.\u003c/p>\n\u003cp>The one-time fire recovery grants range from $100,000 to $205,000. As unrestricted grants, they may be used according to each nonprofit organization’s needs. In some cases the funds will repair damaged facilities, while in others it will replenish revenues lost due to canceled shows.\u003c/p>\n\u003cp>“Recovering from a disaster isn’t accomplished in a week or a month, and these unrestricted grants will support the ongoing recovery needs of these arts organizations and their communities,” said Emiko Ono, director of the Hewlett Foundation’s Performing Arts Program. \u003c/p>\n\u003cp>The organizations receiving grants are:\u003c/p>\n\u003cul>\n\u003cli>\n\u003ca href=\"https://www.artscouncilnapavalley.org/\" rel=\"noopener\" target=\"_blank\">Arts Council Napa Valley\u003c/a> — Napa County’s arts agency.\u003c/li>\n\u003cli>\u003ca href=\"http://www.cazadero.org/\" rel=\"noopener\" target=\"_blank\">Cazadero Music Camp\u003c/a> — A 50-year-old music program for kids 10-18.\u003c/li>\n\u003cli>\u003ca href=\"http://www.cinnabartheater.org/\" rel=\"noopener\" target=\"_blank\">Cinnabar Theater\u003c/a> — A Petaluma-based performing arts theater started in 1970. \u003c/li>\n\u003cli>\u003ca href=\"http://theimaginists.org/\" rel=\"noopener\" target=\"_blank\">Knights of Indulgence/ The Imaginists\u003c/a> — An experimental theater company based in Santa Rosa.\u003c/li>\n\u003cli>\u003ca href=\"https://lutherburbankcenter.org/\" rel=\"noopener\" target=\"_blank\">Luther Burbank Center for the Arts\u003c/a> — A large performance space and education program in Santa Rosa.\u003c/li>\n\u003cli>\u003ca href=\"https://www.srsymphony.org/\" rel=\"noopener\" target=\"_blank\">Santa Rosa Symphony\u003c/a> — A regional symphony with an international reputation.\u003c/li>\n\u003cli>\u003ca href=\"http://sonomaedb.org/Current-Projects/Creative-Sonoma/\" rel=\"noopener\" target=\"_blank\">Sonoma County Economic Development Board/ Creative Sonoma\u003c/a> — A consulting and advocacy group focused on helping arts organizations in Sonoma.\u003c/li>\n\u003cli>\u003ca href=\"http://greenmusiccenter.sonoma.edu/\" rel=\"noopener\" target=\"_blank\">Sonoma State University/ Green Music Center\u003c/a> — A performance venue on SSU’s campus in Rohnert Park.\u003c/li>\n\u003c/ul>\n\u003cp>The several large wildfires in the North Bay that ignited in October of last year burned approximately 245,000 acres in total, and resulted in the deaths of 44 people and an estimated $9.4 billion in property damage. The large artist community in the area suffered significantly, as \u003ca href=\"https://www.kqed.org/arts/13813818/jeremy-ehling-stable-santa-rosa\" rel=\"noopener\" target=\"_blank\">many artworks\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13813914/allen-sudduth-santa-rosa\" rel=\"noopener\" target=\"_blank\">instruments\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13811269/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires\" rel=\"noopener\" target=\"_blank\">collections of memorabilia\u003c/a> were destroyed. Over six months later, the \u003ca href=\"https://www.kqed.org/arts/13828118/up-from-the-ashes-six-months-after-the-north-bay-fires\" rel=\"noopener\" target=\"_blank\">area is still recovering\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Updated at 5:34 p.m. ET\u003c/b>\u003c/p>\n\u003cp>\u003cem>Editor’s note: This story contains a graphic description of assault.\u003c/em>\u003c/p>\n\u003cp>A Pennsylvania jury has found Bill Cosby guilty of three counts of aggravated indecent assault, setting up the comic legend for the possibility of years of imprisonment for drugging and sexually violating a woman 14 years ago on a couch in his Cheltenham, Pa., home.\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989562003323834369\u003c/p>\n\u003cp>The 80-year-old comedian now faces a statutory maximum of 30 years in prison. One Cosby accuser, Lili Bernard, was so overcome with emotion following the verdict’s announcement, she had to be escorted out of court.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989563850528841728\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989562913227706368\u003c/p>\n\u003cp>Later, Bernard joined lawyer Gloria Allred and other Cosby accusers on the courthouse steps, saying the verdict meant that “women are worthy of being believed.”\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989572570172329985\u003c/p>\n\u003cp>In an interview with NPR’s Ari Shapiro, Cosby accuser Lise-Lotte Lublin said that when her husband called with news of the verdict, her body started to shake when she hung up the phone.\u003c/p>\n\u003cp>“My heart was pounding inside of me and my mind was going wild, because at the same time that I am hearing what he’s saying, it doesn’t feel real, it doesn’t resonate as being … true,” Lublin said.\u003c/p>\n\u003cp>Lublin was 23 when she met Cosby in 1989. He invited her to practice improvisation in a hotel suite and she believes that while there, Cosby drugged and assaulted her. She said the assassinations on her character when she came forward with her allegations underscored why victims don’t report these crimes.\u003c/p>\n\u003cp>“The Cosby women had to suffer through all of the hatred and bigotry and racism that was let out because we came forward,” said Lublin, who is now a sixth-grade teacher in Las Vegas. “They talked about us like we were animals. … There’s so many that are still out there. And the #MeToo movement is getting there. It’s helping. I want to see every single statute of limitations eliminated, abolished, for sexual assault. A person needs that time. We need that time.”\u003c/p>\n\u003cp>Prosecutors asked the judge to take Cosby into custody, saying he had a private plane and could fly anywhere in the world, but the request was denied.\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989566984403738625\u003c/p>\n\u003cp>Cosby’s attorneys said they were disappointed by the verdict and planned to appeal.\u003c/p>\n\u003cp>“We don’t think Mr. Cosby’s guilty of anything,” Tom Mesereau said. “And the fight is not over.”\u003c/p>\n\u003cp>Fighting back tears, Montgomery County District Attorney Kevin Steele said during a post-trial press conference, that the case helped showed who “the real Bill Cosby was,” and thanked all the people who helped them get a conviction.\u003c/p>\n\u003cp>“When you look at this and look at what Andrea [Constand] has done to stand up and declare what has happened…her actions to help victims stand up and tell what has happened to them…I hope that our actions have shown that people stand up with those victims and all women who are out there standing up …we support them, encourage them to keep it up,” Steele said.\u003c/p>\n\u003cp>https://twitter.com/BobbyAllyn/status/989583380231663616\u003c/p>\n\u003ch3>“I want to see a serial rapist convicted”\u003c/h3>\n\u003cp>Cosby initially faced sexual assault charges in court last June but jurors could not reach a unanimous decision after 52 hours of deliberation. The judge declared it a mistrial.\u003c/p>\n\u003cp>This time around, the seven men and five women on the panel sat in the jury box of the Montgomery County Courthouse and listened to more than two weeks of testimony from 25 witnesses. Some cried on the stand recounting how Cosby attacked them while they were in drug-induced stupors, and others attempted to discredit main accuser Andrea Constand by detailing instances of supposed deceit and inconsistencies. \u003c/p>\n\u003cp>“This case is about trust,” Montgomery County District Attorney Kevin Steele told jurors in his opening remarks. “This case is about betrayal, and that betrayal leading to the sexual assault of a woman named Andrea Constand.” \u003c/p>\n\u003cp>Constand, the only Cosby accuser whose case has triggered criminal charges, took the stand for the prosecution over two days, as she did during the first trial.\u003c/p>\n\u003cp>In addition to Constand, five women who have never before confronted Cosby in a criminal courtroom took the witness stand. They told the jury that the entertainer drugged and molested them in the 1980s, stories that first came to light after prosecutors reopened Cosby’s criminal case in 2015. That led more than 60 women to lodge sexual misconduct allegations against the television icon once known as “America’s Dad.”\u003c/p>\n\u003cp>“You remember, don’t you, Mr. Cosby?” said accuser Chelan Lasha from the stand, locking eyes with Cosby, who has remained largely impassive throughout the trial.\u003c/p>\n\u003cp>“I want to see a serial rapist convicted,” another accuser, Heidi Thomas, told the court, as spectators gasped at the statement.\u003c/p>\n\u003cp>Through it all, jurors had a front-row seat to the lawyerly slugfest that pitted three prosecutors from suburban Philadelphia against a throng defense attorneys led by Los Angeles-based Tom Mesereau, who aggressively depicted Constand as a “con artist.” \u003c/p>\n\u003cp>“You’re going to be saying to yourself in this trial, ‘What does she want from Bill Cosby,'” Mesereau said to jurors during opening statements. “You already know the answer: money, money and lots more money.”\u003c/p>\n\u003cp>To bolster this argument, the defense called star witness Margo Jackson, who used to work with Constand at Temple University. Jackson was banned from testifying during the first trial, but the judge allowed her in this time. Jackson told jurors that Constand once confided in her that she had a plan to frame a wealthy celebrity with a made-up sexual assault claim “to get that money.”\u003c/p>\n\u003cp>Prosecutor Kristen Feden seized on the characterization of Constand as a scheming con artist during closing arguments, saying it was Cosby who deployed his wholesome TV image to gain the trust of women he planned to incapacitate and assault.\u003c/p>\n\u003cp>She strode across the courtroom pointing inches away from Cosby as he sat wide-eyed at the defense table.\u003c/p>\n\u003cp>“The perpetrator of that con is this man!” she yelled. “Sitting right here. This is the man.” \u003c/p>\n\u003cp>When Constand took the witness stand, she told the jury that, one night in January 2004, Cosby gave her three blue pills he called “friends” to relax her. Instead, they rendered her defenseless, lapsing in and out of consciousness. Constand told jurors she was “jolted awake” by the feeling of his fingers in her vagina as she lay on a couch in Cosby’s home.\u003c/p>\n\u003cp>A couple of months later, she told the court, she attempted to confront Cosby about it.\u003c/p>\n\u003cp>“I wanted to know what pills he gave to me, and why he did that to me,” Constand said. “He stumbled on his words. He said, ‘I don’t know what you’re talking about.’ He said, ‘I thought you had an orgasm,’ and I had not. He would not answer my questions.”\u003c/p>\n\u003cp>Constand told the court that enduring two publicity-heavy criminal trials “tore my family apart,” yet when asked by prosecutor Kristen Feden why she agreed to take the stand again, Constand replied, “for justice.”\u003c/p>\n\u003cp>Constand faced withering questions from Mesereau on cross examination, as a part of a multi-pronged defense focused on shaking her credibility and that of the other witnesses. He probed Constand as to why she stayed in touch with Cosby after the incident, portrayed her as a desperate, cash-strapped pyramid scheme participant. Constand was also pressed about the nearly $3.4 million Cosby paid her in a 2006 civil settlement, which was previously confidential.\u003c/p>\n\u003cp>Cosby’s lawyers also suggested to jurors that the incident could not have happened the way she said it did, even hinting that there is a chance Cosby was not in the Philadelphia area around the time Constand said she was assaulted. The defense did not issue an outright denial of the episode at the heart of the alleged crime. Cosby has admitted that he and Constand had sexual contact in his house around 2004, but which he has long maintained it was consensual.\u003c/p>\n\u003cp>Legal observers have called the Cosby retrial a major test of the effects of the #MeToo movement, the wave of allegations of sexual assault lodged against prominent media figures that erupted between Cosby’s first and second trials.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>During jury selection, the judge asked hundreds of potential jurors whether their feelings about #MeToo would get in the way of being a fair fact-finder in the Cosby case. Almost none said they were unaware of the cultural movement. Prosecutors never mentioned #MeToo to jurors during trial. But the defense team made an unsubtle attack on it when lawyer Kathleen Bliss told the panel that “when you join a movement based mostly on emotion and anger, you don’t change a damn thing,” adding that “mob rule is not due process.” She compared the dozens of accusations against Cosby to a “witch hunt,” and a “lynching.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WHYY. To see more, visit \u003ca href=\"https://whyy.org\">WHYY\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Cosby+Found+Guilty+Of+All+Charges+In+Sexual+Assault+Retrial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an interview with NPR’s Ari Shapiro, Cosby accuser Lise-Lotte Lublin said that when her husband called with news of the verdict, her body started to shake when she hung up the phone.\u003c/p>\n\u003cp>“My heart was pounding inside of me and my mind was going wild, because at the same time that I am hearing what he’s saying, it doesn’t feel real, it doesn’t resonate as being … true,” Lublin said.\u003c/p>\n\u003cp>Lublin was 23 when she met Cosby in 1989. He invited her to practice improvisation in a hotel suite and she believes that while there, Cosby drugged and assaulted her. She said the assassinations on her character when she came forward with her allegations underscored why victims don’t report these crimes.\u003c/p>\n\u003cp>“The Cosby women had to suffer through all of the hatred and bigotry and racism that was let out because we came forward,” said Lublin, who is now a sixth-grade teacher in Las Vegas. “They talked about us like we were animals. … There’s so many that are still out there. And the #MeToo movement is getting there. It’s helping. I want to see every single statute of limitations eliminated, abolished, for sexual assault. A person needs that time. We need that time.”\u003c/p>\n\u003cp>Prosecutors asked the judge to take Cosby into custody, saying he had a private plane and could fly anywhere in the world, but the request was denied.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Cosby’s attorneys said they were disappointed by the verdict and planned to appeal.\u003c/p>\n\u003cp>“We don’t think Mr. Cosby’s guilty of anything,” Tom Mesereau said. “And the fight is not over.”\u003c/p>\n\u003cp>Fighting back tears, Montgomery County District Attorney Kevin Steele said during a post-trial press conference, that the case helped showed who “the real Bill Cosby was,” and thanked all the people who helped them get a conviction.\u003c/p>\n\u003cp>“When you look at this and look at what Andrea [Constand] has done to stand up and declare what has happened…her actions to help victims stand up and tell what has happened to them…I hope that our actions have shown that people stand up with those victims and all women who are out there standing up …we support them, encourage them to keep it up,” Steele said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>“I want to see a serial rapist convicted”\u003c/h3>\n\u003cp>Cosby initially faced sexual assault charges in court last June but jurors could not reach a unanimous decision after 52 hours of deliberation. The judge declared it a mistrial.\u003c/p>\n\u003cp>This time around, the seven men and five women on the panel sat in the jury box of the Montgomery County Courthouse and listened to more than two weeks of testimony from 25 witnesses. Some cried on the stand recounting how Cosby attacked them while they were in drug-induced stupors, and others attempted to discredit main accuser Andrea Constand by detailing instances of supposed deceit and inconsistencies. \u003c/p>\n\u003cp>“This case is about trust,” Montgomery County District Attorney Kevin Steele told jurors in his opening remarks. “This case is about betrayal, and that betrayal leading to the sexual assault of a woman named Andrea Constand.” \u003c/p>\n\u003cp>Constand, the only Cosby accuser whose case has triggered criminal charges, took the stand for the prosecution over two days, as she did during the first trial.\u003c/p>\n\u003cp>In addition to Constand, five women who have never before confronted Cosby in a criminal courtroom took the witness stand. They told the jury that the entertainer drugged and molested them in the 1980s, stories that first came to light after prosecutors reopened Cosby’s criminal case in 2015. That led more than 60 women to lodge sexual misconduct allegations against the television icon once known as “America’s Dad.”\u003c/p>\n\u003cp>“You remember, don’t you, Mr. Cosby?” said accuser Chelan Lasha from the stand, locking eyes with Cosby, who has remained largely impassive throughout the trial.\u003c/p>\n\u003cp>“I want to see a serial rapist convicted,” another accuser, Heidi Thomas, told the court, as spectators gasped at the statement.\u003c/p>\n\u003cp>Through it all, jurors had a front-row seat to the lawyerly slugfest that pitted three prosecutors from suburban Philadelphia against a throng defense attorneys led by Los Angeles-based Tom Mesereau, who aggressively depicted Constand as a “con artist.” \u003c/p>\n\u003cp>“You’re going to be saying to yourself in this trial, ‘What does she want from Bill Cosby,'” Mesereau said to jurors during opening statements. “You already know the answer: money, money and lots more money.”\u003c/p>\n\u003cp>To bolster this argument, the defense called star witness Margo Jackson, who used to work with Constand at Temple University. Jackson was banned from testifying during the first trial, but the judge allowed her in this time. Jackson told jurors that Constand once confided in her that she had a plan to frame a wealthy celebrity with a made-up sexual assault claim “to get that money.”\u003c/p>\n\u003cp>Prosecutor Kristen Feden seized on the characterization of Constand as a scheming con artist during closing arguments, saying it was Cosby who deployed his wholesome TV image to gain the trust of women he planned to incapacitate and assault.\u003c/p>\n\u003cp>She strode across the courtroom pointing inches away from Cosby as he sat wide-eyed at the defense table.\u003c/p>\n\u003cp>“The perpetrator of that con is this man!” she yelled. “Sitting right here. This is the man.” \u003c/p>\n\u003cp>When Constand took the witness stand, she told the jury that, one night in January 2004, Cosby gave her three blue pills he called “friends” to relax her. Instead, they rendered her defenseless, lapsing in and out of consciousness. Constand told jurors she was “jolted awake” by the feeling of his fingers in her vagina as she lay on a couch in Cosby’s home.\u003c/p>\n\u003cp>A couple of months later, she told the court, she attempted to confront Cosby about it.\u003c/p>\n\u003cp>“I wanted to know what pills he gave to me, and why he did that to me,” Constand said. “He stumbled on his words. He said, ‘I don’t know what you’re talking about.’ He said, ‘I thought you had an orgasm,’ and I had not. He would not answer my questions.”\u003c/p>\n\u003cp>Constand told the court that enduring two publicity-heavy criminal trials “tore my family apart,” yet when asked by prosecutor Kristen Feden why she agreed to take the stand again, Constand replied, “for justice.”\u003c/p>\n\u003cp>Constand faced withering questions from Mesereau on cross examination, as a part of a multi-pronged defense focused on shaking her credibility and that of the other witnesses. He probed Constand as to why she stayed in touch with Cosby after the incident, portrayed her as a desperate, cash-strapped pyramid scheme participant. Constand was also pressed about the nearly $3.4 million Cosby paid her in a 2006 civil settlement, which was previously confidential.\u003c/p>\n\u003cp>Cosby’s lawyers also suggested to jurors that the incident could not have happened the way she said it did, even hinting that there is a chance Cosby was not in the Philadelphia area around the time Constand said she was assaulted. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During jury selection, the judge asked hundreds of potential jurors whether their feelings about #MeToo would get in the way of being a fair fact-finder in the Cosby case. Almost none said they were unaware of the cultural movement. Prosecutors never mentioned #MeToo to jurors during trial. But the defense team made an unsubtle attack on it when lawyer Kathleen Bliss told the panel that “when you join a movement based mostly on emotion and anger, you don’t change a damn thing,” adding that “mob rule is not due process.” She compared the dozens of accusations against Cosby to a “witch hunt,” and a “lynching.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WHYY. To see more, visit \u003ca href=\"https://whyy.org\">WHYY\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Cosby+Found+Guilty+Of+All+Charges+In+Sexual+Assault+Retrial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After years of keeping its content review guidelines internal, Facebook on Tuesday suddenly decided to \u003ca href=\"https://www.kqed.org/news/11664398/facebook-updates-community-standards-expands-appeals-process\" rel=\"noopener\" target=\"_blank\">make them public\u003c/a>. And while the \u003ca href=\"https://www.facebook.com/communitystandards/introduction/\" rel=\"noopener\" target=\"_blank\">27 pages of guidelines\u003c/a> clear up some questions about what constitutes offensive content, many artists who previously had their work removed by Facebook say the company’s transparency is a case of too little, too late.\u003c/p>\n\u003cp>“What’s frustrating is that the policies are administered by people who do not seem to have a grasp on what is or isn’t actually ‘offensive,'” Christopher Bickel said.\u003c/p>\n\u003cp>Bickel, a musician, writer and director of the film \u003ca href=\"https://www.facebook.com/thethetagirl/\" rel=\"noopener\" target=\"_blank\">\u003ci>The Theta Girl,\u003c/i>\u003c/a> used to run the popular Facebook group Too Soon. He and four other friends started the page two years ago to share dark, funny memes, often original creations “poking fun at the cult of celebrity whenever a celebrity died.” Bickel says it was immediately popular, and quickly grew to about 500,000 users.\u003c/p>\n\u003cp>But the page came down this past March, after Bickel posted an image marking the death of Stephen Hawking: it consisted of a picture of Mark E. Smith, the late singer of the post punk band The Fall, with the words “RIP Stephen Hawking.” \u003c/p>\n\u003cfigure id=\"attachment_13830449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/MES-meme-800x450.jpg\" alt='The meme featuring Fall singer Mark E. Smith that ended the Facebook group \"Too Soon\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13830449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme.jpg 888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The meme featuring Fall singer Mark E. Smith that ended the Facebook group “Too Soon” \u003ccite>(Christopher Bickel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bickel says Too Soon appealed to Facebook, but administrators stood by their decision.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bickel says his page’s memes had been reported before, but they were always anti-Trump. This meme, featuring an obscure musician, was “too random to violate any kind of community standard,” Bickel says.\u003c/p>\n\u003cp>“Compare this to one of the few times I ever reported anything as ‘offensive’: some white-power person had posted a cartoon drawing of a Klansman in full robes, laying in a hammock comprised of the bodies of two lynched black men,” Bickel messaged on Facebook. “My report of this image was responded to the following day with a note that the image did not violate Facebook’s community standards. Go figure.”\u003c/p>\n\u003ch3>It’s Instagram, too\u003c/h3>\n\u003cp>Facebook’s guidelines and subjective policing \u003ca href=\"https://www.theverge.com/2018/4/24/17270910/facebook-community-guidelines-appeals-process\" rel=\"noopener\" target=\"_blank\">apply to Instagram \u003c/a>as well. But before Facebook bought Instagram in \u003ca href=\"https://dealbook.nytimes.com/2012/04/09/facebook-buys-instagram-for-1-billion/\" rel=\"noopener\" target=\"_blank\">2012 for $1 billion\u003c/a>, the photo-centric app was a refuge for edgy artists like photographer Brian Henderson. Though Henderson’s creepy, horror-themed photos are not erotic, they do feature nudity, which proved to be a problem for Facebook.\u003c/p>\n\u003cp>“I used to post on FB a lot but photos would get removed from time to time. It was usually when I would post an image of a nude male,” Henderson wrote in an email. “I would post nude females all the time and then one penis shows up and boom, they would remove it. I contested a few times but just gave up because I heard nothing back.”\u003c/p>\n\u003cfigure id=\"attachment_13830461\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Death-Museum-example-800x800.jpg\" alt=\"An example of Brian Henderson's work\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13830461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An example of Brian Henderson’s work. \u003ccite>(Brian Henderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Instagram launched, Henderson started an account and found he could post without scrutiny. That changed after Facebook bought the app, when his photos began to be removed without warning and, he said, without explanation — “usually just threats that I would lose my account.” Then, in one day, all three of his Instagram accounts were taken down. He received a notice for only one of them.\u003c/p>\n\u003cp>The only site where Henderson’s photos can live now is on Flickr, he said. \u003c/p>\n\u003cp>“As an artist, if you do anything edgy or push any kind of boundary you won’t have a platform on FB or Instagram. But for some weird reason you can search through FB and Instagram and see that photos of a woman breastfeeding are being censored, yet very sexual nude imagery is left alone,” Henderson wrote. “The whole thing seems very random and based on the opinions of whoever is heading up the witch hunt that day or time.”\u003c/p>\n\u003ch3>The Appeals Process\u003c/h3>\n\u003cp>In what appears to be an attempt to assuage criticism over its subjective censorship policies, Facebook also announced Tuesday that it would set up an appeals process for removed posts. Previously, users could only appeal the removal of groups and pages. \u003c/p>\n\u003cp>But painter Kevin Davidson says he already found an appeals process outside of Facebook: the media. \u003c/p>\n\u003cp>Earlier this month, Davidson attempted to take out a Facebook ad featuring a painting he made in response to the Parkland shooting in February. Religious in tone, the painting “Parkland Pieta in Stained Glass” shows a mother praying over a gunshot victim that looks like Jesus Christ, with the faces of 17 victims of the massacre in the background.\u003c/p>\n\u003cfigure id=\"attachment_13830486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/PArkland-painting-800x413.jpg\" alt='\"Parkland Pieta in Stained Glass\" by Kevin Davidson' width=\"800\" height=\"413\" class=\"size-medium wp-image-13830486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-800x413.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-1020x526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-1200x619.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-1180x609.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-960x496.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-375x194.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-520x268.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Parkland Pieta in Stained Glass” by Kevin Davidson. \u003ccite>(Courtesy of Kevin Davidson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Facebook denied the ad, telling Davidson that the picture was “too violent, too controversial, stuff like that.” Davidson appealed to Facebook, and then he contacted Fox 40 News in Sacramento. On his way to the station for an interview, Davidson received an email saying his ad had been approved. \u003c/p>\n\u003cp>At the station, Davidson learned that a \u003ca href=\"http://fox40.com/2018/04/10/local-artists-religious-painting-depicting-parkland-victims-rejected-on-facebook/\" rel=\"noopener\" target=\"_blank\">Fox 40 reporter, Nicole Comstock,\u003c/a> had contacted Facebook, who responded quickly and informed her that the employee who denied Davidson’s ad had made a mistake.\u003c/p>\n\u003cp>Davidson is convinced that Comstock’s inquiry is what changed the administrators decision.\u003c/p>\n\u003cp>“If they truly believed it was offensive, they would’ve stuck with it,” Davidson said in a phone call Wednesday.\u003c/p>\n\u003cp>Two weeks later, Facebook released its guidelines, which Davidson interprets as the social media site saying, “We can do whatever we want.” He’s also convinced that the proposed appeal process is to stem bad publicity at a time when Facebook is still dealing with the fallout from having \u003ca href=\"https://www.nytimes.com/2018/03/19/technology/facebook-cambridge-analytica-explained.html\" rel=\"noopener\" target=\"_blank\">Cambridge Analytica access its users’ data\u003c/a>. \u003c/p>\n\u003cp>As far as Facebook’s censorship problems go, Davidson has no grand solutions for the company, nor does he want the government to step in. He thinks the website just needs to be smarter.\u003c/p>\n\u003cp>“If Facebook was smart, I don’t think it would be a problem. It’s common-sense stuff,” Davidson said. “Just be transparent about it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After years of keeping its content review guidelines internal, Facebook on Tuesday suddenly decided to \u003ca href=\"https://www.kqed.org/news/11664398/facebook-updates-community-standards-expands-appeals-process\" rel=\"noopener\" target=\"_blank\">make them public\u003c/a>. And while the \u003ca href=\"https://www.facebook.com/communitystandards/introduction/\" rel=\"noopener\" target=\"_blank\">27 pages of guidelines\u003c/a> clear up some questions about what constitutes offensive content, many artists who previously had their work removed by Facebook say the company’s transparency is a case of too little, too late.\u003c/p>\n\u003cp>“What’s frustrating is that the policies are administered by people who do not seem to have a grasp on what is or isn’t actually ‘offensive,'” Christopher Bickel said.\u003c/p>\n\u003cp>Bickel, a musician, writer and director of the film \u003ca href=\"https://www.facebook.com/thethetagirl/\" rel=\"noopener\" target=\"_blank\">\u003ci>The Theta Girl,\u003c/i>\u003c/a> used to run the popular Facebook group Too Soon. He and four other friends started the page two years ago to share dark, funny memes, often original creations “poking fun at the cult of celebrity whenever a celebrity died.” Bickel says it was immediately popular, and quickly grew to about 500,000 users.\u003c/p>\n\u003cp>But the page came down this past March, after Bickel posted an image marking the death of Stephen Hawking: it consisted of a picture of Mark E. Smith, the late singer of the post punk band The Fall, with the words “RIP Stephen Hawking.” \u003c/p>\n\u003cfigure id=\"attachment_13830449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/MES-meme-800x450.jpg\" alt='The meme featuring Fall singer Mark E. Smith that ended the Facebook group \"Too Soon\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13830449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/MES-meme.jpg 888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The meme featuring Fall singer Mark E. Smith that ended the Facebook group “Too Soon” \u003ccite>(Christopher Bickel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bickel says Too Soon appealed to Facebook, but administrators stood by their decision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bickel says his page’s memes had been reported before, but they were always anti-Trump. This meme, featuring an obscure musician, was “too random to violate any kind of community standard,” Bickel says.\u003c/p>\n\u003cp>“Compare this to one of the few times I ever reported anything as ‘offensive’: some white-power person had posted a cartoon drawing of a Klansman in full robes, laying in a hammock comprised of the bodies of two lynched black men,” Bickel messaged on Facebook. “My report of this image was responded to the following day with a note that the image did not violate Facebook’s community standards. Go figure.”\u003c/p>\n\u003ch3>It’s Instagram, too\u003c/h3>\n\u003cp>Facebook’s guidelines and subjective policing \u003ca href=\"https://www.theverge.com/2018/4/24/17270910/facebook-community-guidelines-appeals-process\" rel=\"noopener\" target=\"_blank\">apply to Instagram \u003c/a>as well. But before Facebook bought Instagram in \u003ca href=\"https://dealbook.nytimes.com/2012/04/09/facebook-buys-instagram-for-1-billion/\" rel=\"noopener\" target=\"_blank\">2012 for $1 billion\u003c/a>, the photo-centric app was a refuge for edgy artists like photographer Brian Henderson. Though Henderson’s creepy, horror-themed photos are not erotic, they do feature nudity, which proved to be a problem for Facebook.\u003c/p>\n\u003cp>“I used to post on FB a lot but photos would get removed from time to time. It was usually when I would post an image of a nude male,” Henderson wrote in an email. “I would post nude females all the time and then one penis shows up and boom, they would remove it. I contested a few times but just gave up because I heard nothing back.”\u003c/p>\n\u003cfigure id=\"attachment_13830461\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Death-Museum-example-800x800.jpg\" alt=\"An example of Brian Henderson's work\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13830461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Death-Museum-example-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An example of Brian Henderson’s work. \u003ccite>(Brian Henderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Instagram launched, Henderson started an account and found he could post without scrutiny. That changed after Facebook bought the app, when his photos began to be removed without warning and, he said, without explanation — “usually just threats that I would lose my account.” Then, in one day, all three of his Instagram accounts were taken down. He received a notice for only one of them.\u003c/p>\n\u003cp>The only site where Henderson’s photos can live now is on Flickr, he said. \u003c/p>\n\u003cp>“As an artist, if you do anything edgy or push any kind of boundary you won’t have a platform on FB or Instagram. But for some weird reason you can search through FB and Instagram and see that photos of a woman breastfeeding are being censored, yet very sexual nude imagery is left alone,” Henderson wrote. “The whole thing seems very random and based on the opinions of whoever is heading up the witch hunt that day or time.”\u003c/p>\n\u003ch3>The Appeals Process\u003c/h3>\n\u003cp>In what appears to be an attempt to assuage criticism over its subjective censorship policies, Facebook also announced Tuesday that it would set up an appeals process for removed posts. Previously, users could only appeal the removal of groups and pages. \u003c/p>\n\u003cp>But painter Kevin Davidson says he already found an appeals process outside of Facebook: the media. \u003c/p>\n\u003cp>Earlier this month, Davidson attempted to take out a Facebook ad featuring a painting he made in response to the Parkland shooting in February. Religious in tone, the painting “Parkland Pieta in Stained Glass” shows a mother praying over a gunshot victim that looks like Jesus Christ, with the faces of 17 victims of the massacre in the background.\u003c/p>\n\u003cfigure id=\"attachment_13830486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/PArkland-painting-800x413.jpg\" alt='\"Parkland Pieta in Stained Glass\" by Kevin Davidson' width=\"800\" height=\"413\" class=\"size-medium wp-image-13830486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-800x413.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-1020x526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-1200x619.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-1180x609.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-960x496.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-375x194.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/PArkland-painting-520x268.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Parkland Pieta in Stained Glass” by Kevin Davidson. \u003ccite>(Courtesy of Kevin Davidson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Facebook denied the ad, telling Davidson that the picture was “too violent, too controversial, stuff like that.” Davidson appealed to Facebook, and then he contacted Fox 40 News in Sacramento. On his way to the station for an interview, Davidson received an email saying his ad had been approved. \u003c/p>\n\u003cp>At the station, Davidson learned that a \u003ca href=\"http://fox40.com/2018/04/10/local-artists-religious-painting-depicting-parkland-victims-rejected-on-facebook/\" rel=\"noopener\" target=\"_blank\">Fox 40 reporter, Nicole Comstock,\u003c/a> had contacted Facebook, who responded quickly and informed her that the employee who denied Davidson’s ad had made a mistake.\u003c/p>\n\u003cp>Davidson is convinced that Comstock’s inquiry is what changed the administrators decision.\u003c/p>\n\u003cp>“If they truly believed it was offensive, they would’ve stuck with it,” Davidson said in a phone call Wednesday.\u003c/p>\n\u003cp>Two weeks later, Facebook released its guidelines, which Davidson interprets as the social media site saying, “We can do whatever we want.” He’s also convinced that the proposed appeal process is to stem bad publicity at a time when Facebook is still dealing with the fallout from having \u003ca href=\"https://www.nytimes.com/2018/03/19/technology/facebook-cambridge-analytica-explained.html\" rel=\"noopener\" target=\"_blank\">Cambridge Analytica access its users’ data\u003c/a>. \u003c/p>\n\u003cp>As far as Facebook’s censorship problems go, Davidson has no grand solutions for the company, nor does he want the government to step in. He thinks the website just needs to be smarter.\u003c/p>\n\u003cp>“If Facebook was smart, I don’t think it would be a problem. It’s common-sense stuff,” Davidson said. “Just be transparent about it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "keeping-musical-traditions-alive-from-generation-to-generation",
"title": "Keeping Musical Traditions Alive From Generation to Generation",
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"content": "\u003cp>The Alliance for California Traditional Arts preserves cultural history in the state, providing grants to mentors and proteges preserving traditional crafts. The group preserves everything from Pomo basket weaving to Filipino-American storytelling, plus lots of musical traditions.\u003c/p>\n\u003cfigure id=\"attachment_13830474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830474\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/3_O%CC%88zden-O%CC%88ztoprak-and-Isik-Berfin-800x559.jpg\" alt=\"Özden Öztoprak Passes along Kurdish Alevi musical traditions to her daughter Isik Berfin\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1200x839.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1920x1342.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-960x671.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Özden Öztoprak\u003cbr>Passes along Kurdish Alevi musical traditions to her daughter Isik Berfin \u003ccite>(Kutay D. Kugay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the focus of a concert called \u003cem>The Sounds of California\u003c/em> at the Bayview Opera House on Sunday. The show features the duo Isik Berfin and her mother Özden Öztoprak, who sing the most haunting music from the Kurdish Sufi tradition. There’s also a dan tranh or Vietnamese zither ensemble from San Francisco’s Tenderloin led by Vân Ánh Võ, a genius on the instrument; La Familia Peña-Govea, who are a family of musicians that perform traditional Mexican songs with an activist Chicano perspective; and the Omnira Institute, a drumming ensemble that connects African-American experience with African spirituality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lg3yPyfEwOo\u003c/p>\n\u003cp>“We’re going to see examples of the transmission of cultural values,” says ACTA Program Manager Lily Kharrazi, who’s organizing the concert. “And sometimes that happens in song, and sometimes that happens with the food we eat. Even if you don’t understand what they are saying, the depth of feeling and the intention and intensity of this music really carries through.”\u003c/p>\n\u003cp>The performance is at The Bayview Opera House in San Francisco on Sunday, April 29. \u003ca href=\"https://www.eventbrite.com/e/sounds-of-california-in-bayview-with-the-alliance-for-ca-traditional-arts-tickets-44388475124\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LtYb4HzWeKg\u003c/p>\n\n",
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"rss": "https://feeds.megaphone.fm/KQINC6993880386",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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