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"content": "\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We treasure folk and fairy tales for the insights into our culture that they provide. Disney bowdlerizes and makes movies out of these tales, and we put our children to sleep with them, even though they’re often weird, terrifying, and sexist. So maybe it’s no surprise that the Shotgun Players is presenting the world premiere of \u003cem>Iron Shoes\u003c/em>, a musical deconstruction of three Eastern European folk tales about girls forced to wander the world and wear out a pair (or three pair) of iron shoes, in order to be reunited with a lover or family. The project got its start when Janet Kutulus of the Bay Area’s Kitka, the all woman Balkan music chorus, wrote a song cycle based on the stories. Kutulus then hooked up with director-choreographer Erika Chong Shuch and writer Michelle Carter to put the stories and music on stage. Shuch says the idea was to reevaluate these tales where the girls are powerless, the step-sisters are cruel and the parents are indifferent; and how the storyteller becomes complicit in the suffering.\u003c/p>\n\u003cfigure id=\"attachment_13828222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg\" alt=\"The cast confronts the narrator, Beth Wilmurt, in 'Iron Shoes' at the Shotgun Players in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast confronts the narrator, Beth Wilmurt, in ‘Iron Shoes’ at the Shotgun Players in Berkeley \u003ccite>(Ben Krantz/Shotgun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So we started thinking a lot about narration, and who has the right to tell these stories,” Shuch told me backstage at the theater a few days ago. “And for the girls in iron shoes, other people have been telling their stories. But what kind of shift would happen if the person telling their story, actually had to live thru what they lived through?”\u003c/p>\n\u003cp>There’s lots of humor in \u003cem>Iron Shoes\u003c/em>, despite the post-modern approach. And I found the play, especially the music and dance, deeply moving. And what’s best in \u003cem>Iron Shoes\u003c/em>, is the way it asks what it means to be a sympathetic, empathetic person, even when telling a tragic tale. \u003c/p>\n\u003cp>\u003cem>Iron Shoes\u003c/em> continues at The Shotgun Players at the Ashby Stage through May 6.\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=F72CB6B5-F471-4D48-BA66-D1C249384EAD&menu_id=A9AA731D-A9E2-4E77-ACBB-FF92411BD789&sToken=1%2C890f02ad%2C5abc185b%2C5E2DAF7C-963A-404C-BDA5-8A931B530D2B%2C1Iy0mbR72EO9uySw4KmSI5AKUVM%3D\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_iaxZEfaL50&list=RDEMLm35Se_-DS4rb606Go27tg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We treasure folk and fairy tales for the insights into our culture that they provide. Disney bowdlerizes and makes movies out of these tales, and we put our children to sleep with them, even though they’re often weird, terrifying, and sexist. So maybe it’s no surprise that the Shotgun Players is presenting the world premiere of \u003cem>Iron Shoes\u003c/em>, a musical deconstruction of three Eastern European folk tales about girls forced to wander the world and wear out a pair (or three pair) of iron shoes, in order to be reunited with a lover or family. The project got its start when Janet Kutulus of the Bay Area’s Kitka, the all woman Balkan music chorus, wrote a song cycle based on the stories. Kutulus then hooked up with director-choreographer Erika Chong Shuch and writer Michelle Carter to put the stories and music on stage. Shuch says the idea was to reevaluate these tales where the girls are powerless, the step-sisters are cruel and the parents are indifferent; and how the storyteller becomes complicit in the suffering.\u003c/p>\n\u003cfigure id=\"attachment_13828222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg\" alt=\"The cast confronts the narrator, Beth Wilmurt, in 'Iron Shoes' at the Shotgun Players in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast confronts the narrator, Beth Wilmurt, in ‘Iron Shoes’ at the Shotgun Players in Berkeley \u003ccite>(Ben Krantz/Shotgun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So we started thinking a lot about narration, and who has the right to tell these stories,” Shuch told me backstage at the theater a few days ago. “And for the girls in iron shoes, other people have been telling their stories. But what kind of shift would happen if the person telling their story, actually had to live thru what they lived through?”\u003c/p>\n\u003cp>There’s lots of humor in \u003cem>Iron Shoes\u003c/em>, despite the post-modern approach. And I found the play, especially the music and dance, deeply moving. And what’s best in \u003cem>Iron Shoes\u003c/em>, is the way it asks what it means to be a sympathetic, empathetic person, even when telling a tragic tale. \u003c/p>\n\u003cp>\u003cem>Iron Shoes\u003c/em> continues at The Shotgun Players at the Ashby Stage through May 6.\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=F72CB6B5-F471-4D48-BA66-D1C249384EAD&menu_id=A9AA731D-A9E2-4E77-ACBB-FF92411BD789&sToken=1%2C890f02ad%2C5abc185b%2C5E2DAF7C-963A-404C-BDA5-8A931B530D2B%2C1Iy0mbR72EO9uySw4KmSI5AKUVM%3D\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_iaxZEfaL50'\n title='//www.youtube.com/embed/_iaxZEfaL50'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Congress Takes a Brush to the Budget, Barring Federal Funds for Portraits",
"headTitle": "Congress Takes a Brush to the Budget, Barring Federal Funds for Portraits | KQED",
"content": "\u003cp>\u003cstrong>Updated at 5:50 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For many elected officials, it’s something of a rite of passage: After getting to Capitol Hill, bearing their constituents’ hopes and fears on their shoulders, virtually every politician finally decides to take a stand — in front of a painter paid to make their portrait. Some even decide to sit for it.\u003c/p>\n\u003cp>But either way, for a long time many of those official portraits were paid for by the same patrons: U.S. taxpayers.\u003c/p>\n\u003cp>Not anymore.\u003c/p>\n\u003cp>On Tuesday, President Trump signed into law the \u003ca href=\"https://www.congress.gov/bill/115th-congress/senate-bill/188\">Eliminating Government-funded Oil-painting Act\u003c/a>, also known as — wait for it — the EGO Act.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Under the new law, federal funds can no longer be used toward official painted portraits for federal government officials or employees. (It remains a little unclear if watercolor painters can find themselves a loophole.)\u003c/p>\n\u003cp>The law applies to members of Congress, heads of executive agencies, even the president himself. If one of them wishes to have an official portrait rendered in paint, they will need to retrieve the requisite cash from their own wallets — or canvass (homophone joke, see what we did there?) private donors for the cash. That’s what the Obamas did for their own official portraits \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/12/585066637/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">unveiled last month\u003c/a>.\u003c/p>\n\u003cp>“I came to Congress to cut wasteful spending,” \u003ca href=\"https://twitter.com/BillCassidy/status/979020737326481408?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Freports%2FtwitterPreview.php%3FtweetId%3D979020737326481408%26hideMedia%3Dtrue\">tweeted \u003c/a>GOP Sen. Bill Cassidy, who has pushed for this measure since he represented Louisiana in the House.\u003c/p>\n\u003cp>He had already succeeded in getting the ban slipped into spending bills in 2014 and 2016, but those riders were only temporary. The standalone bill, which renders the ban permanent, did not enjoy the same kind of success. Cassidy’s campaign had gotten so regular, \u003ca href=\"http://www.nola.com/politics/index.ssf/2017/01/bill_cassidys_pet_peeve_over_p.html\">the New Orleans \u003cem>Times-Picayune \u003c/em>reports\u003c/a>, he even recycled his statement marking the bill’s introduction in each new Congress.\u003c/p>\n\u003cp>But on Wednesday, he enjoyed his long-sought victory lap. “Our debt is over $20 trillion,” his statement said. “There’s no excuse for spending hundreds of thousands of dollars on paintings of government officials.”\u003c/p>\n\u003cp>https://twitter.com/BillCassidy/status/979020737326481408\u003c/p>\n\u003cp>Now, it’s fair to wonder just how much effect this law will have on that towering number. In a 2017 report issued by the Senate Committee on Homeland Security and Governmental Affairs, the authors selected a slew of examples to highlight:\u003c/p>\n\u003cul>\n\u003cli>There was the $22,500 paid by the Department of Commerce for John Bryson’s portrait, despite the fact that he served just eight months as chief of the department.\u003c/li>\n\u003cli>The $19,500 for Steve Preston, who served as secretary of housing and urban development for an even shorter span.\u003c/li>\n\u003cli>And the $46,790 paid by the Department of Defense for former Secretary Donald Rumsfeld’s second official portrait.\u003c/li>\n\u003c/ul>\n\u003cp>And then there’s this one with a poodle, which goes unmentioned in the report but has drawn a \u003ca href=\"https://twitter.com/AdrianChen/status/696016605231374337\">different kind of attention\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/HouseForeign/status/401118976383524864\u003c/p>\n\u003cp>And this one with spaceships.\u003c/p>\n\u003cp>https://twitter.com/USHouseHistory/status/607879770575994882\u003c/p>\n\u003cp>All told, the report stated, from 2010 to 2013 more than $400,000 was spent on portraits displayed in agency buildings, “often in secure locations that are not open to the public.”\u003c/p>\n\u003cp>But the federal government spent \u003ca href=\"https://www.cbo.gov/topics/budget\">an estimated $4 trillion\u003c/a> in fiscal year 2017 alone. The expenditure on portraits represents a fraction of that total so small it would be very difficult to clearly represent here. A single F-35 fighter jet \u003ca href=\"https://www.nytimes.com/2016/12/12/us/politics/trump-f35-fighter-jet-tweet.html\">costs about 250 times\u003c/a> as much as all of the portraits bought during that three-year span, combined.\u003c/p>\n\u003cp>And portraits have not been the only source of concern for onlookers monitoring extravagant spending. Current HUD Secretary Ben Carson was called before a House committee earlier this month \u003ca href=\"https://www.npr.org/2018/03/26/595231728/why-trump-appointees-refer-to-optics-when-discussing-spending-scandals\">to explain the decision\u003c/a> to buy a $31,000 dining room set for his office.\u003c/p>\n\u003cp>Outgoing Veterans Affairs Secretary David Shulkin \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/15/585957402/inspector-serious-derelictions-by-va-secretary-related-to-overseas-travel\">has attracted scrutiny\u003c/a> from his department’s inspector general for an expensive overseas trip with his wife at taxpayer expense.\u003c/p>\n\u003cp>Former Health and Human Services Secretary Tom Price \u003ca href=\"https://www.npr.org/sections/health-shots/2017/09/29/554475788/price-resigns-from-trump-cabinet-amidst-private-jet-investigations\">already resigned\u003c/a> from Trump’s cabinet for reportedly using $400,000 of taxpayer money — or roughly 13 official portraits, according to the average price listed in the report — on private charter planes. He said he would \u003ca href=\"https://www.npr.org/2017/09/28/554328239/price-says-he-will-pay-for-travel-on-private-planes\">pay a portion\u003c/a> of that sum back.\u003c/p>\n\u003cp>But for backers of the EGO Act, ending the long tradition of taxpayer-funded official portraits means more than the numbers: they say it carries symbolic weight, as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The expensive practice has a long history of criticism dating back to at least the Carter Administration,” the 2017 committee report says. “Although portraits are a minor piece of the Federal budget, every dollar the government spends on vanity projects for federal officials is a dollar that is not spent improving the lives of everyday Americans.” \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=Congress+Takes+A+Brush+To+The+Budget%2C+Barring+Federal+Funds+For+Portraits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under the new law, federal funds can no longer be used toward official painted portraits for federal government officials or employees. (It remains a little unclear if watercolor painters can find themselves a loophole.)\u003c/p>\n\u003cp>The law applies to members of Congress, heads of executive agencies, even the president himself. If one of them wishes to have an official portrait rendered in paint, they will need to retrieve the requisite cash from their own wallets — or canvass (homophone joke, see what we did there?) private donors for the cash. That’s what the Obamas did for their own official portraits \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/12/585066637/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">unveiled last month\u003c/a>.\u003c/p>\n\u003cp>“I came to Congress to cut wasteful spending,” \u003ca href=\"https://twitter.com/BillCassidy/status/979020737326481408?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Freports%2FtwitterPreview.php%3FtweetId%3D979020737326481408%26hideMedia%3Dtrue\">tweeted \u003c/a>GOP Sen. Bill Cassidy, who has pushed for this measure since he represented Louisiana in the House.\u003c/p>\n\u003cp>He had already succeeded in getting the ban slipped into spending bills in 2014 and 2016, but those riders were only temporary. The standalone bill, which renders the ban permanent, did not enjoy the same kind of success. Cassidy’s campaign had gotten so regular, \u003ca href=\"http://www.nola.com/politics/index.ssf/2017/01/bill_cassidys_pet_peeve_over_p.html\">the New Orleans \u003cem>Times-Picayune \u003c/em>reports\u003c/a>, he even recycled his statement marking the bill’s introduction in each new Congress.\u003c/p>\n\u003cp>But on Wednesday, he enjoyed his long-sought victory lap. “Our debt is over $20 trillion,” his statement said. “There’s no excuse for spending hundreds of thousands of dollars on paintings of government officials.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Now, it’s fair to wonder just how much effect this law will have on that towering number. In a 2017 report issued by the Senate Committee on Homeland Security and Governmental Affairs, the authors selected a slew of examples to highlight:\u003c/p>\n\u003cul>\n\u003cli>There was the $22,500 paid by the Department of Commerce for John Bryson’s portrait, despite the fact that he served just eight months as chief of the department.\u003c/li>\n\u003cli>The $19,500 for Steve Preston, who served as secretary of housing and urban development for an even shorter span.\u003c/li>\n\u003cli>And the $46,790 paid by the Department of Defense for former Secretary Donald Rumsfeld’s second official portrait.\u003c/li>\n\u003c/ul>\n\u003cp>And then there’s this one with a poodle, which goes unmentioned in the report but has drawn a \u003ca href=\"https://twitter.com/AdrianChen/status/696016605231374337\">different kind of attention\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>All told, the report stated, from 2010 to 2013 more than $400,000 was spent on portraits displayed in agency buildings, “often in secure locations that are not open to the public.”\u003c/p>\n\u003cp>But the federal government spent \u003ca href=\"https://www.cbo.gov/topics/budget\">an estimated $4 trillion\u003c/a> in fiscal year 2017 alone. The expenditure on portraits represents a fraction of that total so small it would be very difficult to clearly represent here. A single F-35 fighter jet \u003ca href=\"https://www.nytimes.com/2016/12/12/us/politics/trump-f35-fighter-jet-tweet.html\">costs about 250 times\u003c/a> as much as all of the portraits bought during that three-year span, combined.\u003c/p>\n\u003cp>And portraits have not been the only source of concern for onlookers monitoring extravagant spending. Current HUD Secretary Ben Carson was called before a House committee earlier this month \u003ca href=\"https://www.npr.org/2018/03/26/595231728/why-trump-appointees-refer-to-optics-when-discussing-spending-scandals\">to explain the decision\u003c/a> to buy a $31,000 dining room set for his office.\u003c/p>\n\u003cp>Outgoing Veterans Affairs Secretary David Shulkin \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/15/585957402/inspector-serious-derelictions-by-va-secretary-related-to-overseas-travel\">has attracted scrutiny\u003c/a> from his department’s inspector general for an expensive overseas trip with his wife at taxpayer expense.\u003c/p>\n\u003cp>Former Health and Human Services Secretary Tom Price \u003ca href=\"https://www.npr.org/sections/health-shots/2017/09/29/554475788/price-resigns-from-trump-cabinet-amidst-private-jet-investigations\">already resigned\u003c/a> from Trump’s cabinet for reportedly using $400,000 of taxpayer money — or roughly 13 official portraits, according to the average price listed in the report — on private charter planes. He said he would \u003ca href=\"https://www.npr.org/2017/09/28/554328239/price-says-he-will-pay-for-travel-on-private-planes\">pay a portion\u003c/a> of that sum back.\u003c/p>\n\u003cp>But for backers of the EGO Act, ending the long tradition of taxpayer-funded official portraits means more than the numbers: they say it carries symbolic weight, as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The expensive practice has a long history of criticism dating back to at least the Carter Administration,” the 2017 committee report says. “Although portraits are a minor piece of the Federal budget, every dollar the government spends on vanity projects for federal officials is a dollar that is not spent improving the lives of everyday Americans.” \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=Congress+Takes+A+Brush+To+The+Budget%2C+Barring+Federal+Funds+For+Portraits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Matías Tarnopolsky, the artistic director and executive of Cal Performances at UC Berkeley, is leaving after nine seasons. \u003c/p>\n\u003cp>[contextly_sidebar id=”gm4PG4H1OvE3olvAMOOW3EuffM4IgQxG”]\u003c/p>\n\u003cp>Cal Performances announced Monday that Tarnopolsky will leave his position in June to become president and CEO of the Philadelphia Orchestra. He leaves a legacy of shows and performances demonstrating a range of diversity that connected audiences to innovative artists from around the world.\u003c/p>\n\u003cp>“The last nine years have been extraordinary, surrounded by an inspiring cultural and intellectual environment, appreciative and engaged audiences, and artists and ensembles who give their best when they perform under our auspices,” Tarnopolsky said in a press release announcing his move.\u003c/p>\n\u003cp>Tarnopolsky, 48, took over the position at Cal Performances in 2009 from Robert Cole, who had been in the role for \u003ca href=\"https://www.sfgate.com/entertainment/article/Longtime-Cal-Performances-director-Robert-Cole-to-2594689.php\" rel=\"noopener\" target=\"_blank\">over 20 years\u003c/a>. Under Cole’s leadership, Cal Performances became a \u003ca href=\"https://ww2.kqed.org/spark/cal-performances-and-robert-cole/\" rel=\"noopener\" target=\"_blank\">world-renowned institution\u003c/a> and made the UC Berkeley organization Northern California’s largest presenter of the performing arts. When Tarnopolsky came into the job, he had a institutional reputation to uphold. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet he rose to the occasion. Tarnopolsky was instrumental in staging the exclusive performances of Robert Wilson and Philip Glass’s opera \u003cem>Einstein on the Beach\u003c/em> in 2012. Three years later, Tarnopolsky started Berkeley RADICAL (Research and Development Initiative in Creativity Arts and Learning), which attracted respected artists from all over the world, such as Gustavo Dudamel and the Simon Bolivar Orchestra of Venezuela, and the Vienna Philharmonic Orchestra.\u003c/p>\n\u003cp>Under Tarnopolsky’s direction, Cal Performances also commissioned several notable works, such as pieces from choreographers \u003ca href=\"https://www.alvinailey.org/performances/repertory/awakening\" rel=\"noopener\" target=\"_blank\">Robert Battle\u003c/a> and \u003ca href=\"http://laylaandmajnun.org/\" rel=\"noopener\" target=\"_blank\">Mark Morris\u003c/a>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m7fDJVMvzW8\u003c/p>\n\u003cp>Tarnopolsky told the \u003ca href=\"https://www.sfchronicle.com/music/article/Cal-Performances-Tarnopolsky-to-lead-12782046.php\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that classical music was always his first area of interest, having worked in administrative positions for the Chicago Symphony and the New York Philharmonic before coming to Cal Performances. Explaining his move to the Philadelphia Orchestra, Tarnopolsky cited his admiration for the organization and its music director, Yannick Nézet-Séguin.\u003c/p>\n\u003cp>“I’m genuinely happy to go back to working with an orchestra,” Tarnopolsky told the Chronicle. “But the range of artists I’ve worked with at Cal Performances has helped put the symphonic world in context for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Matías Tarnopolsky, the artistic director and executive of Cal Performances at UC Berkeley, is leaving after nine seasons. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Cal Performances announced Monday that Tarnopolsky will leave his position in June to become president and CEO of the Philadelphia Orchestra. He leaves a legacy of shows and performances demonstrating a range of diversity that connected audiences to innovative artists from around the world.\u003c/p>\n\u003cp>“The last nine years have been extraordinary, surrounded by an inspiring cultural and intellectual environment, appreciative and engaged audiences, and artists and ensembles who give their best when they perform under our auspices,” Tarnopolsky said in a press release announcing his move.\u003c/p>\n\u003cp>Tarnopolsky, 48, took over the position at Cal Performances in 2009 from Robert Cole, who had been in the role for \u003ca href=\"https://www.sfgate.com/entertainment/article/Longtime-Cal-Performances-director-Robert-Cole-to-2594689.php\" rel=\"noopener\" target=\"_blank\">over 20 years\u003c/a>. Under Cole’s leadership, Cal Performances became a \u003ca href=\"https://ww2.kqed.org/spark/cal-performances-and-robert-cole/\" rel=\"noopener\" target=\"_blank\">world-renowned institution\u003c/a> and made the UC Berkeley organization Northern California’s largest presenter of the performing arts. When Tarnopolsky came into the job, he had a institutional reputation to uphold. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet he rose to the occasion. Tarnopolsky was instrumental in staging the exclusive performances of Robert Wilson and Philip Glass’s opera \u003cem>Einstein on the Beach\u003c/em> in 2012. Three years later, Tarnopolsky started Berkeley RADICAL (Research and Development Initiative in Creativity Arts and Learning), which attracted respected artists from all over the world, such as Gustavo Dudamel and the Simon Bolivar Orchestra of Venezuela, and the Vienna Philharmonic Orchestra.\u003c/p>\n\u003cp>Under Tarnopolsky’s direction, Cal Performances also commissioned several notable works, such as pieces from choreographers \u003ca href=\"https://www.alvinailey.org/performances/repertory/awakening\" rel=\"noopener\" target=\"_blank\">Robert Battle\u003c/a> and \u003ca href=\"http://laylaandmajnun.org/\" rel=\"noopener\" target=\"_blank\">Mark Morris\u003c/a>. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/m7fDJVMvzW8'\n title='//www.youtube.com/embed/m7fDJVMvzW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tarnopolsky told the \u003ca href=\"https://www.sfchronicle.com/music/article/Cal-Performances-Tarnopolsky-to-lead-12782046.php\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that classical music was always his first area of interest, having worked in administrative positions for the Chicago Symphony and the New York Philharmonic before coming to Cal Performances. Explaining his move to the Philadelphia Orchestra, Tarnopolsky cited his admiration for the organization and its music director, Yannick Nézet-Séguin.\u003c/p>\n\u003cp>“I’m genuinely happy to go back to working with an orchestra,” Tarnopolsky told the Chronicle. “But the range of artists I’ve worked with at Cal Performances has helped put the symphonic world in context for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Olly Wilson, an esteemed musicologist and composer who experimented with African styles and electronic instruments within traditional western classical works, has died. He was 80.\u003c/p>\n\u003cp>A longtime professor at UC Berkeley — and, previously, Oberlin College in Ohio — Wilson was an acclaimed composer who won several awards, including two Guggenheim Fellowships and the Rome Prize. Besides a notable scholar of African music, Wilson was also an early adopter of electronic music. He opened a studio focused on the burgeoning genre at Oberlin’s Conservatory of Music in the 1960s. It would become the Technology in Music and Related Arts program, or TIMARA, the first program of its kind at a conservatory. \u003c/p>\n\u003cp>“Olly was very important for the department, for the campus, and for the study of African American music more broadly, in addition to his significant impact as a composer and professor of composition,” UC Berkeley music professor Ben Brinner told the school’s \u003ca href=\"http://news.berkeley.edu/story_jump/campus-mourns-olly-wilson-musician-composer-and-teacher/\" rel=\"noopener\" target=\"_blank\">public affairs department\u003c/a>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lU0so6juiE0\u003c/p>\n\u003cp>Born in St. Louis in 1937, Wilson started his music career as pianist, playing jazz and other genres in bars around town as a teenager. At one early gig, Wilson and his bandmates backed a then-unknown Chuck Berry, who was on his way to changing the musical landscape with songs like “Johnny B. Goode.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We considered that silly music because we were jazz aficionados,” Wilson later \u003ca href=\"https://www.nytimes.com/2018/03/23/obituaries/olly-wilson-80-dies-composer-meshed-african-and-western-music.html\" rel=\"noopener\" target=\"_blank\">said about the show\u003c/a>.\u003c/p>\n\u003cp>Wilson went on to attend several universities, finally earning his Ph.D. from University of Iowa in 1964. Three years later, Wilson composed “Cetus” while he was studying at the University of Illinois Studio for Experimental Music. The work would win a prize at the first International Electronic Music Competition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=coHCvItAUN8\u003c/p>\n\u003cp>A prolific composer, Wilson received commissions from the New York Philharmonic, the Black Music Repertory Ensemble, and the Chicago Symphony for his work. His most notable pieces include “Of Visions and Truth,” “Sinfonia,” and “In Memoriam Martin Luther King, Jr.”\u003c/p>\n\u003cp>Wilson joined the music department at UC Berkeley in 1970 and stayed there over 30 years, retiring as a professor emeritus in 2002. He was head of the department from 1993 and 1997, and early in his tenure he served in the chancellor’s office, leading administrative efforts to address equity. Colleagues later credited Wilson for expanding the music department’s curriculum.\u003c/p>\n\u003cp>“He was one of the most important African American composers of what we would loosely call classical music, as opposed to jazz or pop music,” UC Berkeley’s John Roberts told \u003ca href=\"http://www.dailycal.org/2018/03/19/uc-berkeley-music-professor-emeritus-olly-wilson-dies-80-remembered-integrity/\" rel=\"noopener\" target=\"_blank\">the Daily Cal\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wilson’s daughter Dawn Wilson says her father died on March 12 due to complications from dementia. A memorial to Wilson is scheduled for March 30 at the Claremont Hotel.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Olly Wilson, an esteemed musicologist and composer who experimented with African styles and electronic instruments within traditional western classical works, has died. He was 80.\u003c/p>\n\u003cp>A longtime professor at UC Berkeley — and, previously, Oberlin College in Ohio — Wilson was an acclaimed composer who won several awards, including two Guggenheim Fellowships and the Rome Prize. Besides a notable scholar of African music, Wilson was also an early adopter of electronic music. He opened a studio focused on the burgeoning genre at Oberlin’s Conservatory of Music in the 1960s. It would become the Technology in Music and Related Arts program, or TIMARA, the first program of its kind at a conservatory. \u003c/p>\n\u003cp>“Olly was very important for the department, for the campus, and for the study of African American music more broadly, in addition to his significant impact as a composer and professor of composition,” UC Berkeley music professor Ben Brinner told the school’s \u003ca href=\"http://news.berkeley.edu/story_jump/campus-mourns-olly-wilson-musician-composer-and-teacher/\" rel=\"noopener\" target=\"_blank\">public affairs department\u003c/a>. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lU0so6juiE0'\n title='//www.youtube.com/embed/lU0so6juiE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born in St. Louis in 1937, Wilson started his music career as pianist, playing jazz and other genres in bars around town as a teenager. At one early gig, Wilson and his bandmates backed a then-unknown Chuck Berry, who was on his way to changing the musical landscape with songs like “Johnny B. Goode.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We considered that silly music because we were jazz aficionados,” Wilson later \u003ca href=\"https://www.nytimes.com/2018/03/23/obituaries/olly-wilson-80-dies-composer-meshed-african-and-western-music.html\" rel=\"noopener\" target=\"_blank\">said about the show\u003c/a>.\u003c/p>\n\u003cp>Wilson went on to attend several universities, finally earning his Ph.D. from University of Iowa in 1964. Three years later, Wilson composed “Cetus” while he was studying at the University of Illinois Studio for Experimental Music. The work would win a prize at the first International Electronic Music Competition.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/coHCvItAUN8'\n title='//www.youtube.com/embed/coHCvItAUN8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A prolific composer, Wilson received commissions from the New York Philharmonic, the Black Music Repertory Ensemble, and the Chicago Symphony for his work. His most notable pieces include “Of Visions and Truth,” “Sinfonia,” and “In Memoriam Martin Luther King, Jr.”\u003c/p>\n\u003cp>Wilson joined the music department at UC Berkeley in 1970 and stayed there over 30 years, retiring as a professor emeritus in 2002. He was head of the department from 1993 and 1997, and early in his tenure he served in the chancellor’s office, leading administrative efforts to address equity. Colleagues later credited Wilson for expanding the music department’s curriculum.\u003c/p>\n\u003cp>“He was one of the most important African American composers of what we would loosely call classical music, as opposed to jazz or pop music,” UC Berkeley’s John Roberts told \u003ca href=\"http://www.dailycal.org/2018/03/19/uc-berkeley-music-professor-emeritus-olly-wilson-dies-80-remembered-integrity/\" rel=\"noopener\" target=\"_blank\">the Daily Cal\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wilson’s daughter Dawn Wilson says her father died on March 12 due to complications from dementia. A memorial to Wilson is scheduled for March 30 at the Claremont Hotel.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As artists like Paul McCartney, Lin-Manuel Miranda, Demi Lovato and Andra Day made appearances during March for Our Lives demonstrations for gun control this past Saturday, the rapper Killer Mike was on the Internet, explaining his support of gun ownership in an interview with NRATV, the broadcasting arm of the pro-gun lobbying and advocacy organization.\u003c/p>\n\u003cp>NRA host Colion Noir opens the video by addressing the protesters directly. “What are you really marching for? Because from where I’m standing, it looks like a march to burn the Constitution and rewrite the parts you don’t like in crayon,” he says. Noir goes on to add that “no one can point this out better than Killer Mike.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZXtpUE1b2NY\u003c/p>\n\u003cp>“My daughter goes to Savannah State University,” Mike later tells Noir, referencing the fatal shooting last summer of Christopher Starks, a junior at the school. “There was also a shooting on that campus. Talked to my wife and daughter after that, the decision was we’re gonna go to Savannah, she’s gonna get a gun and train more.” (In its \u003ca href=\"https://www.savannahstate.edu/news/article.shtml?id=547&type=news\">statement\u003c/a> on Starks’ shooting, Savannah State requested students with knowledge of anyone possessing a firearm to alert school authorities.)\u003c/p>\n\u003cp>But by Sunday evening, following an online outcry from fans and gun control advocates, Killer Mike issued \u003ca href=\"https://twitter.com/KillerMike/status/978053530689847296\">an apology\u003c/a> for his appearance on the show and said the NRA misused it “as a weapon” against Saturday’s marches. Mike added that his appearance was intended to focus on gun ownership by black Americans. “I did an interview about black gun ownership in this era,” Mike said in his statement. “That interview was used a week later to disparage a very noble campaign that I actually support … I want to say first I’m sorry guys. I do support the March — \u003cem>and \u003c/em>I support black people owning guns. It’s possible to do both.” The position isn’t new for the rapper — a year ago, he \u003ca href=\"https://www.youtube.com/watch?v=HaxQINDun_Q\">appeared\u003c/a> on the Tavis Smiley show to say the NRA has “had a value to me my entire life,” and that he is a member of the organization. “I think that one million black men should go online and just get a year’s membership, and see how you like it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Killer Mike’s partner in the duo Run The Jewels, El-P (otherwise known as Jaime Meline), initially commented on the NRA’s stance against the marches, tweeting “they didn’t want to be known, they wanted to be kids. And they’ve earned being heard in one of the hardest ways possible. No matter what you believe we all have to listen in a real way.”\u003c/p>\n\u003cp>Meline didn’t \u003ca href=\"https://twitter.com/therealelp/status/978120723548995584\">respond\u003c/a> to the controversy engulfing his artistic partner until last night, when he wrote that he wouldn’t cut ties with Mike over the dustup. However, “I wanna f****** strangle him ’cause it’s so stressful to watch when it could have been avoided.” He added that “while I’m bummed at the way this unfolded, I will always f*** with him.”\u003c/p>\n\u003cp>Since the release of his 2012 breakout solo album \u003cem>R.A.P. Music\u003c/em> — for which Meline produced the majority of beats, the beginning of their successful collaboration — Killer Mike has become known for his political engagement, including vociferous support of Bernie Sanders in the last presidential election and fairly nuanced dissections of institutionalized racism in his work. But the rapper, born Michael Render, has never been one to turn his cheek away from an unpopular opinion, equating Presidents Bush and Obama to talking heads “telling lies on teleprompters” in his song “\u003ca href=\"https://genius.com/Killer-mike-reagan-lyrics\">Reagan\u003c/a>.”\u003c/p>\n\u003cp>John Oliver recently dedicated a \u003ca href=\"https://www.youtube.com/watch?v=LEcbagW4O-s\">lengthy segment\u003c/a> to NRATV, framing the network as being primarily for the advertising of guns and, obviously, the support of viewpoints that encourage gun ownership.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s interview with Noir was sponsored by gun manufacturer Mossberg. \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=Killer+Mike+Apologizes+For+Interview+With+NRA%2C+Claims+It+Was+Misused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As artists like Paul McCartney, Lin-Manuel Miranda, Demi Lovato and Andra Day made appearances during March for Our Lives demonstrations for gun control this past Saturday, the rapper Killer Mike was on the Internet, explaining his support of gun ownership in an interview with NRATV, the broadcasting arm of the pro-gun lobbying and advocacy organization.\u003c/p>\n\u003cp>NRA host Colion Noir opens the video by addressing the protesters directly. “What are you really marching for? Because from where I’m standing, it looks like a march to burn the Constitution and rewrite the parts you don’t like in crayon,” he says. Noir goes on to add that “no one can point this out better than Killer Mike.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZXtpUE1b2NY'\n title='//www.youtube.com/embed/ZXtpUE1b2NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My daughter goes to Savannah State University,” Mike later tells Noir, referencing the fatal shooting last summer of Christopher Starks, a junior at the school. “There was also a shooting on that campus. Talked to my wife and daughter after that, the decision was we’re gonna go to Savannah, she’s gonna get a gun and train more.” (In its \u003ca href=\"https://www.savannahstate.edu/news/article.shtml?id=547&type=news\">statement\u003c/a> on Starks’ shooting, Savannah State requested students with knowledge of anyone possessing a firearm to alert school authorities.)\u003c/p>\n\u003cp>But by Sunday evening, following an online outcry from fans and gun control advocates, Killer Mike issued \u003ca href=\"https://twitter.com/KillerMike/status/978053530689847296\">an apology\u003c/a> for his appearance on the show and said the NRA misused it “as a weapon” against Saturday’s marches. Mike added that his appearance was intended to focus on gun ownership by black Americans. “I did an interview about black gun ownership in this era,” Mike said in his statement. “That interview was used a week later to disparage a very noble campaign that I actually support … I want to say first I’m sorry guys. I do support the March — \u003cem>and \u003c/em>I support black people owning guns. It’s possible to do both.” The position isn’t new for the rapper — a year ago, he \u003ca href=\"https://www.youtube.com/watch?v=HaxQINDun_Q\">appeared\u003c/a> on the Tavis Smiley show to say the NRA has “had a value to me my entire life,” and that he is a member of the organization. “I think that one million black men should go online and just get a year’s membership, and see how you like it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Killer Mike’s partner in the duo Run The Jewels, El-P (otherwise known as Jaime Meline), initially commented on the NRA’s stance against the marches, tweeting “they didn’t want to be known, they wanted to be kids. And they’ve earned being heard in one of the hardest ways possible. No matter what you believe we all have to listen in a real way.”\u003c/p>\n\u003cp>Meline didn’t \u003ca href=\"https://twitter.com/therealelp/status/978120723548995584\">respond\u003c/a> to the controversy engulfing his artistic partner until last night, when he wrote that he wouldn’t cut ties with Mike over the dustup. However, “I wanna f****** strangle him ’cause it’s so stressful to watch when it could have been avoided.” He added that “while I’m bummed at the way this unfolded, I will always f*** with him.”\u003c/p>\n\u003cp>Since the release of his 2012 breakout solo album \u003cem>R.A.P. Music\u003c/em> — for which Meline produced the majority of beats, the beginning of their successful collaboration — Killer Mike has become known for his political engagement, including vociferous support of Bernie Sanders in the last presidential election and fairly nuanced dissections of institutionalized racism in his work. But the rapper, born Michael Render, has never been one to turn his cheek away from an unpopular opinion, equating Presidents Bush and Obama to talking heads “telling lies on teleprompters” in his song “\u003ca href=\"https://genius.com/Killer-mike-reagan-lyrics\">Reagan\u003c/a>.”\u003c/p>\n\u003cp>John Oliver recently dedicated a \u003ca href=\"https://www.youtube.com/watch?v=LEcbagW4O-s\">lengthy segment\u003c/a> to NRATV, framing the network as being primarily for the advertising of guns and, obviously, the support of viewpoints that encourage gun ownership.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s interview with Noir was sponsored by gun manufacturer Mossberg. \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=Killer+Mike+Apologizes+For+Interview+With+NRA%2C+Claims+It+Was+Misused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve walked past the \u003ca href=\"https://www.cdm.org\">Children’s Discovery Museum\u003c/a> in San Jose in recent weeks, you’ve seen it going up…a giant mural of a little girl. The dedication is Saturday, and likely to benefit from the spillover crowd coming from the local \u003ca href=\"https://www.eventbrite.com/e/march-for-our-lives-san-jose-official-tickets-43497165192\" target=\"_blank\" rel=\"noopener\">March For Our Lives\u003c/a> just a mile away at San Jose City Hall.\u003c/p>\n\u003cp>The mural features a gargantuan, smiling Sophie Cruz, who, at nine years old, is one of the nation’s youngest and most well-known immigration reform activists.\u003c/p>\n\u003cp>You might have seen her on YouTube. When she was five, she ran out to greet Pope Francis in his motorcade when he visited Washington DC.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=yPq5WWXcaTU]Cruz got to meet President Barack Obama at the White House. Then, last year, she impressed quite a few people with her self-possessed stage manner at the \u003ca href=\"https://www.youtube.com/watch?v=qPa464CEbuE\" target=\"_blank\" rel=\"noopener\">Woman’s March on Washington\u003c/a>.\u003c/p>\n\u003cp>The mural, called “Sophie Holding the World Together,” was commissioned by the \u003ca href=\"https://sjmusart.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Art\u003c/a> to complement an \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener\">exhibition\u003c/a> by the artists’ collective called \u003ca href=\"http://www.the-propeller-group.com/contactus\" target=\"_blank\" rel=\"noopener\">The Propeller Group\u003c/a>. Curator Lauren Schell Dickens explains the group is focused on “rethinking the way media does or does not support ideas around nationalism, nationality, immigration, refugeeism, connectivity; all those sorts of questions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dickens says \u003ca href=\"http://www.tuanandrewnguyen.com\" target=\"_blank\" rel=\"noopener\">Tuan Andrew Nguyen\u003c/a> of The Propeller Group was impressed with how many murals there are in downtown San Jose and wanted to add to the mix.\u003c/p>\n\u003cp>The Propeller Group has worked with \u003ca href=\"https://elmac.net\" target=\"_blank\" rel=\"noopener\">El Mac\u003c/a> (Miles MacGregor) before in Vietnam, Cambodia and elsewhere. The art museum didn’t have an available public-facing wall. The building’s historic wing, sitting alongside the Circle of Palms Plaza, dates back to 1892. So they partnered with the art gallery \u003ca href=\"https://www.empiresevenstudios.com\" target=\"_blank\" rel=\"noopener\">Empire Seven Studios\u003c/a> to find one the few walls in San Jose it hasn’t already covered with a mural yet.\u003c/p>\n\u003cfigure id=\"attachment_13827951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827951 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg\" alt='El Mac writes in his blog about this mural: \"When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Mac writes in his \u003ca href=\"http://mac-arte.blogspot.com/2018/03/new-mural-for-san-jose-museum-of-art.html\" target=\"_blank\" rel=\"noopener\">blog\u003c/a> about this mural: “When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Propeller Group likes to break free of traditional museum walls and get out into the community — something the San Jose Museum of Art wants to do more of, too. “The themes of the mural — this idea of borderless thinking, I think speak to our desire to engage people where they are,” Dickens says.\u003c/p>\n\u003cp>On a personal note, she adds, ““It’s a really hopeful image about what our future can be. She’s a girl. She’s young. I loved showing it to my nieces, who are nine. They’re pretty blown away that someone that young, someone their age, could have an impact, could inspire other people, could be featured in a monumentally sized wall mural.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sophie Cruz, El Mac and Tuan Andrew Nguyen of The Propeller Group will all be on hand outside the Children’s Discovery Museum Saturday at 2 p.m. to officially dedicate the mural.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve walked past the \u003ca href=\"https://www.cdm.org\">Children’s Discovery Museum\u003c/a> in San Jose in recent weeks, you’ve seen it going up…a giant mural of a little girl. The dedication is Saturday, and likely to benefit from the spillover crowd coming from the local \u003ca href=\"https://www.eventbrite.com/e/march-for-our-lives-san-jose-official-tickets-43497165192\" target=\"_blank\" rel=\"noopener\">March For Our Lives\u003c/a> just a mile away at San Jose City Hall.\u003c/p>\n\u003cp>The mural features a gargantuan, smiling Sophie Cruz, who, at nine years old, is one of the nation’s youngest and most well-known immigration reform activists.\u003c/p>\n\u003cp>You might have seen her on YouTube. When she was five, she ran out to greet Pope Francis in his motorcade when he visited Washington DC.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yPq5WWXcaTU'\n title='//www.youtube.com/embed/yPq5WWXcaTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Cruz got to meet President Barack Obama at the White House. Then, last year, she impressed quite a few people with her self-possessed stage manner at the \u003ca href=\"https://www.youtube.com/watch?v=qPa464CEbuE\" target=\"_blank\" rel=\"noopener\">Woman’s March on Washington\u003c/a>.\u003c/p>\n\u003cp>The mural, called “Sophie Holding the World Together,” was commissioned by the \u003ca href=\"https://sjmusart.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Art\u003c/a> to complement an \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener\">exhibition\u003c/a> by the artists’ collective called \u003ca href=\"http://www.the-propeller-group.com/contactus\" target=\"_blank\" rel=\"noopener\">The Propeller Group\u003c/a>. Curator Lauren Schell Dickens explains the group is focused on “rethinking the way media does or does not support ideas around nationalism, nationality, immigration, refugeeism, connectivity; all those sorts of questions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dickens says \u003ca href=\"http://www.tuanandrewnguyen.com\" target=\"_blank\" rel=\"noopener\">Tuan Andrew Nguyen\u003c/a> of The Propeller Group was impressed with how many murals there are in downtown San Jose and wanted to add to the mix.\u003c/p>\n\u003cp>The Propeller Group has worked with \u003ca href=\"https://elmac.net\" target=\"_blank\" rel=\"noopener\">El Mac\u003c/a> (Miles MacGregor) before in Vietnam, Cambodia and elsewhere. The art museum didn’t have an available public-facing wall. The building’s historic wing, sitting alongside the Circle of Palms Plaza, dates back to 1892. So they partnered with the art gallery \u003ca href=\"https://www.empiresevenstudios.com\" target=\"_blank\" rel=\"noopener\">Empire Seven Studios\u003c/a> to find one the few walls in San Jose it hasn’t already covered with a mural yet.\u003c/p>\n\u003cfigure id=\"attachment_13827951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827951 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg\" alt='El Mac writes in his blog about this mural: \"When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Mac writes in his \u003ca href=\"http://mac-arte.blogspot.com/2018/03/new-mural-for-san-jose-museum-of-art.html\" target=\"_blank\" rel=\"noopener\">blog\u003c/a> about this mural: “When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Propeller Group likes to break free of traditional museum walls and get out into the community — something the San Jose Museum of Art wants to do more of, too. “The themes of the mural — this idea of borderless thinking, I think speak to our desire to engage people where they are,” Dickens says.\u003c/p>\n\u003cp>On a personal note, she adds, ““It’s a really hopeful image about what our future can be. She’s a girl. She’s young. I loved showing it to my nieces, who are nine. They’re pretty blown away that someone that young, someone their age, could have an impact, could inspire other people, could be featured in a monumentally sized wall mural.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sophie Cruz, El Mac and Tuan Andrew Nguyen of The Propeller Group will all be on hand outside the Children’s Discovery Museum Saturday at 2 p.m. to officially dedicate the mural.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland’s city council passed an ordinance this week that bars marijuana companies from getting permits to operate at a facility if they are evicting tenants to do so.\u003c/p>\n\u003cp>“There was broad support for this,” says Kelley Kahn, the City of Oakland’s policy director for arts and development.\u003c/p>\n\u003cp>The measure was inspired in part by tenants in Oakland’s live-work warehouses. One example is The Cannery, an industrial building that’s home to around 30 artists.\u003c/p>\n\u003cp>A Colorado pot company, Green Sage, recently purchased the building and threatened the tenants with eviction.\u003c/p>\n\u003cp>Longtime Cannery resident Alistair Monroe welcomes the city’s support.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It is a step in the right direction to be heard,” Monroe says.\u003c/p>\n\u003cp>But Monroe says the new law doesn’t prevent Green Sage from selling the building to a partner company. That company could then potentially use state law (e.g. the Ellis Act) to get residents out.\u003c/p>\n\u003cp>“So we’re not fully protected,” Monroe says.\u003c/p>\n\u003cp>Kahn says although the city cannot prevent a landlord from using the Ellis Act to evict tenants, the amendments to the city’s cannabis ordinance have been put in place to make doing so an unappealing commercial prospect.\u003c/p>\n\u003cp>“If another operation bought a building, they would not be able to pull a cannabis permit for a space that has live-work residents,” Kahn says. “What we’ve done is taken away the economic incentive to do that.”\u003c/p>\n\u003cp>Monroe says he hopes to know more about The Cannery’s fate within the next two weeks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "A new city ordinance aimed at keeping cannabis operations from displacing warehouse residents leaves some advocates still concerned. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s city council passed an ordinance this week that bars marijuana companies from getting permits to operate at a facility if they are evicting tenants to do so.\u003c/p>\n\u003cp>“There was broad support for this,” says Kelley Kahn, the City of Oakland’s policy director for arts and development.\u003c/p>\n\u003cp>The measure was inspired in part by tenants in Oakland’s live-work warehouses. One example is The Cannery, an industrial building that’s home to around 30 artists.\u003c/p>\n\u003cp>A Colorado pot company, Green Sage, recently purchased the building and threatened the tenants with eviction.\u003c/p>\n\u003cp>Longtime Cannery resident Alistair Monroe welcomes the city’s support.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It is a step in the right direction to be heard,” Monroe says.\u003c/p>\n\u003cp>But Monroe says the new law doesn’t prevent Green Sage from selling the building to a partner company. That company could then potentially use state law (e.g. the Ellis Act) to get residents out.\u003c/p>\n\u003cp>“So we’re not fully protected,” Monroe says.\u003c/p>\n\u003cp>Kahn says although the city cannot prevent a landlord from using the Ellis Act to evict tenants, the amendments to the city’s cannabis ordinance have been put in place to make doing so an unappealing commercial prospect.\u003c/p>\n\u003cp>“If another operation bought a building, they would not be able to pull a cannabis permit for a space that has live-work residents,” Kahn says. “What we’ve done is taken away the economic incentive to do that.”\u003c/p>\n\u003cp>Monroe says he hopes to know more about The Cannery’s fate within the next two weeks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bay Area writers Brontez Purnell and Esmé Weijun Wang both won the prestigious Whiting Award for Emerging Authors Wednesday.\u003c/p>\n\u003cp>This year’s 10 recipients learned they won at a ceremony in Manhattan Wednesday night. Each winner receives $50,000 from the \u003ca href=\"https://www.whiting.org/\" rel=\"noopener\" target=\"_blank\">Whiting Foundation\u003c/a>, a New York-based nonprofit that supports the arts.\u003c/p>\n\u003cp>[contextly_sidebar id=”OFBRtuwX8jbV5PVaXUtt16g9ngPSxQo2″]\u003c/p>\n\u003cp>Nobel laureate Toni Morrison was scheduled to speak at the ceremony but a snowstorm kept her from attending. Poet Elizabeth Alexander read Morrison’s prepared remarks, in which the 87-year-old author of books like \u003ci>Beloved\u003c/i> noted that as a descendant of slaves, she knew well “the struggle to be allowed to learn to read.” She also included a line from her novel \u003ci>The Bluest Eye,\u003c/i> which Morrison said she used to “attract or repulse or simply shock the reader — anything to get her or his attention.”\u003c/p>\n\u003cp>“My sincere congratulations to the winners of the 2018 Whiting Award come from an intimate knowledge of the power and difficulty of the task,” Morrison noted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Established in 1985 by Whiting Foundation, the $50,000 prize is awarded to writers to help “fulfill the promise of superior literary work.” Previous winners include Michael Cunningham, Jonathan Franzen and Jorie Graham.\u003c/p>\n\u003cp>Purnell, who won the Whiting Award for his 2017 novel \u003ci>Since I Laid My Burden Down\u003c/i>, lives in Oakland, where he is a fixture in the local queer-punk-art scene. Other books of his include \u003ca href=\"https://www.kqed.org/arts/10139643/gimme-action-bay-area-comic-artist-janelle-hessig-publishes-first-book\" rel=\"noopener\" target=\"_blank\">\u003ci>The Cruising Diaries\u003c/i>\u003c/a> and \u003ci>Johnny Would You Love Me If My Dick Were Bigger.\u003c/i> He’s also the singer of the band Younger Lovers and is the founder of the Brontez Purnell Dance Company.\u003c/p>\n\u003cp>\u003ci>Since I Laid My Burden Down\u003c/i> follows DeShawn, a queer black punk in Oakland who goes home to Alabama for a funeral. A transplant from Alabama himself, Purnell has said the book is not real, but that his life and DeShawn’s intersect. (Read an excerpt from the book at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“It zigs and zags so much that I actually could not give you a percentage,” Purnell told the \u003ca href=\"https://www.sfchronicle.com/books/article/Brontez-Purnell-s-novel-overlaps-his-queer-12230029.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle last year\u003c/a>. “There’s no way to quantify it because it’s really hard, and I don’t think it would help you understand any more.”\u003c/p>\n\u003cp>Wang, who won the Whiting Award for her nonfiction work, is the author of \u003cem>The Border of Paradise,\u003c/em> one of NPR’s \u003ca href=\"https://www.npr.org/2016/04/14/471622069/gothic-family-drama-at-the-border-of-paradise\" rel=\"noopener\" target=\"_blank\">favorite books of 2016\u003c/a>. A first generation Taiwanese-American who came to San Francisco via the Midwest, Wang wrote her first essay for the Toast while waiting for \u003ci>Border\u003c/i> to be published. The essay received “remarkable feedback,” which led her to write more.\u003c/p>\n\u003cp>Since then, she’s been published in \u003ci>The Believer,\u003c/i> Salon and other publications. Her collection of essays called, \u003cem>The Collected Schizophrenias\u003c/em> won the 2016 \u003ca href=\"https://www.graywolfpress.org/blogs/esme-weijun-wang-wins-graywolf-press-nonfiction-prize\" rel=\"noopener\" target=\"_blank\">Graywolf Press Nonfiction Prize,\u003c/a> which she completed while battling Lyme disease. (Read an excerpt from her essay collection at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-esme-weijun-wang-nonfiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“Lyme has taken so much from me, including the ability to sit at a laptop for hours at a time,” Wang told the \u003ca href=\"http://prairieschooner.unl.edu/blog/be-patient-keep-working-be-persistent-interview-esm%C3%A9-weijun-wang\" rel=\"noopener\" target=\"_blank\">\u003ci>Prarie Schooner,\u003c/i>\u003c/a> a national literary quarterly published by University of Nebraska-Lincoln. “Because the disease has impacted my brain, my cognition is also affected. I’ve had to go about writing in a very different way because of the limitations of my body.”\u003c/p>\n\u003cp>Other 2018 Whiting Award honorees included poets Tommy Pico and Rickey Laurentiis, dramatist Nathan Alan Davis, poet-nonfiction writer Anne Boyer, novelists Patty Yumi Cottrell and Weike Wang, and playwrights Antoinette Nwandu and Hansol Jung. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Associated Press contributed to this report.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area writers Brontez Purnell and Esmé Weijun Wang both won the prestigious Whiting Award for Emerging Authors Wednesday.\u003c/p>\n\u003cp>This year’s 10 recipients learned they won at a ceremony in Manhattan Wednesday night. Each winner receives $50,000 from the \u003ca href=\"https://www.whiting.org/\" rel=\"noopener\" target=\"_blank\">Whiting Foundation\u003c/a>, a New York-based nonprofit that supports the arts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nobel laureate Toni Morrison was scheduled to speak at the ceremony but a snowstorm kept her from attending. Poet Elizabeth Alexander read Morrison’s prepared remarks, in which the 87-year-old author of books like \u003ci>Beloved\u003c/i> noted that as a descendant of slaves, she knew well “the struggle to be allowed to learn to read.” She also included a line from her novel \u003ci>The Bluest Eye,\u003c/i> which Morrison said she used to “attract or repulse or simply shock the reader — anything to get her or his attention.”\u003c/p>\n\u003cp>“My sincere congratulations to the winners of the 2018 Whiting Award come from an intimate knowledge of the power and difficulty of the task,” Morrison noted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Established in 1985 by Whiting Foundation, the $50,000 prize is awarded to writers to help “fulfill the promise of superior literary work.” Previous winners include Michael Cunningham, Jonathan Franzen and Jorie Graham.\u003c/p>\n\u003cp>Purnell, who won the Whiting Award for his 2017 novel \u003ci>Since I Laid My Burden Down\u003c/i>, lives in Oakland, where he is a fixture in the local queer-punk-art scene. Other books of his include \u003ca href=\"https://www.kqed.org/arts/10139643/gimme-action-bay-area-comic-artist-janelle-hessig-publishes-first-book\" rel=\"noopener\" target=\"_blank\">\u003ci>The Cruising Diaries\u003c/i>\u003c/a> and \u003ci>Johnny Would You Love Me If My Dick Were Bigger.\u003c/i> He’s also the singer of the band Younger Lovers and is the founder of the Brontez Purnell Dance Company.\u003c/p>\n\u003cp>\u003ci>Since I Laid My Burden Down\u003c/i> follows DeShawn, a queer black punk in Oakland who goes home to Alabama for a funeral. A transplant from Alabama himself, Purnell has said the book is not real, but that his life and DeShawn’s intersect. (Read an excerpt from the book at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“It zigs and zags so much that I actually could not give you a percentage,” Purnell told the \u003ca href=\"https://www.sfchronicle.com/books/article/Brontez-Purnell-s-novel-overlaps-his-queer-12230029.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle last year\u003c/a>. “There’s no way to quantify it because it’s really hard, and I don’t think it would help you understand any more.”\u003c/p>\n\u003cp>Wang, who won the Whiting Award for her nonfiction work, is the author of \u003cem>The Border of Paradise,\u003c/em> one of NPR’s \u003ca href=\"https://www.npr.org/2016/04/14/471622069/gothic-family-drama-at-the-border-of-paradise\" rel=\"noopener\" target=\"_blank\">favorite books of 2016\u003c/a>. A first generation Taiwanese-American who came to San Francisco via the Midwest, Wang wrote her first essay for the Toast while waiting for \u003ci>Border\u003c/i> to be published. The essay received “remarkable feedback,” which led her to write more.\u003c/p>\n\u003cp>Since then, she’s been published in \u003ci>The Believer,\u003c/i> Salon and other publications. Her collection of essays called, \u003cem>The Collected Schizophrenias\u003c/em> won the 2016 \u003ca href=\"https://www.graywolfpress.org/blogs/esme-weijun-wang-wins-graywolf-press-nonfiction-prize\" rel=\"noopener\" target=\"_blank\">Graywolf Press Nonfiction Prize,\u003c/a> which she completed while battling Lyme disease. (Read an excerpt from her essay collection at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-esme-weijun-wang-nonfiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“Lyme has taken so much from me, including the ability to sit at a laptop for hours at a time,” Wang told the \u003ca href=\"http://prairieschooner.unl.edu/blog/be-patient-keep-working-be-persistent-interview-esm%C3%A9-weijun-wang\" rel=\"noopener\" target=\"_blank\">\u003ci>Prarie Schooner,\u003c/i>\u003c/a> a national literary quarterly published by University of Nebraska-Lincoln. “Because the disease has impacted my brain, my cognition is also affected. I’ve had to go about writing in a very different way because of the limitations of my body.”\u003c/p>\n\u003cp>Other 2018 Whiting Award honorees included poets Tommy Pico and Rickey Laurentiis, dramatist Nathan Alan Davis, poet-nonfiction writer Anne Boyer, novelists Patty Yumi Cottrell and Weike Wang, and playwrights Antoinette Nwandu and Hansol Jung. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Associated Press contributed to this report.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Our favorite arts administrator Tomás Riley (formerly with CounterPulse) is back as co-host, and the show is music heavy (a good thing), with electro-pop from Emily Afton, a new song cycle about being black in America by Lawrence Brownlee, and the ugly pop of Skating Polly. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 23 and 24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Emily Afton’s wary but positive songs deserve a wider audience\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 23:\u003c/strong> \u003ca href=\"https://bampfa.org/event/fanny-and-alexander-4\" target=\"_blank\" rel=\"noopener\">Ingmar Bergman’s warmest film, \u003cem>Fanny and Alexander,\u003c/em> plays at the Pacific Film Archive in Berkeley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27:\u003c/strong> \u003ca href=\"https://sfpl.org/index.php?pg=1027497701\" target=\"_blank\" rel=\"noopener\">The San Francisco Public Library screens \u003cem>Ferlinghetti – A Rebirth of Wonder\u003c/em>, Christopher Felver’s film about the founder of City Lights Books \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827700/a-black-opera-singer-broadens-the-repertory-for-art-songs\" target=\"_blank\" rel=\"noopener\">Tenor Lawrence Brownlee’s updates the classical repertory with a new song cycle about Black Lives Matter.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">The Living Earth Show presents \u003cem>Affirmative Action\u003c/em> a \u003c/a>\u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">concert by five composers of color\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 15-July 8:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827570/celebrating-rube-goldbergs-dada-like-cartoon-inventions\" target=\"_blank\" rel=\"noopener\">An exhibition celebrates Rube Goldberg’s slapstick inventions and serious editorial cartoons\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 24 and May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Diana Gameros makes traditional songs fresh again\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827721/skating-pollys-family-friendly-grunge\" target=\"_blank\" rel=\"noopener\">Skating Polly makes ugly pop that is so beautiful\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 29-April 1: \u003c/strong>\u003ca href=\"http://www.zspace.org/birthdaylottery\" target=\"_blank\" rel=\"noopener\">Richard Fouts play about how the Vietnam era draft changed the lives of a generation \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 14:\u003c/strong> \u003ca href=\"http://youthspeaks.org/youth-speaks-teen-poetry-slam/\" target=\"_blank\" rel=\"noopener\">The Teen Poetry Slam returns to Youth Speaks\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our favorite arts administrator Tomás Riley (formerly with CounterPulse) is back as co-host, and the show is music heavy (a good thing), with electro-pop from Emily Afton, a new song cycle about being black in America by Lawrence Brownlee, and the ugly pop of Skating Polly. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 23 and 24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Emily Afton’s wary but positive songs deserve a wider audience\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 23:\u003c/strong> \u003ca href=\"https://bampfa.org/event/fanny-and-alexander-4\" target=\"_blank\" rel=\"noopener\">Ingmar Bergman’s warmest film, \u003cem>Fanny and Alexander,\u003c/em> plays at the Pacific Film Archive in Berkeley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27:\u003c/strong> \u003ca href=\"https://sfpl.org/index.php?pg=1027497701\" target=\"_blank\" rel=\"noopener\">The San Francisco Public Library screens \u003cem>Ferlinghetti – A Rebirth of Wonder\u003c/em>, Christopher Felver’s film about the founder of City Lights Books \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827700/a-black-opera-singer-broadens-the-repertory-for-art-songs\" target=\"_blank\" rel=\"noopener\">Tenor Lawrence Brownlee’s updates the classical repertory with a new song cycle about Black Lives Matter.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">The Living Earth Show presents \u003cem>Affirmative Action\u003c/em> a \u003c/a>\u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">concert by five composers of color\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 15-July 8:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827570/celebrating-rube-goldbergs-dada-like-cartoon-inventions\" target=\"_blank\" rel=\"noopener\">An exhibition celebrates Rube Goldberg’s slapstick inventions and serious editorial cartoons\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 24 and May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Diana Gameros makes traditional songs fresh again\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827721/skating-pollys-family-friendly-grunge\" target=\"_blank\" rel=\"noopener\">Skating Polly makes ugly pop that is so beautiful\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 29-April 1: \u003c/strong>\u003ca href=\"http://www.zspace.org/birthdaylottery\" target=\"_blank\" rel=\"noopener\">Richard Fouts play about how the Vietnam era draft changed the lives of a generation \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 14:\u003c/strong> \u003ca href=\"http://youthspeaks.org/youth-speaks-teen-poetry-slam/\" target=\"_blank\" rel=\"noopener\">The Teen Poetry Slam returns to Youth Speaks\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "oakland-releases-draft-of-citys-cultural-plan-its-first-in-30-years",
"title": "Oakland Releases Draft of City's Cultural Plan, Its First in 30 Years",
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"content": "\u003cp>After spending almost a year in preparations, on Tuesday the City of Oakland released the first draft of its cultural plan — its first in 30 years. \u003c/p>\n\u003cp>The \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070021.pdf\" rel=\"noopener\" target=\"_blank\">94-page plan\u003c/a>, created by the city’s \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/index.htm\" rel=\"noopener\" target=\"_blank\">Office of Cultural Affairs\u003c/a>, sets an agenda for how the city plans to support its local arts scene. The tagline for the plan is “Equity is the Driving Force, Culture is the Frame, and Belonging is the Goal,” and much of what it focuses on is ensuring that local government “lifts up the role of culture in building a just and equitable city,” according to Roberto Bedoya, Oakland’s director of cultural affairs.\u003c/p>\n\u003cp>[contextly_sidebar id=”s41h611RP2CQDh5f7JiDHi7vwfpVAqZ2″]\u003c/p>\n\u003cp>“[The plan] is a narrative that offers up a different lens and a different approach to understanding our city and how an alignment of culture and equity is required for Oaklanders to realize their potential,” Bedoya writes in the \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070020.pdf\" rel=\"noopener\" target=\"_blank\">plan’s introduction\u003c/a>.\u003c/p>\n\u003cp>The plan lays out the first two steps to resetting and developing the city’s strategies for supporting its local artists. The city’s last cultural affairs plan was adopted in 1988, and the author of the new plan, arts consultant Vanessa Whang, points out that the city is much different than it was 30 years ago. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“On the face of it, that seems like reason enough to take a fresh look at what cultural life in Oakland looks like now — who makes it what it is and what relationship the city should have to it,” Whang wrote in the report.\u003c/p>\n\u003cp>\u003ca href=\"https://oaklandnorth.net/2017/09/19/local-artists-start-conversation-about-belonging-in-oakland/\" rel=\"noopener\" target=\"_blank\">From the start\u003c/a>, the goal of the plan was to find ways to support artists and help them from being displaced. In researching the city’s population for the study, Whang found that it grew from 370,000 residents to over 400,000 residents over 30 years, and the current real estate market is “overcooked,” causing many issues for working artists and other residents.\u003c/p>\n\u003cfigure id=\"attachment_11984507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/roberto_final_sm-800x450.jpg\" alt=\"Roberto Bedoya is the incoming Cultural Affairs Manager for the City of Oakland\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11984507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roberto Bedoya is the incoming Cultural Affairs Manager for the City of Oakland. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the decade from 2005 to 2015, jobs and the population in Oakland grew by the tens of thousands, but fewer than 1,000 housing units and effectively no commercial space was built,” Whang wrote. “Growing income insecurity and a host of other factors have driven people into tent camps across the flatlands of Oakland, with Blacks being significantly overrepresented on the streets based on their proportion of the population.”\u003c/p>\n\u003cp>Better representing the city’s diversity and ensuring equity are other major goals for the department. Despite census data showing Oakland’s black population decreasing by 25 percent over 25 years, it still makes up a relatively large percentage of the city. And over that same period of time, ethnic groups in the city — mainly Hispanic — have grown in size. Yet that diversity is not touted or supported as much as it could be by the city, according to the report. \u003c/p>\n\u003cp>“There are disparities among people, neighborhoods, and institutions that keep Oakland from being a fully fair and just city — particularly those underlain by race,” Whang wrote. “To achieve equity, not only must disparities in access to and allocation of resources be addressed, but also the barriers built into both the physical and policy landscapes of Oakland.”\u003c/p>\n\u003cp>Oakland’s cultural affairs department plans to attack these issues with its resources, which includes funding. Bedoya’s department distributes $900,000 in grants to local organizations annually and has a $1 million annual budget for public art projects. With a new focus on equity, the department plans to disperse these funds to a more diverse population of artists in terms of both ethnicity and income.\u003c/p>\n\u003cp>Also, with this new outlook, the department hopes to use its clout to push the city to support and protect its diverse population. Thorough advocacy, the department hopes to ensure that things like performance spaces, both public and private, are preserved and used to project the city’s mix of cultures. \u003c/p>\n\u003cp>“Because all aspects of civic life are infused with culture, having a shared understanding of it throughout the halls of the City is necessary for achieving equitable well-being,” Whang wrote. “Cultural Affairs’ new role will be to promote that shared understanding and to help inform departmental strategies with principles of cultural equity.”\u003c/p>\n\u003cp>The plan isn’t set in stone yet, as the department is still taking input from the community. After holding 14 public meetings in preparation for the draft plan, there will be more, including one on March 27 at the Pro Arts Gallery and on April 7 at the Dimond Branch Library. For more information, visit the \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/cultural-plan/index.htm\" rel=\"noopener\" target=\"_blank\">department’s website\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To read the draft plan, \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070021.pdf\" rel=\"noopener\" target=\"_blank\">click here.\u003c/a> \u003c/i>\u003c/p>\n\n",
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"excerpt": "After a year of research and gathering community input, Oakland's Department of Cultural Affairs has a draft of its new plan.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After spending almost a year in preparations, on Tuesday the City of Oakland released the first draft of its cultural plan — its first in 30 years. \u003c/p>\n\u003cp>The \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070021.pdf\" rel=\"noopener\" target=\"_blank\">94-page plan\u003c/a>, created by the city’s \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/index.htm\" rel=\"noopener\" target=\"_blank\">Office of Cultural Affairs\u003c/a>, sets an agenda for how the city plans to support its local arts scene. The tagline for the plan is “Equity is the Driving Force, Culture is the Frame, and Belonging is the Goal,” and much of what it focuses on is ensuring that local government “lifts up the role of culture in building a just and equitable city,” according to Roberto Bedoya, Oakland’s director of cultural affairs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“[The plan] is a narrative that offers up a different lens and a different approach to understanding our city and how an alignment of culture and equity is required for Oaklanders to realize their potential,” Bedoya writes in the \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070020.pdf\" rel=\"noopener\" target=\"_blank\">plan’s introduction\u003c/a>.\u003c/p>\n\u003cp>The plan lays out the first two steps to resetting and developing the city’s strategies for supporting its local artists. The city’s last cultural affairs plan was adopted in 1988, and the author of the new plan, arts consultant Vanessa Whang, points out that the city is much different than it was 30 years ago. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“On the face of it, that seems like reason enough to take a fresh look at what cultural life in Oakland looks like now — who makes it what it is and what relationship the city should have to it,” Whang wrote in the report.\u003c/p>\n\u003cp>\u003ca href=\"https://oaklandnorth.net/2017/09/19/local-artists-start-conversation-about-belonging-in-oakland/\" rel=\"noopener\" target=\"_blank\">From the start\u003c/a>, the goal of the plan was to find ways to support artists and help them from being displaced. In researching the city’s population for the study, Whang found that it grew from 370,000 residents to over 400,000 residents over 30 years, and the current real estate market is “overcooked,” causing many issues for working artists and other residents.\u003c/p>\n\u003cfigure id=\"attachment_11984507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/roberto_final_sm-800x450.jpg\" alt=\"Roberto Bedoya is the incoming Cultural Affairs Manager for the City of Oakland\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11984507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roberto Bedoya is the incoming Cultural Affairs Manager for the City of Oakland. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the decade from 2005 to 2015, jobs and the population in Oakland grew by the tens of thousands, but fewer than 1,000 housing units and effectively no commercial space was built,” Whang wrote. “Growing income insecurity and a host of other factors have driven people into tent camps across the flatlands of Oakland, with Blacks being significantly overrepresented on the streets based on their proportion of the population.”\u003c/p>\n\u003cp>Better representing the city’s diversity and ensuring equity are other major goals for the department. Despite census data showing Oakland’s black population decreasing by 25 percent over 25 years, it still makes up a relatively large percentage of the city. And over that same period of time, ethnic groups in the city — mainly Hispanic — have grown in size. Yet that diversity is not touted or supported as much as it could be by the city, according to the report. \u003c/p>\n\u003cp>“There are disparities among people, neighborhoods, and institutions that keep Oakland from being a fully fair and just city — particularly those underlain by race,” Whang wrote. “To achieve equity, not only must disparities in access to and allocation of resources be addressed, but also the barriers built into both the physical and policy landscapes of Oakland.”\u003c/p>\n\u003cp>Oakland’s cultural affairs department plans to attack these issues with its resources, which includes funding. Bedoya’s department distributes $900,000 in grants to local organizations annually and has a $1 million annual budget for public art projects. With a new focus on equity, the department plans to disperse these funds to a more diverse population of artists in terms of both ethnicity and income.\u003c/p>\n\u003cp>Also, with this new outlook, the department hopes to use its clout to push the city to support and protect its diverse population. Thorough advocacy, the department hopes to ensure that things like performance spaces, both public and private, are preserved and used to project the city’s mix of cultures. \u003c/p>\n\u003cp>“Because all aspects of civic life are infused with culture, having a shared understanding of it throughout the halls of the City is necessary for achieving equitable well-being,” Whang wrote. “Cultural Affairs’ new role will be to promote that shared understanding and to help inform departmental strategies with principles of cultural equity.”\u003c/p>\n\u003cp>The plan isn’t set in stone yet, as the department is still taking input from the community. After holding 14 public meetings in preparation for the draft plan, there will be more, including one on March 27 at the Pro Arts Gallery and on April 7 at the Dimond Branch Library. For more information, visit the \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/cultural-plan/index.htm\" rel=\"noopener\" target=\"_blank\">department’s website\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To read the draft plan, \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070021.pdf\" rel=\"noopener\" target=\"_blank\">click here.\u003c/a> \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "national-geographic-turns-the-lens-on-its-own-racist-history",
"title": "'National Geographic' Turns the Lens on its Own Racist History",
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"content": "\u003cp>In \u003cem>National Geographic\u003c/em>‘s forthcoming \u003ca href=\"http://NatGeo.com/TheRaceIssue\" target=\"_blank\" rel=\"noopener\">race issue\u003c/a>, the 130-year-old scientific and cultural institution now \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/12/592982327/national-geographic-reckons-with-its-past-for-decades-our-coverage-was-racist\" target=\"_blank\" rel=\"noopener\">admits it often showed foreign cultures through a racist lens\u003c/a>.\u003c/p>\n\u003cp>For generations of Americans — especially white Americans — \u003cem>National Geographic\u003c/em> was the primary source of information about those cultures. This was pre-Internet and cable TV; most readers probably didn’t know they were getting a narrow vision of the world. \u003cem>National Geographic\u003c/em> showed images of people and places that most Americans never even knew existed.\u003c/p>\n\u003cp>In the 1950s and ’60s, in white, suburban New Jersey, Catherine Lutz says she “devoured every issue. It was this beautiful and exciting set of pictures and stories.” She even credits \u003cem>National Geographic\u003c/em> with inspiring her to pursue a career in anthropology.\u003c/p>\n\u003cp>“It stood for science,” Lutz says. “It stood for education. It was used prolifically in schools. It also stood, though, for a kind of white view of the world.”\u003c/p>\n\u003cfigure id=\"attachment_13827674\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/NG-cover.jpg\" alt=\"The April issue of 'National Geographic' is dedicated to an examination of race.\" width=\"400\" height=\"581\" class=\"size-full wp-image-13827674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-240x349.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-375x545.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The April issue of ‘National Geographic’ is dedicated to an examination of race. \u003ccite>(National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Call it adventurous, American colonialism. The mandate from Gilbert H. Grosvenor, one of the magazine’s earliest editors: Print nothing “controversial” or “unpleasant.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lutz, who now teaches at Brown University, co-wrote the critique \u003cem>Reading National Geographic \u003c/em>in 1993.\u003c/p>\n\u003cp>“It’s an ideal world,” she says of the magazine’s coverage. “It’s safe, and it’s basically free of problems. Just lots and lots of smiles.”\u003c/p>\n\u003cp>\u003cem>National Geographic\u003c/em> wasn’t like \u003cem>Life\u003c/em> or \u003cem>Time\u003c/em> magazine. You didn’t see the ugliness of war or poverty. You also didn’t see progress being made in developing countries.\u003c/p>\n\u003cp>For Jim Stanfield, that was kind of the point. He was a staff photographer for almost 30 years, beginning in the late 1960s.\u003c/p>\n\u003cp>“I was trying to find tribal areas where these people were 1,000 or 2,000 years old,” he says. “And I was trying to hunt up people that traveled by the same mode of transportation, dressed the same way, had the same kind of jewelry.”\u003c/p>\n\u003cp>Stanfield — who is white — says that showing, for example, half-naked women from those tribes wasn’t racist: “They were just trying to pass on different cultures and the way other people lived. And you couldn’t go to Africa without seeing topless natives,” he says.\u003c/p>\n\u003cp>Lutz looks at it differently.\u003c/p>\n\u003cp>“There’s also a lot of places where you could see men with their penises out, men and women with genitals out,” she says. “Those pictures never appear in the magazine, so they made choices all the time.”\u003c/p>\n\u003cp>In 1962, for example, an article about South Africa barely mentioned the brutal Sharpeville massacre from two years earlier, in which white police killed and wounded some 250 black protesters, including women and children.\u003c/p>\n\u003cp>“That article was a disgrace,” says photographer Jim Blair, who’s also white. “It was written by someone who was old, was very rigid, was pro-segregationist.”\u003c/p>\n\u003cfigure id=\"attachment_13827664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-800x600.jpg\" alt=\"In Düsseldorf, Germany, a sculpture from the nearby Neanderthal Museum draws curiosity and recognition from passersby. The image is featured in the April issue of National Geographic magazine, a single-topic issue on the subject of race\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13827664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Düsseldorf, Germany, a sculpture from the nearby Neanderthal Museum draws curiosity and recognition from passersby. The image is featured in the April issue of \u003cem>National Geographic\u003c/em> magazine, a single-topic issue on the subject of race \u003ccite>(Robin Hammond/National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blair was just starting out at \u003cem>National Geographic\u003c/em> in the early 1960s. And here’s where small changes begin at the magazine. He says he was part of a generation of photographers who fought the status quo.\u003c/p>\n\u003cp>“We were in our 30s,” he says. “The people who were running the [magazine] were in their 60s, so there was a 30-year gap. And of course we wanted change. We wanted it to reflect what was going in the 1960s, not what was going on in the 1940s — the kind of country-club attitude that white people had towards blacks.”\u003c/p>\n\u003cp>In the 1970s, Blair took a now-famous \u003ca href=\"https://www.nationalgeographic.com/magazine/2018/04/from-the-editor-race-racism-history/#/editors-page-winnie-mandela.jpg\">photo of Winnie Mandela\u003c/a> on a trip to South Africa to cover apartheid and oppression. John Edwin Mason, an African-American historian recently hired by \u003cem>National Geographic\u003c/em> to look through the archives for the new race issue, says it took individual dissenters like Blair to force change.\u003c/p>\n\u003cp>“Until the 1970s, I don’t think that those dissenters got very much traction,” he says. “But I think it’s important to recognize that they were there, and internal change doesn’t just happen automatically.”\u003c/p>\n\u003cp>Four years ago, Susan Goldberg became \u003cem>National Geographic\u003c/em>‘s first female and first Jewish editor. She recently hired Debra Adams Simmons, an African-American woman, as the magazine’s culture editor. Simmons says one of their goals is to feature diverse stories and story-tellers.\u003c/p>\n\u003cp>“That’s not to say that as professionals we can’t tell other people’s stories, but I also think that we’re living in a time where people should be able to tell their own stories,” Simmons says. “And that’s what we’re trying to achieve.”\u003c/p>\n\u003cp>Still, the cover of \u003cem>National Geographic\u003c/em>‘s new race issue is an image taken by a white male, and the photography staff is still majority white.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Times change. Values change. Institutions can be slow to catch up. \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=%27National+Geographic%27+Turns+The+Lens+On+Its+Own+Racist+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>National Geographic\u003c/em>‘s forthcoming \u003ca href=\"http://NatGeo.com/TheRaceIssue\" target=\"_blank\" rel=\"noopener\">race issue\u003c/a>, the 130-year-old scientific and cultural institution now \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/12/592982327/national-geographic-reckons-with-its-past-for-decades-our-coverage-was-racist\" target=\"_blank\" rel=\"noopener\">admits it often showed foreign cultures through a racist lens\u003c/a>.\u003c/p>\n\u003cp>For generations of Americans — especially white Americans — \u003cem>National Geographic\u003c/em> was the primary source of information about those cultures. This was pre-Internet and cable TV; most readers probably didn’t know they were getting a narrow vision of the world. \u003cem>National Geographic\u003c/em> showed images of people and places that most Americans never even knew existed.\u003c/p>\n\u003cp>In the 1950s and ’60s, in white, suburban New Jersey, Catherine Lutz says she “devoured every issue. It was this beautiful and exciting set of pictures and stories.” She even credits \u003cem>National Geographic\u003c/em> with inspiring her to pursue a career in anthropology.\u003c/p>\n\u003cp>“It stood for science,” Lutz says. “It stood for education. It was used prolifically in schools. It also stood, though, for a kind of white view of the world.”\u003c/p>\n\u003cfigure id=\"attachment_13827674\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/NG-cover.jpg\" alt=\"The April issue of 'National Geographic' is dedicated to an examination of race.\" width=\"400\" height=\"581\" class=\"size-full wp-image-13827674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-240x349.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/NG-cover-375x545.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The April issue of ‘National Geographic’ is dedicated to an examination of race. \u003ccite>(National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Call it adventurous, American colonialism. The mandate from Gilbert H. Grosvenor, one of the magazine’s earliest editors: Print nothing “controversial” or “unpleasant.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lutz, who now teaches at Brown University, co-wrote the critique \u003cem>Reading National Geographic \u003c/em>in 1993.\u003c/p>\n\u003cp>“It’s an ideal world,” she says of the magazine’s coverage. “It’s safe, and it’s basically free of problems. Just lots and lots of smiles.”\u003c/p>\n\u003cp>\u003cem>National Geographic\u003c/em> wasn’t like \u003cem>Life\u003c/em> or \u003cem>Time\u003c/em> magazine. You didn’t see the ugliness of war or poverty. You also didn’t see progress being made in developing countries.\u003c/p>\n\u003cp>For Jim Stanfield, that was kind of the point. He was a staff photographer for almost 30 years, beginning in the late 1960s.\u003c/p>\n\u003cp>“I was trying to find tribal areas where these people were 1,000 or 2,000 years old,” he says. “And I was trying to hunt up people that traveled by the same mode of transportation, dressed the same way, had the same kind of jewelry.”\u003c/p>\n\u003cp>Stanfield — who is white — says that showing, for example, half-naked women from those tribes wasn’t racist: “They were just trying to pass on different cultures and the way other people lived. And you couldn’t go to Africa without seeing topless natives,” he says.\u003c/p>\n\u003cp>Lutz looks at it differently.\u003c/p>\n\u003cp>“There’s also a lot of places where you could see men with their penises out, men and women with genitals out,” she says. “Those pictures never appear in the magazine, so they made choices all the time.”\u003c/p>\n\u003cp>In 1962, for example, an article about South Africa barely mentioned the brutal Sharpeville massacre from two years earlier, in which white police killed and wounded some 250 black protesters, including women and children.\u003c/p>\n\u003cp>“That article was a disgrace,” says photographer Jim Blair, who’s also white. “It was written by someone who was old, was very rigid, was pro-segregationist.”\u003c/p>\n\u003cfigure id=\"attachment_13827664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-800x600.jpg\" alt=\"In Düsseldorf, Germany, a sculpture from the nearby Neanderthal Museum draws curiosity and recognition from passersby. The image is featured in the April issue of National Geographic magazine, a single-topic issue on the subject of race\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13827664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/ngm_042018_theraceissue_005-f527b101af2022d9e28e5ad2de7056c82cf52395.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Düsseldorf, Germany, a sculpture from the nearby Neanderthal Museum draws curiosity and recognition from passersby. The image is featured in the April issue of \u003cem>National Geographic\u003c/em> magazine, a single-topic issue on the subject of race \u003ccite>(Robin Hammond/National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blair was just starting out at \u003cem>National Geographic\u003c/em> in the early 1960s. And here’s where small changes begin at the magazine. He says he was part of a generation of photographers who fought the status quo.\u003c/p>\n\u003cp>“We were in our 30s,” he says. “The people who were running the [magazine] were in their 60s, so there was a 30-year gap. And of course we wanted change. We wanted it to reflect what was going in the 1960s, not what was going on in the 1940s — the kind of country-club attitude that white people had towards blacks.”\u003c/p>\n\u003cp>In the 1970s, Blair took a now-famous \u003ca href=\"https://www.nationalgeographic.com/magazine/2018/04/from-the-editor-race-racism-history/#/editors-page-winnie-mandela.jpg\">photo of Winnie Mandela\u003c/a> on a trip to South Africa to cover apartheid and oppression. John Edwin Mason, an African-American historian recently hired by \u003cem>National Geographic\u003c/em> to look through the archives for the new race issue, says it took individual dissenters like Blair to force change.\u003c/p>\n\u003cp>“Until the 1970s, I don’t think that those dissenters got very much traction,” he says. “But I think it’s important to recognize that they were there, and internal change doesn’t just happen automatically.”\u003c/p>\n\u003cp>Four years ago, Susan Goldberg became \u003cem>National Geographic\u003c/em>‘s first female and first Jewish editor. She recently hired Debra Adams Simmons, an African-American woman, as the magazine’s culture editor. Simmons says one of their goals is to feature diverse stories and story-tellers.\u003c/p>\n\u003cp>“That’s not to say that as professionals we can’t tell other people’s stories, but I also think that we’re living in a time where people should be able to tell their own stories,” Simmons says. “And that’s what we’re trying to achieve.”\u003c/p>\n\u003cp>Still, the cover of \u003cem>National Geographic\u003c/em>‘s new race issue is an image taken by a white male, and the photography staff is still majority white.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Times change. Values change. Institutions can be slow to catch up. \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=%27National+Geographic%27+Turns+The+Lens+On+Its+Own+Racist+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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.",
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"onourwatch": {
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"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?",
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"on-the-media": {
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"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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"source": "PRI"
},
"link": "/radio/program/pri-the-world",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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