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"content": "\u003cp>Most artists and writers in the United States gave up on the “American Dream” long ago. As the comedian George Carlin joked, “It’s called the American dream because you have to be asleep to believe it.”\u003c/p>\n\u003cp>But not Dave Eggers.\u003c/p>\n\u003cp>The bestselling author is on a mission to keep the American ideal of hard-scrabble success alive, as I found out when I recently interviewed Eggers at KQED on behalf of the \u003ca href=\"http://www.bbc.co.uk/programmes/p016tmg0\">\u003cem>BBC Arts Hour\u003c/em>\u003c/a>‘s upcoming San Francisco broadcast and live show.\u003c/p>\n\u003cp>What follows are edited excerpts from our conversation, which focused in large part on two of Eggers’ most Bay Area-centric works: the new non-fiction book \u003cem>The Monk of Mokha\u003c/em>, and the 2013 novel \u003cem>The Circle\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What inspired you to write \u003cem>The Monk of Mokha\u003c/em>, which follows the adventures of a young San Francisco coffee entrepreneur of Yemeni heritage, Mokhtar Alkanshali, and his daring escape from war-torn Yemen?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We first met when Mokhtar was about 23 through a mutual friend of ours. It was a couple of years later that I’d been reading about the Americans stuck in Yemen. There had already been a few articles about Mokhtar crossing the Red Sea to get out of Yemen. So we got back in touch, and he told me this incredible story of how he got out. I think I was initially drawn to this incredible bravery that he exhibited. And also I’m always driven a little bit by outrage when our government doesn’t take care of its own people. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818740 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/monkofmokha.jpg\" alt=\"\" width=\"326\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha.jpg 326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha-240x367.jpg 240w\" sizes=\"(max-width: 326px) 100vw, 326px\">And so that got me interested right away.\u003c/p>\n\u003cp>But the coffee part, I had no interest in originally. I was never able to discern differences in quality in coffee. But he sort of gave me a very quick crash-course education in coffee cultivation, and why it matters that we care where our food comes from. And now Mokhtar is bringing a very new awareness about direct trade. I hope everybody looks out for consumer rights.\u003c/p>\n\u003cp>\u003cstrong>Yemeni coffee certainly isn’t cheap. I had treated myself to a cup imported by Mokhtar’s company this morning at Equator Coffee on Market Street — for research purposes (ahem!). It cost $14. It’s $16 a cup at Blue Bottle, I hear. Why the nosebleed prices?\u003c/strong>\u003c/p>\n\u003cp>Let me ask you this: if you go to a restaurant here in San Francisco and you get a glass of nice wine even from Napa, 30 miles up the road, it might cost 15 bucks, right? But this coffee from Yemen has gone 6,000 miles and through war zones and over the sea and represents hundreds of years of expertise in the Yemeni highlands where they invented coffee cultivation. I don’t know if every cup of coffee should cost $14, but maybe it shouldn’t cost $2.50 if everybody along that supply chain is being paid fairly. The weird thing is that the coffee, or anything you eat or drink, starts to taste better if you’re thinking about the people who make it. One of the big ambitions of Mokhtar’s in the book is to get a fair price for these farmers.\u003c/p>\n\u003cp>\u003cstrong>This is the latest in a series of books you’ve written about immigrants to the U.S. The others being \u003cem>What is the What,\u003c/em> a novel about a young Sudanese refugee, and \u003cem>Zeitoun\u003c/em>, an account of a Syrian American’s experience of Hurricane Katrina. How important is it for you to use your profile as a writer to give voice to the marginalized?\u003c/strong>\u003c/p>\n\u003cp>I never conceived it as a series. But I am attracted to stories of courage. I feel like we’re obviously in a period of unprecedented fear, ignorance, paranoia and xenophobia unlike anything in my lifetime. These stories sometimes can remind us of who we are at our best and also at the core.\u003c/p>\n\u003cp>\u003cstrong>These books are all about people who are striving for the American Dream against really harsh odds. So what do you think there is that’s really new and different to say about the American Dream at this time?\u003c/strong>\u003c/p>\n\u003cp>Sometimes people think it’s some old cliché or it’s no longer true. But it’s absolutely true. Every day immigrants are keeping it alive. They’re the ones that exemplify what it means. There are millions of stories of the American Dream dreamed well. But more so than any time in the last 40 years, that dream is under threat. These DREAMers are being vilainized. I am almost in a state of paralysis some days because I cannot figure out why so many young people would be put in such peril. So many families being torn apart. It is the cruelest time in my lifetime, where cruelty and inhumanity are being expressed as a matter of policy from the White House. That’s something brand new.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about another book of yours set in the Bay Area, and also about entrepreneurism: your novel \u003cem>The Circle\u003c/em>. It was adapted into a movie starring Tom Hanks and Emma Watson, and it’s about a sinister Internet giant and a young woman who gets caught up in its culture. What prompted you to write about the tech industry?\u003c/strong>\u003c/p>\n\u003cp>I got here in 1992. So I saw the rise of the Bay Area as a tech mecca. I saw what the early Internet achieved — the incredible democratization of access to information, the easy way you could communicate with people around the world. Then, maybe 10 or 15 years ago, it started changing a little bit. The consolidation of wealth, the hoarding of power, the surveillance aspect of it and the intrusion on privacy aspect of it, I didn’t see coming.\u003c/p>\n\u003cfigure id=\"attachment_11868103\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11868103\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eggers-CREDIT-TO-Em-J-Staples-402x600.jpg\" alt=\"\" width=\"402\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Dave Eggers. (Photo Credit: Em-J Staples)\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed more and more sinister, and it took on this darker and darker tinge. So I thought it was maybe time to write something about it from the point of view of the most idealistic young person who gets her dream job at one of these tech companies, but slowly sees the walls close in around her.\u003c/p>\n\u003cp>\u003cstrong>Since the novel was published in 2013, we’ve seen some fairly shocking revelations about mass surveillance globally, not to mention the gathering of information by the National Security Agency here in the U.S. When you first began work on \u003cem>The Circle\u003c/em>, did you imagine the extent of this issue?\u003c/strong>\u003c/p>\n\u003cp>I did. I was trying to imagine the worst-case scenario. So my goal every day was to scare the hell out of myself. I’ve been shocked at how humanity has undergone a radical evolution. In the 1980s and ’90s, we did have certain presumptions about privacy — that our conversations were private, that our correspondence was private. Most of that is gone now. The people who work at these companies are some of the best and brightest. They’re largely idealistic people too, and they do latch on to the good that is done. I think there is a blind spot about some of the not-so-good. There’s an unwillingness to face the fact that they do have the power to turn things back from some of these abuses of privacy and human rights. They have the power to improve these platforms.\u003c/p>\n\u003cp>\u003cstrong>To what extent do you think it’s within the technology industry’s power to really shape the creative and cultural landscape of this region and the world more broadly?\u003c/strong>\u003c/p>\n\u003cp>I think that the Internet companies have to own up to the fact that they contributed a lot to the hollowing out of the creative middle class. Because we expect everything online to be free, creators have suffered greatly in the last 20 years. And I think everything needs to sort of slow down for a minute. If the goal isn’t just clicks or eyeballs, but actually the improvement of humankind, then the companies have to actually rethink a lot. It isn’t just about speed. And it isn’t just about numbers. It is really about morality, ethics and all of these things that were never part of the growth of these companies. And now we have a broken system. We almost broke democracy 18 months ago. We have a society that is drowning in mistrust.\u003c/p>\n\u003cp>\u003cstrong>Any cause for hope?\u003c/strong>\u003c/p>\n\u003cp>Really, I am eternally optimistic. When \u003cem>The Circle\u003c/em> first came out, I would go to colleges and the students were thinking I was some old crank that was judging their way of life and judging social media. But in the last year, it changed completely. I used to have maybe 10 kids come up to me and say “yeah, you’re speaking to me. I’m as scared as you are.” And now, it’s like 100 percent want to talk about this.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The BBC Arts Hour comes to San Francisco’s Gray Area Foundation Theatre on Thursday, Mar. 15. Tickets and information \u003ca href=\"https://grayarea.org/event/bbc-world-service-arts-hour-tour-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most artists and writers in the United States gave up on the “American Dream” long ago. As the comedian George Carlin joked, “It’s called the American dream because you have to be asleep to believe it.”\u003c/p>\n\u003cp>But not Dave Eggers.\u003c/p>\n\u003cp>The bestselling author is on a mission to keep the American ideal of hard-scrabble success alive, as I found out when I recently interviewed Eggers at KQED on behalf of the \u003ca href=\"http://www.bbc.co.uk/programmes/p016tmg0\">\u003cem>BBC Arts Hour\u003c/em>\u003c/a>‘s upcoming San Francisco broadcast and live show.\u003c/p>\n\u003cp>What follows are edited excerpts from our conversation, which focused in large part on two of Eggers’ most Bay Area-centric works: the new non-fiction book \u003cem>The Monk of Mokha\u003c/em>, and the 2013 novel \u003cem>The Circle\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What inspired you to write \u003cem>The Monk of Mokha\u003c/em>, which follows the adventures of a young San Francisco coffee entrepreneur of Yemeni heritage, Mokhtar Alkanshali, and his daring escape from war-torn Yemen?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We first met when Mokhtar was about 23 through a mutual friend of ours. It was a couple of years later that I’d been reading about the Americans stuck in Yemen. There had already been a few articles about Mokhtar crossing the Red Sea to get out of Yemen. So we got back in touch, and he told me this incredible story of how he got out. I think I was initially drawn to this incredible bravery that he exhibited. And also I’m always driven a little bit by outrage when our government doesn’t take care of its own people. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818740 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/monkofmokha.jpg\" alt=\"\" width=\"326\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha.jpg 326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/monkofmokha-240x367.jpg 240w\" sizes=\"(max-width: 326px) 100vw, 326px\">And so that got me interested right away.\u003c/p>\n\u003cp>But the coffee part, I had no interest in originally. I was never able to discern differences in quality in coffee. But he sort of gave me a very quick crash-course education in coffee cultivation, and why it matters that we care where our food comes from. And now Mokhtar is bringing a very new awareness about direct trade. I hope everybody looks out for consumer rights.\u003c/p>\n\u003cp>\u003cstrong>Yemeni coffee certainly isn’t cheap. I had treated myself to a cup imported by Mokhtar’s company this morning at Equator Coffee on Market Street — for research purposes (ahem!). It cost $14. It’s $16 a cup at Blue Bottle, I hear. Why the nosebleed prices?\u003c/strong>\u003c/p>\n\u003cp>Let me ask you this: if you go to a restaurant here in San Francisco and you get a glass of nice wine even from Napa, 30 miles up the road, it might cost 15 bucks, right? But this coffee from Yemen has gone 6,000 miles and through war zones and over the sea and represents hundreds of years of expertise in the Yemeni highlands where they invented coffee cultivation. I don’t know if every cup of coffee should cost $14, but maybe it shouldn’t cost $2.50 if everybody along that supply chain is being paid fairly. The weird thing is that the coffee, or anything you eat or drink, starts to taste better if you’re thinking about the people who make it. One of the big ambitions of Mokhtar’s in the book is to get a fair price for these farmers.\u003c/p>\n\u003cp>\u003cstrong>This is the latest in a series of books you’ve written about immigrants to the U.S. The others being \u003cem>What is the What,\u003c/em> a novel about a young Sudanese refugee, and \u003cem>Zeitoun\u003c/em>, an account of a Syrian American’s experience of Hurricane Katrina. How important is it for you to use your profile as a writer to give voice to the marginalized?\u003c/strong>\u003c/p>\n\u003cp>I never conceived it as a series. But I am attracted to stories of courage. I feel like we’re obviously in a period of unprecedented fear, ignorance, paranoia and xenophobia unlike anything in my lifetime. These stories sometimes can remind us of who we are at our best and also at the core.\u003c/p>\n\u003cp>\u003cstrong>These books are all about people who are striving for the American Dream against really harsh odds. So what do you think there is that’s really new and different to say about the American Dream at this time?\u003c/strong>\u003c/p>\n\u003cp>Sometimes people think it’s some old cliché or it’s no longer true. But it’s absolutely true. Every day immigrants are keeping it alive. They’re the ones that exemplify what it means. There are millions of stories of the American Dream dreamed well. But more so than any time in the last 40 years, that dream is under threat. These DREAMers are being vilainized. I am almost in a state of paralysis some days because I cannot figure out why so many young people would be put in such peril. So many families being torn apart. It is the cruelest time in my lifetime, where cruelty and inhumanity are being expressed as a matter of policy from the White House. That’s something brand new.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about another book of yours set in the Bay Area, and also about entrepreneurism: your novel \u003cem>The Circle\u003c/em>. It was adapted into a movie starring Tom Hanks and Emma Watson, and it’s about a sinister Internet giant and a young woman who gets caught up in its culture. What prompted you to write about the tech industry?\u003c/strong>\u003c/p>\n\u003cp>I got here in 1992. So I saw the rise of the Bay Area as a tech mecca. I saw what the early Internet achieved — the incredible democratization of access to information, the easy way you could communicate with people around the world. Then, maybe 10 or 15 years ago, it started changing a little bit. The consolidation of wealth, the hoarding of power, the surveillance aspect of it and the intrusion on privacy aspect of it, I didn’t see coming.\u003c/p>\n\u003cfigure id=\"attachment_11868103\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11868103\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eggers-CREDIT-TO-Em-J-Staples-402x600.jpg\" alt=\"\" width=\"402\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Dave Eggers. (Photo Credit: Em-J Staples)\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed more and more sinister, and it took on this darker and darker tinge. So I thought it was maybe time to write something about it from the point of view of the most idealistic young person who gets her dream job at one of these tech companies, but slowly sees the walls close in around her.\u003c/p>\n\u003cp>\u003cstrong>Since the novel was published in 2013, we’ve seen some fairly shocking revelations about mass surveillance globally, not to mention the gathering of information by the National Security Agency here in the U.S. When you first began work on \u003cem>The Circle\u003c/em>, did you imagine the extent of this issue?\u003c/strong>\u003c/p>\n\u003cp>I did. I was trying to imagine the worst-case scenario. So my goal every day was to scare the hell out of myself. I’ve been shocked at how humanity has undergone a radical evolution. In the 1980s and ’90s, we did have certain presumptions about privacy — that our conversations were private, that our correspondence was private. Most of that is gone now. The people who work at these companies are some of the best and brightest. They’re largely idealistic people too, and they do latch on to the good that is done. I think there is a blind spot about some of the not-so-good. There’s an unwillingness to face the fact that they do have the power to turn things back from some of these abuses of privacy and human rights. They have the power to improve these platforms.\u003c/p>\n\u003cp>\u003cstrong>To what extent do you think it’s within the technology industry’s power to really shape the creative and cultural landscape of this region and the world more broadly?\u003c/strong>\u003c/p>\n\u003cp>I think that the Internet companies have to own up to the fact that they contributed a lot to the hollowing out of the creative middle class. Because we expect everything online to be free, creators have suffered greatly in the last 20 years. And I think everything needs to sort of slow down for a minute. If the goal isn’t just clicks or eyeballs, but actually the improvement of humankind, then the companies have to actually rethink a lot. It isn’t just about speed. And it isn’t just about numbers. It is really about morality, ethics and all of these things that were never part of the growth of these companies. And now we have a broken system. We almost broke democracy 18 months ago. We have a society that is drowning in mistrust.\u003c/p>\n\u003cp>\u003cstrong>Any cause for hope?\u003c/strong>\u003c/p>\n\u003cp>Really, I am eternally optimistic. When \u003cem>The Circle\u003c/em> first came out, I would go to colleges and the students were thinking I was some old crank that was judging their way of life and judging social media. But in the last year, it changed completely. I used to have maybe 10 kids come up to me and say “yeah, you’re speaking to me. I’m as scared as you are.” And now, it’s like 100 percent want to talk about this.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The BBC Arts Hour comes to San Francisco’s Gray Area Foundation Theatre on Thursday, Mar. 15. Tickets and information \u003ca href=\"https://grayarea.org/event/bbc-world-service-arts-hour-tour-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wielding a silver shovel instead of a lightsaber, \u003cem>Star Wars\u003c/em> creator George Lucas joined a handful of elected officials Wednesday in breaking ground on a billion-dollar museum dedicated to the art of visual storytelling.\u003c/p>\n\u003cp>Construction of the Lucas Museum of Narrative Art, a dream of the 73-year-old writer-director for more than a decade, is expected to be completed by the end of 2021.\u003c/p>\n\u003cp>Trucks rumbled by the museum site near downtown Los Angeles as Lucas, dressed casually in a white- and blue-checkered shirt, jeans and tennis shoes, thanked more than 100 well-wishers. Among them was his collaborator and longtime friend, director Steven Spielberg.\u003c/p>\n\u003cp>“I think it’s important to have a museum that, as I was joking and saying, supports all the orphan arts that nobody else wants to see, but that everybody loves,” Lucas said, describing the project.\u003c/p>\n\u003cp>His museum’s mission, he added, will be to explain the myths, legends, stories and portraits of people that shape societies and bring them together as one. The art will range from paintings and digital works to comic strips and, yes, movies like \u003cem>Star Wars\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“To my feeling, popular art is an insight into a society and what they aspire to, what they really want, what they really are,” Lucas said before grabbing a shovel and joining several local officials in turning over some dirt.\u003c/p>\n\u003cp>At times, the groundbreaking resembled a movie premiere minus the red carpet, with television cameras and photographers capturing the moment. Lucas called on Spielberg to join him on the mound of dirt, directing his friend to give a thumbs-up to the cameras.\u003c/p>\n\u003cp>“It’s a great location,” Spielberg told him as they headed to a private reception. Lucas pointed out the blocks-long museum site that until recently was a parking lot behind the Los Angeles Memorial Coliseum where the 1932 and 1984 Olympics took place.\u003c/p>\n\u003cp>It will be transformed into a multistory museum resembling Han Solo’s Millennium Falcon spacecraft that appears to hover over an area surrounded by 11 acres of green space. The museum itself will contain more than 100,000 square feet of gallery space, underground parking, a restaurant, movie theaters and other amenities. Numerous programs are being planned for children from surrounding schools.\u003c/p>\n\u003cp>Lucas and his wife, Mellody Hobson, are picking up the cost, which museum officials expect will exceed $1 billion for construction and its operating endowment. That will make it the largest public gift ever given to a municipality, local officials say.\u003c/p>\n\u003cp>The museum will be in Exposition Park, across the street from the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum and on the edge of the University of Southern California, where Lucas studied in the 1960s.\u003c/p>\n\u003cp>Although Lucas attended college nearby, the site was the third choice for the museum. Lucas and his wife couldn’t reach an agreement with the director’s hometown of San Francisco or his wife’s hometown of Chicago.\u003c/p>\n\u003cp>The museum’s wide-ranging collection will include paintings by Norman Rockwell, Edgar Degas and Pierre-Auguste Renoir, comic strips by \u003cem>Peanuts\u003c/em> creator Charles Schulz and underground artist Robert Crumb, animation from films such as \u003cem>Who Framed Roger Rabbit\u003c/em> and special effects from films such as \u003cem>E.T. the Extra-Terrestrial\u003c/em>.\u003c/p>\n\u003cp>Classic films represented will range from 1927’s futuristic masterpiece \u003cem>Metropolis\u003c/em> and Orson Welles’ groundbreaking 1941 film \u003cem>Citizen Kane\u003c/em> to the Lucas-Spielberg collaborations on the \u003cem>Indiana Jones\u003c/em> movies.\u003c/p>\n\u003cp>And, of course, The Force will be strong at the museum. People will find everything from Luke Skywalker’s first lightsaber to Darth Vader’s helmet. Storyboards laying out the tale that Lucas created and that lives on in new film iterations also will be on display, along with stormtrooper uniforms and other set pieces.\u003c/p>\n\u003cp>Lucas, who has said mythologist Joseph Campbell’s \u003cem>The Hero With a Thousand Faces\u003c/em> helped inspire his \u003cem>Star Wars\u003c/em> stories, remarked Wednesday that he believes that without such tales, people don’t come together to gain common cultural understanding.\u003c/p>\n\u003cp>“Whether it’s a cave painting or whether it’s Apollo as a statue or whether it’s the Sistine Chapel, whether it’s Napoleon on a horse, whatever it is, that’s what we aspire to,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s a message, he added, that he hopes museum visitors will come away with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“To my feeling, popular art is an insight into a society and what they aspire to, what they really want, what they really are,” Lucas said before grabbing a shovel and joining several local officials in turning over some dirt.\u003c/p>\n\u003cp>At times, the groundbreaking resembled a movie premiere minus the red carpet, with television cameras and photographers capturing the moment. Lucas called on Spielberg to join him on the mound of dirt, directing his friend to give a thumbs-up to the cameras.\u003c/p>\n\u003cp>“It’s a great location,” Spielberg told him as they headed to a private reception. Lucas pointed out the blocks-long museum site that until recently was a parking lot behind the Los Angeles Memorial Coliseum where the 1932 and 1984 Olympics took place.\u003c/p>\n\u003cp>It will be transformed into a multistory museum resembling Han Solo’s Millennium Falcon spacecraft that appears to hover over an area surrounded by 11 acres of green space. The museum itself will contain more than 100,000 square feet of gallery space, underground parking, a restaurant, movie theaters and other amenities. Numerous programs are being planned for children from surrounding schools.\u003c/p>\n\u003cp>Lucas and his wife, Mellody Hobson, are picking up the cost, which museum officials expect will exceed $1 billion for construction and its operating endowment. That will make it the largest public gift ever given to a municipality, local officials say.\u003c/p>\n\u003cp>The museum will be in Exposition Park, across the street from the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum and on the edge of the University of Southern California, where Lucas studied in the 1960s.\u003c/p>\n\u003cp>Although Lucas attended college nearby, the site was the third choice for the museum. Lucas and his wife couldn’t reach an agreement with the director’s hometown of San Francisco or his wife’s hometown of Chicago.\u003c/p>\n\u003cp>The museum’s wide-ranging collection will include paintings by Norman Rockwell, Edgar Degas and Pierre-Auguste Renoir, comic strips by \u003cem>Peanuts\u003c/em> creator Charles Schulz and underground artist Robert Crumb, animation from films such as \u003cem>Who Framed Roger Rabbit\u003c/em> and special effects from films such as \u003cem>E.T. the Extra-Terrestrial\u003c/em>.\u003c/p>\n\u003cp>Classic films represented will range from 1927’s futuristic masterpiece \u003cem>Metropolis\u003c/em> and Orson Welles’ groundbreaking 1941 film \u003cem>Citizen Kane\u003c/em> to the Lucas-Spielberg collaborations on the \u003cem>Indiana Jones\u003c/em> movies.\u003c/p>\n\u003cp>And, of course, The Force will be strong at the museum. People will find everything from Luke Skywalker’s first lightsaber to Darth Vader’s helmet. Storyboards laying out the tale that Lucas created and that lives on in new film iterations also will be on display, along with stormtrooper uniforms and other set pieces.\u003c/p>\n\u003cp>Lucas, who has said mythologist Joseph Campbell’s \u003cem>The Hero With a Thousand Faces\u003c/em> helped inspire his \u003cem>Star Wars\u003c/em> stories, remarked Wednesday that he believes that without such tales, people don’t come together to gain common cultural understanding.\u003c/p>\n\u003cp>“Whether it’s a cave painting or whether it’s Apollo as a statue or whether it’s the Sistine Chapel, whether it’s Napoleon on a horse, whatever it is, that’s what we aspire to,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s a message, he added, that he hopes museum visitors will come away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mistah F.A.B. Debuts New Space, New Plans for Dope Era",
"headTitle": "Mistah F.A.B. Debuts New Space, New Plans for Dope Era | KQED",
"content": "\u003cp>On a recent afternoon at his shop, Dope Era, Mistah F.A.B. is dressed in a backwards snapback and purple hoodie, giving an impassioned speech to a group of businessmen in suits.\u003c/p>\n\u003cp>“We can create a seminar that strictly focuses on youth — tomorrow’s Fortune 500 leaders — investing in the future of youth for financial literacy,” he exclaims as I walk in.\u003c/p>\n\u003cp>His enraptured audience of three nods, eagerly absorbing the knowledge. Dope Era may have recently moved from its low-key North Oakland location to a swanky new retail space on 20th and Broadway, the heart of downtown’s shopping district, but Mistah F.A.B. clearly hasn’t forgotten his former neighborhood.\u003c/p>\n\u003cp>“The average child of poverty, child of immigrants, their parents are not telling them, ‘Let’s start these businesses,'” he continues sagely. “We have to create the perception of possibility.”\u003c/p>\n\u003cp>Oration is an important part of Mistah F.A.B.’s art. As a rapper and pioneer of the hyphy movement, he’s known as Oakland’s freestyle king, one who spits clever bars for improbable lengths of time. His more formal speaking abilities — his persuasive gift of gab — have also attracted a loyal following that’s enabled his business success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The old location of Dope Era, on 45th and Market Streets, was like a clubhouse for local residents, especially young people and aspiring musicians. Since opening in 2015, Mistah F.A.B.’s large personality kept business booming: He was in the store whenever he wasn’t traveling or in the studio, and he made himself available to nearly anyone who wanted his ear. Neighbors would stop in to hear his sermons about creating generational wealth for the black community; musicians came in to glean wisdom about the industry. Even kids would drop by to show off their report cards. And all of them regularly bought T-shirts and sweatsuits.\u003c/p>\n\u003cp>The store also became the headquarters of Mistah F.A.B.’s countless \u003ca href=\"https://www.mercurynews.com/2014/02/10/mayor-jean-quan-honors-oakland-rapper/\" target=\"_blank\" rel=\"noopener\">charitable endeavors\u003c/a> — Thanksgiving Turkey giveaways, school supply drives, taking kids to see \u003cem>Black Panther\u003c/em> — that have earned him a reputation as the man of the people over the past 15 years.\u003c/p>\n\u003cp>Though he’s had considerable industry success, with Platinum songwriting credits on hits like Chris Brown’s “Loyal,” Mistah F.A.B. says that interacting with everyday people “keeps me going, it keeps my spirit floating, man. I get life, I get energy that the people give. They bless you with the opportunity to be vibrant and remain relevant.”\u003c/p>\n\u003cfigure id=\"attachment_13827219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dopeera1-800x535.jpg\" alt=\"Mistah F.A.B. talks to customers at Dope Era. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. talks to customers at Dope Era. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet doing business on 45th and Market didn’t come without stress. In April 2017, Mistah F.A.B. went on the record with KQED \u003ca href=\"https://www.kqed.org/arts/12982699/public-safety-or-racial-profiling-mistah-f-a-b-alleges-harassment-by-the-opd\" target=\"_blank\" rel=\"noopener\">alleging ongoing harassment by the Oakland Police Department\u003c/a>. Two weeks after the story ran, his store caught fire in an \u003ca href=\"https://www.kqed.org/arts/13082904/oakland-store-owned-by-mistah-f-a-b-damaged-in-fire\" target=\"_blank\" rel=\"noopener\">alleged case of arson\u003c/a>. The business quickly recovered, reopening with a new, bright yellow awning. But weeks before Mistah F.A.B. was set to move to the new Broadway location, tragedy struck again when \u003ca href=\"https://www.eastbaytimes.com/2018/02/08/oakland-police-id-fatal-shooting-victims/\" target=\"_blank\" rel=\"noopener\">a shooting\u003c/a> at the liquor store across the street took the life of Lash City Frost, a new rapper on Mistah F.A.B.’s label, Dope Era Music.\u003c/p>\n\u003cp>Dope Era’s new downtown store may alleviate some of that stress. But though he’s in a bigger, safer, more central location, Mistah F.A.B. isn’t relaxing quite yet. “It’s a new beginning, but there’s still so much more work to do,” he says. “You never get a chance to bask in the accomplishments. You celebrate them, appreciate them, but you have to move forward.”\u003c/p>\n\u003cp>Admittedly, the new location might not feel as intimate as his old store, where Mistah F.A.B. was able to barbecue outside, shoot music videos, and receive visits from celebrities like E-40 and DJ Esco without causing a stir.\u003c/p>\n\u003cp>“Of course I’m gonna miss that spot,” Mistah F.A.B. says. “That was a childhood dream of mine, to open up a business in my community. To have a store there — we used to help Ms. Harris clean up everyday, she owned a flower shop next to that store [when I was] growing up.”\u003c/p>\n\u003cp>When we talk, Mistah F.A.B. had just taken 20 schoolchildren to the movies the day prior. He talks about plans for art shows and listening parties, as well as continuing Music Mondays, his weekly music show-and-tell where new artists play their new tracks and network. Discussing the historic black-owned business Hat Guys, whose space Dope Era now occupies, he talks about creating a Dope Era franchise to create more employment opportunities for Oaklanders.\u003c/p>\n\u003cfigure id=\"attachment_13827220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827220\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0839-800x535.jpg\" alt=\"Street signs at the new Dope Era store pay homage to Mistah F.A.B.'s old North Oakland neighborhood.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Street signs at the new Dope Era store pay homage to Mistah F.A.B.’s old North Oakland neighborhood. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Five years ago we were selling shirts out of the trunk of the car. Now, to be able to say five years later, we have a store on Broadway,” he says, “who knows where we’ll be in five years and how many stores we’ll open?”\u003c/p>\n\u003cp>And yet there’s still the clubhouse vibe. As we talk outside the shop, Mistah F.A.B. makes an effort to say hello to anyone who walks by — office workers, homeless people, city employees in yellow vests. “You look like a cool grape soda, Mistah F.A.B.,” one lady exclaims at his Barney-purple Dope Era sweatsuit as she rides by on her bike.\u003c/p>\n\u003cp>Mistah F.A.B. chats excitedly about his many other new projects. He just dropped \u003cem>Thug Tears\u003c/em>, his most candid and emotional album to date; he’s getting ready to release his first book of life advice, also called \u003cem>Dope Era\u003c/em>; and he has a new recurring music showcase at the downtown Oakland nightclub Complex called Oakland Live.\u003c/p>\n\u003cp>“I’ve always had mentors and watched people do things, and now for me to be able to sit in the driver’s seat and say, ‘I’m driving this car now, this is how we’re trying to get it,'” he says. “It’s slow steps, but that’s what I’m about, I’m about building the process.”\u003c/p>\n\u003cp>[ad floatright]\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": "The Oakland rapper and entrepreneur recently moved his Dope Era store to a swanky, downtown Oakland location — and he says this is only the beginning. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent afternoon at his shop, Dope Era, Mistah F.A.B. is dressed in a backwards snapback and purple hoodie, giving an impassioned speech to a group of businessmen in suits.\u003c/p>\n\u003cp>“We can create a seminar that strictly focuses on youth — tomorrow’s Fortune 500 leaders — investing in the future of youth for financial literacy,” he exclaims as I walk in.\u003c/p>\n\u003cp>His enraptured audience of three nods, eagerly absorbing the knowledge. Dope Era may have recently moved from its low-key North Oakland location to a swanky new retail space on 20th and Broadway, the heart of downtown’s shopping district, but Mistah F.A.B. clearly hasn’t forgotten his former neighborhood.\u003c/p>\n\u003cp>“The average child of poverty, child of immigrants, their parents are not telling them, ‘Let’s start these businesses,'” he continues sagely. “We have to create the perception of possibility.”\u003c/p>\n\u003cp>Oration is an important part of Mistah F.A.B.’s art. As a rapper and pioneer of the hyphy movement, he’s known as Oakland’s freestyle king, one who spits clever bars for improbable lengths of time. His more formal speaking abilities — his persuasive gift of gab — have also attracted a loyal following that’s enabled his business success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The old location of Dope Era, on 45th and Market Streets, was like a clubhouse for local residents, especially young people and aspiring musicians. Since opening in 2015, Mistah F.A.B.’s large personality kept business booming: He was in the store whenever he wasn’t traveling or in the studio, and he made himself available to nearly anyone who wanted his ear. Neighbors would stop in to hear his sermons about creating generational wealth for the black community; musicians came in to glean wisdom about the industry. Even kids would drop by to show off their report cards. And all of them regularly bought T-shirts and sweatsuits.\u003c/p>\n\u003cp>The store also became the headquarters of Mistah F.A.B.’s countless \u003ca href=\"https://www.mercurynews.com/2014/02/10/mayor-jean-quan-honors-oakland-rapper/\" target=\"_blank\" rel=\"noopener\">charitable endeavors\u003c/a> — Thanksgiving Turkey giveaways, school supply drives, taking kids to see \u003cem>Black Panther\u003c/em> — that have earned him a reputation as the man of the people over the past 15 years.\u003c/p>\n\u003cp>Though he’s had considerable industry success, with Platinum songwriting credits on hits like Chris Brown’s “Loyal,” Mistah F.A.B. says that interacting with everyday people “keeps me going, it keeps my spirit floating, man. I get life, I get energy that the people give. They bless you with the opportunity to be vibrant and remain relevant.”\u003c/p>\n\u003cfigure id=\"attachment_13827219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dopeera1-800x535.jpg\" alt=\"Mistah F.A.B. talks to customers at Dope Era. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dopeera1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. talks to customers at Dope Era. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet doing business on 45th and Market didn’t come without stress. In April 2017, Mistah F.A.B. went on the record with KQED \u003ca href=\"https://www.kqed.org/arts/12982699/public-safety-or-racial-profiling-mistah-f-a-b-alleges-harassment-by-the-opd\" target=\"_blank\" rel=\"noopener\">alleging ongoing harassment by the Oakland Police Department\u003c/a>. Two weeks after the story ran, his store caught fire in an \u003ca href=\"https://www.kqed.org/arts/13082904/oakland-store-owned-by-mistah-f-a-b-damaged-in-fire\" target=\"_blank\" rel=\"noopener\">alleged case of arson\u003c/a>. The business quickly recovered, reopening with a new, bright yellow awning. But weeks before Mistah F.A.B. was set to move to the new Broadway location, tragedy struck again when \u003ca href=\"https://www.eastbaytimes.com/2018/02/08/oakland-police-id-fatal-shooting-victims/\" target=\"_blank\" rel=\"noopener\">a shooting\u003c/a> at the liquor store across the street took the life of Lash City Frost, a new rapper on Mistah F.A.B.’s label, Dope Era Music.\u003c/p>\n\u003cp>Dope Era’s new downtown store may alleviate some of that stress. But though he’s in a bigger, safer, more central location, Mistah F.A.B. isn’t relaxing quite yet. “It’s a new beginning, but there’s still so much more work to do,” he says. “You never get a chance to bask in the accomplishments. You celebrate them, appreciate them, but you have to move forward.”\u003c/p>\n\u003cp>Admittedly, the new location might not feel as intimate as his old store, where Mistah F.A.B. was able to barbecue outside, shoot music videos, and receive visits from celebrities like E-40 and DJ Esco without causing a stir.\u003c/p>\n\u003cp>“Of course I’m gonna miss that spot,” Mistah F.A.B. says. “That was a childhood dream of mine, to open up a business in my community. To have a store there — we used to help Ms. Harris clean up everyday, she owned a flower shop next to that store [when I was] growing up.”\u003c/p>\n\u003cp>When we talk, Mistah F.A.B. had just taken 20 schoolchildren to the movies the day prior. He talks about plans for art shows and listening parties, as well as continuing Music Mondays, his weekly music show-and-tell where new artists play their new tracks and network. Discussing the historic black-owned business Hat Guys, whose space Dope Era now occupies, he talks about creating a Dope Era franchise to create more employment opportunities for Oaklanders.\u003c/p>\n\u003cfigure id=\"attachment_13827220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827220\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0839-800x535.jpg\" alt=\"Street signs at the new Dope Era store pay homage to Mistah F.A.B.'s old North Oakland neighborhood.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0839-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Street signs at the new Dope Era store pay homage to Mistah F.A.B.’s old North Oakland neighborhood. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Five years ago we were selling shirts out of the trunk of the car. Now, to be able to say five years later, we have a store on Broadway,” he says, “who knows where we’ll be in five years and how many stores we’ll open?”\u003c/p>\n\u003cp>And yet there’s still the clubhouse vibe. As we talk outside the shop, Mistah F.A.B. makes an effort to say hello to anyone who walks by — office workers, homeless people, city employees in yellow vests. “You look like a cool grape soda, Mistah F.A.B.,” one lady exclaims at his Barney-purple Dope Era sweatsuit as she rides by on her bike.\u003c/p>\n\u003cp>Mistah F.A.B. chats excitedly about his many other new projects. He just dropped \u003cem>Thug Tears\u003c/em>, his most candid and emotional album to date; he’s getting ready to release his first book of life advice, also called \u003cem>Dope Era\u003c/em>; and he has a new recurring music showcase at the downtown Oakland nightclub Complex called Oakland Live.\u003c/p>\n\u003cp>“I’ve always had mentors and watched people do things, and now for me to be able to sit in the driver’s seat and say, ‘I’m driving this car now, this is how we’re trying to get it,'” he says. “It’s slow steps, but that’s what I’m about, I’m about building the process.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Six Months After the Storm, Puerto Rican Musicians Search for Solutions",
"headTitle": "Six Months After the Storm, Puerto Rican Musicians Search for Solutions | KQED",
"content": "\u003cp>When Hurricane María hit Puerto Rico in late September, Eduardo Alegría was in his San Juan apartment with his roommate, two dogs, and some freaked out neighbors, anxiously preparing to ride out the storm.\u003c/p>\n\u003cp>“The expectation was one of the worst things,” recalls Alegría, who fronts the experimental pop outfit \u003ca href=\"https://soundcloud.com/alegriarampante/tracks\" target=\"_blank\" rel=\"noopener\">Alegría Rampante\u003c/a>, in a recent interview with KQED Arts. He’d remembered living through the destruction of Hurricane Georges, which struck the island in 1998. María was worse.\u003c/p>\n\u003cp>“This was much bigger. This was sort of like a monster hurricane,” he says, recalling how the storm’s destructive forces stripped away Puerto Rico’s lush foliage, brutally altering the landscape. “It looked like the island had been burned to a crisp.”\u003c/p>\n\u003cp>Somehow, Alegría’s building was spared, but the fear he felt that day stays with him, he says. “It’s still a nightmare,” Alegría admits. In Spanish, the word for hurricane is \u003cem>huracán\u003c/em>, but there’s another word for storm that locals use to describe María: \u003cem>tormenta\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13827124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-800x533.jpg\" alt=\"Residents of Aguada, Puerto Rico, stand in line for food aid at a FEMA distribution center on February 7, 2018. Local officials, including police, distribute supplies provided by FEMA once a week.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Residents of Aguada, Puerto Rico stand in line for food aid at a FEMA distribution center on February 7, 2018. Local officials, including police, distribute supplies provided by FEMA once a week. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Alegría and other underground artists in Puerto Rico, \u003ca href=\"https://www.treasury.gov/connect/blog/Documents/Puerto_Ricos_fiscal_challenges.pdf\" target=\"_blank\" rel=\"noopener\">recession and a contracting economy\u003c/a> were already making things more difficult by the time Hurricane María hit. Concerts were paying less, and none of the indie artists he knows could afford to have managers anymore. But now, Alegría says, “It’s always been hard, but it somehow feels harder. Can we even keep doing this?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Six months after the hurricane, Puerto Rico faces a staggering list of challenges: \u003ca href=\"https://www.nytimes.com/interactive/2016/business/dealbook/puerto-rico-debt-crisis-explained.html\" target=\"_blank\" rel=\"noopener\">governmental debt\u003c/a>, austerity measures, and what many call \u003ca href=\"http://nymag.com/daily/intelligencer/2018/02/trumps-failure-in-puerto-rico-was-even-worse-than-we-knew.html\" target=\"_blank\" rel=\"noopener\">inadequate support\u003c/a> from the Trump administration. But Puerto Ricans, both on the island and in the mainland U.S., have organized and supported one another. And independent musicians, though they face their own economic challenges, have been key to that effort.\u003c/p>\n\u003cp>Through fundraisers, awareness campaigns, and direct outreach, Puerto Rican artists like Alegría are working to build a brighter, more just future for the island.\u003c/p>\n\u003cfigure id=\"attachment_13827131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827131\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-800x533.jpg\" alt=\"): A toppled tree in Old San Juan that’s been painted with the Puerto Rican flag. Signs of storm damage are evident across the island, including the island’s capital.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A toppled tree in Old San Juan that’s been painted with the Puerto Rican flag. Signs of storm damage are evident across the island, including the island’s capital. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Grassroots Recovery\u003c/h2>\n\u003cp>When Oakland musician \u003ca href=\"https://mariajosemontijo.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">María José Montijo\u003c/a> returned to San Juan in January, she was shocked at how Hurricane María had changed her hometown.\u003c/p>\n\u003cp>“There’s a lot of pockets — even in the metropolitan area where things are a little bit more normalized — that don’t have electricity,” she recalls. Most of the traffic lights were still dead, causing confusion on the roads. “Driving is super insane and scary,” she adds.\u003c/p>\n\u003cp>A licensed acupuncturist and harp player, Montijo calls herself “a healer that makes music in her spare time.” Before her trip, she’d raised money and helped relief efforts from her Bay Area home; \u003ca href=\"https://www.kqed.org/arts/13813342/after-the-hurricane-a-puerto-rican-musician-uses-her-harp-to-heal\" target=\"_blank\" rel=\"noopener\">her concerts\u003c/a> brought in around $4,000 to buy critical supplies like water filters and solar lights. Once on the island, she volunteered with radical healthcare organizations like \u003ca href=\"https://www.facebook.com/saludacupunturapr/\" target=\"_blank\" rel=\"noopener\">Salud y Acupuntura Para el Pueblo\u003c/a>, which runs street clinics for community members.\u003c/p>\n\u003cfigure id=\"attachment_13827125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827125 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-800x422.jpg\" alt=\"Oakland musician María José Montijo administers acupuncture to hurricane survivors in Ponce, Puerto Rico. \" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-520x274.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland musician María José Montijo administers acupuncture to hurricane survivors in Ponce, Puerto Rico. \u003ccite>(Courtesy of María José Montijo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the surprises weren’t all bad, and Montijo was encouraged by the grassroots recovery efforts on the island. “Strangely enough, it was a great trip,” she says. “I felt very inspired by people coming together since day one to help each other out, because the help never came from the government.”\u003c/p>\n\u003cp>Montijo refers to federal and local recovery efforts widely criticized for their inadequacy and marred by scandal. In February, FEMA announced that it would end emergency food and water aid, then retracted the statement after receiving \u003ca href=\"https://www.npr.org/2018/01/31/582056547/lawmakers-respond-to-fema-puerto-rico-cutoff\" target=\"_blank\" rel=\"noopener\">pushback from lawmakers from both parties\u003c/a>. And Puerto Rican officials have been accused of \u003ca href=\"https://www.kqed.org/news/11650250/the-california-report-1860\" target=\"_blank\" rel=\"noopener\">intentionally causing delays\u003c/a> in the reconstruction of the island’s electrical grid so they can build the case for selling it off.\u003c/p>\n\u003cfigure id=\"attachment_13827126\" class=\"wp-caption alignright\" style=\"max-width: 695px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827126 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n.jpg\" alt=\"María José Montijo (center left) with bomba musicians La Familia Cepeda at a street festival in San Sebastián, Puerto Rico.\" width=\"695\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n.jpg 695w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-240x260.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-375x406.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-520x563.jpg 520w\" sizes=\"(max-width: 695px) 100vw, 695px\">\u003cfigcaption class=\"wp-caption-text\">María José Montijo (center left) with bomba musicians Jesus, Mario, and Carlos of La Familia Cepeda at Las Fiestas de la Calle San Sebastian, the Saint Sebastian Street Festival, in Old San Juan. \u003ccite>(Courtesy of María José Montijo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montijo joins a growing number of Puerto Rican-born indie musicians on the U.S. mainland who are helping the island in the face of government inaction. Among those is singer \u003ca href=\"https://www.anicordero.net/\" target=\"_blank\" rel=\"noopener\">Ani Cordero\u003c/a>, who helped spearhead an emergency relief fund from her home in Brooklyn. Along with Raquel Berrios of electronic indie duo \u003ca href=\"https://www.youtube.com/watch?v=OJ6WgRiqoO4\" target=\"_blank\" rel=\"noopener\">Buscabulla\u003c/a>, Cordero founded the \u003ca href=\"https://www.primafund.org/\" target=\"_blank\" rel=\"noopener\">PRIMA Fund\u003c/a>, which offers $500 emergency micro-grants to independent artists on the island.\u003c/p>\n\u003cp>In the storm’s immediate aftermath came a stressful two-week period when communication between the island and the mainland U.S. was completely cut off, Cordero remembers. “All the stateside Boricuas, we were not in touch with our families in a major way for the first time ever,” she says.\u003c/p>\n\u003cp>Once she regained contact, Cordero reached out to her friend Alfredo Richner, editor-in-chief for the arts and culture blog \u003ca href=\"http://puertoricoindie.com/\" target=\"_blank\" rel=\"noopener\">Puerto Rico Indie\u003c/a>. Richner told her that independent artists were struggling to make ends meet. “Within three weeks of the hurricane, people were packing their bags because all the gigs were cancelled, studios were closed, there was no income coming in,” she says.\u003c/p>\n\u003cp>For indie artists, even a temporary lapse of income can spell disaster, and the need for steady work drew many people to the mainland. But that pressure to leave is nothing new: Decades of out-migration have made the Puerto Rican diaspora larger than the population of Puerto Rico itself. (Approximately 5 million \u003cem>Puertorriqueñxs\u003c/em> live in the mainland U.S., according to a recent Pew study, compared to around 3.4 million on the island.) That imbalance is still growing as people continue to leave Puerto Rico in search of opportunity, with an estimated \u003ca href=\"http://www.jacksonville.com/business/metro/2018-01-02/florida-has-handled-nearly-300000-puerto-rican-refugees-hurricane-maria\" target=\"_blank\" rel=\"noopener\">300,000 people\u003c/a> flocking to Florida alone since Hurricane María.\u003c/p>\n\u003cfigure id=\"attachment_13827132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827132\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-800x533.jpg\" alt=\"An immobilized garbage truck at a beachside resort in Punta Santiago, Puerto Rico. Tourism, an important sector in the Puerto Rican economy, has been slow to recover in the wake of Hurricane María.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An immobilized garbage truck at a beachside resort in Punta Santiago, Puerto Rico. Tourism, an important sector in the Puerto Rican economy, has been slow to recover in the wake of Hurricane María. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for PRIMA Fund’s micro-grants, Cordero says she and her cofounder Raquel Berrios don’t intend them to be a cure-all — but they have been a boon for independent artists who were already struggling before the storm. “Five hundred dollars is not going to permanently change somebody’s life, but it’s rent for a lot of people, or groceries for a lot of people,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827134\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827134\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-800x533.jpg\" alt=\"An empty Health Department building on Avenida Juan Ponce de León in San Juan, photographed on February 12, 2018. Many buildings have been left empty in the capitol city due to the twin crises of the government debt crisis and natural disaster.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An empty Health Department building on Avenida Juan Ponce de León in San Juan, photographed on February 12, 2018. Many buildings have been left empty in the capitol city due to the twin crises of the government debt crisis and natural disaster. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the money itself, the true value of the PRIMA Fund lies in the encouragement it provides to the creative community, Cordero says. “That’s been the biggest gift of the fund, that somebody cares about the work that [these artists] are doing and values it and wants to support it,” she explains, adding that she hopes the fund will set the foundation for a more durable network for artists and their supporters.\u003c/p>\n\u003cp>“The diaspora has really risen up to the call of action and to support the self-organizing movement that’s happening in Puerto Rico,” says Montijo. “Out of need, because the aid is lacking.”\u003c/p>\n\u003ch2>‘We Have Our Work Cut Out For Us’\u003c/h2>\n\u003cp>On a balmy evening in February, Otura Mun takes a break from reassembling his home studio on a narrow street in San Juan to meet with KQED Arts. He lives in a low-slung house, its walls covered in crowded bookshelves, stacks of records, and images of the orichás, the spirits who make up the Yoruba pantheon of deities. Across the street, people spill out of an open-air bar blasting the latest reggaetón hits, interrupting the eerie quiet that still haunts many parts of the city.\u003c/p>\n\u003cp>Mun, who was born in Indiana but moved to Puerto Rico nineteen years ago, leads the Afro-Caribbean futurist ensemble \u003ca href=\"http://www.ife-music.com/\" target=\"_blank\" rel=\"noopener\">ÌFÉ\u003c/a>. In addition to being a DJ and percussionist, he’s a priest in the Yoruba faith, the Nigerian religion that combined with Catholicism and indigenous spiritual practices to create \u003cem>santería\u003c/em>, a tradition still widely practiced on the island. He was away from Puerto Rico when Hurricane María hit, raising money and booking international tour dates. A few days after returning, he got to work rebuilding his studio so that he and his bandmates could start rehearsing again.\u003c/p>\n\u003cfigure id=\"attachment_13827130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-800x533.jpg\" alt=\"A damaged home in Yabucoa, Puerto Rico.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A damaged home in Yabucoa, Puerto Rico. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Puerto Rico, Mun explained, influential indie artists like Eduardo Alegría regularly get passed over for opportunities for mainstream acts. And while Mun has busily promoted ÌFÉ to the wider world, his bandmates on the island have seen their lives and income interrupted by the storms. “I don’t know what I can do personally, other than make sure the people that have chosen to work with this project have a future,” he says. “We have our work cut out for us.”\u003c/p>\n\u003cp>Independent artists in Puerto Rico often internalize the lopsided relationship between the island and the mainland, Mun explains, assuming they have to move to New York or Los Angeles if they want to build a successful career. “Artistic or brain drain was a problem in Puerto Rico before the hurricane,” he says. Now that musicians have lost several months of income to cancelled shows and recording delays, the pressure to leave is greater than ever.\u003c/p>\n\u003cfigure id=\"attachment_13827135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827135\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-800x533.jpg\" alt=\"Grafitti on the steps of a high school in San Juan reads, “Harvard University wants smart Puerto Ricans.” Out-migration of Puerto Ricans, or “brain drain,” is a long-standing problem that has been accelerated in the wake of Hurricane María. Independent artists are especially vulnerable since shows and recording studios have been slow to recover.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grafitti on the steps of a high school in San Juan reads, “Harvard University wants smart Puerto Ricans.” Out-migration of Puerto Ricans, or “brain drain,” is a long-standing problem that has been accelerated in the wake of Hurricane María. Independent artists are especially vulnerable since shows and recording studios have been slow to recover. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sofía Córdova, an interdisciplinary artist and musician born in Puerto Rico, has kept busy helping relief efforts from her home in Oakland. Her band XUXA SANTAMARIA donated the \u003ca href=\"https://www.instagram.com/p/Bcskv6Vj6G-/?taken-by=hi_res_mami\" target=\"_blank\" rel=\"noopener\">proceeds from a recent release\u003c/a> to the \u003ca href=\"https://www.fondoderesilienciapuertorico.org/donate/\" target=\"_blank\" rel=\"noopener\">Puerto Rico Resiliency Fund\u003c/a> and the \u003ca href=\"http://mariafund.org/\" target=\"_blank\" rel=\"noopener\">María Fund\u003c/a>. She says there’s a troubling imbalance in mainstream appetites for Puerto Rican artists like Luis Fonsi, Daddy Yankee, and Ozuna, showing most mainland residents’ poor understanding of the island. “The way the world consumes reggaetón and pop exports like ‘Despacito,’ for example, is to a degree that is totally incongruent with the dividends people back home get for their cultural labor,” she writes in an email to KQED Arts.\u003c/p>\n\u003cp>But Córdova also celebrates the success of “Despacito,” which dominated international charts even while the island struggled. “Encountering this song in its ubiquity post-hurricane has felt so different,” she admits. “Its fatuous lyrics and reductive production melted into something new and sparkly, something that united me, my island, and the diaspora in ways that are ineffable and like, very profound.”\u003c/p>\n\u003cfigure id=\"attachment_13827136\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827136\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-800x533.jpg\" alt=\"Oakland-based, Puerto Rican-born musician Sofía Córdova raised money for hurricane relief with her recent release. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based, Puerto Rican-born musician Sofía Córdova raised money for hurricane relief with her recent release. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Córdova, tenuous recovery efforts and general ignorance of the problems afflicting Puerto Rico stem from the colonial relationship between the island and the mainland U.S. “Americans do not want to reckon with their daily lives being built on colony just like they don’t want to reckon with their daily lives being built on slavery,” she says.\u003c/p>\n\u003cp>Ani Cordero echoes her assessment, criticizing the federal government’s delayed response to the crisis. “We’re being treated terribly as a colonized people,” she says.\u003c/p>\n\u003cp>But while Hurricanes Irma and María have brought significant challenges to Puerto Rico, some artists are optimistic that international attention to the crisis has created an opportunity for recognition. “There’s a light on Puerto Rico right now, because people are out here and the storm was brutal,” Otura Mun says. “The storm gives us some exposure that I think we didn’t have before, and the opportunity to realize that our voices are important and people do care what’s going on out here.”\u003c/p>\n\u003cfigure id=\"attachment_13827137\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827137\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-800x533.jpg\" alt=\"A mural in Santurce, a neighborhood of San Juan that serves as a hub for the independent music and arts scene.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural in Santurce, a neighborhood of San Juan that serves as a hub for the independent music and arts scene. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, many Puerto Ricans continue to wait for the lights to come back on. Six months after the storms, \u003ca href=\"https://www.npr.org/2018/03/07/591681107/6-months-after-hurricanes-11-percent-of-puerto-rico-is-still-without-power\" target=\"_blank\" rel=\"noopener\">11 percent of the island still has no power\u003c/a>, and the next hurricane season begins in June. Funding for recovery efforts is in limbo, too. The U.S. Treasury Department recently reduced a promised disaster relief loan, which still hasn’t been disbursed to the Puerto Rican government, from \u003ca href=\"https://www.cbsnews.com/news/puerto-rico-says-treasury-abruptly-cutting-4-7-billion-relief-loan-to-2-billion/\" target=\"_blank\" rel=\"noopener\">$4.7 billion to just $2 billion\u003c/a> without explanation.\u003c/p>\n\u003cp>Sadly, for Eduardo Alegría, none of this comes as a surprise. “It was really evident for a lot of us that we were gonna be hit with a lot of hardcore, cruel, insensitive measures, and that’s how it’s been.”\u003c/p>\n\u003cp>But even amid the crisis, María José Montijo believes there’s an opportunity for the people of Puerto Rico to rebuild their own communities in ways they see fit. Artists, she says, have a crucial role to play in this transformation.\u003c/p>\n\u003cp>“I really appreciate artists that have more visibility that are using their platforms to convey the messages that are going to make changes in people,” she says, “Changes that will affect us in creating a better and more just future.”\u003c/p>\n\u003cp>[ad floatright]\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Hurricane María hit Puerto Rico in late September, Eduardo Alegría was in his San Juan apartment with his roommate, two dogs, and some freaked out neighbors, anxiously preparing to ride out the storm.\u003c/p>\n\u003cp>“The expectation was one of the worst things,” recalls Alegría, who fronts the experimental pop outfit \u003ca href=\"https://soundcloud.com/alegriarampante/tracks\" target=\"_blank\" rel=\"noopener\">Alegría Rampante\u003c/a>, in a recent interview with KQED Arts. He’d remembered living through the destruction of Hurricane Georges, which struck the island in 1998. María was worse.\u003c/p>\n\u003cp>“This was much bigger. This was sort of like a monster hurricane,” he says, recalling how the storm’s destructive forces stripped away Puerto Rico’s lush foliage, brutally altering the landscape. “It looked like the island had been burned to a crisp.”\u003c/p>\n\u003cp>Somehow, Alegría’s building was spared, but the fear he felt that day stays with him, he says. “It’s still a nightmare,” Alegría admits. In Spanish, the word for hurricane is \u003cem>huracán\u003c/em>, but there’s another word for storm that locals use to describe María: \u003cem>tormenta\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13827124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-800x533.jpg\" alt=\"Residents of Aguada, Puerto Rico, stand in line for food aid at a FEMA distribution center on February 7, 2018. Local officials, including police, distribute supplies provided by FEMA once a week.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Residents of Aguada, Puerto Rico stand in line for food aid at a FEMA distribution center on February 7, 2018. Local officials, including police, distribute supplies provided by FEMA once a week. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Alegría and other underground artists in Puerto Rico, \u003ca href=\"https://www.treasury.gov/connect/blog/Documents/Puerto_Ricos_fiscal_challenges.pdf\" target=\"_blank\" rel=\"noopener\">recession and a contracting economy\u003c/a> were already making things more difficult by the time Hurricane María hit. Concerts were paying less, and none of the indie artists he knows could afford to have managers anymore. But now, Alegría says, “It’s always been hard, but it somehow feels harder. Can we even keep doing this?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Six months after the hurricane, Puerto Rico faces a staggering list of challenges: \u003ca href=\"https://www.nytimes.com/interactive/2016/business/dealbook/puerto-rico-debt-crisis-explained.html\" target=\"_blank\" rel=\"noopener\">governmental debt\u003c/a>, austerity measures, and what many call \u003ca href=\"http://nymag.com/daily/intelligencer/2018/02/trumps-failure-in-puerto-rico-was-even-worse-than-we-knew.html\" target=\"_blank\" rel=\"noopener\">inadequate support\u003c/a> from the Trump administration. But Puerto Ricans, both on the island and in the mainland U.S., have organized and supported one another. And independent musicians, though they face their own economic challenges, have been key to that effort.\u003c/p>\n\u003cp>Through fundraisers, awareness campaigns, and direct outreach, Puerto Rican artists like Alegría are working to build a brighter, more just future for the island.\u003c/p>\n\u003cfigure id=\"attachment_13827131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827131\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-800x533.jpg\" alt=\"): A toppled tree in Old San Juan that’s been painted with the Puerto Rican flag. Signs of storm damage are evident across the island, including the island’s capital.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A toppled tree in Old San Juan that’s been painted with the Puerto Rican flag. Signs of storm damage are evident across the island, including the island’s capital. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Grassroots Recovery\u003c/h2>\n\u003cp>When Oakland musician \u003ca href=\"https://mariajosemontijo.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">María José Montijo\u003c/a> returned to San Juan in January, she was shocked at how Hurricane María had changed her hometown.\u003c/p>\n\u003cp>“There’s a lot of pockets — even in the metropolitan area where things are a little bit more normalized — that don’t have electricity,” she recalls. Most of the traffic lights were still dead, causing confusion on the roads. “Driving is super insane and scary,” she adds.\u003c/p>\n\u003cp>A licensed acupuncturist and harp player, Montijo calls herself “a healer that makes music in her spare time.” Before her trip, she’d raised money and helped relief efforts from her Bay Area home; \u003ca href=\"https://www.kqed.org/arts/13813342/after-the-hurricane-a-puerto-rican-musician-uses-her-harp-to-heal\" target=\"_blank\" rel=\"noopener\">her concerts\u003c/a> brought in around $4,000 to buy critical supplies like water filters and solar lights. Once on the island, she volunteered with radical healthcare organizations like \u003ca href=\"https://www.facebook.com/saludacupunturapr/\" target=\"_blank\" rel=\"noopener\">Salud y Acupuntura Para el Pueblo\u003c/a>, which runs street clinics for community members.\u003c/p>\n\u003cfigure id=\"attachment_13827125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827125 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-800x422.jpg\" alt=\"Oakland musician María José Montijo administers acupuncture to hurricane survivors in Ponce, Puerto Rico. \" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-520x274.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland musician María José Montijo administers acupuncture to hurricane survivors in Ponce, Puerto Rico. \u003ccite>(Courtesy of María José Montijo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the surprises weren’t all bad, and Montijo was encouraged by the grassroots recovery efforts on the island. “Strangely enough, it was a great trip,” she says. “I felt very inspired by people coming together since day one to help each other out, because the help never came from the government.”\u003c/p>\n\u003cp>Montijo refers to federal and local recovery efforts widely criticized for their inadequacy and marred by scandal. In February, FEMA announced that it would end emergency food and water aid, then retracted the statement after receiving \u003ca href=\"https://www.npr.org/2018/01/31/582056547/lawmakers-respond-to-fema-puerto-rico-cutoff\" target=\"_blank\" rel=\"noopener\">pushback from lawmakers from both parties\u003c/a>. And Puerto Rican officials have been accused of \u003ca href=\"https://www.kqed.org/news/11650250/the-california-report-1860\" target=\"_blank\" rel=\"noopener\">intentionally causing delays\u003c/a> in the reconstruction of the island’s electrical grid so they can build the case for selling it off.\u003c/p>\n\u003cfigure id=\"attachment_13827126\" class=\"wp-caption alignright\" style=\"max-width: 695px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827126 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n.jpg\" alt=\"María José Montijo (center left) with bomba musicians La Familia Cepeda at a street festival in San Sebastián, Puerto Rico.\" width=\"695\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n.jpg 695w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-240x260.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-375x406.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-520x563.jpg 520w\" sizes=\"(max-width: 695px) 100vw, 695px\">\u003cfigcaption class=\"wp-caption-text\">María José Montijo (center left) with bomba musicians Jesus, Mario, and Carlos of La Familia Cepeda at Las Fiestas de la Calle San Sebastian, the Saint Sebastian Street Festival, in Old San Juan. \u003ccite>(Courtesy of María José Montijo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montijo joins a growing number of Puerto Rican-born indie musicians on the U.S. mainland who are helping the island in the face of government inaction. Among those is singer \u003ca href=\"https://www.anicordero.net/\" target=\"_blank\" rel=\"noopener\">Ani Cordero\u003c/a>, who helped spearhead an emergency relief fund from her home in Brooklyn. Along with Raquel Berrios of electronic indie duo \u003ca href=\"https://www.youtube.com/watch?v=OJ6WgRiqoO4\" target=\"_blank\" rel=\"noopener\">Buscabulla\u003c/a>, Cordero founded the \u003ca href=\"https://www.primafund.org/\" target=\"_blank\" rel=\"noopener\">PRIMA Fund\u003c/a>, which offers $500 emergency micro-grants to independent artists on the island.\u003c/p>\n\u003cp>In the storm’s immediate aftermath came a stressful two-week period when communication between the island and the mainland U.S. was completely cut off, Cordero remembers. “All the stateside Boricuas, we were not in touch with our families in a major way for the first time ever,” she says.\u003c/p>\n\u003cp>Once she regained contact, Cordero reached out to her friend Alfredo Richner, editor-in-chief for the arts and culture blog \u003ca href=\"http://puertoricoindie.com/\" target=\"_blank\" rel=\"noopener\">Puerto Rico Indie\u003c/a>. Richner told her that independent artists were struggling to make ends meet. “Within three weeks of the hurricane, people were packing their bags because all the gigs were cancelled, studios were closed, there was no income coming in,” she says.\u003c/p>\n\u003cp>For indie artists, even a temporary lapse of income can spell disaster, and the need for steady work drew many people to the mainland. But that pressure to leave is nothing new: Decades of out-migration have made the Puerto Rican diaspora larger than the population of Puerto Rico itself. (Approximately 5 million \u003cem>Puertorriqueñxs\u003c/em> live in the mainland U.S., according to a recent Pew study, compared to around 3.4 million on the island.) That imbalance is still growing as people continue to leave Puerto Rico in search of opportunity, with an estimated \u003ca href=\"http://www.jacksonville.com/business/metro/2018-01-02/florida-has-handled-nearly-300000-puerto-rican-refugees-hurricane-maria\" target=\"_blank\" rel=\"noopener\">300,000 people\u003c/a> flocking to Florida alone since Hurricane María.\u003c/p>\n\u003cfigure id=\"attachment_13827132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827132\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-800x533.jpg\" alt=\"An immobilized garbage truck at a beachside resort in Punta Santiago, Puerto Rico. Tourism, an important sector in the Puerto Rican economy, has been slow to recover in the wake of Hurricane María.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An immobilized garbage truck at a beachside resort in Punta Santiago, Puerto Rico. Tourism, an important sector in the Puerto Rican economy, has been slow to recover in the wake of Hurricane María. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for PRIMA Fund’s micro-grants, Cordero says she and her cofounder Raquel Berrios don’t intend them to be a cure-all — but they have been a boon for independent artists who were already struggling before the storm. “Five hundred dollars is not going to permanently change somebody’s life, but it’s rent for a lot of people, or groceries for a lot of people,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827134\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827134\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-800x533.jpg\" alt=\"An empty Health Department building on Avenida Juan Ponce de León in San Juan, photographed on February 12, 2018. Many buildings have been left empty in the capitol city due to the twin crises of the government debt crisis and natural disaster.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An empty Health Department building on Avenida Juan Ponce de León in San Juan, photographed on February 12, 2018. Many buildings have been left empty in the capitol city due to the twin crises of the government debt crisis and natural disaster. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the money itself, the true value of the PRIMA Fund lies in the encouragement it provides to the creative community, Cordero says. “That’s been the biggest gift of the fund, that somebody cares about the work that [these artists] are doing and values it and wants to support it,” she explains, adding that she hopes the fund will set the foundation for a more durable network for artists and their supporters.\u003c/p>\n\u003cp>“The diaspora has really risen up to the call of action and to support the self-organizing movement that’s happening in Puerto Rico,” says Montijo. “Out of need, because the aid is lacking.”\u003c/p>\n\u003ch2>‘We Have Our Work Cut Out For Us’\u003c/h2>\n\u003cp>On a balmy evening in February, Otura Mun takes a break from reassembling his home studio on a narrow street in San Juan to meet with KQED Arts. He lives in a low-slung house, its walls covered in crowded bookshelves, stacks of records, and images of the orichás, the spirits who make up the Yoruba pantheon of deities. Across the street, people spill out of an open-air bar blasting the latest reggaetón hits, interrupting the eerie quiet that still haunts many parts of the city.\u003c/p>\n\u003cp>Mun, who was born in Indiana but moved to Puerto Rico nineteen years ago, leads the Afro-Caribbean futurist ensemble \u003ca href=\"http://www.ife-music.com/\" target=\"_blank\" rel=\"noopener\">ÌFÉ\u003c/a>. In addition to being a DJ and percussionist, he’s a priest in the Yoruba faith, the Nigerian religion that combined with Catholicism and indigenous spiritual practices to create \u003cem>santería\u003c/em>, a tradition still widely practiced on the island. He was away from Puerto Rico when Hurricane María hit, raising money and booking international tour dates. A few days after returning, he got to work rebuilding his studio so that he and his bandmates could start rehearsing again.\u003c/p>\n\u003cfigure id=\"attachment_13827130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-800x533.jpg\" alt=\"A damaged home in Yabucoa, Puerto Rico.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A damaged home in Yabucoa, Puerto Rico. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Puerto Rico, Mun explained, influential indie artists like Eduardo Alegría regularly get passed over for opportunities for mainstream acts. And while Mun has busily promoted ÌFÉ to the wider world, his bandmates on the island have seen their lives and income interrupted by the storms. “I don’t know what I can do personally, other than make sure the people that have chosen to work with this project have a future,” he says. “We have our work cut out for us.”\u003c/p>\n\u003cp>Independent artists in Puerto Rico often internalize the lopsided relationship between the island and the mainland, Mun explains, assuming they have to move to New York or Los Angeles if they want to build a successful career. “Artistic or brain drain was a problem in Puerto Rico before the hurricane,” he says. Now that musicians have lost several months of income to cancelled shows and recording delays, the pressure to leave is greater than ever.\u003c/p>\n\u003cfigure id=\"attachment_13827135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827135\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-800x533.jpg\" alt=\"Grafitti on the steps of a high school in San Juan reads, “Harvard University wants smart Puerto Ricans.” Out-migration of Puerto Ricans, or “brain drain,” is a long-standing problem that has been accelerated in the wake of Hurricane María. Independent artists are especially vulnerable since shows and recording studios have been slow to recover.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grafitti on the steps of a high school in San Juan reads, “Harvard University wants smart Puerto Ricans.” Out-migration of Puerto Ricans, or “brain drain,” is a long-standing problem that has been accelerated in the wake of Hurricane María. Independent artists are especially vulnerable since shows and recording studios have been slow to recover. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sofía Córdova, an interdisciplinary artist and musician born in Puerto Rico, has kept busy helping relief efforts from her home in Oakland. Her band XUXA SANTAMARIA donated the \u003ca href=\"https://www.instagram.com/p/Bcskv6Vj6G-/?taken-by=hi_res_mami\" target=\"_blank\" rel=\"noopener\">proceeds from a recent release\u003c/a> to the \u003ca href=\"https://www.fondoderesilienciapuertorico.org/donate/\" target=\"_blank\" rel=\"noopener\">Puerto Rico Resiliency Fund\u003c/a> and the \u003ca href=\"http://mariafund.org/\" target=\"_blank\" rel=\"noopener\">María Fund\u003c/a>. She says there’s a troubling imbalance in mainstream appetites for Puerto Rican artists like Luis Fonsi, Daddy Yankee, and Ozuna, showing most mainland residents’ poor understanding of the island. “The way the world consumes reggaetón and pop exports like ‘Despacito,’ for example, is to a degree that is totally incongruent with the dividends people back home get for their cultural labor,” she writes in an email to KQED Arts.\u003c/p>\n\u003cp>But Córdova also celebrates the success of “Despacito,” which dominated international charts even while the island struggled. “Encountering this song in its ubiquity post-hurricane has felt so different,” she admits. “Its fatuous lyrics and reductive production melted into something new and sparkly, something that united me, my island, and the diaspora in ways that are ineffable and like, very profound.”\u003c/p>\n\u003cfigure id=\"attachment_13827136\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827136\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-800x533.jpg\" alt=\"Oakland-based, Puerto Rican-born musician Sofía Córdova raised money for hurricane relief with her recent release. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based, Puerto Rican-born musician Sofía Córdova raised money for hurricane relief with her recent release. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Córdova, tenuous recovery efforts and general ignorance of the problems afflicting Puerto Rico stem from the colonial relationship between the island and the mainland U.S. “Americans do not want to reckon with their daily lives being built on colony just like they don’t want to reckon with their daily lives being built on slavery,” she says.\u003c/p>\n\u003cp>Ani Cordero echoes her assessment, criticizing the federal government’s delayed response to the crisis. “We’re being treated terribly as a colonized people,” she says.\u003c/p>\n\u003cp>But while Hurricanes Irma and María have brought significant challenges to Puerto Rico, some artists are optimistic that international attention to the crisis has created an opportunity for recognition. “There’s a light on Puerto Rico right now, because people are out here and the storm was brutal,” Otura Mun says. “The storm gives us some exposure that I think we didn’t have before, and the opportunity to realize that our voices are important and people do care what’s going on out here.”\u003c/p>\n\u003cfigure id=\"attachment_13827137\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827137\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-800x533.jpg\" alt=\"A mural in Santurce, a neighborhood of San Juan that serves as a hub for the independent music and arts scene.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural in Santurce, a neighborhood of San Juan that serves as a hub for the independent music and arts scene. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, many Puerto Ricans continue to wait for the lights to come back on. Six months after the storms, \u003ca href=\"https://www.npr.org/2018/03/07/591681107/6-months-after-hurricanes-11-percent-of-puerto-rico-is-still-without-power\" target=\"_blank\" rel=\"noopener\">11 percent of the island still has no power\u003c/a>, and the next hurricane season begins in June. Funding for recovery efforts is in limbo, too. The U.S. Treasury Department recently reduced a promised disaster relief loan, which still hasn’t been disbursed to the Puerto Rican government, from \u003ca href=\"https://www.cbsnews.com/news/puerto-rico-says-treasury-abruptly-cutting-4-7-billion-relief-loan-to-2-billion/\" target=\"_blank\" rel=\"noopener\">$4.7 billion to just $2 billion\u003c/a> without explanation.\u003c/p>\n\u003cp>Sadly, for Eduardo Alegría, none of this comes as a surprise. “It was really evident for a lot of us that we were gonna be hit with a lot of hardcore, cruel, insensitive measures, and that’s how it’s been.”\u003c/p>\n\u003cp>But even amid the crisis, María José Montijo believes there’s an opportunity for the people of Puerto Rico to rebuild their own communities in ways they see fit. Artists, she says, have a crucial role to play in this transformation.\u003c/p>\n\u003cp>“I really appreciate artists that have more visibility that are using their platforms to convey the messages that are going to make changes in people,” she says, “Changes that will affect us in creating a better and more just future.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Bay Area-based duo behind the \u003ci>New York Times\u003c/i> best-selling \u003ci>Rad Women\u003c/i> books have announced the third installment in the series, \u003ci>\u003ca href=\"http://www.radgirlscan.com/buy/rad-girls-can/\" rel=\"noopener\" target=\"_blank\">Rad Girls Can\u003c/a>,\u003c/i> coming this summer.\u003c/p>\n\u003cfigure id=\"attachment_13827162\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz.jpg\" alt=\"Kate Schatz and Miriam Klein Stahl\" width=\"720\" height=\"960\" class=\"size-full wp-image-13827162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kate Schatz and Miriam Klein Stahl in 2018 \u003ccite>(Casey Orr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new illustrated book from author Kate Schatz and artist Miriam Klein Stahl continues the theme of the series’ previous titles: telling inspiring stories of accomplished women. In \u003cem>Rad Girls Can,\u003c/em> all of the profiles are about “incredible girls who’ve done great things before the age of 20,” according to Schatz.\u003c/p>\n\u003cp>“Some are from ancient history, some are now grown women, and many in the book are young women right now, in 2018, taking charge and leading the way in all kinds of fields,” Schatz said.\u003c/p>\n\u003cp>Schatz said that she and Stahl didn’t mean for their first book, 2015’s \u003ci>Rad American Women A to Z,\u003c/i> to kick off an entire series. A teacher and \u003ca href=\"http://www.kateschatz.com/\" rel=\"noopener\" target=\"_blank\">published author\u003c/a>, Schatz says she initially collaborated on the book with Stahl, \u003ca href=\"http://www.miriamkleinstahl.com/about\" rel=\"noopener\" target=\"_blank\">an artist\u003c/a> and co-founder of the Arts and Humanities Academy at Berkeley High School, because Schatz wanted a book about empowered women for her daughter to read. \u003c/p>\n\u003cp>“But after its unexpected success, we quickly realized that we were on to something,” Schatz said. “And that something is an ongoing desire for bold, honest, accessible books that celebrate diverse women and all they’ve done and can do.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Schatz and Stahl went on to publish the second in the series, \u003ci>Rad Women Worldwide,\u003c/i> the following year. It, too, became a bestseller. Last year, the pair released an illustrated journal called \u003ci>My Rad Life\u003c/i> that “encourages its owners to think, create, reflect, and explore their own radness.”\u003c/p>\n\u003cp>After the release of \u003ci>Rad Girls Can\u003c/i> in July, Schatz and Stahl say they plan to work on more books. There’s even hope that the series could be converted into a television show. \u003c/p>\n\u003cp>“That would be rad,” Schatz said. \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\u003cp>\u003cem>Schatz and Stahl celebrate the release of ‘Rad Girls Can’ at \u003ca href=\"http://www.laurelbookstore.com/\" rel=\"noopener\" target=\"_blank\">Laurel Book Store\u003c/a> in Oakland on July 17, and at \u003ca href=\"http://www.booksmith.com/\" rel=\"noopener\" target=\"_blank\">The Booksmith\u003c/a> in San Francisco on July 19. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘Rad Girls Can’ is \u003ca href=\"http://www.radgirlscan.com/buy/rad-girls-can/\" rel=\"noopener\" target=\"_blank\">released July 17\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area-based duo behind the \u003ci>New York Times\u003c/i> best-selling \u003ci>Rad Women\u003c/i> books have announced the third installment in the series, \u003ci>\u003ca href=\"http://www.radgirlscan.com/buy/rad-girls-can/\" rel=\"noopener\" target=\"_blank\">Rad Girls Can\u003c/a>,\u003c/i> coming this summer.\u003c/p>\n\u003cfigure id=\"attachment_13827162\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz.jpg\" alt=\"Kate Schatz and Miriam Klein Stahl\" width=\"720\" height=\"960\" class=\"size-full wp-image-13827162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Stahl-and-Shatz-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kate Schatz and Miriam Klein Stahl in 2018 \u003ccite>(Casey Orr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new illustrated book from author Kate Schatz and artist Miriam Klein Stahl continues the theme of the series’ previous titles: telling inspiring stories of accomplished women. In \u003cem>Rad Girls Can,\u003c/em> all of the profiles are about “incredible girls who’ve done great things before the age of 20,” according to Schatz.\u003c/p>\n\u003cp>“Some are from ancient history, some are now grown women, and many in the book are young women right now, in 2018, taking charge and leading the way in all kinds of fields,” Schatz said.\u003c/p>\n\u003cp>Schatz said that she and Stahl didn’t mean for their first book, 2015’s \u003ci>Rad American Women A to Z,\u003c/i> to kick off an entire series. A teacher and \u003ca href=\"http://www.kateschatz.com/\" rel=\"noopener\" target=\"_blank\">published author\u003c/a>, Schatz says she initially collaborated on the book with Stahl, \u003ca href=\"http://www.miriamkleinstahl.com/about\" rel=\"noopener\" target=\"_blank\">an artist\u003c/a> and co-founder of the Arts and Humanities Academy at Berkeley High School, because Schatz wanted a book about empowered women for her daughter to read. \u003c/p>\n\u003cp>“But after its unexpected success, we quickly realized that we were on to something,” Schatz said. “And that something is an ongoing desire for bold, honest, accessible books that celebrate diverse women and all they’ve done and can do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Schatz and Stahl went on to publish the second in the series, \u003ci>Rad Women Worldwide,\u003c/i> the following year. It, too, became a bestseller. Last year, the pair released an illustrated journal called \u003ci>My Rad Life\u003c/i> that “encourages its owners to think, create, reflect, and explore their own radness.”\u003c/p>\n\u003cp>After the release of \u003ci>Rad Girls Can\u003c/i> in July, Schatz and Stahl say they plan to work on more books. There’s even hope that the series could be converted into a television show. \u003c/p>\n\u003cp>“That would be rad,” Schatz said. \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\u003cp>\u003cem>Schatz and Stahl celebrate the release of ‘Rad Girls Can’ at \u003ca href=\"http://www.laurelbookstore.com/\" rel=\"noopener\" target=\"_blank\">Laurel Book Store\u003c/a> in Oakland on July 17, and at \u003ca href=\"http://www.booksmith.com/\" rel=\"noopener\" target=\"_blank\">The Booksmith\u003c/a> in San Francisco on July 19. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘Rad Girls Can’ is \u003ca href=\"http://www.radgirlscan.com/buy/rad-girls-can/\" rel=\"noopener\" target=\"_blank\">released July 17\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Craig Mack, Hit Rapper with 'Flava In Ya Ear,' Dead at 47",
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"content": "\u003cp>Craig Mack, the rapper best known for the classic ’90s single “Flava In Ya Ear,” has died. Richard Harvey of the Colleton County Coroner’s office confirmed to NPR Music that Mack died in his home near Walterboro, S.C., around 9 p.m. on March 12, of natural causes. He was 47.\u003c/p>\n\u003cp>Mack initially released \u003ca href=\"https://www.youtube.com/watch?v=vCn7nVOV4wM\" target=\"_blank\" rel=\"noopener\">music\u003c/a> under the moniker MC EZ in the late 1980s. But it was Mack’s Grammy-\u003ca href=\"https://www.grammy.com/grammys/artists/craig-mack\" target=\"_blank\" rel=\"noopener\">nominated\u003c/a>, platinum-\u003ca href=\"https://www.riaa.com/gold-platinum/?tab_active=default-award&se=craig+mack#search_section\" target=\"_blank\" rel=\"noopener\">selling\u003c/a> 1994 song “\u003ca href=\"https://www.youtube.com/watch?v=PMbELEUfmIA\" target=\"_blank\" rel=\"noopener\">Flava In Ya Ear\u003c/a>” that made his name. The song was the first single released by Sean Combs’ then-fledgling record label Bad Boy Entertainment. Propelled by the hit, Mack released his debut album, \u003cem>Project Funk da World, \u003c/em>in September, 1994 — another track from the record, “Get Down” also received gold certification, along with the album itself. After that success, Mack left Bad Boy to release his sophomore album, \u003cem>Operation: Get Down\u003c/em>, in 1997. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GNFqMx0gY7I\u003c/p>\n\u003cp>Mack subsequently retreated from music, maintaining a quiet life in South Carolina. There, Mack joined the Overcomer Ministry, a congregation led by \u003ca href=\"https://news.google.com/newspapers?id=TD8sAAAAIBAJ&sjid=tc4EAAAAIBAJ&pg=5774,4735557&dq=brother+stair&hl=en\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a> evangelist \u003ca href=\"http://blackchristiannews.com/2017/12/south-carolina-radio-evangelist-r-g-stair-arrested-following-sex-assault-allegations-amid-ongoing-fbi-probe/\" target=\"_blank\" rel=\"noopener\">Ralph Gordon Stair\u003c/a>, who was \u003ca href=\"https://www.postandcourier.com/news/women-at-south-carolina-religious-compound-say-preacher-sexually-assaulted/article_6aeb443e-da86-11e7-bf7a-2779c1133934.html\" target=\"_blank\" rel=\"noopener\">charged this past December\u003c/a> with a litany of offenses, including three counts of criminal sexual conduct. A \u003ca href=\"https://www.youtube.com/watch?v=dR1IEw-a7Qw&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">video\u003c/a> which surfaced around 2012 shows Stair beginning an introduction by proclaiming: “Crack Mack is dead! We have somebody who \u003cem>used\u003c/em>\u003cstrong> \u003c/strong>to be Craig Mack — and he didn’t join [our church], God joined \u003cem>him.”\u003c/em> Afterwards, Mack addresses the congregation, responding to Stair’s question of what he used to “do” out in the world by answering: “Wickedness.”\u003c/p>\n\u003cp>Easy Mo Bee, the producer behind “Flava In Ya Ear,” shared on social media that he last talked to the rapper on the phone about three months ago. Bee wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Most of the call was me trying to persuade him to start making music again. He felt like after giving his life to God that maybe he shouldn’t rap again,” Easy Mo Bee \u003ca href=\"https://www.instagram.com/p/BgQO4j8HRfI/\">wrote\u003c/a> on Instagram. “I begged him and explained to him that he had every right to still praise God through his music. I told him that as long as it was genuine and not a blasphemous gimmick, he could still reach souls and spread his message. Finally, he gave in and said ‘Ok Mo Bee, i’ll do it.’ I sent him 5 or 6 tracks and then I never heard back from him. I made a follow-up call and still no Craig. Maybe he knew he was about to die but just didn’t want to tell me … I pray that today he has finally made it into the Kingdom Of Heaven because that’s all that mattered to him.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Craig+Mack%2C+Hit+Rapper+With+%27Flava+In+Ya+Ear%2C%27+Dead+At+47&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Craig Mack, the rapper best known for the classic ’90s single “Flava In Ya Ear,” has died. Richard Harvey of the Colleton County Coroner’s office confirmed to NPR Music that Mack died in his home near Walterboro, S.C., around 9 p.m. on March 12, of natural causes. He was 47.\u003c/p>\n\u003cp>Mack initially released \u003ca href=\"https://www.youtube.com/watch?v=vCn7nVOV4wM\" target=\"_blank\" rel=\"noopener\">music\u003c/a> under the moniker MC EZ in the late 1980s. But it was Mack’s Grammy-\u003ca href=\"https://www.grammy.com/grammys/artists/craig-mack\" target=\"_blank\" rel=\"noopener\">nominated\u003c/a>, platinum-\u003ca href=\"https://www.riaa.com/gold-platinum/?tab_active=default-award&se=craig+mack#search_section\" target=\"_blank\" rel=\"noopener\">selling\u003c/a> 1994 song “\u003ca href=\"https://www.youtube.com/watch?v=PMbELEUfmIA\" target=\"_blank\" rel=\"noopener\">Flava In Ya Ear\u003c/a>” that made his name. The song was the first single released by Sean Combs’ then-fledgling record label Bad Boy Entertainment. Propelled by the hit, Mack released his debut album, \u003cem>Project Funk da World, \u003c/em>in September, 1994 — another track from the record, “Get Down” also received gold certification, along with the album itself. After that success, Mack left Bad Boy to release his sophomore album, \u003cem>Operation: Get Down\u003c/em>, in 1997. \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/GNFqMx0gY7I'\n title='//www.youtube.com/embed/GNFqMx0gY7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mack subsequently retreated from music, maintaining a quiet life in South Carolina. There, Mack joined the Overcomer Ministry, a congregation led by \u003ca href=\"https://news.google.com/newspapers?id=TD8sAAAAIBAJ&sjid=tc4EAAAAIBAJ&pg=5774,4735557&dq=brother+stair&hl=en\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a> evangelist \u003ca href=\"http://blackchristiannews.com/2017/12/south-carolina-radio-evangelist-r-g-stair-arrested-following-sex-assault-allegations-amid-ongoing-fbi-probe/\" target=\"_blank\" rel=\"noopener\">Ralph Gordon Stair\u003c/a>, who was \u003ca href=\"https://www.postandcourier.com/news/women-at-south-carolina-religious-compound-say-preacher-sexually-assaulted/article_6aeb443e-da86-11e7-bf7a-2779c1133934.html\" target=\"_blank\" rel=\"noopener\">charged this past December\u003c/a> with a litany of offenses, including three counts of criminal sexual conduct. A \u003ca href=\"https://www.youtube.com/watch?v=dR1IEw-a7Qw&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">video\u003c/a> which surfaced around 2012 shows Stair beginning an introduction by proclaiming: “Crack Mack is dead! We have somebody who \u003cem>used\u003c/em>\u003cstrong> \u003c/strong>to be Craig Mack — and he didn’t join [our church], God joined \u003cem>him.”\u003c/em> Afterwards, Mack addresses the congregation, responding to Stair’s question of what he used to “do” out in the world by answering: “Wickedness.”\u003c/p>\n\u003cp>Easy Mo Bee, the producer behind “Flava In Ya Ear,” shared on social media that he last talked to the rapper on the phone about three months ago. Bee wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Most of the call was me trying to persuade him to start making music again. He felt like after giving his life to God that maybe he shouldn’t rap again,” Easy Mo Bee \u003ca href=\"https://www.instagram.com/p/BgQO4j8HRfI/\">wrote\u003c/a> on Instagram. “I begged him and explained to him that he had every right to still praise God through his music. I told him that as long as it was genuine and not a blasphemous gimmick, he could still reach souls and spread his message. Finally, he gave in and said ‘Ok Mo Bee, i’ll do it.’ I sent him 5 or 6 tracks and then I never heard back from him. I made a follow-up call and still no Craig. Maybe he knew he was about to die but just didn’t want to tell me … I pray that today he has finally made it into the Kingdom Of Heaven because that’s all that mattered to him.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Craig+Mack%2C+Hit+Rapper+With+%27Flava+In+Ya+Ear%2C%27+Dead+At+47&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nothing Beyoncé and Jay-Z do is an accident. After Bey’s audiovisual album \u003cem>Lemonade\u003c/em> sparked rumors of Jay-Z cheating in 2016, fans were left to wonder about the state of their favorite power couple’s marriage. Jay clued them in with last year’s \u003cem>4:44\u003c/em>, a hyper-confessional release that detailed his struggles with infidelity and how the couple overcame them.\u003c/p>\n\u003cp>Both albums topped charts and left fans and critics wanting more. But other than in song, Beyoncé and Jay-Z famously remained tight-lipped about their personal business, leaving fans desperately analyzing every public appearance and Instagram post.\u003c/p>\n\u003cp>Now, the saga’s next chapter plays out on Beyoncé and Jay-Z’s just-announced On the Run Tour II, or ‘\u003ca href=\"https://www1.ticketmaster.com/jayz-and-beyonce-otr-ii-santa-clara-california-09-29-2018/event/1C0054688C6B43AF?artistid=781009&\" target=\"_blank\" rel=\"noopener\">OTRII\u003c/a>,’ whose title nods at the couple’s On the Run tour from 2014.\u003c/p>\n\u003cp>https://youtu.be/uouJWnfCjeo\u003c/p>\n\u003cp>OTRII hits Levi’s Stadium in Santa Clara on \u003ca href=\"https://www1.ticketmaster.com/jayz-and-beyonce-otr-ii-santa-clara-california-09-29-2018/event/1C0054688C6B43AF?artistid=781009&\" target=\"_blank\" rel=\"noopener\">Sept. 29\u003c/a>, and there are a few ways to get tickets before they go on sale to the general public on Mar. 19. On Mar. 14, there’s a Beyhive fan presale at 9am; you can register for it \u003ca href=\"https://www.beyonce.com/presale/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Ticketmaster’s Official Platinum and VIP presales start on Mar. 14 at 9am also.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Citi Cardmember presale starts on Mar. 14 at noon (you must purchase tickets with a Citi card), and Live Nation has a presale on their app and website on Mar. 16 at 9am with the code “ENCORE.”\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nothing Beyoncé and Jay-Z do is an accident. After Bey’s audiovisual album \u003cem>Lemonade\u003c/em> sparked rumors of Jay-Z cheating in 2016, fans were left to wonder about the state of their favorite power couple’s marriage. Jay clued them in with last year’s \u003cem>4:44\u003c/em>, a hyper-confessional release that detailed his struggles with infidelity and how the couple overcame them.\u003c/p>\n\u003cp>Both albums topped charts and left fans and critics wanting more. But other than in song, Beyoncé and Jay-Z famously remained tight-lipped about their personal business, leaving fans desperately analyzing every public appearance and Instagram post.\u003c/p>\n\u003cp>Now, the saga’s next chapter plays out on Beyoncé and Jay-Z’s just-announced On the Run Tour II, or ‘\u003ca href=\"https://www1.ticketmaster.com/jayz-and-beyonce-otr-ii-santa-clara-california-09-29-2018/event/1C0054688C6B43AF?artistid=781009&\" target=\"_blank\" rel=\"noopener\">OTRII\u003c/a>,’ whose title nods at the couple’s On the Run tour from 2014.\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/uouJWnfCjeo'\n title='//www.youtube.com/embed/uouJWnfCjeo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>OTRII hits Levi’s Stadium in Santa Clara on \u003ca href=\"https://www1.ticketmaster.com/jayz-and-beyonce-otr-ii-santa-clara-california-09-29-2018/event/1C0054688C6B43AF?artistid=781009&\" target=\"_blank\" rel=\"noopener\">Sept. 29\u003c/a>, and there are a few ways to get tickets before they go on sale to the general public on Mar. 19. On Mar. 14, there’s a Beyhive fan presale at 9am; you can register for it \u003ca href=\"https://www.beyonce.com/presale/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Ticketmaster’s Official Platinum and VIP presales start on Mar. 14 at 9am also.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "An Indigenous Language is Stayin' Alive in a Karaoke Contest",
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"content": "\u003cp>If you were a teenage girl in 1997 you’d probably recognize the song “Everybody” by the Backstreet Boys. But if you heard it in the Salish language, would you still be able to sing along?\u003c/p>\n\u003cp>Keegan Heron can. He translated the song into Salish and performed it this week for the annual Salish Karaoke contest in Spokane, Wash. He’s only been studying the indigenous language for about nine months.\u003c/p>\n\u003cp>“There’s a lot of words that I didn’t know two weeks ago,” he says. \u003c/p>\n\u003cp>Heron teaches preschool on the Flathead Indian Reservation in Montana. \u003c/p>\n\u003cp>“I work with 4 and 5-year-olds,” he says. “I’m trying to teach them Salish, and so I need to learn first before I can teach them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the end of his karaoke routine Heron was confidently dancing his way across the front of the stage, waving his arms and shouting, “everybody dance!” in Salish to an audience of at least 500 people. (He won second place.)\u003c/p>\n\u003cp>Salish is considered “critically endangered” by the United Nations Educational, Scientific and Cultural Organization.\u003c/p>\n\u003cp>Two-hundred and fifty years ago, thousands of indigenous people spoke a dialect of Salish. Today, in the part of the Northwest from about Spokane to Missoula, around 300 to 400 people speak it fluently.\u003c/p>\n\u003cp>Natalia Garza wants to become one of them. She took third place for her Salish performance of “Dreams,” by Fleetwood Mac. Garza moved to Washington state from Mexico and decided to learn Salish three years ago. \u003c/p>\n\u003cp>“It’s not something that you learn in books,” Garza says. “It does not stay in a classroom.”\u003c/p>\n\u003cp>In the 1870s, Native American children were forced into boarding schools, where they could only speak English. Elders fluent in Salish passed away and there were fewer and fewer people speaking it.\u003c/p>\n\u003cp>To a newbie, Salish seems complicated. It has many new letters; one looks like an upside down “w,” and there are lots of apostrophes. Speakers have to close parts of their throats and move their mouth and lips to make certain sounds. To win the karaoke contest — like the ensemble who performed “My Girl” — you have to show off those skills.\u003c/p>\n\u003cp>Grahm Wiley-Camacho has been speaking a dialect of Salish since childhood — he learned at home from his mother — and now he teaches Salish full time in Spokane. He’s judged the karaoke contest in the past and says it has a specific scoring rubric.\u003c/p>\n\u003cp>“There’s audience response and the showmanship piece of it, and then there’s your singing ability,” he says. “Then the fourth category is how much language did you use; how complex was your language?”\u003c/p>\n\u003cp>As a full-time teacher, Wiley-Camacho uses singing in his classroom to give students more confidence and a wider vocabulary. Eventually some of those students might find their way to the stage on karaoke night. \u003c/p>\n\u003cp>For almost a decade, contest organizer JR Bluff has been up there. This year he dressed as Elvis, and he swung his hips just like the music legend, to the sound of “Hound Dog.”\u003c/p>\n\u003cp>Bluff is a member of the Kalispel tribe and runs its language program. For him, celebrating good times — and the Salish language — are at the heart of the karaoke contest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s fun to be crazy, but to me it’s celebrating,” he smiled. “We’re celebrating, we’re speaking it. It’s fun.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Northwest News Network. To see more, visit \u003ca href=\"http://www.nwnewsnetwork.org/\">Northwest News Network\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Indigenous+Language+Is+Stayin%27+Alive+In+A+Karaoke+Contest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were a teenage girl in 1997 you’d probably recognize the song “Everybody” by the Backstreet Boys. But if you heard it in the Salish language, would you still be able to sing along?\u003c/p>\n\u003cp>Keegan Heron can. He translated the song into Salish and performed it this week for the annual Salish Karaoke contest in Spokane, Wash. He’s only been studying the indigenous language for about nine months.\u003c/p>\n\u003cp>“There’s a lot of words that I didn’t know two weeks ago,” he says. \u003c/p>\n\u003cp>Heron teaches preschool on the Flathead Indian Reservation in Montana. \u003c/p>\n\u003cp>“I work with 4 and 5-year-olds,” he says. “I’m trying to teach them Salish, and so I need to learn first before I can teach them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the end of his karaoke routine Heron was confidently dancing his way across the front of the stage, waving his arms and shouting, “everybody dance!” in Salish to an audience of at least 500 people. (He won second place.)\u003c/p>\n\u003cp>Salish is considered “critically endangered” by the United Nations Educational, Scientific and Cultural Organization.\u003c/p>\n\u003cp>Two-hundred and fifty years ago, thousands of indigenous people spoke a dialect of Salish. Today, in the part of the Northwest from about Spokane to Missoula, around 300 to 400 people speak it fluently.\u003c/p>\n\u003cp>Natalia Garza wants to become one of them. She took third place for her Salish performance of “Dreams,” by Fleetwood Mac. Garza moved to Washington state from Mexico and decided to learn Salish three years ago. \u003c/p>\n\u003cp>“It’s not something that you learn in books,” Garza says. “It does not stay in a classroom.”\u003c/p>\n\u003cp>In the 1870s, Native American children were forced into boarding schools, where they could only speak English. Elders fluent in Salish passed away and there were fewer and fewer people speaking it.\u003c/p>\n\u003cp>To a newbie, Salish seems complicated. It has many new letters; one looks like an upside down “w,” and there are lots of apostrophes. Speakers have to close parts of their throats and move their mouth and lips to make certain sounds. To win the karaoke contest — like the ensemble who performed “My Girl” — you have to show off those skills.\u003c/p>\n\u003cp>Grahm Wiley-Camacho has been speaking a dialect of Salish since childhood — he learned at home from his mother — and now he teaches Salish full time in Spokane. He’s judged the karaoke contest in the past and says it has a specific scoring rubric.\u003c/p>\n\u003cp>“There’s audience response and the showmanship piece of it, and then there’s your singing ability,” he says. “Then the fourth category is how much language did you use; how complex was your language?”\u003c/p>\n\u003cp>As a full-time teacher, Wiley-Camacho uses singing in his classroom to give students more confidence and a wider vocabulary. Eventually some of those students might find their way to the stage on karaoke night. \u003c/p>\n\u003cp>For almost a decade, contest organizer JR Bluff has been up there. This year he dressed as Elvis, and he swung his hips just like the music legend, to the sound of “Hound Dog.”\u003c/p>\n\u003cp>Bluff is a member of the Kalispel tribe and runs its language program. For him, celebrating good times — and the Salish language — are at the heart of the karaoke contest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s fun to be crazy, but to me it’s celebrating,” he smiled. “We’re celebrating, we’re speaking it. It’s fun.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Northwest News Network. To see more, visit \u003ca href=\"http://www.nwnewsnetwork.org/\">Northwest News Network\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Indigenous+Language+Is+Stayin%27+Alive+In+A+Karaoke+Contest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Broadcasting to You Live From San Jose!' Early Radio History and Design on View at SFO",
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"content": "\u003cp>A new exhibit opens this weekend at SFO’s Terminal 3 that’s all about \u003ci>ray-dee-ohs\u003c/i>.\u003c/p>\n\u003cp>You’ve probably seen old-timey radios before, but this selection, called \u003ca href=\"https://www.flysfo.com/museum/exhibitions/radio\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Radio\u003c/em>\u003c/a>, goes all the way back to the days when hobbyists tuned in with crystal headsets they built themselves to communicate over what they called the “wireless telephone.”\u003c/p>\n\u003cp>Daniel Calderon, who curated the exhibit at SFO, says it’s hard to imagine just how exciting the technology was when it first began to emerge around the turn of the last century.\u003c/p>\n\u003cp>Initially, wireless communication was ship to ship, or business to business, in Morse Code. Then, inventors began to develop ways to transmit the human voice and music.\u003c/p>\n\u003cfigure id=\"attachment_13826883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-800x718.jpg\" alt=\"The Model 21 “Minuette” c 1932 from the Remler Company Ltd. of San Francisco. Radio went mainstream in the United States during the 1930s, as most households became electrified and mass production made radios more affordable. Programming options exploded, and people turned to radio as their preferred source of news and entertainment.\" width=\"800\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-768x689.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-1020x915.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-1180x1058.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-960x861.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-240x215.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-375x336.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-520x466.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Model 21 “Minuette” c 1932 from the Remler Company Ltd. of San Francisco. Radio went mainstream in the United States during the 1930s, as most households became electrified and mass production made radios more affordable. Programming options exploded, and people turned to radio as their preferred source of news and entertainment. \u003ccite>(Photo: Courtesy of the SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who had the engineering savvy to build a receiver were thrilled. “It was very experimental, for people who were excited just to pick up \u003cem>something\u003c/em> on the air,” Calderon says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During his research for the exhibition, Calderon was surprised to learn about a substantial local connection: Charles “Doc” Herrold of San Jose, who began experimenting with radio transmissions as early as 1909. He started the Herrold College of Wireless and Engineering in downtown San Jose. In 1912, Herrold began regular radio broadcasts on a weekly basis.\u003c/p>\n\u003cp>Here’s a comprehensive documentary about Herrold’s trajectory, courtesy of \u003ca href=\"http://www.sjsu.edu/people/mike.adams/\" target=\"_blank\" rel=\"noopener\">Mike Adams\u003c/a>, an emeritus professor at San Jose State University.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=5nIVv_2cGaQ]\u003c/p>\n\u003cp>One of Herrold’s first DJs was his wife Sybil, who began spinning phonograph records she loaned out from a local shop happy to get the free advertising.\u003c/p>\n\u003cp>In a \u003ca href=\"https://archive.org/details/casjhsj_000143\" target=\"_blank\" rel=\"noopener\">1959 interview\u003c/a> with San Jose State professor Gordon Grebs, she recounted how she spun “up-to-date” records on her phonograph. Her listeners, mostly boys of high school age, would run down to their local music store “the next day, and be sure to buy that [song] they heard on the radio the night before. I would call out and tell them that this was KQW calling and that this was their Wednesday night program.”\u003c/p>\n\u003cp>She’s blurring her dates a bit there, as the Herrolds didn’t get a license for KQW until federal regulators required the adoption of this randomly assigned call sign in 1921. In the 1940s, CBS purchased KQW and moved it to San Francisco, eventually changing the call letters to KCBS.\u003c/p>\n\u003cfigure id=\"attachment_13826884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13826884 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-800x604.jpg\" alt=\"Today, if you come to the spot where KQW used to broadcast in downtown San Jose, there are three plaques outside the building, including this one. 50 W. San Fernando Street, by the way, is now home to KQED’s San Jose bureau.\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-1180x891.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-960x725.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Today, if you come to the spot where KQW used to broadcast in downtown San Jose, there are three plaques outside the building, including this one. 50 W. San Fernando Street, by the way, is now home to KQED’s San Jose bureau. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[contextly_sidebar id=”qETsF3fPqpO1QaKo6AczIkWMKW49UimT”]If you visit Terminal 3, you won’t find recordings of KQW. For one thing, radio was live only until recording technology made it possible to \u003ca href=\"https://www.kqed.org/arts/12198994/how-bing-crosby-and-silicon-valley-revolutionized-radio-and-tv\" target=\"_blank\" rel=\"noopener\">play from tape\u003c/a> during World War II, so very few recordings of radio before then exist.\u003c/p>\n\u003cp>But the designs of the radios themselves still evoke the enthusiasm for radio and the modern spirit it embodied in the 20th century.\u003c/p>\n\u003cp>“In the 30s, you start to get these wonderful design elements. You’ve got art deco, industrial design,” Calderon muses. His exhibition highlights more than sixty years of radio design, from the crystal sets of the 1910s to the pocket-sized transistors of the 1970s.\u003c/p>\n\u003cp>His favorites? Aside from the crystal sets, he’s especially partial to the radios designed by Charles and Ray Eames, the ground-breaking husband-and-wife team from Venice, California.\u003c/p>\n\u003cp>“One of the projects that kept them afloat while they were starting to get into furniture production was radio case design,” says Calderon. Look at that. It’s a delightful example of mid-century design. No, they don’t make radios that one anymore…\u003c/p>\n\u003cfigure id=\"attachment_13826885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-800x589.jpg\" alt=\"Model 160 c1946. The case was designed by Charles Eames. Mid-century designers experimented with materials perfected during the Second World War such as aluminum, Plexiglas, plastic, and molded plywood. Charles and Ray Eames designed radio cabinets for companies like Zenith, Emerson, and Bendix.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-1180x869.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-375x276.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-520x383.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Model 160 c1946. The case was designed by Charles Eames. Mid-century designers experimented with materials perfected during the Second World War such as aluminum, Plexiglas, plastic, and molded plywood. Charles and Ray Eames designed radio cabinets for companies like Zenith, Emerson, and Bendix. \u003ccite>(Photo: Courtesy of SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>On the Radio\u003cem> is up at SFO’s Terminal 3 through September 31st, 2018. For more information, click \u003ca href=\"https://www.flysfo.com/museum/exhibitions/radio\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'Broadcasting to You Live From San Jose!' Early Radio History and Design on View at SFO | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new exhibit opens this weekend at SFO’s Terminal 3 that’s all about \u003ci>ray-dee-ohs\u003c/i>.\u003c/p>\n\u003cp>You’ve probably seen old-timey radios before, but this selection, called \u003ca href=\"https://www.flysfo.com/museum/exhibitions/radio\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Radio\u003c/em>\u003c/a>, goes all the way back to the days when hobbyists tuned in with crystal headsets they built themselves to communicate over what they called the “wireless telephone.”\u003c/p>\n\u003cp>Daniel Calderon, who curated the exhibit at SFO, says it’s hard to imagine just how exciting the technology was when it first began to emerge around the turn of the last century.\u003c/p>\n\u003cp>Initially, wireless communication was ship to ship, or business to business, in Morse Code. Then, inventors began to develop ways to transmit the human voice and music.\u003c/p>\n\u003cfigure id=\"attachment_13826883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-800x718.jpg\" alt=\"The Model 21 “Minuette” c 1932 from the Remler Company Ltd. of San Francisco. Radio went mainstream in the United States during the 1930s, as most households became electrified and mass production made radios more affordable. Programming options exploded, and people turned to radio as their preferred source of news and entertainment.\" width=\"800\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-768x689.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-1020x915.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-1180x1058.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-960x861.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-240x215.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-375x336.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-520x466.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Model 21 “Minuette” c 1932 from the Remler Company Ltd. of San Francisco. Radio went mainstream in the United States during the 1930s, as most households became electrified and mass production made radios more affordable. Programming options exploded, and people turned to radio as their preferred source of news and entertainment. \u003ccite>(Photo: Courtesy of the SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who had the engineering savvy to build a receiver were thrilled. “It was very experimental, for people who were excited just to pick up \u003cem>something\u003c/em> on the air,” Calderon says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During his research for the exhibition, Calderon was surprised to learn about a substantial local connection: Charles “Doc” Herrold of San Jose, who began experimenting with radio transmissions as early as 1909. He started the Herrold College of Wireless and Engineering in downtown San Jose. In 1912, Herrold began regular radio broadcasts on a weekly basis.\u003c/p>\n\u003cp>Here’s a comprehensive documentary about Herrold’s trajectory, courtesy of \u003ca href=\"http://www.sjsu.edu/people/mike.adams/\" target=\"_blank\" rel=\"noopener\">Mike Adams\u003c/a>, an emeritus professor at San Jose State University.\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/5nIVv_2cGaQ'\n title='//www.youtube.com/embed/5nIVv_2cGaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of Herrold’s first DJs was his wife Sybil, who began spinning phonograph records she loaned out from a local shop happy to get the free advertising.\u003c/p>\n\u003cp>In a \u003ca href=\"https://archive.org/details/casjhsj_000143\" target=\"_blank\" rel=\"noopener\">1959 interview\u003c/a> with San Jose State professor Gordon Grebs, she recounted how she spun “up-to-date” records on her phonograph. Her listeners, mostly boys of high school age, would run down to their local music store “the next day, and be sure to buy that [song] they heard on the radio the night before. I would call out and tell them that this was KQW calling and that this was their Wednesday night program.”\u003c/p>\n\u003cp>She’s blurring her dates a bit there, as the Herrolds didn’t get a license for KQW until federal regulators required the adoption of this randomly assigned call sign in 1921. In the 1940s, CBS purchased KQW and moved it to San Francisco, eventually changing the call letters to KCBS.\u003c/p>\n\u003cfigure id=\"attachment_13826884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13826884 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-800x604.jpg\" alt=\"Today, if you come to the spot where KQW used to broadcast in downtown San Jose, there are three plaques outside the building, including this one. 50 W. San Fernando Street, by the way, is now home to KQED’s San Jose bureau.\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-1180x891.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-960x725.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Today, if you come to the spot where KQW used to broadcast in downtown San Jose, there are three plaques outside the building, including this one. 50 W. San Fernando Street, by the way, is now home to KQED’s San Jose bureau. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>If you visit Terminal 3, you won’t find recordings of KQW. For one thing, radio was live only until recording technology made it possible to \u003ca href=\"https://www.kqed.org/arts/12198994/how-bing-crosby-and-silicon-valley-revolutionized-radio-and-tv\" target=\"_blank\" rel=\"noopener\">play from tape\u003c/a> during World War II, so very few recordings of radio before then exist.\u003c/p>\n\u003cp>But the designs of the radios themselves still evoke the enthusiasm for radio and the modern spirit it embodied in the 20th century.\u003c/p>\n\u003cp>“In the 30s, you start to get these wonderful design elements. You’ve got art deco, industrial design,” Calderon muses. His exhibition highlights more than sixty years of radio design, from the crystal sets of the 1910s to the pocket-sized transistors of the 1970s.\u003c/p>\n\u003cp>His favorites? Aside from the crystal sets, he’s especially partial to the radios designed by Charles and Ray Eames, the ground-breaking husband-and-wife team from Venice, California.\u003c/p>\n\u003cp>“One of the projects that kept them afloat while they were starting to get into furniture production was radio case design,” says Calderon. Look at that. It’s a delightful example of mid-century design. No, they don’t make radios that one anymore…\u003c/p>\n\u003cfigure id=\"attachment_13826885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-800x589.jpg\" alt=\"Model 160 c1946. The case was designed by Charles Eames. Mid-century designers experimented with materials perfected during the Second World War such as aluminum, Plexiglas, plastic, and molded plywood. Charles and Ray Eames designed radio cabinets for companies like Zenith, Emerson, and Bendix.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-1180x869.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-375x276.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-520x383.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Model 160 c1946. The case was designed by Charles Eames. Mid-century designers experimented with materials perfected during the Second World War such as aluminum, Plexiglas, plastic, and molded plywood. Charles and Ray Eames designed radio cabinets for companies like Zenith, Emerson, and Bendix. \u003ccite>(Photo: Courtesy of SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>On the Radio\u003cem> is up at SFO’s Terminal 3 through September 31st, 2018. For more information, click \u003ca href=\"https://www.flysfo.com/museum/exhibitions/radio\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The cartoonist who created Pepe the Frog has resolved a copyright infringement lawsuit that accused a Missouri woman of misusing the character to sell hate-promoting oil paintings.\u003c/p>\n\u003cp>The settlement is the latest milestone in California-based cartoonist Matt Furie’s legal campaign to reclaim his creation from far-right extremists who hijacked Pepe, mixing images of Furie’s “chill frog-dude” with Nazi symbols and other hateful imagery. On Monday, Furie sued conspiracy-promoting website Infowars for selling a poster that included an image of Pepe.\u003c/p>\n\u003cp>A court filing Friday says Furie and Kansas City resident Jessica Logsdon agreed to the dismissal of the federal lawsuit he filed against her in October. Each side is bearing their own legal expenses.\u003c/p>\n\u003cp>Furie isn’t seeking any money from Logsdon, who agreed to stop using Pepe’s image, according to a statement released by one of Furie’s attorneys. Logsdon didn’t immediately respond to a phone call or email seeking comment.\u003c/p>\n\u003cp>The statement says Logsdon admits she inadvertently and unintentionally infringed on Furie’s copyrights. It adds that Logsdon disavows any association with the “alt-right,” a white nationalist, anti-Semitic fringe movement that adopted Pepe as a mascot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As a political artist, Logsdon documented the 2016 election. Logsdon maintains that she creates artwork that promotes unity and laughter, the exact opposite of hate and violence,” the statement says.\u003c/p>\n\u003cp>Furie, however, viewed her artwork as misappropriation of Pepe’s likeness to promote hate and violence. One of her paintings, called “Antifa,” depicted a masked Pepe holding a rifle in front of what appears to be the White House, the lawsuit says. Another of her paintings, entitled “Pepe Patrol,” included an image of Pepe pointing a gun over a wall labeled “U.S. Border,” according to the lawsuit.\u003c/p>\n\u003cp>“Despite Furie’s efforts, individuals like Logsdon have misused Furie’s Pepe character and copied Pepe images for use in dozens of images sold online to promote the violent and hateful messages espoused by the alt-right fringe groups,” the suit says.\u003c/p>\n\u003cp>Furie’s character debuted in a 2006 comic book called “Boy’s Club” and became a popular canvas for benevolent internet memes. But the user-generated mutations grew increasingly hateful and ubiquitous more than a year before the 2016 presidential election.\u003c/p>\n\u003cp>The Anti-Defamation League branded Pepe as a hate symbol in September 2016 and promoted Furie’s efforts to reclaim the character.\u003c/p>\n\u003cp>Furie’s copyright infringement lawsuit against Infowars is the second such case he has filed.\u003c/p>\n\u003cp>Infowars’ website is the online platform for right-wing radio host and conspiracy theorist Alex Jones. Furie’s lawsuit says he didn’t authorize the site to sell a poster that depicts the anthropomorphic frog alongside images of Jones, President Donald Trump, far-right agitator Milo Yiannopoulos and other right-wing figures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones described the lawsuit as a frivolous “publicity stunt.” Although he stressed that Infowars didn’t produce the poster, Jones told The Associated Press he views it as an expression of political speech protected by the First Amendment.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The cartoonist who created Pepe the Frog has resolved a copyright infringement lawsuit that accused a Missouri woman of misusing the character to sell hate-promoting oil paintings.\u003c/p>\n\u003cp>The settlement is the latest milestone in California-based cartoonist Matt Furie’s legal campaign to reclaim his creation from far-right extremists who hijacked Pepe, mixing images of Furie’s “chill frog-dude” with Nazi symbols and other hateful imagery. On Monday, Furie sued conspiracy-promoting website Infowars for selling a poster that included an image of Pepe.\u003c/p>\n\u003cp>A court filing Friday says Furie and Kansas City resident Jessica Logsdon agreed to the dismissal of the federal lawsuit he filed against her in October. Each side is bearing their own legal expenses.\u003c/p>\n\u003cp>Furie isn’t seeking any money from Logsdon, who agreed to stop using Pepe’s image, according to a statement released by one of Furie’s attorneys. Logsdon didn’t immediately respond to a phone call or email seeking comment.\u003c/p>\n\u003cp>The statement says Logsdon admits she inadvertently and unintentionally infringed on Furie’s copyrights. It adds that Logsdon disavows any association with the “alt-right,” a white nationalist, anti-Semitic fringe movement that adopted Pepe as a mascot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As a political artist, Logsdon documented the 2016 election. Logsdon maintains that she creates artwork that promotes unity and laughter, the exact opposite of hate and violence,” the statement says.\u003c/p>\n\u003cp>Furie, however, viewed her artwork as misappropriation of Pepe’s likeness to promote hate and violence. One of her paintings, called “Antifa,” depicted a masked Pepe holding a rifle in front of what appears to be the White House, the lawsuit says. Another of her paintings, entitled “Pepe Patrol,” included an image of Pepe pointing a gun over a wall labeled “U.S. Border,” according to the lawsuit.\u003c/p>\n\u003cp>“Despite Furie’s efforts, individuals like Logsdon have misused Furie’s Pepe character and copied Pepe images for use in dozens of images sold online to promote the violent and hateful messages espoused by the alt-right fringe groups,” the suit says.\u003c/p>\n\u003cp>Furie’s character debuted in a 2006 comic book called “Boy’s Club” and became a popular canvas for benevolent internet memes. But the user-generated mutations grew increasingly hateful and ubiquitous more than a year before the 2016 presidential election.\u003c/p>\n\u003cp>The Anti-Defamation League branded Pepe as a hate symbol in September 2016 and promoted Furie’s efforts to reclaim the character.\u003c/p>\n\u003cp>Furie’s copyright infringement lawsuit against Infowars is the second such case he has filed.\u003c/p>\n\u003cp>Infowars’ website is the online platform for right-wing radio host and conspiracy theorist Alex Jones. Furie’s lawsuit says he didn’t authorize the site to sell a poster that depicts the anthropomorphic frog alongside images of Jones, President Donald Trump, far-right agitator Milo Yiannopoulos and other right-wing figures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones described the lawsuit as a frivolous “publicity stunt.” Although he stressed that Infowars didn’t produce the poster, Jones told The Associated Press he views it as an expression of political speech protected by the First Amendment.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Writer Sherman Alexie has decided not to accept a prestigious literary prize he was awarded in February, as he faces multiple allegations of sexual harassment. \u003c/p>\n\u003cp>Alexie, one of the country’s best known Native American writers, was chosen for the Carnegie Medal and a $5,000 prize by the American Library Association for his nonfiction book about his mother, \u003ca href=\"https://www.npr.org/2017/06/24/533969802/fresh-air-weekend-roxane-gay-and-sherman-alexie\">\u003cem>You Don’t Have to Say You Love Me: A Memoir\u003c/em>\u003c/a>. The association plans to hand out a slate of awards at its annual conference in June.\u003c/p>\n\u003cp>In a statement issued Friday the association wrote, “We acknowledge [Alexie’s] decision and will not award the Carnegie nonfiction medal in 2018.”\u003c/p>\n\u003cp>“The ALA believes that every person has the right to a safe environment free from sexual harassment,” the group added. \u003c/p>\n\u003cp>As NPR’s Lynn Neary \u003ca href=\"https://www.npr.org/2018/03/05/589909379/it-just-felt-very-wrong-sherman-alexies-accusers-go-on-the-record\">reported\u003c/a>, a number of women, including three who spoke on the record to the network, have accused Alexie of predatory behavior ranging from inappropriate comments to unwanted sexual advances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After rumors about his behavior began circulating on social media last week, Alexie \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. He also acknowledged “there are women telling the truth,” and he apologized to the people he has hurt, without providing specific details. \u003c/p>\n\u003cp>But he also said he had “no recollection of physically or verbally threatening anybody or their careers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ALA pledged to support “members members, their colleagues, and their community members” in addressing sexual harassment issues by providing resources and referral services on its \u003ca href=\"http://www.ala.org/educationcareers/harassment-resources\">website\u003c/a>. \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=Beset+By+Sexual+Harassment+Claims%2C+Sherman+Alexie+Declines+Literary+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The American Library Association acknowledges the writer's decision not to accept the Carnegie Medal for nonfiction. He was chosen for his memoir about his mother. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer Sherman Alexie has decided not to accept a prestigious literary prize he was awarded in February, as he faces multiple allegations of sexual harassment. \u003c/p>\n\u003cp>Alexie, one of the country’s best known Native American writers, was chosen for the Carnegie Medal and a $5,000 prize by the American Library Association for his nonfiction book about his mother, \u003ca href=\"https://www.npr.org/2017/06/24/533969802/fresh-air-weekend-roxane-gay-and-sherman-alexie\">\u003cem>You Don’t Have to Say You Love Me: A Memoir\u003c/em>\u003c/a>. The association plans to hand out a slate of awards at its annual conference in June.\u003c/p>\n\u003cp>In a statement issued Friday the association wrote, “We acknowledge [Alexie’s] decision and will not award the Carnegie nonfiction medal in 2018.”\u003c/p>\n\u003cp>“The ALA believes that every person has the right to a safe environment free from sexual harassment,” the group added. \u003c/p>\n\u003cp>As NPR’s Lynn Neary \u003ca href=\"https://www.npr.org/2018/03/05/589909379/it-just-felt-very-wrong-sherman-alexies-accusers-go-on-the-record\">reported\u003c/a>, a number of women, including three who spoke on the record to the network, have accused Alexie of predatory behavior ranging from inappropriate comments to unwanted sexual advances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After rumors about his behavior began circulating on social media last week, Alexie \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. He also acknowledged “there are women telling the truth,” and he apologized to the people he has hurt, without providing specific details. \u003c/p>\n\u003cp>But he also said he had “no recollection of physically or verbally threatening anybody or their careers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ALA pledged to support “members members, their colleagues, and their community members” in addressing sexual harassment issues by providing resources and referral services on its \u003ca href=\"http://www.ala.org/educationcareers/harassment-resources\">website\u003c/a>. \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=Beset+By+Sexual+Harassment+Claims%2C+Sherman+Alexie+Declines+Literary+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "remembering-annie-southworth-booster-for-san-franciscos-rock-scene",
"title": "Remembering Annie Southworth, Booster for San Francisco's Rock Scene",
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"content": "\u003cp>Annie Southworth, a beloved local music promoter and tireless advocate for the Bay Area’s artistic underground, died last week after a long, public bout with breast cancer. She was 48.\u003c/p>\n\u003cp>Before her disease made it impossible to work, she promoted shows in San Francisco for two decades, focusing her efforts on supporting up-and-coming bands. She spent years as a talent buyer for Noise Pop, and booked shows at venues such as the Rite Spot and 12 Galaxies. She also worked as an agent for several bands, and is credited with boosting the careers of groups like Thee Oh Sees, The Dodos and the Fresh and Onlys.\u003c/p>\n\u003cp>“[Annie] had a great ear and an even bigger heart,” local talent booker Tony Bedard said. “Her work positively impacted a lot of people’s lives and, most importantly, made San Francisco a fun and exciting place to live.”\u003c/p>\n\u003cp>Born in 1969 and adopted as an infant, Southworth came to the Bay Area from the midwest at a young age, first to San Jose and later to Santa Cruz. Childhood friend Kim Howard says Southworth’s love of show business came early. As children, the two friends performed with a local dance troupe called the Lee Dancers, “a small outfit run by an extraordinarily large woman who sat in a folding chair and stomped her cane to the music as she instructed us,” according to Howard. When the two friends weren’t at practice or dance recitals, they played at a neighbor’s house, where the budding performers had free reign.\u003c/p>\n\u003cfigure id=\"attachment_13826741\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg\" alt=\"Annie Southworth (center) in 2nd Grade\" width=\"800\" height=\"621\" class=\"size-medium wp-image-13826741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-520x404.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class.jpg 1101w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth (center) in 2nd Grade \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have many memories of spending weekends making up plays and dressing in costume, singing and pretending to be various characters,” Howard wrote in an email.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then Southworth moved to Santa Cruz when she was 11. Howard met up with Southworth again when they were both in high school, and Howard says Southworth had become “so effing cool” she was intimidating.\u003c/p>\n\u003cp>“Her braided hair was bleached from all the sun, she wore surfer clothes and Doc Martens, and she rode a skateboard better than the guys,” Howard wrote. “She took me to a party and knew everyone and wasn’t afraid of anything — it was as if it was HER party. I would learn later that pretty much any party Annie attended WAS her party.” \u003c/p>\n\u003ch2>The Acid Cabaret\u003c/h2>\n\u003cp>By the early ’90s, Southworth lived in San Francisco, and was a regular at local shows and hangouts like the Cassanova Lounge. Her first big entree in show promotion came near the end of the decade, when she started \u003ca href=\"http://www.yaylove.com/happyfun/ass_cab/index.htm\" rel=\"noopener\" target=\"_blank\">the Acid Cabaret\u003c/a> with friend Stephen De Zordo. The event, which De Zrodo hosted as his alter ego “Partyball,” was a “\u003ca href=\"https://www.sfgate.com/music/article/Buzz-Town-hits-New-York-City-and-finds-much-of-2774690.php\" rel=\"noopener\" target=\"_blank\">debacherous, chaotic\u003c/a>” free-form variety show held at venues like the Rite Spot. Southworth co-hosted and handled much of the work behind the scenes. The cabaret went on for years in San Francisco, and in the 2000s it became a popular event at Burning Man. \u003c/p>\n\u003cfigure id=\"attachment_13826745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg\" alt=\"Poster for Acid Cabaret at Burning Man, 2004\" width=\"800\" height=\"1692\" class=\"size-medium wp-image-13826745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-160x338.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-768x1625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1020x2158.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1180x2496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-960x2031.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-240x508.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-375x793.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-520x1100.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Acid Cabaret at Burning Man, 2004 \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For Acid Cabaret at the 2002 Burning Man, we built a fully-functioning, large-tented theater with seats, lights, PA system, a stage, and an upright piano. We opened for business every night for a week, providing hours of impromptu performances of stellar, mind-blowing quality,” Bedard said. “The camp had a reputation and drew in people from all over the festival.”\u003c/p>\n\u003cp>That same year, Southworth, Bedard and others made a TV version of the Acid Cabaret called \u003ci>ACTV\u003c/i> for public access television, which featured several of the cabaret’s best acts. \u003c/p>\n\u003cp>Around the same time, Southworth expanded her promotional work beyond Acid Cabaret to booking shows at the Rite Spot and the 12 Galaxies. Justin Frahm of the acoustic metal cover band Crystal Methestopholes said he learned early why Southworth was a good promoter when she asked him to play her birthday at the newly-opened Hemlock and his band hesitated.\u003c/p>\n\u003cp>“Hesitation was futile, of course, as Annie had that way about her: that mixture of joviality, intimidation, exuberance, and sternness. Of course we would play it, and play it we did,” Frahm said on Facebook. \u003c/p>\n\u003ch2>A Friend to Bands\u003c/h2>\n\u003cp>By the early ’00s, Southworth was acting as an agent for local groups. Southworth had an incredible eye for talent, according to Noise Pop general manager Dawson Ludwig, who said she “had some of the best ears the festival has seen.”\u003c/p>\n\u003cp>Many of the bands she represented saw success. Southworth worked with the Dodos, the Dirty Ghosts and Kelley Stoltz, all of whom received her help at critical career junctions.\u003c/p>\n\u003cp>“Annie Southworth, thanks for being the only person who came to my first show in Paris. For 1,000 other hangs at concerts, and laughs, political discussions and the many glasses of rosé in the wee small hours at the Rite Spot,” Stoltz wrote on Facebook after Southworth’s death. \u003c/p>\n\u003cp>But the band Southworth was most known for representing was Thee Oh Sees, the spastic, psycho-boogie-rock juggernaut helmed by former San Franciscan John Dwyer. Southworth became their agent early in the band’s career, taking over the “thankless job” from Dwyer when he couldn’t keep up with the workload.\u003c/p>\n\u003cfigure id=\"attachment_13826786\" 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/Coachella2010-800x600.jpg\" alt=\"Southworth and Panache Booking founder Michelle Cable at Coachella 2010\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Southworth and Panache Booking founder Michelle Cable at Coachella 2010 \u003ccite>(Courtesy of Michelle Cable)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when everything changed for the band, says Brigid Dawson, former singer of Thee Oh Sees and Southworth’s longtime friend. While Dwyer did well booking their tours, Dawson said it was Southworth’s work that allowed the members of Thee Oh Sees to quit their jobs and focus on the group exclusively.\u003c/p>\n\u003cp>“Once we had Annie fighting in our corner, we saw a big change right away,” Dawson said. “I don’t think John knew his worth as a player or our worth as a band, and I think it was really easy for Annie to take that over and fight for us.”\u003c/p>\n\u003cp>In 2008, Southworth decided to part ways with Leafy Green booking and join forces with her old friend Michelle Cable, who had talent agency called Panache Booking that was just starting out. Looking back, Cable describes the moment as “monumental,” as Southworth brought her bands and her years of experience to the upstart company.\u003c/p>\n\u003cp>“Annie wasn’t some 21-year-old kid. She was an empowered woman,” Cable said. “That really helped me get confident in what I was doing.”\u003c/p>\n\u003cp>Loyal to Southworth, Thee Oh Sees moved to Panache and become one of the agency’s flagship groups. Southworth helped \u003ca href=\"http://www.panacherock.com/artists/\" rel=\"noopener\" target=\"_blank\">Panache\u003c/a> become the agency it is today, with groups like Ty Segall, Mac DeMarco and U.S. Girls on its roster.\u003c/p>\n\u003cfigure id=\"attachment_13826793\" 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/IMG_0039-800x530.jpg\" alt=\"Annie Southworth at a 2017 wedding in Mexico\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13826793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth at a 2017 wedding in Mexico \u003ccite>(Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Battle With Cancer\u003c/h2>\n\u003cp>Dwyer says that Southworth revealed her breast cancer diagnosis to him while they were in customs at an airport in Iceland. \u003c/p>\n\u003cp>There’s “never a good time, really” to learn that a friend has cancer, Dwyer wrote in an email. “But that was rough.”\u003c/p>\n\u003cp>Southworth had learned of her cancer months before, but held off on chemotherapy until after her Iceland trip. She planned the vacation with her young niece McKenzie, later described as “like a daughter to her,” so she didn’t cancel. \u003c/p>\n\u003cp>“She never seemed to freak out about how things would turn out,” said close friend Gina Privitere. \u003c/p>\n\u003cp>When she came back and underwent treatment, she realized she couldn’t live on her own anymore. The treatment meant she had to move from her cherished San Francisco to Chico and live with her parents.\u003c/p>\n\u003cp>https://www.instagram.com/p/BcwJorVh7sO\u003c/p>\n\u003cp>Southworth posted regularly on social media about her battle with cancer and all that it entailed — losing her hair, having an appreciation for marijuana and the anxiety she felt when at the doctor’s office. Though outgoing, Southworth was a private person who let few really know her, and yet she was like an open book with her treatment. She also advocated heavily for women to be vigilant about their mammograms. \u003c/p>\n\u003cp>“Annie’s openness about her treatment was touching and helped me personally,” artist and cancer survivor Janelle Hessig said. “We had planned to have a bald headed dinner at Farmhouse Thai when she was able.”\u003c/p>\n\u003cp>But in November of last year, Southworth learned her cancer had spread to her lungs, liver and brain. She posted the news on \u003ca href=\"https://www.facebook.com/anniesouth/posts/10154942062552026\" rel=\"noopener\" target=\"_blank\">social media\u003c/a>, adding that she was still grateful for the life she had.\u003c/p>\n\u003cp>“I know it’s harsh news, but if you can believe it I’m beyond thankful for all the love, care and support my friends and family have afforded me. Every well wish helps, as does every good vibe,” Southworth wrote. \u003c/p>\n\u003cfigure id=\"attachment_13826819\" 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/annieFARM-800x533.jpg\" alt=\"Annie Southworth, 2008\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth, 2008 \u003ccite>(Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friends and family bought plane tickets to fulfill her wish for one last vacation in Palm Springs, but she became too sick to go. By the end of February, Southworth was in hospice in Chico. She died, surrounded by her family, on Feb. 27. \u003c/p>\n\u003cp>“My dear friend Annie left us last night, after an heroic battle with cancer. She was an absolute holy terror of a human being, simultaneously warm, generous, hilarious, mischievous, adventurous, and, at all times, full of a vigor that inspired me, and many others, to walk out into the world, and demand it be held to a higher standard,” friend Alexander Johnson \u003ca href=\"https://www.facebook.com/alexander.johnson.336/posts/10214059384711527\" rel=\"noopener\" target=\"_blank\">wrote on Facebook\u003c/a> on the day of Southworth’s death. \u003c/p>\n\u003cp>“I’ve never met a person with a life force as strong as Annie Southworth, and I’m certain I never will again.” \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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Annie Southworth’s family plans to hold a private memorial. The Rite Spot, where Southworth used to work, is hosting a memorial fundraiser — the first of several planned — on March 16, from 7pm to close. \u003ca href=\"http://www.ritespotcafe.net/calendar.php\" rel=\"noopener\" target=\"_blank\">Details are here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Annie Southworth died from breast cancer last week, leaving a legacy of being at the center of wild times in San Francisco's underground rock scene.",
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"title": "Remembering Annie Southworth, Booster for San Francisco's Rock Scene | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Annie Southworth, a beloved local music promoter and tireless advocate for the Bay Area’s artistic underground, died last week after a long, public bout with breast cancer. She was 48.\u003c/p>\n\u003cp>Before her disease made it impossible to work, she promoted shows in San Francisco for two decades, focusing her efforts on supporting up-and-coming bands. She spent years as a talent buyer for Noise Pop, and booked shows at venues such as the Rite Spot and 12 Galaxies. She also worked as an agent for several bands, and is credited with boosting the careers of groups like Thee Oh Sees, The Dodos and the Fresh and Onlys.\u003c/p>\n\u003cp>“[Annie] had a great ear and an even bigger heart,” local talent booker Tony Bedard said. “Her work positively impacted a lot of people’s lives and, most importantly, made San Francisco a fun and exciting place to live.”\u003c/p>\n\u003cp>Born in 1969 and adopted as an infant, Southworth came to the Bay Area from the midwest at a young age, first to San Jose and later to Santa Cruz. Childhood friend Kim Howard says Southworth’s love of show business came early. As children, the two friends performed with a local dance troupe called the Lee Dancers, “a small outfit run by an extraordinarily large woman who sat in a folding chair and stomped her cane to the music as she instructed us,” according to Howard. When the two friends weren’t at practice or dance recitals, they played at a neighbor’s house, where the budding performers had free reign.\u003c/p>\n\u003cfigure id=\"attachment_13826741\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg\" alt=\"Annie Southworth (center) in 2nd Grade\" width=\"800\" height=\"621\" class=\"size-medium wp-image-13826741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-520x404.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class.jpg 1101w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth (center) in 2nd Grade \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have many memories of spending weekends making up plays and dressing in costume, singing and pretending to be various characters,” Howard wrote in an email.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then Southworth moved to Santa Cruz when she was 11. Howard met up with Southworth again when they were both in high school, and Howard says Southworth had become “so effing cool” she was intimidating.\u003c/p>\n\u003cp>“Her braided hair was bleached from all the sun, she wore surfer clothes and Doc Martens, and she rode a skateboard better than the guys,” Howard wrote. “She took me to a party and knew everyone and wasn’t afraid of anything — it was as if it was HER party. I would learn later that pretty much any party Annie attended WAS her party.” \u003c/p>\n\u003ch2>The Acid Cabaret\u003c/h2>\n\u003cp>By the early ’90s, Southworth lived in San Francisco, and was a regular at local shows and hangouts like the Cassanova Lounge. Her first big entree in show promotion came near the end of the decade, when she started \u003ca href=\"http://www.yaylove.com/happyfun/ass_cab/index.htm\" rel=\"noopener\" target=\"_blank\">the Acid Cabaret\u003c/a> with friend Stephen De Zordo. The event, which De Zrodo hosted as his alter ego “Partyball,” was a “\u003ca href=\"https://www.sfgate.com/music/article/Buzz-Town-hits-New-York-City-and-finds-much-of-2774690.php\" rel=\"noopener\" target=\"_blank\">debacherous, chaotic\u003c/a>” free-form variety show held at venues like the Rite Spot. Southworth co-hosted and handled much of the work behind the scenes. The cabaret went on for years in San Francisco, and in the 2000s it became a popular event at Burning Man. \u003c/p>\n\u003cfigure id=\"attachment_13826745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg\" alt=\"Poster for Acid Cabaret at Burning Man, 2004\" width=\"800\" height=\"1692\" class=\"size-medium wp-image-13826745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-160x338.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-768x1625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1020x2158.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1180x2496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-960x2031.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-240x508.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-375x793.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-520x1100.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Acid Cabaret at Burning Man, 2004 \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For Acid Cabaret at the 2002 Burning Man, we built a fully-functioning, large-tented theater with seats, lights, PA system, a stage, and an upright piano. We opened for business every night for a week, providing hours of impromptu performances of stellar, mind-blowing quality,” Bedard said. “The camp had a reputation and drew in people from all over the festival.”\u003c/p>\n\u003cp>That same year, Southworth, Bedard and others made a TV version of the Acid Cabaret called \u003ci>ACTV\u003c/i> for public access television, which featured several of the cabaret’s best acts. \u003c/p>\n\u003cp>Around the same time, Southworth expanded her promotional work beyond Acid Cabaret to booking shows at the Rite Spot and the 12 Galaxies. Justin Frahm of the acoustic metal cover band Crystal Methestopholes said he learned early why Southworth was a good promoter when she asked him to play her birthday at the newly-opened Hemlock and his band hesitated.\u003c/p>\n\u003cp>“Hesitation was futile, of course, as Annie had that way about her: that mixture of joviality, intimidation, exuberance, and sternness. Of course we would play it, and play it we did,” Frahm said on Facebook. \u003c/p>\n\u003ch2>A Friend to Bands\u003c/h2>\n\u003cp>By the early ’00s, Southworth was acting as an agent for local groups. Southworth had an incredible eye for talent, according to Noise Pop general manager Dawson Ludwig, who said she “had some of the best ears the festival has seen.”\u003c/p>\n\u003cp>Many of the bands she represented saw success. Southworth worked with the Dodos, the Dirty Ghosts and Kelley Stoltz, all of whom received her help at critical career junctions.\u003c/p>\n\u003cp>“Annie Southworth, thanks for being the only person who came to my first show in Paris. For 1,000 other hangs at concerts, and laughs, political discussions and the many glasses of rosé in the wee small hours at the Rite Spot,” Stoltz wrote on Facebook after Southworth’s death. \u003c/p>\n\u003cp>But the band Southworth was most known for representing was Thee Oh Sees, the spastic, psycho-boogie-rock juggernaut helmed by former San Franciscan John Dwyer. Southworth became their agent early in the band’s career, taking over the “thankless job” from Dwyer when he couldn’t keep up with the workload.\u003c/p>\n\u003cfigure id=\"attachment_13826786\" 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/Coachella2010-800x600.jpg\" alt=\"Southworth and Panache Booking founder Michelle Cable at Coachella 2010\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Southworth and Panache Booking founder Michelle Cable at Coachella 2010 \u003ccite>(Courtesy of Michelle Cable)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when everything changed for the band, says Brigid Dawson, former singer of Thee Oh Sees and Southworth’s longtime friend. While Dwyer did well booking their tours, Dawson said it was Southworth’s work that allowed the members of Thee Oh Sees to quit their jobs and focus on the group exclusively.\u003c/p>\n\u003cp>“Once we had Annie fighting in our corner, we saw a big change right away,” Dawson said. “I don’t think John knew his worth as a player or our worth as a band, and I think it was really easy for Annie to take that over and fight for us.”\u003c/p>\n\u003cp>In 2008, Southworth decided to part ways with Leafy Green booking and join forces with her old friend Michelle Cable, who had talent agency called Panache Booking that was just starting out. Looking back, Cable describes the moment as “monumental,” as Southworth brought her bands and her years of experience to the upstart company.\u003c/p>\n\u003cp>“Annie wasn’t some 21-year-old kid. She was an empowered woman,” Cable said. “That really helped me get confident in what I was doing.”\u003c/p>\n\u003cp>Loyal to Southworth, Thee Oh Sees moved to Panache and become one of the agency’s flagship groups. Southworth helped \u003ca href=\"http://www.panacherock.com/artists/\" rel=\"noopener\" target=\"_blank\">Panache\u003c/a> become the agency it is today, with groups like Ty Segall, Mac DeMarco and U.S. Girls on its roster.\u003c/p>\n\u003cfigure id=\"attachment_13826793\" 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/IMG_0039-800x530.jpg\" alt=\"Annie Southworth at a 2017 wedding in Mexico\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13826793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth at a 2017 wedding in Mexico \u003ccite>(Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Battle With Cancer\u003c/h2>\n\u003cp>Dwyer says that Southworth revealed her breast cancer diagnosis to him while they were in customs at an airport in Iceland. \u003c/p>\n\u003cp>There’s “never a good time, really” to learn that a friend has cancer, Dwyer wrote in an email. “But that was rough.”\u003c/p>\n\u003cp>Southworth had learned of her cancer months before, but held off on chemotherapy until after her Iceland trip. She planned the vacation with her young niece McKenzie, later described as “like a daughter to her,” so she didn’t cancel. \u003c/p>\n\u003cp>“She never seemed to freak out about how things would turn out,” said close friend Gina Privitere. \u003c/p>\n\u003cp>When she came back and underwent treatment, she realized she couldn’t live on her own anymore. The treatment meant she had to move from her cherished San Francisco to Chico and live with her parents.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Southworth posted regularly on social media about her battle with cancer and all that it entailed — losing her hair, having an appreciation for marijuana and the anxiety she felt when at the doctor’s office. Though outgoing, Southworth was a private person who let few really know her, and yet she was like an open book with her treatment. She also advocated heavily for women to be vigilant about their mammograms. \u003c/p>\n\u003cp>“Annie’s openness about her treatment was touching and helped me personally,” artist and cancer survivor Janelle Hessig said. “We had planned to have a bald headed dinner at Farmhouse Thai when she was able.”\u003c/p>\n\u003cp>But in November of last year, Southworth learned her cancer had spread to her lungs, liver and brain. She posted the news on \u003ca href=\"https://www.facebook.com/anniesouth/posts/10154942062552026\" rel=\"noopener\" target=\"_blank\">social media\u003c/a>, adding that she was still grateful for the life she had.\u003c/p>\n\u003cp>“I know it’s harsh news, but if you can believe it I’m beyond thankful for all the love, care and support my friends and family have afforded me. Every well wish helps, as does every good vibe,” Southworth wrote. \u003c/p>\n\u003cfigure id=\"attachment_13826819\" 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/annieFARM-800x533.jpg\" alt=\"Annie Southworth, 2008\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth, 2008 \u003ccite>(Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friends and family bought plane tickets to fulfill her wish for one last vacation in Palm Springs, but she became too sick to go. By the end of February, Southworth was in hospice in Chico. She died, surrounded by her family, on Feb. 27. \u003c/p>\n\u003cp>“My dear friend Annie left us last night, after an heroic battle with cancer. She was an absolute holy terror of a human being, simultaneously warm, generous, hilarious, mischievous, adventurous, and, at all times, full of a vigor that inspired me, and many others, to walk out into the world, and demand it be held to a higher standard,” friend Alexander Johnson \u003ca href=\"https://www.facebook.com/alexander.johnson.336/posts/10214059384711527\" rel=\"noopener\" target=\"_blank\">wrote on Facebook\u003c/a> on the day of Southworth’s death. \u003c/p>\n\u003cp>“I’ve never met a person with a life force as strong as Annie Southworth, and I’m certain I never will again.” \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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Annie Southworth’s family plans to hold a private memorial. The Rite Spot, where Southworth used to work, is hosting a memorial fundraiser — the first of several planned — on March 16, from 7pm to close. \u003ca href=\"http://www.ritespotcafe.net/calendar.php\" rel=\"noopener\" target=\"_blank\">Details are here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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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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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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